The Observer from London, Greater London, England • 31

SUNDAY 27 FEBRUARY 1983 OBSERVER REVIEW ARTS 31 The great seducer The magic ff 'P1' disc -j JANN PARRY on B6jart and Nureyev In Paris. STEPHEN WALSH on a new kind of record that sounds the death-knell for the conventional LP. AT THE fairground a pedlar was demonstrating his wares. There was the usual trash: clocks, watches, counting machines, magic lanterns with coloured pictures. But just as the crowd was starting to grow restless and drift away, the man produced from deep inside his cloak a little disc of what looked like polished glass.

It glinted in the sun. 'With this he announced portentously, I can make music come from the air around you any music you like the most perfect music played by angels on an orchestra of crystal and He placed the disc in a small silver box which had been standing unnoticed on his table, made a pass with his fingers over the front of the box and stood back. Green lights flickered, and suddenly the air was full of music, music which seemed to come from around and above the amazed A brilliant Invention. rrevc macmiuan McMasier (right) with musical director Richard Armstrong Now the company Is forging a new link with Canada Vitality at the opera PETER HEYWORTH profiles Brian McMaster, the head of the Welsh National Opera, whose latest production, opens in Cardiff on Tuesday. IN a freezing Paris, Maurice Bejart and his Ballet du XXe Siecle have been celebrating the warmth and life-giving properties of the Mediterranean in his latest ballet, 'Thalassa: Mare According to Bejart, the Mediterranean unites all the countries it touches in a single, profound culture.

'I, he says in the programme, 'have danced in Sardinia and sung in Corsica, I have loved in Smyrna and wept in Cassis May I die on a rock in Libya, between the desert and the sea. Our sea. Mare Nostrum Perhaps it is as well that he omits to mention that he and his company have been based for the past 23 years in Belgium. Not so life-enhancing, the North Sea. Bejart is a past master at educing European audiences.

Last year he appealed to their intellecrual pretensions with Wien, Wien, nur du allein not, as you might think, a ballet about Strauss and Sachertorte, but one set in a post-bomb nuclear shelter. This year, it is the turn of simple, physical enjoyment of the senses. The allure of Thalassa is that of the tunny holiday posters lining the tunnels of the Metro: 'La Turquie, c'est The blue of Bejart's own poster beckons you out of the Metro and on to the forecourt of the Palais des Sports. Leather-jacketed bikies and fur-coated women push one another thr ough the many entrances into the vast auditorium. The stage is set with rows of chairs facing a conductor's stand.

The lights dim and fade up to reveal myriads of dancers perched on the backs of the chairs. To the sound of the sea, they gradually unfurl, resembling both an orchestra and the tentacles of a sea-creature. Somehow, you know in advance that the ballet is going to end the same way. The corps disperses, leaving the stage to the soloists. Bejart deploys all his favourite devices: masks, a single red rose, men in long skirts, men with bare torsos, men partnering each other.

The women, though beautiful, are secondary. The soloists dance a lightning tour of Italy (to Vivaldi), Turkey (whirling dervishes), Spain (guitars) and Egypt (the voice of Oum Kalsoum). Then the full corps returns with the men in white trousers and bare tops, the girls with bare feet and black leotards. They make simple and effective Seometric patterns to Mikis "heodarakis's Ten Greek the men holding each other's arms near the shoulder, the girls crouching low Curious that the men's torsos should appear identical is it the training or do Franco-Belgian males come in matched sets Further first night of Goodall's now legendary Mastersingers at Sadler's Wells) as well as the arts administration course, had joined the company as financial director. Payne, who has recently moved to Leeds as administrative head of Opera North, not only ensured that McMaster's daring plans never landed the company in the sort of financial shipwreck that has beset Scottish Opera, but also functioned as a supernumerary Dramaturg.

An extraordinarily talented and well balanced team had assembled in Cardiff, all of whose members were under 40 and viewed opera from the perspective of dramma ptr musica. What has made McMaster so effective as its leader? His knowledge of what is happening in opera and theatre around the world is legendary he seems to From 78 to Compact Disc doubt. While sampling the first month's release (all the main producers except EMI are issuing in March), I compared four recordings in their conventional and CD forms, and in every case the absence of rumble, surface crackle and distortion, together with the much bigger and wider sound, made a radical difference to my pleasure in the CD versions. Apart from a band of digital chatter at the start of each record, the playing is literally silent apart from the music, a fact which may even be disconcerting at first and will certainly put a burden on engineers to produce better recorded sound. The discs are single-sided but play for up to an hour, which means they can cope with all' but the longest LP content (I am told that 80 minutes will soon be available).

