The Observer from London, Greater London, England • 25

The Art Bridging the gap to Boulez STRUCTURES IN SPACE THE NEW BRITAIN and Harold Wilson Interim Report: 1966 General Election THK OBSURVER WEEKEND REVIEW, MARCH 20, 196 by 6. Noel IfflgHk. I A wrvr erf Wilson's tern ftv tnmdr4 days as Prima ftinitter (with a "prognoses ol Wilton ism "nit the approach eo' eha General Election) by thfl author of Harold Wilton and th Hgw Britain (Victor Gollano, I9M). PUBLICATION OATIr March 21 CAMPION PRESS, 8 JOHN STREET, LONDON, W.C.1 Naum Gabo, with one of his const ructkHUi now on view TOM SMITH at Tate Gallery. Hot gospel salesman i HUH SINCE William Glock took over Its music department almost seven years ago, the BBC has done so much to leaven the dough of London's concert life that it may eem unfair to belabour it when it comes a ro ppe Atter all, if its Symphony Orchestra had not in the first place attempted to perform Boulez's prodigiously complex Pli selon plf last week, it could not now be reproached with failure.

At least ihe attempt was made. Yet the fact remains that it did fail and a priceless opportunity of hearing Boulez himself conduct his magnum opus was missed. What worse, die failure underlined how painfully Lll-equipped Europe's largest city remains for the performance of this sort of muic. Apart from the traditional inadequacy oi rehcarsaE time, which the heroic labours of Boulez. and his player ere unable to make good, it fteems that we lack, for instance, both the percussion instruments the ork calls for and the players to pirn' them.

Of course the difficulties this music offers to the sedate routine of Festival Hal concerts are immense. Not since ihe time of Berlioz has the gap been so large between whal a composer like Boulez calls for and what the average orchestra can provide. One may blame composers for causing the gap. One may even, like the L.S.O., imitate Canute and call a concert of conventionally scored contemporary works 11 The Orchestra in the Sixties." But one does so at the risk of opening up a still more dangerous rift: one between London's concert life and the musical avant-garde of our time In the event, all we heard were three of the work's five parts, and of these three, one. the Second Improvisation, is already tolerably familiar.

Still, the concert was far from a dead loss, for Don," the first section of what Boulez describes as a portrait of alia rme," was given with greater clarity (and. 1 suspect, precision I than either of the two earlier performances 1 heard in Paris and Edinburgh. Vocal changes In part, this may have been due to the clear acoustics of the Festival Hall. Tt may also be due to the fact that thss opening movement, which originally started out as a mere prelude for piano, seems to have undergone yet another metamorphosis. At any rale (he vocal part w.

ris consider: bly more extended thuin either the programme note or recollection hud led me to expect I would also like to think that a dawning perception of how Boulez1 musrc hangs together played a part in this impression. Whatever the reason, I found myself for the first time grasping something more than a fascinating galaxy of sounds. In the quick-moving, final section of Don," these seemed to resolve themselves into a compelling sequence of Just where thai compulsion lies. I could not say. But the fact that it cannot be explained in terms of any traditional means of ordering sound does noi now worry' me overmuch.

When Boulez. in the course of an AT any hip party sooner or later a James Brown L.P. drops on to the turntable, and a high gospel-inflected voice, sometimes rising to a harsh scream, sometimes dropping to a whisper, starts to wail over the simple riffs. The late Big Bill Broonzy, asked his opinion of Ray Charles, said that in his view Charles sings the blues sanctified and that ain't right." Brown is a follower of the Charles school, and be too uses the emotional weapons of gospel-singing to sell himself. He preaches Love me," where the gospel singer preaches Love Jesus." He resorts to the traditional question-and-answer technique which the hot gospeller uses to whip up hysteria.

The teenage audience scream and scream their love. I don't feel censorious about this as such. The ecstasy of religious gospel-singing is often as suspect and just as sexually charged. The teenage reaction to Brown is hardly profound or noble, but it's harmless, a simple release of adolescent sexual tension. What I care about is what he, and those like him, have done to the blues.

The whole gospel spirit is against the wry poetic realism of the blues. Brown has been over here on a short visit 1 went to see him record FOR the but 50 yean art has been obsessed with problems of space. We live in the space age." These two facts are. not unconnected. They illustrate the subtle, pervasive way in which art and life penetrate each other, neither -directly intermeshed nor sailing on their own sweet ways.

Art is a precipitation of the conceptual climate in which we move the preoccupations which have led to orbiting rockets and missiles on the moon are manifested with prophetic clarity in the exhibition how at the Tate a hundred or so works by the 76-year-dld Russian-born Naum Gabo. A first look at the show la deceptive. The eye is taken at once by the array of taut, finespun objecta spiralling ovoid structures of thread and rib and transparent plane, like sea-shells made of the wings of a dragonfly. They are weightless and immaterial, with the crystalline purity of emotion (which is not the same thing as a lack of emotion) of a passage by Mozart or a Balanchine ballet. Silent sculpture In the way a draughtsman can convey mass or light with a line, Gabo pinpoints space-structure by an economical plot of precise hints.

He reminds me of a composer like John Cage. For him space is' the silence of sculpture, spreading inimitably, pemnating everything. There is never a reference to earthly appearance, no form which betrays human passion. We seem to be in the mystical world of numbers, the lyrical singing sphere of the higher mathematician. A closer look reveals that though there are particularly in the marvellous early works traces of the drawing board of the architect or the precision engineer (one thinks of words like torque and stress and velocity) these are purely intuitive structures, delicate Platonic shadows of concepts formed in a mind of firmness and energy.

