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The Observer from London, Greater London, England • 26

Publication:
The Observeri
Location:
London, Greater London, England
Issue Date:
Page:
26
Extracted Article Text (OCR)

26 THE OBSERVER REVIEW, 9 FEIkTJaRY 1975 Getting Mrs into focus Revenge of a vigilante RUSSELL DAVIES on a week of muggers, hijackers and Frankenstein. IT'S a team game we-re playing, if it's, a game. It's not a. game. But we're a This remark, delivered by Colin Shepherd, MP.

on Midweek (BBC 1) the week before last, struck me at the time, as an Opposite motto for Current period Of Tory confusion. Its neatly circular argument 'generates a runic impenetrability the maximum semantic chaos with the minimum effort. Pve got witnesses to prove that my money was on the broad all along. In one addled mind at least, Mrs Thatcher was always a serious candidate. Obviously World in Action (Granada) thought so too.

since they profiled her last Monday night, a whole day before she established wide credibility by running away with the first ballot. Since Mrs Thatcher probably ranks somewhere near the Chilean junta in WIA's scale of affection, it seemed possible that they were examining her as a toxic by CUVE JAMES phenomenon, like nuclear groliferation or the non-iodegradability of Greek colonels. An air of objectivity, however, was strenuously maintained. Perhaps it was assumed that mere exposure would suffice, and that the sprightly lady would stand self-condemned. It wasn't going to be as easy as that, as events later proved.

But even at that stage, the jaundiced professional eye could detect ample evidence that Mrs Thatcher was working oh her screen image with a view to improvement. All political figures try this, but usually they take the advice of their media experts men disqualified simply by the fact of being available, since nobody of ability would take such a lickspittle appointment. It was an expert who told Harold Wilson that he should Charles Bronson meets mugger In Death smile during his speeches, and another expert who told Heath to take his coat off and relax. The respective results were of a corpse standing up and of a corpse sitting down. In America at this very moment it is an expert who is busily convincing President Ford that his speeches will gain resonance if he illustrates them with diagrams drawn in the air.

Mrs Thatcher, as far as I can tell, has declined such help, and set about smoothing up her impact ail by herself. Visually she has few problems. The viewer, according to his prejudices, might or might not go for her pearls and twin-sets, and the hairstyles are sheer technology. But the camera loves rhe face and the face is learning to love the camera back. She is rapidly becoming an adept at helping a film crew to stage a fake candid.

While her excited daughter unleashes a hooray bellow in the background and her husband, Mr Mystery, vaults out of the window or barricades himself in the bathroom, the star turn is to be seen reading the newspapers with perfect casualness, right in focus. The hang-up has always been the voice. Not the timbre so much as, well, the tone the condescending explanatory whine which treats the squirming interlocutor as an eight-year-old child with personality deficiencies. It has been fascinating, recently, to watch her striving to eliminate this. BBC2 News Extra on Tuesday night rolled a clip from May 1973 where you can gee virtually indistinguishable 'raunchy' material with some of the sex left in.

Better yet, stimulate your loftier portions by joining the Electric Cinema Club, my greetings to which on its fifth birthday were crowded out last week by trouble up the inferno and elsewhere. appeaflimg only to collectors of used 3-D viewing glasses. Truck Stop Women (Jacey, Leicester Square, X) sounds, looks and feels like Cineclub material with the sex hacked out. Patrons in two minds are advised to pay the extra quid or so and sign up at one of the little Soho dens The triumph of Miss Berg anza ought to do so no matter who gets hurt, which means she is a villain; a sinister prospect either way. On the tube, though, she comes over as a deep thinkers: errors of judgment like the food -hoarding goof will probably disappear with experience, and are by no means as damaging as the blunders the men perpetrate in quest of screen warmth.

(' You know me, Robin, I'm a retry human sort of caught William Whitelaw saying a couple of months ago.) She's coldi hard, quick and superior, and smart enough to know tha. those qualities could work for her instead of against. Like any winner's dressing room after the big fight, the champagne said News at Ten, its grammar limp with admiration. The Love School (BBC2) is a series in the Notorious Woman bag of art-struck soap operas, the subject this rime being the Pre-Raphaei-ites. Fun though it is to watch the actors stomping around in period schmutter, these shows are an unbeatable way of getting hold of aesthetic experience from the wrong end.

