The Observer from London, Greater London, England • 28

The Arts THE OBSERVER WEEKEND REVIEW, DECEMBER 8. 1963 CONCERTS $9 miUion -worth of scrapyard comedy Keeping to the side of Goya's sunny world ART FILMS jfj ROYAL FESTIVAL HALL TaaT soarffe Buk of tbe TtaBMt. Vnerj Minuer Bean, CBE TVfceu frora RoraJ FeaaUvaJ Hail H- (UaT London. SE.I, and Car Park avaUabde NEXT WEEK'S CONCERTS Beethoven Sonata in flat op 110 JOfUJ PI A SO RECITAL UfU BfnecScTi ri de Dteu dona la aothudc Dec LOUIS KENTNER 3 lUll. Chopin Sooati.

In minor. Op 5fl Ibbt A Tilirtt Ltd is 0 6. 5 3 ft Today LONDON SYMPHONY fUoaUu- Cellini PIKRRZ MOVTEn Korukor Schehenuade Deo niViti ml Alborada del GrBOrv DAVID ZlNMAN RitcI Dapbnii and Olio 7.30 p.m. (Suite 1 and 2 London Symphony Orchestra Lid. I.

12 fi 10'- 6 unn Bnln Vjnawm and Furue cm moo. PIANO RECITAL Ihcrae ty Handel. Op It 9 LlaM Sonata in mmv Dec ABBEY SIMON 'Ju" p.m. Harold Unit ltd 10'-. 16 Toes.

LONDON vpMnN.ir- i n. 10 niLniK.llUAH Rchtn.nlaolT Pt.no forwent. So 1 in Dec SIR AORIAN BOI I min. IWURA L1WANY Co. 8 p.m.

London Philharmonic Sonet Ltd IJift 10 BBC SYMPHONY TT I 7 Wed. nunrpmii luLo 1 1 Secuod ol B.BC CHORA! SYK-ltrV Arm, Re.iinkk Dec HI LSEA fiPtRI Anna Reynolds CR'il'P IICIRI Alexander Young David Jrd P.m. COLIN DAMS Brtifih Broti tatting Corporation 21'- 1 in 6 Than. 12 LONDON SYMPHONY mu Dec. All ticket, mid p.m.

London Symphony Orchetteo Ltd Frl. LONDON Rrerbovea Overture. Enmorn 13 PHILHARMONIC iBcctbotcB Piano Conticno Nn 4 in I J)rc MICHAEL STEIN BeelSoTcp SrniDboay No 7 in A vu cmm yte 8 p.m. i 12 (. io ft Irnolaj Chovraux Sun.

GOLDSMITHS' Mes.h CHORAL UNION 'ELnbeili Sm.n M.roaret Duck-onh. 13 Gerald Artist. Rankcn Ruht-y. Dec RTDDICK ORCHESTRA Tbormon l.cfUKmac IREDERTCX HAGOIS Huhtn old unithi- Choral Union 10- through a crisis outside a soldier has been shot, and everyone is longing to get off his knees to look. The news of Garibaldi's invasion sends everyone into hysterics, especially the Prince's filleted-looking wife, who is very well played by Rina Morelli.

The priest is worried sick in case the revolutionaries are going to appropriate the Church's authority over the poor, to which the Prince sourly retorts that he is more concerned for his own class. Holy Church is immortal, but at the moment the aristocracy would be delighted if they thought they had another 100 years. Inbred girls Visconti is a Marxist, and a Count from one of the oldest families in Italy. No one could be better fitted to know about the attitude that Lampedusa's hero uses to deal with the revolution a willingness to support just enough change to ensure that everything remains the same. The Prince bends to the wind to the extent of encouraging his nephew (Alain Delon) to marry the daughter of a jumped-up middle-class mayor, but this is enough.