For what is remarkable is that the stratospheric calm of these rooms contains a core of revolutionary iconoclasm. Looking at the icy purity of the earliest examples, the gleaming perspex Square Relief of 1921 like the tail-fins of an angelic spacecraft, or the exquisite little kinetic rod of 1920, quivering with humming-bird delicacy (a Brancusi-Iike essence of kinetidsm which makes all subsequent experiments look mutton-fisted) it is hard to imagine the furious background from which they spring. Scientific training Improbable though it may seem, these classical works are monuments of the Russian Revolution. Gabo was born (real name Pevsner, brother of fellow-sculptor Antoine) in Briansk in 1890 and trained in -Munich in science. A visit to Paris enthused him for Qubism, as can seen in the cunning cubism-in-depth early heads.

In, April 1917 he returned to Russia and plunged head-first into the intoxicating atmosphere of the Revolution. With Typical Russian extremism, the theories of Cubism and Futurism were being carried to still untopped altitudes with dizzy speed. Kandinsky, Malevitch and Tallin, three heroes in any history of inodeni art, were throwing out their intrepid inventions. Manifestos were issued line and colour, mass and imagery, were attacked and defended, like people. In 1920 Gabo and his brother published a Realist Manifesto declaring that the troa armm of art wtrm Space and Time.

From this wild and wonderful compost-heap of ideas (what a day that will be when the Soviet Government decides to spring its treasures on us!) rose the movement which has been labelled Constructivism a movement which is just now having a lively second innings. From its name, and from some of the later developments in Germany and Holland, it has a slightly forbidding scientific ring. But and this can be clearly sensed in the exhibition Gabo himself remains a Russian mystic, fanatically opposed to the strait-jacket of science. In fact his tenets seem not incompatible with modern scientific thought his work is based on the conception of the fluidity of space, the mobility of forms, the importance of the human perception as the ultimate fact. His experience of an object, not the object itself, is what he is trying to express.

Here are a few of his revealing remarks: The artist does not observe the world, he lives it. I accept the image of the world which Science is contributing not because that imase is the only true reality of Nature and life biif because it is a beautiful work of Art, perfectly performed. They shapes or forms act as events, and our perception of them is not replaceable by any means at the command of our spiritual faculties. Time is the faculty of experiencing the continuity of the present. Does this add up to abstract art? I would say Yes and none the worso for that.

Gabo says No. He maintains that an object and our experience of it are equally concrete and real. We seem to be in the world of half -meanings where art loves to browse. What is certain is that the materialisation of his vision (the sculpture, that ia the paintings seem to me no more than a sculptor's aides-mSmoire) has the mysterious beauty of real art expressed in a language which was new and fresh 40 years ago and is new and fresh today. Dance star ANTONIO is back in town Cat the Cambridge Theatre) as good as ever.

lo say this is to say somc-tiiinff special. He is an extra ordinary performer as personal and inimitable as any ballot star, with an electrically mercurial ner- sonality and a technique which en ables him to dance the tightrope of parody with impeccable mastery. His speed is undiminished, and not to have seen him do one of bis whispering zapadeados or one of his namenco-gone-crazy antics ii to. miss much. With him is his long-time partner Rosario less ebullient than once, but still hypnotic, especially in a Tan-guillo de Cadiz" the beautifully supple-backed Teo Santelmo, and a reasonable, if not outstanding, company.

Alexander Bland EST THE Impossibilities on view complete edition of Ready, Steady, Go." and was If anything confirmed in my doubts. He carries a large band, three vocalists to choir and gyrate behind him, and an M.C. who introduces him as if wo were about to witness the Second Coming. He is quite short, and dressed in very tight trousers, a fancy shirt and high-heeled boots. He has the joli-laid face of a boxer, under a bouffant mop of hair.

His energy is phenomenal. In between phrases he dances like a man in a demonic trance. He uses extremely effective balletic tricks such as suddenly freezing in an off-balance position, or hurling himself to the ground. His1 exit in a state of feigned collapse three times his M.C. helps him to his feet and leads him stumbling up a ramp in an increasingly gorgeous dressing-gown, three times Brown breaks loose and returns for another frenetic chorus is a splendid joke and beautifully timed.

Sometimes ho leaves the In Podnciana," while playing a long series of trills, he crosses his right hand over to the left side of the instrument, the kind of thing which "would have inspired Adolf Sax. had he been there to witness it, to drop down stone dead. This is just one incident in an action-packed musical melodrama, where Gershwin and Prokoviev xub shoulders with bugle calls and train whistles, and where the tone modulates from thrilling resonance to the uncertainties of the second tenor in a Continental holiday resort. The ultimate difficulty in trying to assess Rollins is to work out what it is he is supposed to be playing. At Scott's he ended one session by playing a blues, which was reassuring indeed.

After a few bars, however, it appeared it was not CAMEO MOULIN, Gl. Windmill St. Girls Gris 1 Gir's 1 Luscious, delicious, will send you delirious THE NAKED WORLD OF HARRISON MARKS tA) Ixmdon. Also Sensational Breathtaking WOMEN OF THE WORLD OX) Color. From 2.15.

CAMEO POLY Lan 1744 4th Month of Robert Hirsch (Comedie francaise) In the International Comedy Hit. Final Weeki. NO QUESTIONS ON SATURDAY (U) You will warm to Ju- laugh at il. lore It more each visit. Proas.

