The Observer from London, Greater London, England on October 7, 1945 · 2
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The Observer from London, Greater London, England · 2

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Sunday, October 7, 1945
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THE OBSERVER, STJNDAY, OCTOBER 7, THEATRE AND LIFE By IVOR BROWN THE second production at the New Theatre reminded me of one of those trial football games at Twickenham, "wherein, at half-time, certain of the players change sides. In Henry IV Part II, Mr. Olivier moves from History to Comedy, and so History, minus his Hotspur, is very much the loser. Comedy with the brilliance of his shrill, nosy, consequential, little Justice Shallow, added to the splendour of Mr. Richardson's Falstaff , is rendered stronger than ever. There remains, on the side of poetry and chronicle, the Crown episode in the Jerusalem Chamber1. Is it heresy, blasphemy, sedition, and apostasy o all horrid sorts to murmur that this affair aiways drags and might as justly be sent to the barber's for a cut and trim as any of the baronial and arclii-episcopal eloquence earlier on? Mr Nicholas Hannen goes nobly on the mingled paths of oratory and apoplexy, and Mr. Michael Warre stands by with fidelity Vet one is aching for Cotswold and its orchard-babble. Is it simply that Falstaff and Shallow have queered the pitch for all subsequent batsmen? I put the explanation there. In any case, this second section of the great play is less than the first in ' its baronial narrative, but larger, far larger, in its hold on common things and country matters. Mr. Richardson's Falstaff continues, even grows, in its own magnificence, which is that of a surgr ing mind above a sagging paunch, a mind that takes its pleasurable exercise in a crackling festival of dry wit. This Falstaff lacks the liquorish eye, the smutch of sensuality. To him Doll Tearsheet (played with great gusto and vehemence in broad Irish by Miss Joyce Redman, as it were O'Casey piled on Shakespeare) is not so much a trull as a toy. So that tremendous scene in the Boar's Head lacks something now; for its genius is in the medley of gross-ness and gentleness; the coarse and the tender flower together. The producer, Mr. John Burrell, has, in general, done well again, but he has made a shocking mistake in letting Doll smother her exquisite line about Falstaff patching up his old body for heaven. For the genius of this scene is in the sense of bells ringing to revelry and tolling for the end. Death, as well as thej tapsters, are behind the arras. Sir John is half-way over Jordan; let him look to Doll and doomsday. What an inspired fangle it is of blatantly profane love and shy, immortal longings! This production gives most of it, not all. Perhaps the all can never be realised. Falstaff's recruits are wisely not made so grotesque as they often are; but still they are a shade too farcical. Why should Gloucestershire be manned with freaks? Can't Mr. Burrell see that Feeble, particularly, is a real character and that his superb lines about death are not to be thrown away in a comedy gabble? As for the rest, Silence was never more eloquent than in Miles Malleson's exquisite vacuity of mind and facade. Those who miss their Hotspur will get full satisfaction frrr. he Justices. Meanwhile, Sir Jchn marches or rather stumps en, magnificently on. pondering the way of all fleh as well as the great assemblance of his own. Without entering on those comparisons with old giants, which lead, as a rule, to bickering without evidence, we can fairly claim that these are years of genuine greatness in acting and production of the classics. Should we not be using the new machinery at our disposal to record for all time the achievements of to-day? A scheme has been, suggested to me for a Talking Film Library of great theatrical performances. Obviously such a proposal at once raises difficulties. How much of each play should be " shot "? Who would settle what to preserve? Who would pay? A representative committee could surely do the settling, and the chief ar-tor. of each approved production would choose the scenes for the camera. Possibly the film (say, twenty minutes each of Uielgud, Kicnardson. or unvier, with colleagues) would sell well enough to cover what needn't be expensive. Possibly the Arts Council and British Council could be called upon for advice and help. Let the details wait THe thing should somehow be done. We owe it to posterity, and the fact that we would give so much to see Irving and Ellen Terry, Kean and Garrick. in