In the long run, ifs the uninteresting part of an artist's life which is of consequence a point inadvertently emphasised by Notorious Woman, Much struggled in vain to make i n's personality as dramatically complex as George Sand's. The Pre-Raphaelites yield meaty drama plots, counter-plots, runaway love-affairs and always the thematic backbone of the art bio-pic rampant careerism. But the fact that their art was once in fashion, and then later went out of fashion, and is now back in fashion, and might soon become even more fashionable still, has got nothing to do with the permanent aesthetic fact that Pre-Raphaelite art was bad even at its best. To admit that, though, would be to give the game away. In Taste for Adventure (BBC1) a man of incredible strength, bravery and stupidity called Sylvain Saudan skied down the Eiger.

My head hurt, he declared Pymoiiically. In Inside Story (BBC2) a cow called Celia was impregnated by a jaded Lothario of a bull called Cliftonmill Olympus II. Cliff produced 5,000 million sperm at a stroke, but never got the girl. The stuff was deep-frozen and transported to the site in a white VW by Mr Ray Cod, who donned elbow-length gloves and socked it to Celia with minimal fore-play. Meanwhile Cliff was presumably reading Penthouse and preparing himself for further triumphs.

Brief encounter. by STEPHEN WALSH MICHAEL WINNER'S Death Wish (Paramount, i does more than give urban audiences what they want. It gives them what they never dared to hope for a champion, a bodyguard, a bourgeois guerrilla. Charles Bronson plays a peaceable New York execu-tne whose wife and daughter a-, very savagely beaten up bv three freaky muggers Wife dies, daughter slumps into the catatonic state associated with dementia firae-cox and passive schizoid paranoia. Bronson, siientiy enraged, starts to make a hahu of strolling down dark streets and along the mugger-rich borders of Central Park, fifiv thug who takes up his wr cation to attack is pun-lO'ed with bullers from his lirrle silver pistol.

One is inclined to believe Fa remount's publicity notes when they claim that the New York screenings of this retri-hutorv spree were met with 1 vrraordinarv applause and rhpering rbrnughout rhe particularly when Charles Bronson shot a (My italics, Para-mount's merry phrase.) I suppose any of us, if we were let loose for long enough in Manhattan, might end up applauding the gunplay of the seif-appointedly nght-enus Besides, we are most of us suckers for crude revenge psychology. It works as surely on the screen as it does in the wrestling ring you build up the villain till the matrons are practically sucking hat pins in him, and then vou cleverly arrange for bis head to be stomped upon. Winner has the wrestling promoter's mentality, and his build-up is quick and effective. Bronson and wife i Hope Lange) look as cosy as hedsocks. and the muggers' attack extremely nasty.

The horrible swiftness of the murder and the sexual degradation that attends it carries a rhailenge from Winner: Vou; tell me you're not going along with Bronson's crusade But of course one doesn't The vigilante ethic might have emerged in a disturbing new light here, but Winner's appeal to the frontier morality is outrageously simplistic. He merely packs Bronson off to Tucson, Arizona, there to confront him with wide open spaces, a Western gunfight staged for tourists, and a creepy friend who will murmur this is gun country and present him with his little shooting iron as a parting gift. This is supposed to plug Bronson in to the gun-totin' American way of life, even though he was a conscientious objector in the Korean war And when he returns to New York, the healthy effect of his one-man campaign on the muggings statistics is seen to convert the police, the politicians and the mayor into wild Westerners too, endorsing the unofficial marshal By this time, the film is just howling the happy hysteria along like a hoop; and its last shot, which promises a reopening of hostilities in Chicago, is playful in a flatly irresponsible way. Worth seeing, though, for the rare experience of finding food for thought in this director's work and for the performance of Bronson, his best mime of misery and resolution so far. New York gets another 105 minutes of bad publicity from Joseph Sargent's The Taking of Pelham 123 (Leicester Square Theatre, AA), in which the front car of a subway train bound for Pelham Bay Park is hijacked by Robert Shaw and his anonymous toughs.

Martin Balsam plays the embittered ex-motorman hired to do the driving, and Walter Matthau conducts negotiations by radio from the Transit Authority HQ for the train is full of hostages and Shaw is demanding a $1 million ransom, double quick. There are several reasons why the advertised thrills do not happen. The excellent Matthau is unfortunately one of them. His comedy turns at the beginning and end of the film it closes on a freeze-frame of his famous reproving look set a mood too easygoing to support the panic in the middle. One simply feels too safe when Matthau is around.