3.40, 6. 8.20. CARLTON. Whi 3711. Last A days.

Jama Cotrnrn. OUR MAN FLINT (A). Pro 3.20. 5.45. 8.15.

CASINO CINERAMA. (Ger 5B77) BATTLE OF THE BULGE (A). Today al 4J0 7.50. Weekdays at 2.30 and 7.45. Sats.

at 2.0. 5.20. 8.40 and 11.55 pjn. Bookable. CTNEPHONE (odd.

Selfridses). MAY 4721. The Screen's first serious study of the FORBIDDEN EXPERIENCE. MEN AND WOMEN IX, Proas Suns 4.15, 6.25. 8.40.

CLASSIC CTNEXlAS. WEL 8836. BAKER ST JOih Anniversary Season of Famous Stars presents ANNA NF.AGLE In PICCADILLY INCIDENT, a. 4 30 35. 8.45.

Miss Anna Neaele wiH make LATE NIGHT PERSONAL APPEARANCE tomorrow. Mond.iy at 11 p.m. Oil I Orson Welles THE MAGNIFICENT AMBEKSONS. 4.30. 6.40.

8.50. NOTTING HOI Gate. Alfred Hitohcocfl SPELLBOUND, a. 435. 6.40...

B.45. HAMPSTEAJJ. Gina Loll obrisida. 4 KINDS OF LOVE. I.

(Otlxtnal lullan Dla-losue Version) 5 2ff, 8.45 Inemar Bersman's WTNTER LIGHT, a. 4.00. 7 20 COUSEUM CINERAMA. Tern 3161. NOW I HOI tl A EN SPAIN (Ui.

In Colour. Today tu 4.0 7.30. Wkdya. 2.30 8.0. Sala.

at 2.0. 5.15. 8.30 and 11.45 p.m. COLUMBIA. Res 5414.

Laurence Harvey. Jean Simmons. Honor Blackman. Michael Crate in LIFE AT THE TOP IX'. Proerammes today 3.30.

5.50. 8.20 Doors open at 3.0. informative Interview with Edward Greenfield, reoenUy emphasised hat material must determine form, he was proclaiming a less revolutionary doctrine than may at first appear though I would prefer lo take the argument back a and say that it is expression which determines materia and hence form. Of course, they are none of them self-enclosed categories. But so often we approach difficult new music from the wrong end of the causativo chain.

We worry away at the form, hoping thereby to gain entry to a strange world of expression, whereas a performance such as Boulez and the BBC Orchestra gave of Webem's Five Orchestral Pieces, Op. 10. once again demonstrated how, when the expressive content is clear, formal problems have a way of evaporating like clouds under a hot sun. Perhaps the world of Boulez is another kingdom that little children may find easier to enter than the wise and learned. Revision problems By that I certainly don't mean to imply that a score like Pli selon pit is without its problems and not least for the composer himself, for otherwise he would hardly be so constantly engaged in revising it.

The fact that he has taken as his starting-point the collapse of musical language that occurred in the years immediately before 1914, and has chosen to by-pass both Schoenberg's and Stravinsky's attempts to shore up the old order with neo-classical devices of one kind or another, dearly imposes an appalling burden. Small wonder if he should sometimes falter or seek release in conducting. That Pli selon pli will stand as a work of major importance in the history of musif in the mid-twentieth century, I am in little doubt. But I am not so sure that time will reveal it as an unflawed masterpiece. In fact, the part of it I knew best, the Second Improvisation, on Wednesday seemed to me a curiously unsatisfying piece of music.

The arabesques of its melodic writing are certainly decorative. But the epithet itself suggests what is 'acking, for surely the role of a melodic line is less to decorate than to be decorated. This a delicate percussive filigree does attractively enough. But does not decoration of decoration work out as something uncomfortably like a tauce without the meat With last week's staging of II Corsaro at St Pancras Town Hall, the last of Verdi's works to remain unperformed in Britain has been taken out of the archives and inspected. I must confess that I greet this completion of the canon with a certain relief now at least we know the worst.

Not that it is really all that bad. Toye rather misses the poiat when he dismisses the libretto as preposterous." So are those of half a dozen of Verdi's early works. What it lacks is the theme of freedom that so often serves to fire Verdi's imagination and to ennoble the crudest and most improbable of dramas. Only in the third act prison scene, and especially in the original string accompaniment to its opening tenor aria, does Verdi break into a real human world. For the rest, the score is cardboard and the local colour of the story of pirates and Saracens wildly unconvincing.

Yet at its most perfunctory. Verdi's music rarely lacks a redeeming physical vitality. With Donald Smith as a robust hero. Pauline Tinsley as a stylish heroine and Leslie Head's lively conducting, the evening had its moments. MAY FAIR in hotel).

MAY 3036. Evnas. ai S.40. Thurs. and Sals, al 6 and 8 40 BEYOND THE FRINGE 1966 THE REVISED EDITION IS MAGNIFICENTLY FUNNY p.

TdcsriDh. MERMAID CIT 76S6 (Rcslaurar! 2S3) Mon A Tu ai S.A0. Weds to Sal at ft A 8.40 PEGGY MOUNT gives a great comi- ner-lormancc (E. News) in THE BEAVER COAT wlih JOHN MOF TT A Triumph fEv. Stan.) From 2S Mari.tJ on Mondays only at 6 i 8.40 BERNARD MILES returns ON THE WAGON.