King Victor Emmanuel asks htm to join the new Government, but he refuses. He believes that Sicily is top old to change, with a vanity stronger than its misery," and a wish for extinction that defeats reform. The film that Visconti originally THE CINERAMA It's a Mad, Mad. Mad, Mad World (Coliseum), which I wrote about first when 1 saw it in Hollywood a montn ago. is a erating three- and -three-quarter-hour picture.

At first the plot and the casting make it sound like a modern silent comedy it is about a chase tarough America bv a bunch of neurotic motorists, in search of a thieves haul that Jimmy Durante told them ahout when he was dying after a car crash. But this is a grim new variant of the old knockabout form, a comedy that deliberately bnitahses every convention that makes people laugh. What it be comes, not surprisingly, is a comedy hat makes people feel battered and bleak. The surreal conventions of clowning, for instance, have gone down the sink. The exaggerations here have the character of the oversize statements if hoardings along freeway.

Ine innocence of comedy has disappeared, and so has toe invitation to participate. You have no wish for anyone to win the chase in this him because everyone in it, including the children, is greedy, opportunist and vicious. Ethel Merman is a rasping awful mom, and even Spencer Tracy is a twister. Fibbing language The violence that is done to cars and buildings and human beings doesn't seem to belong any longer to the painless and immortal world of slapstick it has the spirit of the scrapyards where they pound two-year-old obsolescent Chevrolets into hunks of metal worth a few bucks. This isn't a mad world at all, in fact It's poisonousJy practical.

This is a description of the film, not a value-judgment. It shouldn't need saying, but there is nothing wrong with savagery in an Picasso's Guernica is savage, so is Swift, so is Evelyn Waugh. To say that something in art is alienating isn't an insult, except in the soft fibbing language of film salesmanship. It could be a bold device, to turn slapstick comedy inside out and use it to express hatred, and to make audiences feed that in laughing at people slipping on banana skins all ithese years they may have been laughing all the time less benignly than they thought. At the root of Stanley Kramer's picture and of William and Tama Rose's script there ROYAL FESTIVAL HALL TODAY at 3 p.m.

LOUIS KENTNER In A flat. Op 110 Beethoven I Cnopbi I ILaM IWAT in minor. Op 58 ROYAL ALBERT HALL curtnaJS KENSINGTON, S.W.7 IV rf diction de D4eu dam tolicuds i Aprts uue lecture du Dante LJUI JUHl Mtamanneni lHa A Tftletl Lid Schubert Open Today fnm 0 ar CHOIR CONCERTS Al DIENCE Solofal i JOILN CAROL CASE VICTOR HOCHHAL SCR a HAROLD HOLT LM. pram TONIGHT at 7.30 VLADIMIR ASHKENAZY LONDON PHILHARMONIC ORCHESTRA SIR ADRIAN BOULT Orerture William Tell Rossini Piano Concerto No, 2 RrhrnHnmnv Symphony No. 9 (The Great) I r6.

76. 10 ft. 21 Kl THE BACH CAROL TWO FOR CHOIR AND THE JACQUES ORCHESTRA. H2i; DAVID WILLCOCKS FAMILY CAROL CONCERT I CAROL CONCERT SLTTOAY NEXT, 2.M I Tt XSDA Y. DECEMBER 17.

at 7 JO. 11)6. 106. 8 6.6'-,S 3 6, Hal! I BBS A Tl U-ETT LTD IWE1 84IS ST. INCRAS-TOWN HALL.

F.ulon N.W.I (TVSL 7070 MONDAY, DECEMBEB It, al 7.30 CHANTICLEER ORCHESTRA The great god Coincidence CLARK Ptana 1 TREVOR BARNARD VIOLENCE, passion and the thrusting chaos of the deep unconscious mind make a raw subject for art to digest. Northern painters faced it, but Renaissance emphasis on elevat ing harmony locked it away. It was Goya who loosed it again into the corridor of European painting which leads direct down to the present, and it is this which links him so closely to ourselves and makes any comprehensive collection of his work so welcome. The large Burlington House ex hibition, which opened last week. reveals that Ooya had another side.