In any case, is difficult to feel very deeply for the hostages, who are the most unmemorabie bunch of stooges yet assembled for a disaster picture. As we saw in last week's 1 The Towering the establishing of victunisable characters is a tedious business, but you can't just omit the process altogether. And since the villains are equally barren of life, apart from Balsam, who sneaks in some nice moments of rat-like cringing, one is left with the mere mechanics of the getaway. The appeal of these is restricted not much by the nature of the underground terrain, I feel, as by the profound scepticism of the customers; as a matter of audience psychology, it never seems likely enough that the hijackers will make i to safety, nor important enough that they should not. Flesh for Frankenstein (Casino, X) is played out in 3-D by members of the Andy Warhol Boys Brigade Amateur Dramatic Society, under the direction of Paul Morrissey.

Udo Kier, with his hair straight out of the swimming pool and eyes like RAF roundels, plays the domestically harassed Baron. Vy must you always pick on rmazer' he wails at his wife (and elder sister) Katrin, whose every reply seems to come straight off the top of Monique Van Vooren's weird, Martian head. Joe Dallesandro, beloved yeoman of the avant garde, deals peevishly with the role of Nicholas the farmhand. Perhaps the 3-D equipment put him off. Perhaps Udo Kier put him off.

Monique Van Vooren would put anybody off. These comical and sometimes obnoxious performances the monster in chief climaxes his by sundering his own stomach wall and dealing out intestines on to the floor are given in period costume in front of surprisingly decent sets. And some of the 3-D effects, especially the bat that comes winging in over your right ear, have been mounted with good old commercial care. But the project is otherwise a wash-out, well-laid-out, practical setting it will doubtless play a useful part in the future repertoire of mis choir. If, mat is, the choir has a future.

For financial reasons the choirmen are currently under notice to quit at Easter. This being so, it deserves saying pretty forcibly that the Westminster Cathedral Choir is among the two or three best of its land in Britain, and considering certain unusual but admirable features of its style to all intents and purposes unique. I very much hope -some formula can, be ifound to save it. Wo'fbrmvua, I'm afraid, will ever make a good opera out of Schumann's Genoveva, though it's an attractive and occasionally inspired score for a concert performance such as the BBC relayed from Munich on the EBU network on Monday. The work has the negative virtue of bringing to our attention by default certain qualities we take for granted in the best operas variety of pace and subtlety of transition, plus, on a more general level, that insight into human motivation without which putting characters on stage is mere puppetry.

But Genoveva deserves a less shoddy performance than this one conducted by Giuseppe Patane. Lucia Popp was in radiant in the title rqle. JBarry of the others sounded either under-prepared or over-parted. manner, but with a true Catalan ardour which makes the musical phrase always the pre-eminent vehicle of feeling and description. The Wolf songs were done rather in the same spirit, and it would be a poor enthusiast of this marvellous composer who could claim that so musical an approach was in any way inapt.

The accompanist, Ricardo Reouejo, contributed much to the recital's success. After a tentative start in Carissimi and Scarlatti, he found his touch in the tricky dotted-note accompaniments to Wolfs 'Der Gartner and 'In dem Schatten meiner and best of all in the flickering colours- of Faure's Mandoline He isn't Berganza's regular pianist, so perhaps the best compliment I can pay him is to say that he sounded as if he were. For Wednesday's celebration of High Mass in Westminster Cathedral Michael Berkeley composed a male voice setting of the Mass, plus the motets for the Offertory and Communion. Writing for the liturgy isn't exactly fashionable these least of all among composers of Mr Berkeley's credentials, and perhaps the music's cautious, slightly colourless modernism was an inevitable product of, the commission. It certainly 'lacked that sense of mystery which still makes the plainsong a high point of the service; but as a well-written, TERESA BERGANZA's recital at Covent Garden on Sunday was the first to be held in the Royal Opera House for nearly 25 years.

This may seem an odd time for the house to be diversifying its commitments. Perhaps the management had taken to heart Carissimi's advice in Miss Berganza's opening can-zonetta: Don't hope, hope is dead But the event itself was very far from a despairing occasion. Covent Garden is an ideal place for celebrity recitals. In the old days, I gather, recitalists appeared actually on the main stage. But for the current series of monthly concerts a platform has been improvised out over the pit, with obvious gain in contact between singer and audience.

From the outset Berganza had us in the palm of her hand, and she never relinquished her hold. It was a masterly and exhilarating display. A lyrical mezzo, Berganza is one of those opera-singers whose musical versatility tends to be frustrated by a shortage of suitable repertory. Listening closely to her recital singing, one may notice that, while the extreme ends of her voice are of exquisite quality and perfectly controlled, she uses them rather sparingly. And if one thinks along casting lines, one soon concludes that most of the important nineteenth-century mezzo parts would be physically and stylistically taxing for her.