NEW. Tern 3878. Evts. 7,45 Mats. Tucj.

ind Sau at 4.30. LIONEL BARTS OLIVER THE LONGEST RUNNING MUSICAL IN HISTORY OLD VIC. THE NATIONAL THEATRE. Tue. Wed.

7.30 and Taur. 2.15 7 30 LOVE FOR LOVE Fri. 7.30 Sat. 2.15 7 in A FLEA IN ITER EAR Brn omce Tel WAT 7616. PALACE.

Ger 6834. 7 30 Sat 3 30 The Hit Musical THE SOUND OF MUSIC RodBers Sc. Hammerneln, Lindsay Crouac. PALLADIUM (Ger 737J). Daily No Mats.

March 21 25. 28 April I. Frank Ifldd, Sidney Jim, Roy Kinnear. KcnnAh Connor and Arthur Askey. In Magnificent All Omei'y BABES IN THE WOOD PHOENIX.

(Tein 86! I. Ercn.ngi at B.15 pjtl. Saturdays at 5.15 8.15. Mat. Wed to ALEC GUINNESS.

ANTHONY QUAYLE INCIDENT AT VICHY by ARTHUR MILLER. Limited Season. PICCADILLY. Ger 4506. Evs.

Wed. 110 Sal. 6 A 8.45. Daniel Massey. Mario Thomas.

Kurt Kasznar. Joan Sterndaje Bcnneu in BAREFOOT IN THE PARK omf nr thf fvnvifst i'iimfdiis IN 1- Standard PRINCE OF ALES" Whi. 86S1 Thii week only H.0. Wed. Sat.

60 A 8 BE'SET BY WOMEN A Comedy dapled frum Torn Irenes ha'Jv pui nver in fine Srliiir TrnrlLCll Dlv Mirror PRINCK Or' W.ES. Oneninjt It BR A SI'RHSANn 1TNNV OIRI Mlt HAi-L CR-MG T'k-Vek jiuhT-ite ul rUn fHrkc Whi and AJtencies ROYAL CO' RT (Slo PJi 7 sai I Mondav Tuesday The wd. ThL. The Performing Giant nu Transcending Friday and Saiurdaj A Chaste Maid in Cbeapside ST MARTINS. (Tern 1443.) EvenJnsrs at 8.0.

Mac. Wed. a( 3.0 SaL. ai 5 JO and 8.10. Iitl Bennett, Jessie Evans.

Ian MtKellen A LILY in LITTLE INDIA Floqucm, mfv1ns A often crYormouslT furir Tel A rare Tel OY 'Tl-tt 1 in 1R III I.S Si I rrirs -n I ALIBI FOR JUDGE SI NI 1 IDEAL HUSBAND TOYNBEE THEATRE, DF.VU'S DISCIPLE. Mjir Torn bee Playen. 7 7 Mar 2h, LEFEVRE GALLERY, 30 Bum Street. W.l. raiuunsa oy jAfsauM Uly al.

lo-l. LEICESTER GALLERIES, 4, Audley Sauan, aoucrj Audley w.l Rcem paintinss and drawints by ROBERT MEDLEY, temper PaintUm by MAXWELL AJLMFTFJ D. Sats 10-1. LEONARD KOETSEK GALLERY, 13 Duka auwa, ot. jamos s.

win mnnM hibitlon of Floe Old Master Pain Unci Until 30eh Mev rtalhr irw; in.1 MADDEN GALLERIES. 77 DUKE STREET. OROSVENOR SQUARE, W.l. VASQUBZ urj. KJU.

MUM IO f-TUIJ 10-e, SAT 10-1. MARLBOROUGH FINE ART 39 OM woa W.I. HOHAOfi TO KOKOSCHKA -o4U "ATrtcrooloxin dnwiim. Lnchjdirtfi dcsltmn for Ttw Mmoit- UDtU 16 Aprt Dally 10-5. Sail.

10-12. MEHCUHY ALLERV. 26 Oort Stxew. n-njcm yu HUUAULt Miserere SotU UnlCufl ftti nihar imiirilp nrV CT rn ENCE MARTIN pain tines of IreUod tod MOLTON GALLERY, 44 Spoib hltrtton 9tnA. B.

Cohen. Dctlvj, Bpsian Javleukv, w. uuui nutui xuui NEW ART CENTRE, 41 Statute Sif. S.W.I. BtL 5844.

MICHAEL HL b3. Rcceat Pa In tin TOI An! 1 Ct-A 1A-1 O'HANA GALLERY. 13, Carkw Pl, W.L ricuvtn Rubin, raiouiics ot Israel. OMELL GALLERIES. Ten Cootinemml atusu.

Keccnt Wort3. Also New aeiecuoa of 19tfa Century Pairirjnjs at realistic price. 22 Burr Sum St lmri'i S.W.I PATTERSON A SHIP MAN SPRING EXHJ- ci i ivjin or turopeAn Masccts of tnc ta and I9th CcDLunea 23rd March, lo 23rd AtrrU. 1966 Dally 10 fcjn. to 6 p.m.

and Saturdays 10 ia to 1 p.m. 19. Aibemail Strecu Loo Con 1 Marfmlr 1910. PICCADILLY GALLERY tibi Cork W.L MAT ZB73. FHIUP rUKPttiR SCOlptm tmdl I6tn Anrfl tO-A: Srl 10-1.

