The Observer from London, Greater London, England • 26

26 "WEEKEND REVIEW THE OBSERVER, SUNDAY, JUNE 4, 1961 Concerts ROYAL FESTIVAL HALL Oeocral Manatee T. B4fl. 8 8. fuu full Information Royal Featiral Hill Bo Offlca (Waterloo 1191 Boa Offlca openi l.jo p.m. Suadayi), London.

3.E.I. and ami aitnta, AT THE THEATRE Misliked for our complexions By KENNETH TYNAN CRISMAN WOOtXSATt Lloyd Reckord, Joseph Layod. VIA batjbNsM'aaa' iRodaay Douglas to TP WacaO." TELESIdN TfVMf to uiraniv a WIUnUD VAN TVYCK LTD. Km at ARTUR RUBINSTEIN aaualewjdca, pp. 12 SCHUMANN Platthrea.

March (com "'fl, oraottt" rstoKotrev allada No. 4 la minor. 4 Eludea CHOPIN 21.. 30-. TTTWDAV NEXT, at PHILOMUSICA OF LONDON SIR ADRIAN BOULT Brudcnbori CYnceno No, 4 in Ben Con In flat Op, 10 'or iirtaa, Mtadtlwoba Cooeenloo No, 4 in minor Ftrioleal Wjfoeia Coocertante In Bal.

JM Moiarl rFANMIJjr JONES ITOOUlICK KIDDLE GKOFFKer cn.n-.irT DOUGLAS WHITTAKER 10-. 76. 5-. Hall. Atenta 124.

W.I. aura i iiLt.i HAROLD HOLT LTD. praacal CLAUDIO ARRAU IN THREE CONCERTS FEATURING NINE GREAT ROMANTIC CONCERTOS SIR ADRIAN BOULT LONDON PHILHARMONIC ORCHESTRA WEDNESDAY NEXT, JUNE 7. at I In minor CHOPIN No. 4 In BEETHOVEN No.

1 In minor BRAHMS 21-. 10-. FRIDAY. JUNE 16, al I 2 tn minor CHOPIN A minor Concerto GRIEG (P)ca noic chanie of proirimmc) No. I Emperor BEETHOVEN 21-, 10..

TUESDAY, JUNE 16, al I A minormajor Concerto SCHUMANN No. 3 In A LISZT No. 2 In fla BRAHMA 2W-. 30-, Hall. Aacnu 4 ress nuirrr Lid 124.

wimorc si. w.i Pnil.HARMOMA CONCERT SOCIETY Ltd. (ArtlMIc Director Walter Unci FRIDAY. 9 JUNE, al I PHILHARMONIA ORCHESTRA HarT Jnnoa KOOAI.Y Piano Concerto No. 3 BARTOK tymehoor No (New Wotla DVORAK ANNIE FISCHER FERENC FRICSAY 10.

15-. II-, 25-. Qtwaia iteklji rsroiMctlan to $otikmakers round the box By MAURICE RICHARDSON victim. The killer is ordered to exult in his blackness he must feel no kinship with the slaughtered enemy, and the slightest hint that she attracted him, instead of inspiring total repulsion, is enough to brand him a traitor. Meanwhile, overlooking the stage, there sits a tribunal representing colonial officialdom a Queen, a Valet, a Judge, a Missionary and a Governor, all played by Negroes in deformed white masks.

Ostensibly on hand to administer justice, they are finally brought down to face judgment themselves their erstwhile "inferiors" condemn them to death and curry out a mock execution. This completes the rite. It has all been a sham, a sort of rehearsal for revolution. But it has also been an elaborate diversionary tactic; for we learn that, even as we watched, a real murder was being committed offstagethe murder of a Negro who betrayed the black cause. Thus described, the play sounds like a masterpiece maitdit and so it might have turned out, in the hands of another writer.

The subject cries out for the dry, passion of a satirist, a Swift of the theatre, a dramatic vivisectlonist instead, it drowns in a flood of prose poetry. Genet's mind moves' from image to Image, never from idea to idea. His genius is anarchic, and resides in the phrase: as the anarchists of Oatalonia resisted centralised authority, so Genet resists intellectual organisation. The images pile up, some of them memorable, others merely capricious; meanwhile, the argument stands still. Since I have opted for a change of authorship, let me go further and call for a new production.