All the same, a technique sturdy enough to sine Faure's Apres un reve without any flaw in lyrical continuity isn't to be underrated, while for sheer fusion of method, sensibility and intelligence Berganza's singing of songs from the Mdrike Lieder and Spanisches Liederbuch of Wolf was an object lesson. One of the difficulties with Wolf is to project his somewhat elaborate verbo-musical apparatus without letting the songs degenerate into a mere charade. This is what nearly always happens to In dem Schatten meiner with its dying fall on Ach nein so easily over-characterised; and to the slightly arch humour of Mausf allen-spruchlein end sometimes even to the charming but sententious All these Berganza did with exemplary taste, missing no verbal points but never falling into the trap of characterising words oat of context. Later she sang some Spanish songs by Granados and Mont-sahwrge, and it was interesting to compare her treatment of the two groups, for many of the tonadillas are character portraits in the Wolfian Mrs Thatcher Learning to love the camera. demonstrating the Thatcher sneer at full pitch.

(She was saying that she wouldn't dream of seeking the leadership.) She sounded like a cat sliding down a blackboard. In real life, Mrs Thatcher either believes that everybody can help themselves without anybody getting, hurt, vhich means she Is nhinged; or else believes that everybody who can help themselves ROYAL ALBERT HALL WBAT9S ajv also on pages 25 I 29 K0nsmgton.SW7ZAi' CAMDEN '75 MUSIC FESTIVAL 15 February to 1 March jMTtS. aHTtraicr CHiwratt Maala Director: JotiriDniorCBE. Ticket! 92B31B1 TflltphoiM accepted on Sundew Informitiort: 928 3002 rOf OPERAS Moxan'a Se Paste: Mcyertoeer' L'EtoOa du Nord, book'ngi have aireedv been made; 928 2972. focpema oe rencs.

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Conchord Management Ltd L- -1 i .0 1 1 bOp ANDREW HA1GH piano BnUKiTes 32 vannBorB. up. ChojAii Ballade No. J. Op.

38: Sonata. Op. 35 Fueral Marcl) LbrJ Sooetto 104 del Petrercoa Kan): Oajpard I de ia auit. Ibbl TtBett Ted. 12 Feb.

T.JH p.m KOWMti) sHIIIV fhano Rccndl Clementl sonata. Op J' j. SchnluT rdtira "60 LVV anderer Uatkl Rowland 1 I. si 1J1T1 rcsi 1 achnauolno Variations on iheme Telh Smetaiu 1 -lku Op 7 i 20 LI 11 B0d 5id irbt A 1 tllett 1 cb 7 MARLENE DIETRICH THEATRE UPSTALR-S. 730 2554 'TtotBOr.

8.15. Opens Tuea. at 7. Sobs. evs.

8.15. ANTHONY BREMNEBt counter-tenor Jeaa MaBaaJakM torp-eictiord. Mtcbad atlco vtoBn. Maaa sbcatoa violin. AMJmrr Hhmlzaa cello.

Secular stored cantatas 0(1701 A lath centuries by VrraML Kirliwa. SorrBrtn. RoarnnaHIW, Baoanl, Sat. li Feb. 7.3 p.m.

Thaatra CoatiBaed from pace 25 Raaional Theatres a DERBY PLAYHOUSE (47929) Feb 11-15 Derby New Opera Co. in FAUST. GLASGOW'S CITIZENS THEATRE presenta tile GoTfro-menl Ins pert or bv Nicotal Oosol. Tel. 041-429 0022.

ratABOWBU-S ACADEMY hy jobn Antrrrboa. LONDON; PHILHARMONIC ORCHESTRA Aumdona wEU shortly be neld for a rank-and-file violinist. Applications to Chairman. S3. Wei beck Street.

London. W1M 7HE. new era i.wiwm IWMBLI RCHETS EUGENE VSW'F Lola 1.0 J. A Milotstj jtm iniiiDi Concerto Gt'iiso Op No 2 Pnihrlrii-I ivaldl Or 1 MonleterdJ in ''i Ji'tli Hndo sae F'agdnini irijUur 2." i.1 00 "-p 'up Basil )iiftla Ltd rri. reh.

i p.m. PRINCE OF WALES. 930 8681. Mon to Th 8.0. Fn.