PORTAL GALLERY. FRANZ DECKWTTZ ai Ainsieraain. New i rccnpe ueu and caniasr pilntlnai. 16a, On ton Bond W.L HYD 0706. PRIM A VERA i Stoneware Forcelafa 1966 br BERNARD LEACH Exhibition open (nn Mar 23-AprU 2.

149 Sloane S.W.I, RED FERN GALLERY, 20 Cork St, W.l. Rfr cent enxgs ALAN REYNOLDS Gouaches KUPKA. UoU Mar 26. Dir 1Q-6. Sat.

10-L ROLA ND, BROWSE DELBANCO, 19, Cork Snwr, W.l PETER BEHAN. Recent Paindnss. EnHah Paintinss, 1900-1950. Dady ROWAN GALLERY, 25a Lowndes Street. London.

S.W.I. BELanwU 3490., Pajntintf by Anthony Green. Until Mar. 24. Daity 10-6.

PAtNTTNGS BY BEN MAILE. Selfridses Ait Gallery. 4th Floor. Uatn Sat. March 26th.

Sdfridscs Oxford W.l. NAUM GABO i constractf ons. paiodnes. draw- in. Arts CocmcU exhibttkra.

TATE GALLERY. TiU 15 April. Mon. Wed. Fri Sai.

10-6; Than. Sans. 2-6 Adm. 3 6. TOOTHS i E.

BOX Rcceat Pafntiaga DAVID WYNNE New Sculpture Bird and Portrait Heads. Dully 9.30-5.30. Sau. 9 31 Bmton Street, W.l. TRAFALGAR GALLERIES COUNTRY LIFE AND LANDSCAPE.

1SOO-I880 Works by Sliayer. Samorius. Hall. Lect, WatM. Tennani Lfnoell, HcnHni Tbbe-ton etc 35 Bury Si St.

James a W.l. 10-6. Sa 10-1 Whi 1741. TRAFFORD GALLERY. 119.

Mount Street. SOUVENIRS DE RUSSIE by PHILIPPE JULL1AN. UPPER GROSVENOR GALLERIES. 19. UPPER GROSVENOR STREET.

W.l Frank Bramrwyn. Rosemary Grirnbte. 23rd March-16th April. 10-6. Sat.

10-1. WADDINGTON GALLERIES, 2 Cork St W.l- HENRI HA YD EN Gouaches. Dally 10-6 Sau 10-1. WHITE CHAPEL GALLERY i Rohcn Mother- wel paimincs and drawings 1941-65, Unilf 17ih April. Ttieday-SattiTt2yi 11-6; 2-4.

closed Monday Adjniasioc free Tube Aid Bate East. WILLIAM WARE GALLERY 160. Fulhara S.W.I0. PaEntinEX by Edward Wakeford. Until Mar.

26. WOODSTOCK GALLERY. 16 Woodstock W.l. Mayfair 4419. von Gumen.

Nicn. Maria. Paintinss. 21st March to 9xn April Daily 10-6, Sau. 10-1 ZWEMMER'S i 26 LhcnfleJd Streei London.

WC.2 TEMpte Bar 1793 ESSAYS rt NARRATIVE, palndnss by Eric Brown Norman Toynton, John Walker Till Apr 2. FIRST NATIONAL CONFERENCE OF ARTISTS 25 27th March 1966 HAMPSTEAD ARTS CENTRE Arkwright Road (Fincbley Rd) NW3. Protnlncnt anisia, dealers, critics, repre-Bentatlvn of the Arts Council. British Council Tate GaUery. London Provincial Art Gf-lerfea.

Societies etc. wiH debate the atate of Art in Britain today; the cocdit-'on the artist the case for pLrcmage public and private, and allied tubfecu. Tickets 2 ana lo Include Reception 'BufTet Sapper. Friday 25th March 9 pm Writ (or phone) Conference Secretary. Harnpstead Arts Centre.

HAM 2643. (Conthtned on pace 26) Thursday 24th MARCH WRTOTE OFIJFE I I rostrum and passes among' the audience shaking hands, like a monarch curing the King's Evil. Towards the end of his act he throws his huge cuff-links into the crowd. If I remained, at 40, unmoved, to a lesser degree did the studio audience, but this 1 suspect was not Brown's fault. I should guess that he needs longer to pull it off.

and the rather Butlinesque cheer-leader harangue to which we were subjected before transmission probably made the crowd determined to resist. Furthermore the R.S.G. audience is untypical, very narcissistic and poised between a real audience and hired extras. From what I hear, the concerts of the following two days did produce wild hysteria. At- all events it's an.

extraordinary performance. What is damaging; I feel, is Brown's effect on the R. and B. groups. The Roljjng Stories, for example, started as real blues enthusiasts, but Brown now seems their principal influence.

The screams always there, but Brown has shown them how to milk screams, how to work for them. The great word bandied about in. pop circles is professional." Well, he's certainly that, but wiafs he selling? Not the blues, that's for sure. a blues at all, but a splendid attack on Melancholy Baby," a sadly neglected jazz tune with great possibilities. But Melancholy Baby soon revealed itself as no more than smokescreen to disguise the contours of Skylark," which then mysteriously turned itself into Polka Dots and Moonbeams." Not till the end of this baby-into-pig routine was it apparent that we had been listening to The Song is You." A whole night of this kind of thing would, naturally reduce any sane listener to gibbering terror, but.

wisely the programme is leavened by the attractive singing of Ernestine Anderson, who ranges from the blues to standards like Stay as, Sweet as You Are and' from fast sprints to funereal ballads with complete command. Her tone and phrasing have the authentic jazz touch, and in There Will Never be 'Another You sho becomes an. improviser with a shrewd ear for the' chord changes. The best compliment that could bo paid her would be to say that she sounds as good as she looks. CONTINENT ALE Mus 4193.