Even in its present form, the piece would benefit hugely from, direction that stressed it hieratic, ceremonial quality, whioh should suggest a Black Mass eerily tinged with voodoo. In Roger Blin's stasinn it comes across as a slip WILFRID VAN WYCK LTD. preMM TO-NIGHT, 7.30 ALAN LOVEDAY ENGLISH CHAMBER ORCHESTRA ANTONY HOPKINS Orerture, Corlolan RaaHairiaej Violin Concerto In Violin Concerto No. 1 In (orltlnal rtnlon) Paaaaaai Symphony No. 29 In A K.201 Moiirt IT would ba disturbingly easy to make out a case for Jean Genet's The Blacks (Royal Court) as an avant-garde masterpiece.

Indeed, several skilled hands have already tackled the job, among them the intimidating Herbert Blau, who wrote of the play in The Tulane Drama Review: Genet gives us the most direct sensation of the experience modern dram ties been defining since the more rationalistic dualities of Pirandello: that of the reality of Illusion. Whole colour is black. 1 am with Blau up to the last four words, which frankly confound me is it reality that is black, or illusion? Less opaquely, Harold Clurman has summed up the play as a strong, hard, scandalous and utterly fascinating masquerade one of the most original theatre pieces of our day." Yet despite these expert witnesses, I cannot help suspecting that The Blacks belongs to that large group of experimental plays which sound more like in description than in performance. IT IS based, like Les Bonnes" and Le Balcon." on the recurrent Gerietic idea that all human relationships are power relationships. There are those who dominate and those who are dominated; and the process whereby the two factions exchange 'roles corresponds to the systole and diastole of history.

Life, in Genet's eyes, consists not so much of action and reaction as of crime and punishment, injury and revenge. From this harsh vision love is necessarily banished it is a sign of weakness, a flag of surrender, an interruption in the deadly game. "As Verlaine wanted to wring the neck of eloquence," Mr. Clurman observes, "so Genet beats down the possible emergence of senumenL urpnan, bastard, ex convict and homosexual, Genet himself has a high stake in the game of retribution; he denies love, with the cold, triumphant fury that isungutsnes those to wnom love has been denied. In Mr.

Clur-man's phrase, he is a man who no longer permits himself the luxury of forgiveness." All love corrupts, and to love one's enemy is at once a dereliction of duty and a form of suicide. Genet's plays are themselves acts of vengeance, directed against the bourgeois audience he detests. HIS theme in "Trie Blacks" is, the hatred of the Negro for the rulino Caucasian, which we may take to symbolise the hatred of all despised outsiders for the society that spurns them. A croup of Negroes, wearing inelegant parodies of the evening clothes customary among whites, meet to re-enact the ritual murder of a white woman. The ceremony, wc gather, is re peated nightly, and the participants take turns to impersonate the 3-, o.

ig-. 130, tj-. PHILHARMONIA CONCERT SOCIETY LTD. (Arttettc Dfrector Warier Lena) SUNDAY, JUNE at 7.30 LEOPOLD STOKOWSKI Ortr London appraranct this Sftuon) Firebird Suite Stravinsky Carmina Burana Carl Orff AGNES G1EBEL PAUL KUEN MARCEL CORDES PHILHARMONIA CHORUS PHILHARMONIA ORCHESTRA Tlekeu: 21-, 3J7-. 30..

HI: 42-. at Hall (WAT JI9I) A Atenta. daughter, noi to Her Malestvl. Miss Cooper, once her defeated rival in love, affects to despise her because she pretends to bo English. A Chinese invasion of Kashmir, conveniently instigated by the author; brings the two women tnonthfr htif 4hlr fnn-a la ah Art lived.

Miss Cooper catches Miss UAmue.ni k. i.i,hk-kl.u IUH UUW W1VMWHW "Your eyes are shagged with hashish she cries, wrestina the apparatus from its slave and fling- ina it into the river. In the end, when the rest of the BritHh colony has been she and her husband (Cllve the spirit of acid IndiaettKM to stav on and face the CAti hordes. Youthful libentfsjhJIM wniie, is symeousea or in charge of evacuation, who" things uicei How we Bnttsn these neoDlel" and try, Mitt' yard's daughter Marsh, grayeiy beautiful), who is not ashamed to be an Indian. PoUUeally, the play is inflexibly middle-or-the-roadi -or, to borrow someone else's usefu) phrase, Intolerantly moderate," Darxllat Pressed (Globe), by M.vi.