It does not set out to be a definitive show few of the greatest canvasses are here, for one reason or another but it does display the whole man the gifted traditional decorator and portraitist as well as the late-maturing revolutionary genius. This is a proper approach but Group ol caricature heads Meeting a WHEN THE east end of Manchester Cathedral was devastated by a bomb in 1940 every window was shattered. This monarch of fifteenth-century Perpendicular is still, despite the clear glass replacements, one of the darkest Enelish cathedrals, with Utile colour relief. trie late Hubert Worthington. who has restored the east end with proper dignity, therefore felt the need for a mural of contemporary significance, if not altogether out of keeping with the medieval carving.

Caret Weight is the only English painter living who could fill, with his intense colour and feeling for the supernatural aspects of ordinary life, the fifteenth-century stone tracery over the door to the Chapter House. His modem interpretation of Christ's teaching which has just been put in place is a major work. Character: light, a tittle hcuiv. nt it tio sweet. NubtJe tMUttift Much enhanced hv lulling tur straw WW iflK-y- I WjjiaaaWV from a corpse in a pastoral tapestry, that we sense daggers in a countess's winkle-picker shoes.

At Burlington House the empha-lis is reversed. The exhibition is entitled Goya and his Times," but this has been interpreted to include only works executed contemporaneously in Spain. They do not amount to much, though Giambattista Tiepdo emerges as a true influence, and bota Mengs and Mdendez contribute self -portraits which excel in their own right. The bulk of the show consists ot portraits. Some of these are superb.

The Countess of Chinch6n floats on the canvas like a flower thrown on to calm water, composed, silvery, delicately pregnant. The Duke of Fernan Niificz is a miracle of firm and elegant simplicity. The self-portrait in old age has an eloquent intimacy. In every picture there are passages of beauty. They are a fine lot but they carry a false message they suggest that if Goya had been English he would have been an Academician.

False message Or course this is not the whole story. The scowling Don Francisco del Mazo betrays the Angry Young Artist (Goya was then actually 741.. The Majas on a Balcony," with their assassin lovers, breathe a new-savagery. The twin Maja Desnuda and "Maja Vestida exert their odd appeal, in which aesthetic judgment is hard to separate from notoriety. The nude one is remarkably naked with her splayed breasts and pubic hair, an outrageously frank confrontation exquisitely painted; but the head looks as though it were pushed through the canvas from behind as at a seaside photographer's stall The dressed one is more brilliant, one of the first bits of erotic realism in art.

There are also one or two (not enough) of those haunting little horror pictures the most alarming is of Iroquois cannibals devouring two saints and, of course, the drawings and engravings. Those who, like me, respect Goya in his serene youth and worship him in the fury of middle age might do well to close their eyes as they enter Burlington House and pass straight through to the two rooms, one at each end, which house the graphic art. Here they will find a genius and an original, who fathered new techniques, new forms, new styles under the pressures of titanic private stress. They wLU entef a world of open mouths, knotted hands, spreadeagled limbs and forked construction, rorras no longer stand still, but jerk, or tilt across the paper in slabbing rhythms. Far-out captions add to the mystery.

The last Proverb engravings exude through the well-warmed Academy rooms an air like breath from a prison cell. Ironically, the same draught blows from a gallery only 100 yatds away, the St. George's Gallery, where drawings smuggled out of Spain depict the conditions of a political prisoner today, Agustin Ibarrola, an artist now serving a nine-year jail sentence iu solitary confinement. If Goya were alive today this is what he too would scathingly be recording, not, as the Burlington House show rather suggests, adding to the muster of establishrrtent portraiture. 135- hrst iced, with light dishes and fur vounRr paJ.ttc But manv MMS-Jiiod wuie-tlrs tiki-rs conten timtslv enjov it through everv nn-Al we do DR.

RLTH GIPPS B. lobllaie Oooeeno 1c Qaa majar BiS. I Tlcteu 12 6. 10 Bagraso i OLGA by NIGEL GOSLING it demands a careful judgment. At all costs the artists claim on posterity must emerge clearly.