So the saving in size can be assessed directly, disc for disc. Here it seems to me that the companies' marketing designers have so far let them down. The disc-boxes, hinged perspex affairs, are, like the standard cassette-box, awkward to open, and so bulky that the benefit for storage of the small disc is virtually wiped out. They also break too easily, an odd defect in association with a record which cannot damage. On the other hand, the players, such as I've seen, are well designed, with marvellous, even rather wicked facilities.

Some, for instance, you can programme to move from track to track in any order, to repeat tracks, or to wind forward and backward, like a tape recorder. A pause button restarts the music exactly where it stopped. On other machines, a time-display shows one's place on the disc. Later, we are told (and the magician never lies), all this will be done by remote control. And there are car-players on the way, spelling doom for the pre-recorded cassette market.

The advent of CD will not be without bloodshed. The publicity says reassuringly that the new discs will be manufac hearers, poised invisibly between earth and sky. The magician returned with a smile of satisfaction. But the crowd had fled. If magic is, as the SOED tells us, the act of 'producing appearances or results, like those of the pedlar's Compact Disc must have as good a claim to the title as almost any recent technology.

The first issue, next month, of these shiny, featureless little 12-centimetre records heralds the demise of the conventional vinyl LP, not only because they achieve better results, but because they do so with less apparatus, less wear and tear, and more of that appearance of machineless perfection and immediacy which is the hallmark of the electronic revolution. Polygram's publicity for this Philips invention calls CD the most significant advance in consumer sound reproduction in more than 25 But that, to my mind, may be something of an understatement. For the CD improves on the gramophone in at least two decisive ways: it cuts out noise, and it cuts out wear. Both advantages come from the fact that the CD-player plays the record, not with a stylus, but with a laser beam which reads off digital information from a metal surface protected from casual damage by a transparent coat of plastic. Since nothing ever physically touches the business surface of the disc, it will, in theory, never wear out.

Only time will tell if this is true. But on the question of noise there is no room for irreverent thoughts do the men have to leave if they lose their manes of hair Or the girls if they put on an ounce of flesh are prompted by the lack of real interest in the choreography. The performances, though, were wonderful, with a full-bloodedness that made the icy world outside bearable for a while. At the Theatre des Champs-Elysees the fur coats were crowding in to see Nureyev dancing with the Ballet Thefitre Francaise de Nancy. This very young company appeared at the Coliseum last year with an all-Diaghilev programme.

They hope to return for the Nureyev season this year with an even more varied repertoire. At the Champs-Elysees they gave Hans van Manem's Songs Without Bejart's 'Songs of a Jiri Kylian's Symphony in and Birgit Cullberg's Miss Songs Without to 10 Mendelssohn piano pieces, is danced barefoot, though its vocabulary is balletic. The eight dancers have distinct personalities and relationships that develop within the piece. The performances were all interesting, though it was noticeable that the girls in the company are far stronger technically than the men. The exception is a remarkable 18-year-old, Patrick Annand, who danced the role of Fate to Nureyev's Wayfarer in the Bejart piece.

Nureyev's maturity was seen to good advantage as the valet, Jean, in Miss Although Cullberg's ballet is closely based on Strindberg's play, there is plenty of opportunity for differing interpretations of the main characters. Eva Evdokimova was brought in as guest star to dance Miss Julie on the face of it an odd choice, for her reputation has been made largely in chaste, ethereal roles. All the more effective, then, was the unleashing of her troubled sexuality on the unfortunate valet. Evdokimova has amazingly expressive long legs that seemed to change their very outline as she veered from pride and lust to self-disgust Nureyev was a very unservile Jean. Clearly he was used to ruling his own domain of the servants' quarters and was not surprised when yet another woman threw herself at him.

His lack of cravenness, however, made it harder to understand Miss Julie's shame. He should reinforce her sense of guilt at breaking social and sexual taboos. This Jean, you felt, never gave a fig for them in the first place. by JOHN NAUGHTON the poor bloody infantry: what was true of the Peninsular Wars was true of the battle for Mount Longdon. But at least the ordinary foot-soldiers are being allowed their say in The Scum of the Indeed it is incredible that so much of their written testimony should have survived will the Falklands campaign yield such a rich crop? The Golden Obsession (Radio 4) deals with another hardy perennial, namely the infinite capacity of human beings to believe anything concerning buried treasure.