their topmost flights., is strong reason for leaving to our children the figures and the voices of which to-day we are so justly proud, not least at the New Theatre. " THE SHOUTING DIES " This is an unhappily small play for a big experiment: the opening of the Company of Four's high reign at the Lyric, Hammersmith, But a new version of " The Trojan Women " is to come next, and, at present, a company of six, produced by Mr. Murray Macdonald, does all that is possible for the improbable. Again a soldier returns this time to a small town in America and to the exposure of a Nazi who is wooing his Susanna. Lest we forget. Miss Honda Keane warns us that this is no time to forgive. Her German finds like a very different personage that in one sense his future can be only his past entered again through another gate. A play of good intentions but of less substantial achievement, it is now acted simply and well by . Mr. Gerard Hinze and Mr. John Slater as the rivals. Miss Margaret Johnston as Susanna, and Miss Joan Young and Mr. Walter Martin as her elders, firmly set upon Main Street. J. C. T. THEATRE DIARY Tuesday. Wilfred Pickles succeeds Robert Donat in The Cl-hi For Love at the Westminster. Wednesday. Hamlet. by Shakespeare, Arts (Alec Clunea as Hamle. Olga Lindo, Margaret Vines, Mark Ddgnam). Thursday. Fine Feathers, revue. Prince or Wales's (Jack Buchanan. Ethel Revnell. produced by Robert Nesbitt). This Way to the Tomb! by Ronald Duncan: music by Benjamin Britten. Mercury (Robert Speaieht; unaccom- i panied choir of 161 Ootober n.-GntKN Room Rag. at the Savillz 'Celia Johnson. Joyce 1 Gionfell). Torch Tlueatre-- Colunln 3. WHO SHALL BE YOUR EXECUTOR? One of the first essentials when drafting . a will is to decide who shall eventually act as your executor. The question therefore arises whether the person you have in mind will be available whenever needed. He may pre-decease you, be far .distant when required, or for some other cause be unable to undertake the duties. You will wish your affairs to be administered efficiently by persons of your own choice, with ripe experience and likely to exercise discretion, impartiality, tact and judgment. This Company is ready to assume the office of executor and or trustee at any time, either solely or jointly with your wife or husband, a relative, or a ' friend, and to perform the duties involved as long as may be necessary. Particulars of the services available may be obtained from any branch manager of the Bank. MIDLAND BANK EXECUTOR & TRUSTEE COMPANY LIMITED Radio By W. E. WILLIAMS JT is time we sat up and took notice of British broadcasting, for it has lately been establishing one world's record after the other. Its music programmes, in scope and quality, have put in. the shade anything achieved in this line by any other broadcasting system. It holds a similar supremacy in radio drama. In the last year the B.B.C.- has tackled at least -a dozen exacting productions of " classical " drama, a policy never even attempted by. any commercial" systepi in other lands. If we British ware in the habit of proclaiming our triumphs we should to-day be telling the world how we made wireless history, last week, with'' the production of Hippolytus. Landmark According to the convention by which Britain has for generations been represented as the Caliban of European culture such a production could .have been -con ceived only in Paris, Rome, Moscow, Berlin, or Vienna. But, it was in London, impoverished by six years of war and inhabited, so we are told to believe, by beer-sodden oafs, that this triumph was attained. " Hippo-lytus " was a landmark in broadcasting. It came over alive and immediate, as " modern " as to-day and a eloquent as eternity. Val Gielgud wisely left Gilbert Mux-ray's translation to speak for itself, and his .reticence enabled us to enjoy a drama in which the language alone bore every burden of responsibility. Not only did it unfold the plot and differentiate the characters, but it also shifted the scenery, depicted the gestures, and selected the make-up. It proved again that a well-made play, whether written originally for a Greek stage, an Elizabethan or a Victorian, lives by language and not by" mechanics. On this uncompromising principle was " Hippolytus " broadcast the other night, and we found that it needed no annotation nor any barrage of sound-effects. To many whose notion of Greek drama is muddled up with images of antique ruins . or pathetic ladies in' voluminous nightgowns, this production must have been a revelation. That is not, of course, to say that they all " got it " in 90 