There is no question which of Goya's two natures, the early Jekyll or the late Hyde, is the most important. The etchings, originally made for his own eye alone the Disasters of War, the Caprichos and the bullfight scenes done after he had gone deaf and suffered a nervous collapse the drawings and, above all, the mysterious black paintings with which he decorated his exile home in Bordeaux, throw a dark and glowing halo over the early work. It is in their light that we glimpse grisly dreams behind the eyes of his statesmen, that we glue our attention to the blood bubbling by Goya, in pen and Ink. challenge The scheme is carried through with sustained concentration of eye and imagination. The intense blues and violet in the multitude have a dry, powdery quality chat goes with the worn stonework.

Restraint tempers even the drama of the rather Minton-looking Master appealing to die multitude, the sweep of their limbs finely related to the curves of the medieval spandrels. The small arches at the base are filled with seven of the Beatitudes, simple statements in terms of street incidents. The solution of the technical problems is masterly. Weight's art, homespun and ouirkish, is not cranky because deeply experienced, with his flickering brush he has created something, I believe, as enduring and right in Manchester Cathedral as Spencer's Resurrection of Soldiers in the Oratory of Burghclere. Nevile Wallis Sautemes Background: pr.ducd by tradi- tmrMt n.rthnds in l-nnre's moit fiiiUKj it.r ards, shipfwd aud tmitltM 1 tJi cf L.irr' 1 he most snpliisin taMc wme by PENELOPE GILLIATT seems to be an accusation about the whole disguised nature of comedy; they imply that what we really split our sides about is always the sight of someone else's humiliation.

The parallel-running theme is about specifically American kinds of competitiveness and brassiness, and it looks as though the spirit behind this must originally have been Kramer since the first idea of the authors was to set the story in England. So far, then, it sounds like a fihe, strong, unpopular film. The weakness is that the picture is decked out with the trappings of entertain-' ment, that it goes down on its knees to make you laugh, that it is cast with the biggest list of funny men in the business, souped up with jolly music and made for nine million dollars with a colossal apparatus of cheerfulness. You can't at the same time make a sour picture and also hope to con people into thinking they're having a ball so as to bump up the box-office takings. The film aspires to offend you, but it also passionately hopes to placate you.

It is the ha-ha jokes in the film that are uneasy, not the spleen. It is as though Bunuel were to make a nine-million-dollar film with Jerry Lewis in it. Pink-eyed sycophant The magnificence of Visconti's The Leopard (Carlton) isn't just in what it looks like it is almost in what it feels like. Though the film hasn't anything like the intellectual complexity of Lampe-dusa's novel it has a different, physical, sort of complexity that is absolutely engrossing. It gives you an extraordinary sense of the texture of a grand family's life in Sicily during the Risorgirnemo.

Visconti accumulates details like a Russian novelist. The Leopard is the Prince of Salina, played by Burt Lancaster with the right stillness and a beautiful set of crusty whiskers. Under the credit titles you see his Sicilian palace, the long lace curtains blowing in the hot wind. Inside the family is at prayers. The pink-eyed sycophant who is the household priest mutters anxiously THEATRE by BAMBER GASCOIGNE if her betrayer had.

in the usual way of things, thrived. But Ibsen is interested in guilt and retribution Borkman 's end must be foreshadowed in his beginning. So, tacking the old agents (gods, furies and so on), Ibsen brings in his own new avenging deity Coincidence. It masquerades in the weightier robes of Cause and Effect, but without very much justification. And the trouble with it as a deus ex machina is that the machinery takes all evening to explain.