The first programme had a Scottish civil servant of apparently sound mind who had sunk his life's savings in an expedition to a tropical snake-pit called Cocos simply because some piratical loot is supposed to be buried there. One wished him well, but feared the worst Cinema BATTLE OF ALGIERS (Watershed, Bristol, etc, 18): Pontecorvo's 1966 reconstruction of the FLN's opening campaign against the French; an exemplary masterpiece of political cinema. DARK CRYSTAL (Plaza, PG) Muppeteers Henson and Oz expend dazzling technical virtuosity on a banal sword-and-sorcery saga. THE EXECUTIONER'S? SONG (Gate, Notting Hill, 15) The dim life and brightly lit death of killer Gary Gilmore, as seen by existential philosopher, amateur penologist and literary parole officer, Norman Mailer. HEAT AND DUST (Curzon; Dominion, Edinburgh, etc, 15) The Merchant-Ivory-Jhabvala team subtly contrast a 1920s passage to India with a 1970s trek to Khatmandu in the best new film of 1983.

IDENTIFICATION OF A WOMAN (Camden Plaza, 18) Antonioni re-visits old Italian haunts for a stylish long day's avventura into la none on the subject of movie-making. JEAN-PIERRE MELVILLE (NFT) 27-film season placing the fastidious French master's own 13 movies (e.g. 'Second In ze picture tured side by side with the old for a good 10 years. But Adrian Farmer of Nimbus Records in South Wales, who (alone in the UK) expect to be manufacturing Compact Discs in 1983, feels that four or five years would be a better estimate and that manufacture of top-quality vinyl discs may well stop after only three. In the pop field, he suggests this will happen on the insistence of the groups themselves, whose special effects work much better with CD.

For the ordinary buyer this is slightly worrying, if it means that he will soon have to augment his equipment in order to play any new record. It's true that, like most electronic equipment, the players will drop rapidly in price. But they have a long way to fall from their present 450-plus. Then again, the discs, at just under 10, are a lot dearer than the most expensive LP. This may well be, as Farmer suggests, because LPs are cheaper than they should be (though one hears that compact discs are expensive to make with a high reject rate), but that doesn't allow for cheap-label records in the 2 and 3 area.

One wonders how much longer this market can survive, and whether CD can provide an equivalent. The problem reflects the dilemma of the British audio industry, which has been slow to take CD up, uncertain perhaps of the future of the new system. Nimbus will be producing under licence from Philips, who developed the system with Sony, but EMI has so far declined to pay the royalty. Everything else will be produced abroad, and it seems obvious that to some extent the rate of change to CD will be conditioned by the industry's ability to meet what may well be a high demand. For crowds in the modern technological faiground do not, by and large, run away from new sorcery.

Nor should they do so in this case. Compact Disc is a brilliant invention and the sooner it takes over the better. A STREATHAM Odeon SWANSEA Odeon SWISS COTTAGE Odeon TUNBRIDGE WELLS Classic WATFORD Odeon AYLESBURY Odeon BLACKPOOL Odeon COVENTRY Odeon LEAMINGTON SPA Regal PORTSMOUTH Odeon SOUTHSEA Salon WARNER WEST END (01-4390791) NOMINATED FOR ACADEMY AWARDS HEADS of opera houses tend to be commanding figures. You cannot easily miss Lord Hare-wood, arrayed like an Indian prince, on first nights at the Coliseum. Sir John Tooley strides across the Crush Bar at Covent Garden like a staff brigadier.

At Glyndebourne, Moran Capiat was very much the sea dog on the bridge. In Paris and Hamburg Rolf Liebermann wore an ambassadorial air. But it is hard to spot the boss of the Welsh National Opera in the labyrinthine corridors of Cardiff's New Theatre. It was only after countless visits that I finally realised that the slight, balding, trimly bearded figure, disappearing round a corner at speed, was Brian McMaster, since 1976 the general administrator of Britain's most consistently enterprising opera company. The WNO came into existence as a brainchild of W.

H. Smith, a Cardiff garage proprietor with a burning passion for opera. It was only in 1968, when James Lockhart took over as musical director, that the company began to spread its wings. But the moment of artistic take-off came with the arrival of McMaster. He grew up an only child after his father had been killed in the war, enjoyed the benefits of a middle-class education (the family still has property in Ulster, from where it hails), read law at Bristol University, and qualified as a solicitor.