Parrel! and John Perry, Is a dawdling comedy of butnobri about life in a fading Irish with speeslrefreace to the training! of nonet. the dh WM-f' immaeulat. and thert ax lhoiuh. vrwiawu orea.penonnanets mm immstm, Sarah Miles and Hegel Httthet; but fj SfcttlS her ends. an eccentric eunt i Rutherford squints, aa nanaaa jWtoaaa.

atau atMturaeera "Sitd 'in motfrauU and sinking at times into flit, of ter-rtbie gtoom, whioh reveal raw In a hoodint of the eyes and aiffodil pursing; of the Be. First nights Tc-momow: Attorn (transfer. SvnJ). TvaSDAVt Tu Andtrtomlll Trial (The Mermaid). Wionisdayi Ctltbratlon (Ducbest).

Sound radio By PAUL FERRIS SIMPLE folk in the grip of strong passions are an unfailing temptation to writers because they are such splendidly blank sheets of paper on which to use brightly coloured crayons. Lorca's The Home, ot Bernards Alba is the simple taly of widow Alba and her Ave unmarried daughters, generating furious passions in a Spanish village, with the, vounacit in love with the VICTOR HOCHHAUSER tnnou rices THE LENINGRAD STATE KIROV BALLET In assn. with The Royal Opera House) Covent Garden Ltd. JUNE 19 to JULY 15 FIRST APPEARANCE IN THIS COUNTRY OF THE GREAT SOVIET PIANIST VIATOSLAV RICHTER Your merohMite, your tutle, your You? your crow, your dragon, and your panther, Your sutij your moon, your Armament, YourJW atoeh, temleh, thlbrit, htautarlt, And then your red man and your white woman, The acting, on the whole, consider Ing alt difficulties, was more than adequate, There was some ar)irbl by-play between Thomas Oallacher as Sir Epicure Mammon and P)y Rowland a Doll Common, I liked Alan Dobie's Face but was rather dlupPOinted in John Warner' Subtle. Making all the usual ailcfaaces for the inevitable exigencies medium mutilation and time-etreton-Ing included this was a real occasion.

The long and bow tongh iseemed Interview between Dlmbleby and the Duke of Edinburgh on Panorama appesred to me rather than it did to some of ntyr colleagues. Dlmbleby was at his ease. Is he not now at his ease with Almighty? But the Duke was, I thought, lust a bit either flurried or stiff as so often happens to people without much TV experience. They had not photographed him any too well; he tended to be too oios tad too sharp in profile too often. I think that the producers might bare been Just a little overawed by the, etninence of their subject Otherwise, the best "Panorama" Item was John Morgan's "Spanish Roundup." Morgan, who wnfouo to maintain Ms questing Cymric Interrogatory form, was determined to show you lust how economically and politically oppressive the present Spanish regime can be.

1 was distinctly impressed by the free way some of the young, especially. Spaniards talked to him, and their seeming awareness of international problem both global and European. YOU do not ordinarily expect that Derby Week should produce viewing of a nigh 10 full of social significance like a peak winter programme. Yet here was Eye on Research coming up to the-gate--almost literally in Its best form for many months. True, we have had' a liberal allowance ot parturition.

But last Wednesday's "The First Breath of Life" from the Karolimka Hospital in Stockholmwas quite out of the ordinary. We saw the baby lifted, after a Caesarcan section, from its mother's womb, and then helped through that strange nodal stage when the lungs start working and -going over to the system of gotting oxygen from the air instead of from the moiher's placenta blood-stream, Say what you like about the vulgarisation of vital moments by repetition on television, here was a really moving and, so it seemed, pristine visual 'encounter, mere is still a lot to be explained about tho crucial changeover. What was remarkable about thi particular programme was the'-pteclilon with which it described the process. It eschewed the common mistake. of some of the better B.B.C citHMcprogrammes In trying to cover tooTttiuclL You always knew just whei you were on tho threshold betwn birth and life.

Itttay seem irrelevant; but I was reminded of the recent correspondence in The Times about the shortage of mathematicians and mathematics teachers in this country and how several educational authorities have pleaded so far, utterly in vain to tho Minister of Education for some special provisions for courses in mathematics on television. The Hindus, who are inclined to equate breathing with numbers, should sympathise with this association. HP HERE are two places to view I the Derby on TV. One is vouf own home. You aloil in your own home.

You slouch silent on toe sofa wishing you really were at Epsom, which, however dusty and windswept, is always one of the prettiest courses in Enalsnd. -The other is in a betting club, preferably one of the new, comfortable and now completely legitimate ones. Here you become one of those onlookers who really do see most of the game and you can supplement the remarkably full view of the races that both channels have been providing with many interesting sidelights from knowledgeable members of the racing fraternity. Dedicated as ever to my callint of TV critic I chose the latter environment. I was on the whole well rewarded.