David Ross's production at the Duchess seemed to me exactly in keeping with the play impressive in its slow, heavy seriousness, but unmoving. Margaret Rawlings is precisely the Ella thai Ibsen describes in his stage directions: sad, beautiful, with great warmth which has been mothered by suffering. Flora Entertainer," with Archie Rice a mere intruding upstart among the ghosts of this particular stage, and on Wednesday I saw Nofi! Coward's Hay Fever one of the plays scheduled for next season at the National Theatre. This is not nearly such a good play Private Lives," but it is consistently lively and I thought the company did it full justice. Most of the jokes depend on social embarrassment, when four ordinary people find themselves the guests of a family of cray theatrical exhibitionists.

Jean Boht is very funny indeed as the mousy visitor, the most embarrassed of them all. Jennifer Stirling, punching her consonants as though her mouth were a nest of liny explosions, carries off well the affectations of the actressy mother; and Gilly Mclver is lively and attractive as her daughter. The director, Tony Colegate, manages to turn the whole tangle of awkwardness into good farcical movement. And Dee Kelly has designed a charming set. abstract enough to do wrthout the bother of doors, yet entirely acceptable as a real and elegant drawing-room.

8. G. COOLING GALLERIES. 92, New Bond Street. Pa in tines under 5fl COL.

RTA12LI WSTmjTE A IXER IKS. Wo burn Square. WC.l The Counauid Collection of impresiionin aivd Paimmgs ihc Lee Collection of Old Muter: The Fry Collection: Exhibition of ATERCOLOURS AND DRAWINGS FROM THE COURTA LD COLLECTION Admtesloo (roe; 10-5 (Sum. 2-i CRANE KALMAN GALLERY, 178 Brompfoo Rd 3 The EntHahnein of Enati-Ut Painting peraoaal oniholoiry of work from 16 artists Until 15 Jan. 1464 DRIAN GALLERIES 5-' Porvbener Place Marble Arch WI Paint mm by SL'KILN-NJCKA, IDLER RUSSON.

FR II DM A.N AND BEAN LAND EDWIN LA DELL, litho-mprrt at Pundac Designer Pnnten. 10 Dyers Bids. Hoi horn Monday lo Friday until 14 January FINE ART SOCIETY Ltd. Fihtbittnn of PAINTINGS A WATER COlOL RS IKth to 20lb CENTL'RfES, 148 New Bond St Sat KM IMPEL FILS, 0 South Meritor 1 orMjn. Recent patnitntr PL 1 1 KINLEY CVwcs Janu.tr 4th GROSVENOR GALLERY OPINING IV HlBmON in new prnnnc ai T)nrt Street.

I MayfaJr (WVI ST I MAG PAINTINGS AND SCCl I V. BY AYRTON. BAJ ASCII I A llolGH JMLER. FREML'ND HOSKIN JANL-CEK KOEN1G. KONFAR STMTN'ER.

SILV'ESTRI. SMITH. SOUA. WL5CHKL Until Jan 4 V-Vidyi 10-6 Sal TITSDAY. DECEMBER 17.

7. CAROLS FOR EVERYONE CMdvctor CHARLES FARNCOMBE i JOHJS LAWRENSON Harp MARIA KORX7HLVSKA Ccrokxit ol Carota (Britten) In icrra Pax FmxO Toy SQr-iTipbccty Haydn) and Carols Cor Cbov and Audience FlacUey QWIdri" Music Grouo Wimbledoct Histi School Choir Handel Opera Soaety Charm Chandi (rrcbescra Tickets 7 6 and 3'- from Hall tad tuuai Agents THE ALMOST surgical neatness of the later Ibsen seems quite satisfying in the study, but I find it increasingly tiresome on the stage. And John Gabriel Borkman (Duchess), a play with no loose ends and not one superfluous ounce of chat, is perhaps the purest example of what 1 mean. The situation sounds most moving upstairs the megalomaniac pathos of Borkman, a great wounded beast for ever pacing his room downstairs the batile between the two sisters who have loved him and who now compete for the love of his son. But in practice: it moves me hardly at all.