Sat. 5.30. 8.45 DANNY LA RUE SHOW TH. WORKSHOP, Bailor ct E.15 534 0310 Opens Wed at 7 30. Subs eves 8 PJn.

AN ITALIAN STRAW HAT Wel worth gomg along to see." Evg. Standard. Must End February 15U. A few seats available. WIMBLEDON THEATRE vmngs9 6.B IBfrmTicketi-.

r350.3 M.E2.00 OSO Splendiferous Re'ue 11m Last weeks ends March 22 YVONNE ARNAUD THEATRE GmkUo.d 60191 UntU Feb. 22 Prollti Calvert. Elizabeth Seal. Jimmy Tnomosoii in FEVER CHORAL I MON CHORAL SOCIETY SololatV Concur I. Hisheat? School Bn' Choir.

Music-urn- 't London, ,1 Brum Wrfa-ht. Munlci n1i i i I Rl7 VMtmore Hall Trjaradaj. lJrli Febmary at 7-3 Paa. An evenhie of Chamber Mualcby tibe distinguished Venezuelan Composer ALEXIS RAGO Metannee r'amimis Ttcs P-cmas de Gerbasi (1st London perf.J Suite for lcEIo A piano Pension: ScaccispQnGieri Piano Sonata jnauoni lr violin i pianos El Paaro. Tres Sonetos Roniantlcoa.

LIZA FUCHSOVA piano SUZANNE ROSZA violin VIVIAN (OSKPH cello PAUL HAMBURGER piano ROGER BEST viola CLAIR WALMESLEY soprano. Iicrru 1 00. BOp. 50p from Boi Office (935 2141) 4 Aeeota. TOWER.

N.l. Kopit's OH DAD POOR DAD. MAMMA'S HUNG YOU IN THE CLOSET AND I'M FEELIN' SO SAD. Feb 14-16. 19-22 at 7.30.

Bookitui 226-511 1 (Z.tSpmpnv 6.30pro-9pirir. QUEENS. 734 I loo. Ei 7.30 Shp. Mat.

Thur 2.30. Sat. 4 45, 8.15. JOAN FRANK PLOWRIOHT FINLAY Saturday Sunday Monday Dir. bv FRANCO ZEFF1REL.L! Noel uowara.

tvas. J.41. Mat urs 2.30 Sat 8. Trtui Opera Ballt COLISEUM (01-836 3161) ENGLISH NATIONAL OPERA Tue. Fri.

7: Der Roaenkavaller. Wed. A Sat 7: Csrroeo. Tnur. 7.30: Tbb Magic Flute- JORDI Ss 1.L LEEDS PLAYHOUSE 0532 42111.

12 Feb to 8 March THE IMPORTANCE OF BEING EARNEST. 12-22 March Mea awhile, Baekme ia let Old Front Roma. CDonaM RAYMOND 734 1593. At 7 ii.rn. D.IP.

11 P.m. Ml M( I Nvr MBt SIM HawarthJ. 25-29 Marca VAUDEVILLE. 836 9988. Eves.

8.01 Mai. Tues. 3 0, Sal. 5.30 8.40. M1LL1CENT AMANDA MARTIN BAILRIE In ALAN AYCK.BOURNS ABSURD PERSON SINGULAR Best Comedy Of The Year.

Evening Standard Award 73. rAUL KAiwunu I'resenra THE FESTIVAL OF EROTICA '75 i-T tr vi i Iufyj, Lcerant Josjurn des Prer. lohajm(-. C.hKeMn Lexandcr et1coIh Jacob Obrecbt. ii Hi ti 20 'jI! i kJi Van H'gham rrrn-n Myi COVENT GARDEN 240 1911 TUB ROYAL OFKHA Tomor.

Thnr 7.30 La cLemeoza, Tito. Toe. 4 Fri. 7.30 Un ballo in mescbera. Seats avail except Fri THE ROYAL JtALLfTI Wed Sat.

7.30 La FUle mal eardee. If- RVrN rlllX Ml PITLOCHRY FESTIVAL THEATRE. JUx. opens Feb. 17 for 2Jtb Seaaoo of DRAMA.

MUSIC A ART (Apr. 26-Oet. 4) 4th Spring Mini-Festival (Apr. 4-7) Progs. Accotn- Lid on app-Tel 2680 Stay 6 days see 6 play 1 I I I -rh REGENT.

560 1744 Mon. Tu. To. 8.30. Wed.