One bookmaker, sitting as close to the screen as he could get, kept up a useful supplementary commentary for us, despite the nonstop working of the built-in lightning cal culator ittii neaa. Tne uarey ittsir tsvaa Mailt altHAat minmiom-iSmM. Start, down- nuL.ta sou saw lust about than any single In- wnether in the lhSt other, tester-irvrie. the doda'em is rar sum. rsiaium iat- was viewed, as far as 1 from behind.

It had an affect The horse suddenly seemea ay forward incidental shots of Epsom types, regulars, and eccentrics, were very nicely picked on both channels. I thought the B.B.C.'s cutting was rather faster than their rival's. show never dragged. There were some deliriously English snatches. The man playing with the baby on the grass was peculiarly endearing, One bookmaker 1 aw watching them with tears in bis eyes; the tears might have been due to gratitude for yet another rank outsiders win.

On the commercial jaunt everybody was very appreciative of the firm which instantly shot In an advertisement headed; Have you a business to sell? as soon as the race had been run. 4 I WAS not altogether surprised to find that Peter Dews's B.B.C. production of The Alchemist seemed rather scattered and diffuto compared with the brilliant rendering of Volpone that we were given one of the landmarks of the TV theatre-not so long ago. The trouble here, I think, is with neither the plays nor the producers nor even the casts, although Wolfit's performance of Volpone was masterly and nobody in "The Alchemist" could approach it Volpone has a natural inherent structure that makes it dance in front of you like tho ballet or masque which is, "The Alchemist," on tho, other hand, it a picaresque-rhetorical essay. It is full of character with a fairly even division of narrative focus.

Also, its wit is almost entirely verbal. It is, in fact, one must most regretfully suggest, just a bit too good for television. And its verbiage abounds, in harsh Jonsonian tangy satire. Cut ting here becomes castration. What would we privet-sheltered subtopian viewers make of this speech of Surly's had' we been given it in full? What else are all your terms, Whereon no one o' your writers "grecs with other? Of your ellnir, your lac vlrglnb, Your stone, your med cine, and your chrysosponTi, Your sal, your sulphur and your Mercury, Your oil of height, your tree of life, your blood, ill somer i assomsanu THREE PERFORMANCES JULY 8, 10, 12 RETURN OF THE GREAT SOVIET 'CELLIST ROSTROPOVICH In assn.

with Harold Holt Ltd. TWO ORCHLSTRAL PERFORMANCES JULY 9 4 11 LSO INTERNATIONAL SERIES Id Auodatloa will tne Ana Council. L.C.C. and Aatoclatod-Radlffutio KEMPE LONDON SYMPHONY ORCHESTRA CONTEMPORARY CLASSlci P1J.OOIIAMME Pataniniana vaeiia OBOE CONCERTO RICHARD STRAUSS Second Enay for Orcnettra Barbae TAR AS BU1.BA JANACEK ROGER LORD, oboe 5-. 76.

10-. 13-. 21-. Cone Mat. S.

A. Oorllmkr Lid Soadaj Jnaa lllk POETRY and JAZZ SPIKE MILLIGAN tydla Panemak Slater Laurie Lec Dannie Abaa Jeremr Robaoo Jon Sllkln Adrian Mitchell Peter Brown il: 76. 106, IS-. MONDAY AY M. RITA BOUBOULIDI 1 JUNE (Pianist) Overture, Leonora No.

BEETHOVEN Piano Concerto No. ROJHpyEN PlanoOjootno No. TCHAOSK? IpHlLkARMONIA OROIESTRA PIERINO GAMBA 1-, 126. 10-. 7.

SI: HaU. Ajreata Ifiai A TILLETT ltd 1J4. W.I TUESDAY, 1J JUNE, at Nicholas Choveaua preaenu the LONDON PHILHARMONIC ORCH. with the SwediRh Conductor GUNNAR STAERN Overture Silken ladder ROM INI Piano Concerto No. 4 In BEETHOVEN Sympnoor No.

3 In minor TCHAIKOVSKY OSCAR YERBURGH (Flrit appearance at Royal Fentlyal HalD 21-. 13-. 126, 10-. 76. SI: MONDAY 1.0 p.aa.