The simplest moments have some emotional impact such as Ella's great accusation to Borkman that in deserting her he committed the worst crime there is, killing in another human being the capacity for love. Bui Ibsen immediately strangles the relauonship of these two in the tight, neat threads of his allegorical plot. Ella's predicament would be just as tragic and considerably more real FALSTAFF Elgar JUBILEE PERFORMANCE 7'ft. GERMAINE DEVEZE pianoforte. Pub-Uc con ten insiitut du KoiumC't ru.

gueeahejr Place. 7, Tuesday. I0ih Deormber at 8 15 Worb by DcefbovcB, Brahim, Froncfc. Poolcsc. Faorc and ILaeL tniranca tree Ftaooforte Redtal by GRACE WILKINSON WICMORE HALL, WED.

NEXT, at TJ Worki bv Scarlatti. Bcctboven. DeJtmssr, SajTiuel Barber. Prokofiev in 7 Hall (Wei 11411. Amis 4 1MBS Elio.e.1 1 ltd 124 wurmore 1 WICMORE HALL.

WICMORE ST W.l IN AID OF THE SUMMER SCHOOL FOR SINGERS Fl NDS. Muic of the I7ih and IScti remuic. MARGARET RITCHIE DENIS MATTHEWS Purcelt, Bach. Handel, Haydn. Mozan.

THL'RSDAY. DECEMBER 12. 7.A. TICKEIS 21 15'- and 10.6 From THE BOX (IFF HE. W1GMORE HALL.

WIG- MORE STREET I rWELbeck 2141 Hojr: Saiurdays 10- 2 and rem all inuaj Tickel iflKe. Please enclose a a.a nub ponal Fairfield hall, crovdon Sandar 15lb DeeH ac 3 p.n. ERJC STEPHENSON ROGER DUCE Two Pia.no Brahms VuiiUuot, Banic Suite. Bach, Lennox Berkeley, Sarat-SaeJirU It 6--. ai Hall fCio designed has much more depth of brown tone than the print now shown to us it should look almost as though it were covered with old varnish but it is still stupendously beautiful.

There is only one disastrous piece of dubbing, a long political argument that the Prince has on a hill with his even more Tory gamekeeper whose vehemence simply won't go into American cadences. But then all the best scenes in the film are interiors and the insights are physical the look of the pale intimidated, inbred girls, the great dogs and log fires in chilly rooms. the boredom of embroidery and reading aloud, the roomful of chamberpots that the Prince suddenly comes on during a ball. the baroque clocks and huge cup boards and walls the colour of bull's blood. The long ball-scene at the end, played against a mood in which the Prince is suddenly aware of his own death, is as rich in feel ing as anything that Visconti has ever done.

Robson's performance as Borkman's wife is at the moment rather fluffy round the edges, but it has a hard and very real centre. And, except for one or two fa moments, Wolfit is most convincing as the egocentric Borkman. He plays him as a walking corpse behind a great shaggy mask. Never, unless he is brooding about himself, does this man seem entirely real. When another character speaks, his head turns towards the voice, his eyes appear to swivel round later and his mind is clearly last in the field by a very wide margin.

If the evening was dank and chilry, I felt the fault was in the play rather than the players. The Wings of the Dove (Lyric). aoapiea rrom Henry James novel oy Christopher Taylor, is an extraordinarily attractive olav. It offers two great and' distinct pleasures. One is the precision of James's dialogue like an iceberg of cut diamond, gleaming on the surface and trailing beneath it a huge hidden area ot unexpressed emotion.

The players at the Lyric capture well these delicate, unspoken clashes of personality; and Wendy Hitler, in particular, gives a beautifully rich nd easy performance as the heroine's gentle middle-aged chaperone. The other joy is the character of Milly herself, and Susannah York's playing of nor. Milly is James ideal American princess beautiful, ensitive, good, wise and rich. She is also dying, wasting away. Her money embroils her in the schemes of London matchmaking-, her moral qualities, in the end, confound her pursuers.