Music played no part at all in his early life. It was only at the age of 14 that, against the improbable background of a dormitory rag, Saul came to Damascus his ears caught the strains of 'One Fine Young McMaster persuaded the authorities at Wellington to excuse him Corps (a feat which says much for his persuasive abilities, for the school has a strong military tradition) and during these free periods he immersed himself in the record library. Schubert, Bruckner, Mahler and Schoenberg were the composers he particularly recalls listening to. In time, he became an inveterate opera-goer. Passions run high in such circles, and there is a story that in the gods at Covent Garden McMaster was struck over the head with a brolly by a neighbour who did not share his view of Solti's conducting.

The blow drew blood and St John's Ambulance attendants appeared. But McMaster could not be induced to budge. He sat through Gotterdammerung with ice on his wound and only repaired to hospital after the curtain had fallen The problem remained of how to relate this burning interest with earning a living. "Army of the Shadows ') in the context of the American and European pictures which influenced him (e.g. 'Asphalt Orphee) and which he influenced.

g. PointBlank '). TEMPEST (Odeon, Ken sington, 15): Mazursky's under-rated re-working of Shakespeare's last play sticks in the mind. Gallery guide PETER BLAKE (Tate) Memory Lane, for many, but also a meandering review of 30 years of assiduous burrowing and recollection. Also James Barry, the inspiration of B.

R. Hay don. Both until 20 March. LANDSCAPE IN BRITAIN (Hayward): Marvellous gathering of nooks and panoramas from 1850 to 1950, taking in chestnut tree, cooling tower and white cliffs. Also: Indian Drawings, selected by Howard Hodgkin.

Both until 17 April. MURILLO (Royal Academy): Baroque agonies and vapours, grand but curiously unprepossessing. Until 27 March. VAN DYCK IN ENGLAND (National Portrait Gallery) Cramped and claustrophobic array of Carolean courtiers, centred on the King and Martyr They look for conductors will ing to prepare productions with a thoroughness that has become rare today, a policy crowned by a memorable 'Tristan' under Goodall, who has, however, been obliged by ill health to pull out of the new Parsifal. Thus even the WNO's most adventurous stagings are never mere theatrical stunts, but examples of living music theatre.

McMaster is also formidably tenacious. At a time when international stars did not yet include Cardiff on their itinerary, be travelled to Stockholm to persuade Elisabeth Soder-strom to sing the title-role in Janacek's Katya Kabanova and sat on her doorstep until she 'agreed to do to. He is a man who lives for his work. That dedication produces occasional explosions. An extremist by nature, McMaster alternates between bursts of compulsive eating (pecan pie and coeur a la crime are said to be preferred items) and of no less compulsive slimming.

His smooth surface hides a lively temper, liable to erupt with disconcerting sua denness, particularly with singers whom he feels to have undermined a production. On one occasion the foyer at the New Theatre resounded to cries of 'bitch' and Yet because he leads from the front, takes risks, stands by his decisions, bears the brunt when things go badly and supports his artists when (as in the case of Kupfer controversial Fidelio ') they are under attack, he commands loyalty and affection. At Cardiff, McMaster has brought new vitality to the rather flaccid British operatic scene. Only in one field have his policies been less than enterprising. In contemporary opera, he has put on nothing but works by welsh composers of no great distinction.

No doubt local pressures have played a part. But McMaster's failure to attend new operas by composers of the calibre of Stockhausen and Berio suggests that new works may not rank high among his priorities. There are indeed surprising lacunae in his taste. He is, for instance, still not quite sure what he thinks of 'Don McMaster's impact on the WNO has not gone unnoticed in the outside world. In 198485 he will be taking over as artistic director of the Vancouver Opera, while retaining his position in Cardiff.

The two companies will be run in tandem, with Vancouver taking three Welsh productions and itself staging a fourth which will be brought to Cardiff. Not yet 4u, Bran McMaster has already established himself as Britain's most imaginative and successful Intendant. Tortelier in one of his specialities, Strauss's 'Don and Haydn's Concerto in Gustav Kuhn conducts. JANE MANNING AND FRIENDS (Wigmore Hall, 7.30 p.m.) The soprano whose name is almost synonymous with contemporary music in Britain celebrates 20 years of music-making with three ton-certs. The first, in which she's joined by bass-player Barry Guy and pianist John McCabe, includes new works by husband Anthony Payne, John Buller and Richard Rodney Bennett.