The Hoase-balifer (U). My Home Copa cabana (CT). DOMINION. Toil. Ct.

Rd. Mus' 2176. 2709.. Julie Andrews, Christopher Plummer in Rodsers Harnrnerstein's THE SOUND OF MUSIC tu in Todd-AO Sl Col. Sep.

Perfs. at 4.30, 8.0 Wkdys 2.30. S.O. All booltaMe. EMPIRE.

Ger 1234 David Nlven. Franooise Dorleac in WHERE THE SPIES ARE Proa-s. today 3.15, 5.45, 8.10. EVERYMAN. Harnpstead 1525: Recent Successes.

Today PETER AND PAVLA (A. Monday Satyajit Ray's CHARUL-TA (U. GALA. ROYAL. Amb 2345.

THE SPY WHO CAME IN FROM THE COLD (A) GOLDERS GREEN IONIC Spe 1724. Anthony Quinn ZORBA, THE GREEK (X) Sun 4.40. 7.25. Wk. 3.35.

8. Divorce Italian Style (A) Wk. only. TNT. FIX TH.

Bay 2345. Vadim's La Ron tit CX). Between Time Eternity (A). LEIC SO. TH.

DOCTOR IN CLOVER (A) colour. Proffrarnmes today 3.30. 5.55,. 8.20. LONDON PAV.

Ger 2982. Sean Gonnery as James Bond in THUNDERBALL (A). ProiH. Today ai 3 0. 5.50 and 8.30.

METROPOLE. Those Magnificent Men in Their Flying Machines CU) in Todd-AO Technicoloi Today 4 JO, 8.0. Weekdays 2.30, 8.0. Bookable Vie 0203. 5500.

4673. ODEON, Haymarkct. Whi: 2738. The Knack (X) I rata La Donee (X) Separate performances today weekdays 2.0, 7.0. Bkble.

ODEON. Letc. Sq. Born Free (U) Story of Elsa the lioness. Fes; 3.50.

6.10: 8.30. PARIS-PULLMAN, Gdns." 3898. Thonnu The. Ijnpostor (AW Paris. Par (X).

Progs at 4.15, 730.. Last 4 days. PLAZA. Sidney Poitier. Anne, Bancroh.

THE SLENDER THREAD (A)i Today Pro-Brammes nt 3.00. 7.40..pn. tWeekday FrojOTrnmes at 1J0. 3.45. 8.20.

p.m. PRINCE CHARLES. Ldcs. Sq OER 8181. WEST SBBE STORY (A).

Pross. Sun. 1.40, 4.40. 7.40. Starts Tours Disney's THE UGLY DACHSHUND (U) and WINNIE THE POOH (U).

with (A) ANNA KARINA film in colour SPIRITS tX) SANDRA MILO JAZZ fans, who spend half their lives grumbling that everything sounds the same and the other half complaining that everything sounds different, will be able to have the best of both worlds if they visit Ronnie Scott's club over the next few weeks. Installed there like a hermit on holiday is the tenor saxophonist Sonny Rollins, a musician so heretical that in the face of his astonishing behaviour all the normal approaches to criticism are rendered useless. Yet, although much of what ho plays and the way he plays it belongs to some vague future civilisation, some of it is reassuring in its familiarity. The shades of Charlie Parker and Lester Young fiit across the scene, and there are even reminders of the extrovert antics of Illinois Jacquet. Technically, of course, Rollins is a freak who persists in thinking in terms of the impossible and occasionally even manages to achieve it L' NIT THEATRE.

EUS. 5311. Occnina Frt. 2501 Marcb. PLAYBOY OF THE WESTERN WORLD, by Synac.

Tku. 3.16. 5-. 76. Membu 76 VANBRL'GH Lan "0K3 (Mens).

In the LI rTLE THEATRb A D.A. 62-64 Gower C.l. Mud, Dea.si and Virtue by Lima Pirandello. Mar. 25 26 at 2.30 7 io Sun Mar.

27 at 5 S.15. Tickets frco lo mems on the Box Office. ALDEI1XE. Tern 4871. Eyes at 8.

Weds. 2.45. Sats. 5 4 8 fBll. THORNDI KE, ATHENE SEYLtR.

RICHARD BRIERS. DESMOND WALTER-ELLIS, JULIA LOCK. WOOD. LEWIS CASSON In ARSENIC AND OLD LACE VICTORIA PALACE. Vic.

1317. Twice Ntly. 6.15 and 8.45. TV's Fastest Spectacular THE BLACK AND WHITE MINSTREL SHOW Now In 4Lh Year. Booking until Nov.

1966. WHITEHALL. Eva. 7.30, Weds. 2.30 Sats 5 15 A 8.15 (Sccand Year!) BRIAN RTX CHASE ME COMRADE! A Siorm of LAUGHTER Fin.

Times. WYNDHAM'S. Tera 3028 Evs Wed. Sal SiK HOW'S THE WORLD TREATING YOU Almost bound to be THE FUNNIEST PLAY OP 1966 Dagy Exnress. TALK OF THE TOWN, Drains Dancina.

9.30 p.m. Revue FATAL FASCINATION at 11 p.m. VIKKI CARR. REG. 5051.