This perfect but doomed creature could, of course, be cloying and sentimental; but in the hands of Henry James and Susannah York she becomes exquisitely touching. The director. Frith Banbury, and Miss York bring off between them the boldest theatrical moment I have seen for a long time. When Lord Mark tells Milly about the schemes which surround her, the whole play seems to stop. The long, long pause is like a film close-up on her face pale, beautiful, still.

The silence it almost unbelievable. Then at last Milly walks calmly towards Lord Mark, having in the pause decided to deny with a laugh what she now knows to be true. London has thrived recently on dramatised novels Tolstoy. Forster Joyce. But this, by James, makes the subtlest drama of them all.

GRABOWSKI GALLERY. S4 Sloane Amine, WJ. Paliunas by PAT DOUTHWArTt and PHILIP JONES Scuhxurc by BILL rLA i new i wt. many tv-o. HAMILTON GaUeilca A VI NASH CHAN DRA Drawings A Watercolours till Dec, 31.

my iu-o. Jiais jlm h. George I HANOVER GALLERY. 32a Oeom St i JOHN WRAGG SCULPTURE. Opcna KAZLtTT GALLERY.

4 Ryder Sixeet Sl Jajnei's. S.W.1 KENNETH ROWELL uouacac ana waier-cojoun. Until I4U) tft TiDcr iu-1 ju aaiurcmy in-i HEAL'S ART GALLERY. nTvITiFD 1 nv EXHIBITION. Painting.

Uihoarrapbrs. Scuh mrc. ivo. intTcnnam i.oun KoacL, ICV Picture Fair until Dec 18 Buy ticker tor gm tin go tor mrrTiher) and a Plcao Mtro S.Oti MlVI iQium Pirv- Detaih memhenhip A lum-e activities Int. toruiUaiw trip rm.

it is Dover it. INTERPRET ATIO.NS GALLERY. dflA ICma Road CheHea. in An open Inn eahih of drawings and pninttnjt by QUENT1N BLAHt. rt.UK I AH He KIT MIR r-rom MontTav Dec 'th lf- 30 A refcH 11 iVJ .0 S-i ART1IVR JF.FFRF.SS GALLERY.

28 Da let Street. WT MavfaJ' OHHi CHRISTMAS mi ui i It tr a collection ot CHAGALL ITHtKjR APHS and una 1 1 pi bit ing. draw- mna mure uv century antm Limti inn 4Tn weekday n- tu IO-KASMSN LTD. 118 New Bond Si MAY Tue-Fn 10- Sat 10-1 DAVID HOCKNEY WILFRID VAN WYCK LTD. 0 Wtcnorc Street.

I. Wcl. C2lh-i. ZABALETA The Greatest Living Harpkft TOMORROW ai 7.39, WIG MORE HALL 10 m-, 4 WEL 24 and asenu. DIANA TAKY DEEN Piano Recital KRL, DEC U.

7.30. W1GMORF HALL 7 4- WU 2141 and ascnts JOSEPH PLON American Ptanlai Dec. 14. al S. W1CMORE HALL 10'-.

A'- wr.L 2141 and aaenu LONDON PIANOFORTE SERIFS HANS-ERICH RIEBENSAHM Wit MORE HAIL TOD 41 at J. BTETHCATN SCHLBERI PRlifiRAMME Tlcta 10 7 4'-. at Hall fWb-L 2141) Management 1BRS ft TIU.ET1 Lid W1CMORE HALL TTJESDW NEXT, at 7J YONTY SOLOMON 11400 Fanlia No. 6 In minor Bach bavfdsbundlrnAnrr. Op A Schumann Valoea Nobles a Semimeotales 1Ld yncaay Richard Rodney BenneAt BaUade, Op.

f2 Bucarolke. Op Ml Chopin 10-, 4t-. WEL 2U1 and Asctks BASIL DOUGLAS LIT) In the swinging city PLEASt REMEMBER A-m JW III Ml I lW i1 I SUPPOSE that nowadays Liverpool can claim to be the most swinging city in Britain, and certainly the audience at the Playhouse last week was the merriest I have sat in for months. But there was nothing new or pop about these theatre-goers. It was the traditional, much-abused provincial audience.