1 JUNK BEETHOVEN NIGHT Overture, Leonora No, 1 BEETHOVEN Piano Concerto No. BEETHOVEN Symphony No. (Erolca) BEETHOVEN STANLEY POPE PHILHARMONIA ORCHESTRA Ttaa Great Gerann PtataM ELLY NEY isfe wai. et tenta. ROYAL OPERA HOUSE ROYAL FESTIVAL HALL ROYAL FESTIVAL HALL ROYAL ALBERT HALL TONIGHT 7.30 JULIAN BREAM cMvrwsrn' of iodov misical soc.

CENTRAL lltl.l. HUlHinsIUI, STI.DAV NFXT, al I.St. VERDI Requiem FINZI For St. Cecilia VICTORIA FI.LIOTT DAVID CAIXIVER HELEN WATTS OWEN BRANNIGAN LOMDO.N ACCOMPANVLNU ORCHESTRA Conductor JOHN RUSSELL Tlcleu: 7, al Hall (Whl 4259). a i.May, 7bov a ufuai Ajreata.

OPEN AIR THEATRE REGENTS PARK 'JTCIADAY NEXT al THE MASSED BANDS O)0 maslctaru) of Ibe BRIGADE OF GUARDS Proaramme Include Military Symphony Berlioz Conducted by COLIN DAVIS TirVrt In advance from Sudlrr'i Well nifaire ho. tjmce ilk I(w2 a Aenn On day oii'y A at Oro Air rheatre ENTERTAINMENTS Page 28 RETURN OF THE FABULOUS UKRAINIAN STATE DANCE COMPANY UKRAINIAN STATE COSSACK COMPANY) in nn. with The Corporation of the Royal Alhcrt Hall. SEPT. II to OCT.

14 ROYAL ALBERT HALL SYMPHONIC CONCERTS Ltd. preicnl M. Blin's JParis production, which I did not tee, was a great deal better. M. Blin does not speak recognisable English, which may account for his failure to realise that many of the West Indian1 and African members of his London cast were not speaking recognisable English either.

Their accents have a muddying effect on dialogue that could scarcely be called limpid to begin with. My familiarity with the text is mainly due to the fact that I have read the translation, a fluent effort by Bernard Frechtman, whose unseen collaborator, the Lord Chamberlain, has removed all the blatantly shocking words from what was expressly Intended to be a blatantly shocking work. ALL serious1 plays whose titles are quotations from poems have a tendency to be second-rate and Peter Mayne's The Bird of Time (Savoy) acknowledgments to Edward FitzGerald is no exception. The setting, a remarkably cluttered affair, represents two houseboats on a river in con temporary Kashmir. The one on the right is occupied by Gladys Cooper, a crumbling pillar of the Raj, while aboard the other we have the astonishing spectacle of Diana Wynyard as a Eurasian dressmaker, smoking hashish to forget a long-departed English lover.

I was like a flower," she murmurs to herself, She hag Ancigoni's portrait of the WARDLB matronly Portia in that of the Countess: this works to the advantage of Gratiano (John Stride) and Nerlssa (Rosemarie Dunham), who acquire the dash and enterprise of. Figaro and Suzanne. However, it leaves Shylock nowhere, and Robert Harris in possession of the part that usually overcasts the rest Of the play remains an ineffectual and notably un-Hebralc outsider. Outside, aa it happens, li the best place. J.

A. Cuddon's The Triple Alliance, which bad a Sunday-night showing at the Royal Court, Is an allegorical extravaganza set in a cripples' home which, all too explicitly, is identified with Hell. After a first act of vigorous lumbering comedy (distinct affinities with John Arden), the play sinks shapclcssly into violence and hysteria; but Mr. Cuddon can write strong individual speeches that suggest the presence of a powerful, if still muscle-bound, talent. MARBLE hand, an eagle eye and an Imagination which conceives in the pebbles of a fissure a Giant's Causeway.

From the illusion of mass one may pass to its reality at Gimpcl's in the chaste volumes, carved and tunnelled, of Barbara Hepworth's recent sculptures. Her qualities gain in a -collection. Contrary to theory, they may also be better judged in the cool arena of the Whitechapcl Gallery or, ns now, under a softly diffused top-light, than outdoors in all weathers, Her marbles leave me cold. The transitions of their surface plane are nicely calculated, to be sure, Yet the enervating refinement seems to deprive these marmoreal forms of union with the natural harmony of the curving wave and tho sea shell which is her strength. Most imaginative is her lapping sea form, Porthmeor," in hollowed bronze whose patina hints at crested spume.