PROVINCIAL NOTTINGHAM PLAYHOUSE Tel 45671 Evrjjts. 7.30 Sat. 3.0 8.0 Mon A-v-il ftre.) THE CARETAKER TJitir. anj xpnj i. n.

7. 5, 16 ma. SAINT JOAN Wed and April 4, 1 2 MEASURE FOR MEASURE Sat. (ends! THE ASTRAKHAN COAT Ncxl M-rn no pcrf. Next Tue.

Student Preview March '0. 31. April 1 8, 1 1 WHO'S FR OF VIRGINIA WOOLF CITIZENS' THEATRE Tel 04t SOL' 0022 Tmrsriaj, 2 Ind March For 3 Week MISALLIANCE By Bernard Shaw. ctoe theatre club 23rd March, for tbre weeta TCHIN-TCHJN by BitleuJoux SHEFFIELD PLAYHOUSE. Trl 22W5 Open-inn 1 ucsdav Mjrth 22nd, mo rJa-5 fcjy F-HRene lontscn THE BALD PRIMA IKNN A and THE CHAIRS.

Datty hl 7-30. Sat. at 4.30 A 7 li Next week openina Tuesday. March 2Vih, SPECIAL REVIVAL of A KIND OF LOVING for ONE WErUC ONLY CAIEMY CINEMA ONE fGER 281) Jean-iut CjiKJard A LPH AV1L-LE (At A THK PEER AI. Piow in, Ml.

I AC UKMV CINEM TWO if IKK '12H I 1. 1 Ft-llini" f.rrjn Film Jl LIFT (IT- VHI SPIRITS PniiTs A EtKM I LI CG1.K SS 1 Unnl Mar 1 "l.iikr THF CONNfcC IIU ARTS 1 cm 1 he Cjrc.il Russian I'kvIuc-1 II MI.FT." mi I mm STORl il (icr li The Ract ill. Scparair perl ntdav is rrk.iiiu in 2 A.n houkaWe BK RK Fl t' -Sius A 'aroVs Le IUo- henr 1X1 1 'Mrcim i ti Jtlr and Jim FX I. CAMEO VICTORIA. )okc Ferrer.

Trevor Howard COCKLESHELL HEROES (Li l. CAMEO ROYAL, TABU! CXi RELUCTANT vi iav 3 See our weekly guide BRIEFING on pages 2223 for today TVSound programmes and more news of arts and entertainments inf.1niti from Pane 24 CRITERION. Whi 'ilfc. rvcninns S.15. Mil.

1 hiir. ai and 8.45. DIAA SAND'S and ANTON RODGERS THE OWL AND THE PUSSYCAT "One of i hie ncht rr-os uninhibited exrro-ytrr- eshibuaona have ever seen B. Levin, DaiJv Majl. kr.raviLEanc.K spiced tcx comedy' H.

Krr.r-JT.er. F-iprct The mnsi i.arnali'sins. he m-cwi prancing Inpxrme America ha.1 sent us for some lime Hotwon. Sunday Times. Ihe Criterion have another hit on tbelr J.

Higfi'n. Ftnan. Times. V. rrj Sji 2 "-f Hie Smash IM Musical MARY MARTIN HELLO OOLLY An L'rtauciLKniabfy Smashcroo." F.

Tms. DUCHESS. Tern SI-tT- fv Wed. 2.45. Saturday (l rV K.O.

PETER BYRNE In BOEING-BOELNG FIFTH HILARIOUS YEAR. DIKE OF YORK'S Clem 5122, Evas. 8.0. Sai 5 30 0. Wd.

3.0. Over 300 perfs. BERYL REID in BnST PLAY OF VEAR. E. Si an.

Award. THE KILII'G OF SISTER GEORGE Tht Comedy Hi iv Frank Marcus, with HL1IN AlklssEST ACTRESS OF YtAR Evemriff Standard Award. EMBSS. S'i Louaftc. hR( J4M Evs.

Mnn Tue Wed 2 22 23 March. THE PHI-TF MEJtS Ibsen A new translatton -v A ft vl SIAN PHILLIPS kl JOHN RtiHINSON VRH. LiiKR PATRICK McALLNNEY in Hcinard Shad's comedy MAN AND SUPERMAN i M.t r. I liiir so TltV. i A TCHG I LS rl.

Ni' Sl.LiCssn in many Brtmrt musicals 'i r. ard ink- I hf i I niimpharn 1 e-fl -ill. cm Side S'orv Sk ifr. ii.im.;i; HAIMVRKKT THFATRE. Wt i.

I UcO in Ft, Linn Ri.haids.in. Jaik Judy CamnbcVi. Kf Kivcr Morv WaLn. Cvril Luckham VOL" NEVER CAN TELL IKrVir SHMV, -SL'PFR CAST --IT HF.H M-WESTVS. Ha ymarkri WHI isnM I ii 1 a rid Sa 1 and J'.

I RMI( II 1 I i fl'i f)S WHO VOl' ARl UfFU I A KLIABFTH Often more often each year the heart victim is a youngish man. THE BRITISH HEART FOUNDATION initiates and finances research into the growing menace of heart diseases. Give iis'your support by Jfc MAKING A DONATION fc TAKING UP MEMBERSHIP REMEMBERING US IN YOUR WUJi RIALTO. Ger 3488 Sean Conoery as. James Bona in thundekball ia).

noes Ttiy 2:45. 5 20 Sc 7 55 i' RITZ. Sues Kjunan Nobel Prize-wiuner'I'Paul Newmao in THE PRI7.F Al. Proarammesl today at rz.4 .5 25jB.os: ROYALTY CINERAMA. K'iway.