Fri. Sat. 7.0 A 9.15. Sth MONTH THE SENSATIONAL STAGE SHOW OF THE SEVENTIES LET MY PEOPLE COME AN ADULT MUSICAL Never dull moroerii E. Newa.

VICTORIA PALACE. 834 1317. Eve. 8.0. Sat.

6 0. .45. MAX BYGRAVES SWING ALONG AMAX Nev Sons A Laughter Spectacular with Rogers A Starr. Bobby Crush. Dctiise Keene A Happy A Full Co MOZART FESTIVAL LONDON '75 ndeT Patronate of Hit ExccUencr the Aiwtriao AtntMusador.

si. John's Sqitare Febmary 18 "ROM A TRIO. Ehzabeib Thomaii Piano Ursula SmviA VioiiB Peter Freyban (Xilo Trio in K543 Tno il f.At KiY2- 7 4 ,1 1MI TTON" A CHAMBER ORCHESTRA Si-rinhcinv 'miio rorwriih in flai K95. Sym-pi, nv Nv 41 tn JiiTtcr OiaS Koch Coridutnrjc. it i K.i Lafau Piim-M V.ml alht-dral FehrJir lu in rr hMGtlSH N'aT1('NS f'lHMBFR ORCHRSTTi A i K4tr" I 'fH i I i Li PiM Jm'ii 1 lidfi i rj h.

is IX i ha J.ilPvm i ir a ntr "rJ-ji HlMHV TrH HI 11. 1 CX 7 rUu-LiuE A-Uti Box Ofliuc Lui 1" VivioriBi Sweci. Lotion V. Ui HL 2061. 01-222 292 OJ-222 JZJl and rroni r-cstival Sccreiary.

Li'pTjer WarUnaham (2- lindFt Midday ccii a Mr Cooccrtu i St. John 'a Smith Square t. fcl 00. SH, St. PiuJ il.50, 75, tJ OO, 60P, Oroup a.iduci-iom.

LVnJB AT THE ROUND HOUSE Monday 1 0 February at 8.30 p.m. Schoonhcrg ode to Napoleon Buonaparte Holloway Evening with Angels Cowie Tacighton Moss: December Notebook 'wlH premiere) BBC SYMPHONY ORCHESTRA. BBC SINGERS I jnc Matin inc. NrJl irnkio, Rmard KceKe Hueh Wocd HOWARTH Jurats tl I1 from uv Rouod Houae fOl-267 and Ifnu rVoCTicosvtle 7So tram 6 JO oo the alsfat onlj SADLER'S WELLS THEATRE Koaeberr Ave KIT 1672 Ev 7.30. Mat Sat 2.3C D'OYLY C4RTE l.i GILBERT SULLIVAN Tomor Tur A Wed li.lamhr Thur Fri 4 Sa The Mikado fThur.

A Sat Conductor- Oiarlr-; Mackerraal. STRATFORD-UPON-AVON Rosal ShakespeaTC -yheairt tOTS9 Unlil Feb 15 ROi AL BALLET. Recorded Booking Itito Q''fl9 mvi WESTCLIFF PALACE Fial Week VICT OH WINDING. PITER DUNCAN EQLLS Feicr Shaffer THEATRE ROYAL VYTNDSOF 95 61107 From Tuesday. Murie4 Pavlow.

Roberl Fleniyng. Robert Bestiy In IN PRAIF OF I VI by Trrrnu.r RftttTaao ROUNDHOUSE 2564. Moo-Thurs Vklt.Jl A 9 T5 p.m STOMl itMASHTA'S RED BIIIIDH A. IVketi 70p to C2.20 DDI AL COl'Hl "'0 l4' Tonwhi at a NICOl. WILLIAMSON.

ST. MARTIN'S. B36 1443 Es 8 0 Sat fl A fl Mai Tuci 2 ii. AGATHA CHRISTIE'S THE MOUSETRAP JJrd YEAR World's Lorurest-ever run 1 WESTMINSTER. 834 (1283 Feb 211.

The Owl the Pnsaycat WHITEHALL. 930 66921-765 6lh cit. Evening at 8 3n. A Cll A Sit 6 15 A 8 45 PVL RAYMOND PYJAMA TOPS featurfnc rhe New See thro' Pon JEANNETT COCHRANE Somhampion Row VC 242 040 CENTRAL LONDON OPERA WED THU ml SAT. "41 to lilh Feb THC SECRET MARRIAGE C3MAROSA El.

60 A 90a. Umi fa fi'indcnuji.

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Pages Available:
296,826
Years Available:
1791-2003