Perhaps ono meets her more than half-way in seeming to hear the cadences of the shore in her strirtged forms, though none of them here, suggests the lyre as strongly as tho remembered "Delphi" of 1955. Nevertheless, this sense prompts one to imagine the frame of a harp in "Archaean Figure before- ono considers it as a primordial symbol. It may be inferred that Hepworth appears to me at her best when sho is least tho self-conscious, glacial stylist and opens out at times with eloquence to suggest natural (and perhaps musical) shapes in wavering, convoluted forms of bronze. Gallery guide American Embassy. Modern American Palnttrag.

Forty-four paintings by twenty-eight artists. Brings out again the variety of American postwar- painting, the energy and impact of some leading abstract symbolists, the distinctive patterning of Tobey orFrancis. Good examples of Guston, Diebcnkom, the visionary Jenkins, with opportunities to judge lesser-known figures like Jim Dine. Tooth. Asger Jorn.

Well-known Danish expressionist-abstract painter. Latest luxury paintings consist of variegated speckled surfaces and skeins half-concealing visages, or suggesting (with flowing paint) some glittering archipelago. Molton. Francis Rose. Fantasies of owls and clowns by an original magician probably better known abroad than in London.

Roland. Browse. Marcousstt, Polish-born painter of the French Cubist school. Satisfyingly rich and creamy painter and sialic designer whose figures share the quality of his still life. I'iccadii tv.

Ferlt Iscan. Toothy, lawny landscapes and slill-lifcs by a starlet of (he cosmopolitan Parisian school, rather le summoning than the excellent drawings beyond. TCHAIKOVSKY SWAN LAKE CAPRICCIO ITALIEN PIANO CONCERTO No. 1 NUTCRACKER SUITE 1812 OVERTURE irllh PYROTECHNIC EFFECTS CANNON. 140 MUSICIANS ANATOLE MSTOULARI SIIURA CHERKASSKY London Philharmonic Orchestra Band of (he Coldstream Guards 3n.

3-, 76, 106. 13-. KEN. 8212. (Open to-day Irjm 10 a.m.) shod prank, conveying no sense of danger.

I aTm ready to believe that 1 1 By IRVING AVERY curious piece of crossbreeding is going on in Waterloo Road. This is Peter Potter's production of The Merchant of Venice (Old Vic) a revival, played in eighteenth-century costume to an accompaniment of airs from Bellini, which resembles nothing so much as an opera libretto severed from its score. Except when troops of ill-rehearsed revellers charge whooping over the set, the pace is cut down to the speed that music would impose main performers enter heavily and adopt the wooden postures of formalised paction which only singers have any right to use. It is not merely that the style is operatic: ono can even say which opera. Thus, Michael Meacham's splnelessly agreeable Bassanio stands in the shadow of Almavivn, and Barbara Leigh-Hunt's lnnguid and AT THE GALLERIES By NEVILE WALLIS tensely experienced, will be magnified with something of the mystery of an apparition.

Wiry grasses overhang a lather of torrent with tho poetic economy of a Japoncso woodcut, Above strewn boulders tufts of jetty herbage swarm over a bank like a flurry of becs disturbed. The tongue of his ragged sunflower aro echoed in the flames licking tho stubble of a Ronda cornfield, and tho stars floating on dusky flood-water are drifting petals re-created in the fancy of an artist whose vein of romantic symbolism has always characterised his art But the scrutiny is still searching. When the view opens out to embrace the whole serrated sandstone mass of the Miiri, dark against the bleached sky, the effect of crushing and burning-glass heat is overwhelming; though in the second version In this series, tho patterning of the mountain flank seems rather over-contrived. Images generally so compelling might support the view that Middle-ditch is primarily a linear artist In this field, at all events, he is unsurpassed to-day. Nothing is left to accident Every stroke of charcoal is responsive to a nervously exploring PICTURE SANDSTONE AND London County Council KENWOOD LAKESIDE CONCERTS Saturdays MHO aKordiy next, Jane 10 LONDON PHILHARMONIC ORCHESTRA Conductor: JOHN PRITCHARD MM Overture.

Finnal'i Cave Mendeluohn Waier Mmic Suite Handel Polon-vlsc nd Waltz CTusene Onegln) Tchaikovsky "New World" Symphony Dvorak Further conccrti each SMurday unul July 22 (leaflet available). Deckchlr. 3i. bookable it The County Hall (room 493). Wuimioitxr rid Be.