Hoi '8004. MYiFAIR I.ADY (U). Today at 3.15' at3.45 SO, Bookable; Excelleril Evening Car- Parkins. STUDIO' ONE. Franlde Howerd.

Ine Great M. Irinian's Train Robbery (U) at 3.45. 60, 9 0, also Disney's. GtetsV'Toej Misfit Graybomid In) Colour. 2.50.

5.25j:S:0: WARNER. OER 3423. CFully Licensed AIK LAUY lay at 3.0; 7.13. Wkdys 2.30. 745.

Sep. perfs. AU seats okoie. Late snow bats. 11.45.

pjn. WINDMILL, w.l. GERrard 7413; SHOULD HAVE STAYED IN BED. 'THAT. KIND OF GIRL.

X. Indicates oven oh Sunday. ACKERMANN'S. Old Bond Street. 1 Load ExtubiUon of Part ol The DurdnnJ Collection of OiJ Palatious by George Stubbsl and.

Ben Marshall. Admissjon 5- CataJosucsl lUf-, in ma oi joe rwauonai society ioi PatiMr t.f i.ntll Kfnrrrt Lisle Street, Leicesterl square, Lonoon. wa t. uaviu ainuklw NORMAN ASPIN ALL. NOEL FORSTER ANTHONY PRTTCTfARD.

11-6 wtekdays ll-i Saw irt rith ALWIN GALLERY. 56, Brook St. (Facicid eiaridaes. -W. 1 CYRIL MANN.

ROGLfi WARREN. ROBERT COSTELLOE. 9J0 io fi'-KaM. 9 30 i 1. Coses March 30.

VISION AND DESIGN and exhibition of the! hfe and influence of Rose- Fry (1086-193411 ARTS, COUNCIL GALLERY, 4 St. James'J Square, i.w.l liu April io. wea, Fri Thun 10-fi. Adm: 13- AXIOM GALU Y. 79 Duke Gros-enorl Rcoeruj PaJntiruu.

clostfs Anril 20th. W.lv- EXHIBITION OF ITALIAN PRINTS! OF THE XVIU CENTURY. Daily 10.01 ii -stm If-riYni SruurdavJ. rn i irTa nr. nsisriiTUTE GALLERIES.

Wobura Square. WCI The CourtaulJ Collecuon of Impressionist and Post-1 Impressionist Paintings the Lee Couecuon of Old Masters: tar Roser Fry collection Exhibitioii of NEWLY ACQUIRED DRAWINGS IN THE WITT COLLECTION Admission free 10-5 Suns 2-5L DR1AN GALLERIES 5-7. Porchesier Place, Mnrhlff Arch 7 ADAMflWfCT nalnt- mg and 'Edward ROGERS, pamnojr; and const ructions daily 10-t Upcqioh 22na Marco ROYAL SOCIETY OF PORTRAIT PAINTERS at FEDERATION OF BRITISH ARTISTS GALLERIES. S-i Suffolk SireetJ Pall Mall En il S.W.I. DAILY (INC SATSJ.

10-5. Admission 2s. Pleaic note new address. PfTRTSEAirx OAIXERY. 23 Church Rd.

Wimbledon Snrinn I xbn inc Keith New. Eric Thorpe. John Ulu 10 0-5 30 One. Sats.H izimpf.t. fiia.

ff soutb Motion street. Lon don. W.l. Paintings by Louis LE RHOroiIY Orwes March 26. CDARnwCKl nil I R4 Sloan Avenne.

3 M. BALDWIN V. NEWSOME Sculpture Open daily 10-6. KEN IHhtt mnlVFNi1II NAILERY. 2830 Daies St DAVID BUR LI UK retrospeaive Cxhbn 11 1 -y oi tnc Kussian rutunsi po ana rinrrr until Anril 7 Daily 10-6- Sal A Ml LTON A LLERIES.

Ml CHAEL KENNY Sculpture Unlit April 16. 10-6 Sars lfl-1. Si Georae Sireci. W.l. HANflVF.R GALLERY 32a Saint Georae Si.

W.l TR A Sculpture and Paintings I iTMil a Anril nui'v KV- ICA, 7 Dover W.l. DUBUFFET DRAW. INGS. March 25-Anril 30. Dailv 10-6.

Sata l)-l. Adrnwsinn 26. KAPLAN GALLERY, Duke Sueot, Si James's. W.l ACHII.LE LAUGE 1S61-1944. An imponani cThibtdon of Neo-I i rDtJcsVTiis'i rBinuiixa imy iu-ij.

Ma iu-i KASMEN US New Bond W.I MAY 2821 Mon-Fri 10-5 30 Sat. 10-1 SM AL LLR WO RKS BY AMER ICAN GIVE WHOLEHEARTEDLY BRITISH HEART FOUNDATION APPEAL SOOM MB, 57 GLOUCESTER PLACE, LONDON Wl Scottish Office: 65 Castle Street, Edinburgh 2 ACADEMY CINEMA ONE Oxford Street. GER 2981 JEAN-LUC GODARD'S brilliant thriller of the future ALPH A VILLE MICHAEL rJitti EDDIE CONST ANTINE ACADEMY CINEMA TWO Otford Street. GER 5129 FEDERICO FELLINI'S first great JULIET OF THE Technicolor with WICKED! 6ALA WORLD PREMIERE GIULIETTA MASINA Aj i nil lbu Marcn ib..