Preconcert talk at 6 p.m. Other dates 15, 29 March. THE MASTERSINGERS (Theatre Royal, Glasgow, 5.30 p.m.): Revival, in English, of one of Scottish Opera's most successful productions, with Norman Bailey as Sachs and Dennis Bailey as Walther. Alexander Gibson conducts. Jazz ERIC BURDON (Canteen, Gt Queen Street, WC2, 8 p.m.

-2 a.m.) Sixties survivor and ex-Animal singing the blues in rare London appearance. AL COHN (Band On The Wall, Swan St, Manchester, 8 p.m.): Master jazz tenor-saxophonist from US, accompanied by guitarist son Joe. McMaster solved it by joining the Arts Council's first arts administration course at the Central London Polytechnic. On the strength of it, he landed a job with Peter An dry, the general manager of EMI's international recording activities. Andry found his self-effacing young assistant a surprisingly effective wheeler-dealer.

The record industry was going through a difficult patch, but McMaster brought off some useful coups in East Germany, notably the first recording of Weber's masterpiece He also got private backing for a recording of Rossini's huge 'William A taste for the unconventional and the neglected was already making itself felt. In 1973 Harewood offered McMaster a job as director of planning with the English National Opera. At a stroke, he found himself at the nerve centre of a major company, involved in details of repertory, casting and liaison with singers. It was McMaster who, having failed to persuade Ingmar Bergman to produce proposed Joachim Herz, Fel-senstein's successor at the Komische Oper. Thus the East German connections he had made while at EMI started to bring new energies into British operatic life, as they were subsequently to do in Cardiff.

The situation that McMaster found there on his arrival in 1976 was not easy. The WNO had been run by a troika, consisting of Richard Ann-strong (who in 1973 had succeeded Lockhart as musical director), Michael Geliot (director of productions) and a general manager. The finances were in a mess, the Arts Council had insisted on the appointment of an administrative head and McMaster's first task was to balance the books. Inevitably, there were differences between the new boss and two members of the old troika. With Armstrong, however, McMaster rapidly established a deep understanding.

They found that they shared what he has described as the same prejudices in matters of repertory and artists. The closeness of these two men is the rock on which the WNO's achievements in recent years have been founded. Armstrong was not the only support that McMaster found in Cardiff. A few months before his arrival Nicholas Payne, an old friend from early days in box-office queues (together they had attended, standing, the in the making. Until 20 March.

COAL British Mining in Art (DLI Museum, Durham) Large collection of everything to do with pits and pitmen in painting and drawing since the seventeenth century Until 20 March Theatre FEN (Almeida): Rural Bast Anglia is the backdrop to a tense display of family connections. A Caryl Churchill A new play at the Almeida. Joint Stock production of a play by Caryl Churchill HARD FEELINGS (Bush): A comedy of bad manners living in Brixton, eating at Routiers, shopping at Camden Lock. Author Doug Lucie and actors hit off the types very well. KICK FOR TOUCH (Cottes-loe) Peter Gill directs his own jigsaw-puzzle play about the Including BEST PICTURE Best Actor BEN KINGSLEY Best Director RICHARD ATTENBOROUQH Elisabeth Soderatrom Door-stepped in Stockholm.

have been everywhere and heard everything. More to the point, he has an uncanny nose for producers, and the list of those he has engaged makes impressive reading. Rudolf Noelte, Gilbert Deflo, Harry Kupfer, Andre Serban and Goran Jarvefelt were all unknown in Britain before McMaster brought them to Cardiff. But he has more than a flair for matching the man to the work. He only finalises a decision when the project has been worked through in detail and he is himself convinced of its viability and sure about its cost.

That this absorption in the theatrical aspect of opera has not led to the sort of producer's licence so widespread on the Continent today is due to the strength of the WNO's musical aide. Armstrong is not hesitant to express opposition to details of a production that he finds unmusical. But, unlike so many conductors, he is open to new ideas of stagecraft. McMaster and Armstrong belong to a tradition that prefers voices which are dramatically expressive rather than merely vocally accomplished. criss-crossed affections of two men and a woman.

MR CINDERS (King's Head) An English musical from the 1920s, better than almost anything we have produced since. THE TWIN RIVALS (Pit): A Restoration comedy restored wittily acted, designed and of course written. Last performances. THE WINTER'S TALE (Barbican) A plain production, with impressive vocal effects from Patrick Stewart as Leontes. Last performances.