The charabancs were outside the door, the coffee and biscuits had been ordered for the interval, the chocolate boxes were rustling, but even before tbc curtain went up the whole place was a-bii7z with excitement--so much for the genera theory that the middle-aged and middle-classed are somehow incapable of real enjoyment I suppose the real habitat of Aunt Edna in her traditional gloomy colmrrs is in the laler days of a West Hflid run The Playhouse itself, which from 1840 to 1911 was the Star Music Hall, has very much the right atmosphere for such merriment a delightful, curving, red plush auditorium and spacious areas for refreshment including the old beer cellar, neatly adapted. Last month's piay was The ART GALLERIES rSSST- ROYAL ACADEMY GOYA AND HIS IIMr-S Stms 2-f, A dm ACKF.RM..NN, i tnj Bond Screei. London 1 Ra.inji DraivrntrA hy JOHN SKtAPINC. A until Iflth December ALPINE C.1MFRY. 74 South And ley Suect.

Grinvrnnir Squitrr 1 TUI 2lhh December hJfrl FihihiKim of work hy Mr lTanoc Ftwi Clarke. Mm Dorothy Oour-Iry Mtw Ei.iaNrih Dlatr-Rarber (Mn R. Bunntnii Dairy 10 0 a -5 Saturday liU -12 rm Tel GR.O 1 Jittering on bi il dings. ide unce the- Roman with ibr fiicm on today A run acd hy Nunlnc Ory ARTS COUNCIL fl I I 4 Jamc Square 1 iEI Dri I Mon Wed Fn Sai. Tnc Thm- 1 OS Adm I 6 BEM RTS GALLERY.

Brurnri Place, Pi. 'ure hy PATRICK HAVMAN n-niv id Sfl'i 1 n-i BROOK STKFt-T C. LLCRY. Tribal Scnlrirure lr.n Srw Guinea and Afnca 24. Brook St W.

FNUISH 4(1 New Caven-d Sr w. I Wn Mv Pa-mintM. and rvaw'tiir iW JFIIUDA BACON elehra ed Fvrar-N rim W- kdyN IO50 10-1 CON.RI.si HOI SF, Grrtu Rmwjl Sircei. Uf I Mir NMIHNM ASSOCIATION if i i -I rti fl I BS I ihiNuurt ul An hy Cluh Member Monday ndav until O'i. II (I i iu ifl pm CO PER Derma New Bond rMAY t-K NETMAN Recent pjunungs O'-vea December 11th When ynu come to making your will.

DleaM nwiember that very year tbm British Empire Canrer Campaign tor Research haa to find more and more money tor cancer reftoarch work not only in this country but In many parts of th CommonwpaiLh All this money most come Irom voluntary donations an4 bijurts The appropriate words to una in a will are- "I be-queaTh to thr pJltUh Empire Cancer Campaign for Research thf um ol if or 'I anrl rjueath thf resildue of my stale Uj the Brills!) Empiro er CampaJgn for Research" For further lnfr-rmatloi t-x w-rlt iy Sir JiMwph l.ot kwrxxL Hon Tmaurcr British Kmpirn dtinr i amp lien for KrKrch. Dept. OiLli, LI Qroavenor Cteecent. Londan SU air an Hr ifrity (A unrti PfftwUHmt ft Luk of Gitntctitwr BRITISH EMPIRE CANCER CAMPAIGN for RESEARCH LOOK OUT FOR THIS SERERA. IT GIVES A BRIEF ACCOUNT OF A PEW OUTSTANDING WINES OF MODEST PRICE.

DISCOVER THEM WITH PLEASURE ON GOOD WINE LISTS EVKRYWHe.RK bole Importer KINGTON A CO LTD fr.ST iSftS) tti NKW BON sTRF.F.T 1 rxxure arnn people in. An GBtlciiea coat. Pag 2.