S.E.I (tel. WAI 5'O0. el 2f7) Advance hooUnai chf 12 nion day of concert. 2.000 unreserved seals oo the nfght AdmlwJon to enclosure (iltiirta on the srt) 2ji. (not booluble), 210 hui from Ajchway or Ooldcr Oreen (Northern Line) of 271 bin lo HllllH VlUue (15 mlru.

wallO. THE recent drawings of Spanish landscape by Edward Mlddledltch have a grandeur of scale and effect which quite diminishes Euan Uglows debut upstairs at the Beaux Arts. Unfortunate, if inevitable, tnat because Uglow is a worthy Slade School product, scrupulously plotting his nude studies in emulation of the classic probity of Professor Coldstream's, and uni fying all his painting with the gravity of still life. The controlled passion of Middle- ditch's charcoal drawings, and the individuality of his romantic vision of the volcanic rock faces and gorges about Ronda. in Southern Spain en title them to be considered with the same close attention that is due to his painting.

Like all his previous work one can recall, they are unpeopled. Yet vigorous life there is in his olive trees describing their foreground arabesque against tho slopes beyond, parched and scrubby, and oppressed with meridian heat which is as much the subject of these drawings as the elemental desolation which spurs the artist's imagination. A fragment of barren nature, in IN THE KENWOOD SUNDAY CONCERTS The Ivcagh Bequest Nnt, Jmm 11, at 7.30 CARL DOLMETSCH CONCERT A prncrnmrrv of early music, nlived on the fnvninvnoi for which It i written, nchid'nt bulie cf BftlJcni for Recorders. Viol and HtrrxlLhord (Giovanni Gutoldi). C-onsoris for Viol and Harpsichord lTiomai Moriey: Jobn Jeokioa).

Sonata In A nlnor for Recorder (Manoel). Earl of Pavan and Gilliard (William Ityrd). tHnrinlchord luilm Further concern enth Sunday until July 16. Artists Include Denl Matthewi; Phllharmonla rrvmb'e: lle Wolf. mtxli Halle Chamber F.ncmble, oooductor Sir John BarWrolii.

with I velvn Rrnhaell I f.iflct available. Reercd. 6-. 'K ttam Chappcll'v (MAY 700): Parks Depanment, CVntmy Hall. SE1 fWAT ext 6207).

ar.d Kenwwd nhe Ivoaah Dequcm) tFIl 128G). Bookinu 12 nooo Sat rrrxedina convrri I'nreserved eat at 1 Id outdoor on leirac, weather DcrmltUni. 210 bus frxm Archy or Ooldw Green (Nonhen Line). eldest's suitor, finally banging herself when mother chases him off the premises with a shotgun. in A Lloyd's radio version, the language was bright red but without heat, like crepe paper in landlady's grate.

"Colourful" speeches really aren't enough to depict the torments of sex4tived women cooped up in society. Tediously "poetic" references to weather ivn comes down like lead," "how still it is and snatches of pale wisdom you know that for certain?" "nothing in life is certain are obstacles to drama. The cfist, all women, never broke out. of the entanglements of the script Another popular subject 'with writers is the fallen, or falling, giant in Alun Richards's Oh I Captain, my Captain the rapidly disintegrating Captain Vasco, outward bound from South Wales to Antwerp' with a packet of diamond drills that he inevitably loses, Clifford Evans's Vasco didn't quite have the voice; the script had the lines all right, and Vasco (, I've always-been a man who knows whtn to unbend seemed to be one of those rare citations, rich' comic character -who doesn't seem to derive from other rich comic characters. But he could have done with a stronger player to support him, and a stronger, faster production this one dragged and paused, with labourious sound-effects.

Professor Parkinson, interviewed in Frankly Speaking, was overshadowed by Stephen Potter, one of the interviewers. Parkinson was entertaining with facts about bis books what they earned, how he came to write them. Potter was entertaining simply by being Potter. Pressing Parkinson, who denied having any recreations, he muttered Badminton, it says badminton in Who's Who." Parkinson: "But that's theoretical." Potter (loudly): Ah, theoretical badminton." Programme preview TELEVISION To-night 8 p.m., Moscow State Circus (IT. "Monitor." Extract from three productions of Beckett's Waiting for Godot" and discussion between Peter Hall.

Alan Simpson and Donald McWhinnie. Monday. g.40 p.nu, "The Truth About Billy play by Doris Lessing (B.B.C.). 10.30 p.m., "Landscape into Art" (2). by Sir Kenneth Clark (LT.V.).

sun. "Fairy Tales of New play by J. P. Donleavy (J.T.V.). Wednesday.