Music GESUALDO CONSORT (Wig-more Hall, today, 3.30 p.m.): Expert group in music by Gesualdo and his late renaissance contemporaries, plus Carissimi's baroque oratorio ELECTRONIC MUSIC NOW (Round House, today, 7.30 p.m.): Contemporary Music Network programme of works by Roger Sraalley, Jonathan Harvey, Tim Souster, etc, that can also be heard this week at Leicester Polytechnic RNCM, Manchester Leeds University Keele University Bluecoat, Liverpool Darlington Arts Centre LONDON SYMPHONY ORCHESTRA (Royal Festival Hall, 8 p.m.): Cellist 4 BONSOIR, soytz le binwcmu a said Radio 4, prompting frantic twiddling of tuning knobs by listeners convinced that the World Service had finally broken loose from Medium Wave and was rampaging up and down the FM band. But it was only a special issue of Kaleidoscope from Paree, the kind of occasional expense-account jaunt that makes journalistic life bearable. Having established themselvei in the Georges Cinq, the production team then went in search of post hoc rationalisations for then-visit. The ensuing list of ivene-menis, however, looked a trifle thin, not to say anorexic, as excuses for such an enjoyable jaunt. First of all there was the (twice weekly) crisis in French cultural life- Then there was an exhibition of Claude's seventeenth-century landscape paintings at the Grand Palais.

After that, a lady who wishes to bring French drama a Londres, and the story about a Parisian company which plays Shakespeare to packed houses. Finally there was a (belated) review of Theodore Zeldin's book, 'The performed by the thinking woman's favourite Anglophile, M. Olivier Todd. One shouldn't say it, of course, but there is something irresistibly comic about English spoken wiz a French accent And in this issue of Inspector Clouseau rode again, in the unlikely form of the curator of the who was invited to comment on the landscape paintings. Verily, 'e deed not comment, "tout waxed positively lyrical Ze mn ees ze 'ero of ze he said of one canvas.

In another he was much taken by Ze quality off ze aire ze aire wheech ees circulating in ze figures in spite of ze fact zat no one sees ze ire, eet ees By which time, this listener was gasping for aire, convinced that Kaleidoscope had faked ze whole sing wiz actors in a Bermondsey warehouse. They should do more of this kind of thing it's a Seller's market Meanwhiie, back on Radio 3, they were reliving the Peninsular Wars in The Scum of the Earth, a tive-part series compiled from written records by David Bean. Ostensibly a run of the mill series of the kind the BBC does rather well, this particular set of programmes is turning out to be a graphic reminder that war hasn't really changed that much in three centuries For no matter how sophisticated the weaponry, it usually comes down in the end to Gandhi His triumph changed the world forever. RICHARD ATTENBOROUGH'S FILM GANDHP SmBEN KINGSLEY KROEN EOWAROFOX JOHN GlELGUD TREVOR HOWARD JOHN MILLS MARTINI miABTOAlG JOMNB40UM I INCl VCIUX, RAtlUIAMAB OainXTOM MU.V WIUiAUt RONNIE TAYUM E.Vl MICHAEL ITANUTIUM OKNUJLlt NOW AT 45 LOCAL CINEMAS ABERDEEN Odeon EDINBURGH Odeon BELFAST New Victoria EXETER Odeon BIRMINGHAM Odeon GLASGOW Queensway GUILDFORD Odeon MUSWELL HILL Odeon NEWCASTLE Odeon NORWICH Odeon NOTTINGHAM Odeon OXFORD ABC (Magdalen St. PETERBOROUGH Odeon PLYMOUTH Drake READING Odeon RICHMOND Odeon SHEFFIELD Gaumont SLOUGH Granada SOUTHAMPTON Odeon Odeon SOUTHEND Odeon STAINES ABC HANLEY Odeon HARROW Granada HULL Cecil ILFORD Odeon KENSINGTON Odeon KINGSTON Granada LEEDS Odeon LEICESTER Odeon BRADFORD Odeon BRIGHTON Odeon BRISTOL Odeon BOURNEMOUTH Gaumont BROMLEY Odeon CAMBRIDGE Victoria CARDIFF Odeon CHELSEA Classic DUBLIN Savoy LIVERPOOL Odeon MANCHESTER Odeon CONTINUES ODEON MARBLE ARCH (01 7232011) AT SEATS MAY BE BOOKED COMING TO MORE LOCAL CINEMAS SOON!.