SV1S pjo. "Eye on Research" "What Comes Report on animal behaviour (B.B.O. SOUND Tc-aight S.1S p.m., L'Eltstr d'Amore Donizetti's opera relayed from Glyndebourne (Third). First performance of Franz Reizenstcin's second piano concerto (Home). Thursday.

9.40 p.m., Faustiait Sketches sequence of new poems by Roy Fuller (Third), To-day's Programmes Page 33 THE NATIONAL TRUST CONCERTS SOCIETY President I VEHUDI MENI HIN TWO CONCERTS BY 1" wno nas flna''yt at sixty-two, xiUtttiO 1 UWKiyOf achieved his first London one-man show, is that curiously not un common phenomenon, a Mexican painter of international stature. He shared the Grand Prix with Matisse in the 1950 Venice Biennale, and brought off the double at S5o Paulo three years later. In this country his most recent appearance had been with the decor for a ballet version of Antigone at Covent Garden, a typically brooding but resolutely unGrccian affair. The son of Zapotcc Indians, Tamayo was orphaned at the age of eight, and brought up by an aunt At sixteen he was studying at tho Don Carlos Academy. Starting PETER PEARS and BR11TEN Sonn from ibe CSlnoe.

and (olkvinf arranttmeou. Lute rniw: lute and auitir wlot. S.rardar, Inoa 17lh at PETWORTH HOUSE. SUSSEX, t. 1M 9-m.

lone lth at WEST WYCOMBE PARK. BUCKS, 1M tor DJa. Tlt-keti 1 int (inclndina champaane on arrival and lupper with wine) THE" JULIAN BREAM CONSORT Jons nd Instrumental mulc Hr MorVry, Iowland, Byfd, etc. ttamrdar. Jn 24, at BI.ICKIJNG HALL (15 mitei N.

of Norwich). .3 for 7.J HCKUS, 30'-. 20'-. champaane buflrt at rcaaonable "IiiAet. and detail of trtce and oiber cimceru Irom BAML DOUGLAS.

18 HANOVFR l. (JMAYfalr JOT1) in a monumental style, with nationalist and social-realist overtones, he came under the spell of Picasso after a two-year visit to New York and developed in a direction which has sharply separated him from the other three of the Mexican Big Four." Rivera, Orozco, and Siqueiros. He has not escaped the adjectives decadent and derivative." All the same, his anguished figures, prowling animals ami demoniac dancers painted in resonant colour have their foundation in the folklore of his own country. His new pictures, painted in the peace of his home in Mexico City. The Guildhall School of Music and Drama announce A PLAY COMPETITION PRIZE 250 The winning play to be produced at the School In the" Summer term 1962 Full details and conditions from EtIc Day, m.a Secretary Guildhall School of Music and Drama 3ohn Carpenter Street, London F.ct Closing date for entries 30rh November 19(51 MC'HOi AS rilf)FAI announce.

WIGMOHK IILL Tr-tly iundy) at susann Mcdonald Bfilliani Young Amntan Harpht Ifi7r Winner 14V, I'iiael "onteat in 4 Iukeu iae door. HALL i-aM-rtJay S'cii. June 10(h, at 7 pm. GWYNETH GEORGE w.ih 1 RMSI LUSH IPlano). K-jarj, t-T Bfx-Hrnni, 1 uri and Depuur.

bv Beethoven and Tcbalkottkr. 4'-. Ha" 'Wei 2141). ateon. WCMOHi: HU- ST.

NEXT, at 1 GR1SSELL PIANO QUARTET lv rfreOiocn, Slredo. Ilrahmt 4'- Al HaI IWI'I. Asentl A irr.vs A III I I IT I id 24. Wiamore Si I BF 11)1 RIMOIk IIITA RIFRA with r.r...K-rv .1 Ihc cau in a of t.r In l.Ofdc.i on Ji -e AMIillr I SS Til A IK Vrrf 1, f'rjre. lh'jr-tlay.

June 12 '0 in A')" f'cr CONCERTS (Cont.) Appear on where he has retired with his beautiful wife, are calmer and more abstract. He is a true cosmopolitan, at home in New York and with a European base in a house in Paris well stocked with Pre-Columban treasures and native handcrafts. Thickset and vigorous, his normal manner is grave and dignified. But he likes to play the guitar and sing Mexican airs, and has a reputation as a skilful dancer..