minutes. But I warrant that most", of them got something, if only the taste lor more. suDtie rhyming verse may be an unfami liar tune to listeners nourished on the couplets of Tin Pan Alley, but I can testify that the group of soldiers in whose company I heard this programme were moved and shaken by the experience and (most significant of all) said they wanted to hear it again. It is to the credit of the actors that thev all gave performances even beyond our expectations ' of them especially Gladys Young as Phaedra's Nurse, Barry Morse as Hippolytus, and Deryck Guyler as the Henchman. With this produc tion, " World Theatre has set a standard which should make red-letter days of these monthly Mon: days of great drama. First Bout The new discussion-series Man in Society," made a clumsy start. The subject, of fitting people into suitable jobs, was well-nourished by expert evidence. out the presentation wa6 unconvincing. The trouble lay in the apparent truculence of the chairman, Francis Williams, of whose more persuasive powers with a pen than with a. mike something is saia on anetner page. The clash of personalities, real or apparent, always falls nat on the radio (remember the case 6f Joad versus Hogg), and it is better to reserve the arena for the impersonal conflict of opinion. It was in this sense that the first bout of the series missed its mark. ' TO-DAY'S PROGRAMMES HOME (342.1 m.. a.O, News; 8.13, Parade: 8.20, Light Music: 8. SO, Records; 9.30, Service; 10.r6, Piano; 10.30,. Lrghi Music; II.O, Records; 11.45, Band; 12 15, Northern Orchestra: 11.60, Films; l.o. News; l.io, Country; I. 40, Light Music; 2.15, Garden; 2.30, Symphony Orchestra; 3.45, Dr. Mlck-lem; 4.0, "Magnolia" (play); 4.40, Light Music; 5.0, " Hawker of Morwen-atow," 6.15, Children; 6.0, News: S.20, Savings; 6.30, Light Music; 7.0, This I Freedom; 7.30, Newsletter; 7.45, Service; 8.25, Good Cause; 8,30, Lorna Doone; D.0, News; 8.1 S, Sir Max Beer-fa ohm: 8.35, Rhapsody; 10.3O, Epilogue; 10.38, Time For Verse; 11.0, News; II. 3, Violin and Piano; 11.35, Records; 12.0, Big Ben. LIGHT PROGRAMME (1.500 m. . 2S1.1 m.). 8.0. News; 8.10, Summary; 8.15, Organ; 8.46, Light Music: 10.16, Family Favourites; 11.0, Light Music: 11.15. Sport; 11 30. Records: 12.0, Service, 12,30, News; 12.40, Foreign News: 12.45, Light Music I. 0, Serenade: 1.45, Quiz; 2:15, Music Paradte: 3.0, "Lady From Edinburgh"; 3.30, -Light Music; 4.0, World Parade; 4.30, Brass Bands, 6.0, Hymns; 5.16, Journey to Romance; 8.0, Variety: 7.0, NeTs; '7.10, Light Music; 7.45, Grand Hotel: 8.30, Itm-a, 9.0, Sunday Half-Hour; 9.30, Variety: 10.0, News; 10.10, Talk: 10.15, Organ, 10.46, Light Music; II. 15, Records; 11.60, News; 12.0, Big Ben. By SIR W. BEACH THOMAS TN a small pool oi fane .of the merry becks that go tifmbllng down from the Cumberland Fells to the deep lake were collected in close contact a score, or two of elvers, a rare spectacle in that place. And they were engaged in a manoeuvre that' seemed" both rare and " amusing " (as- Gilbert am TOW . whic in na' luxruut ox .trie lav .insi" If it had force; 'enough to -make any such-." challen'Be ludicrousi' Yet they;jteIdom"Bji to sticceed.'Itv one wab3 inrre is:- no sucxutininiejxinwfl- df Caiaint leans .-iriav ' -loon; ! uooosbid an&'jMTotSHlUUraiflfA lt:-ilii;lEboS' tascinateajoMerver siz ait (Hi OeaD: ;ouna a ,?on to issively final v Jlrne the 'wag forced j -i j.i i. to The General rol&raticm of eels is so Ian wswe tansimllMly. that Its Wfiajs -OfedoHieJ .almost a wonderi of ; tbepllfl, since its secret was-piumbenot no many years ago by a Scandinavian seaman. We all know now that the mothers breed in deep holes in tne Atlantic, ana their young set forth an an easterly journey, changing their shape as well as their size before at long last they reach the desired estuaries, and desert salt water for fresh.. Up such rivers as the Severn they continue their journey in myriads (and have been netted in myriads for Continental buyers). So touch oi tneir nistory is common Knowledge, but as to the rest" of the life-history of the fish astonish ingly little has been recorded as the result of direct otaservatinn. They distribute themselves ' sill over the country. The biggest eel I ever saw was wriggling in the soft mud of a Midland pond at a long remove from any stream. They are numerous in east-flow ing streams such as the Ouse, and may be found in quantity in Fen ditches. We know that when their time comes the mothers, make their way back to the Atlantic, reach the deep pit where they were born, and there perish, their duty done. The source of this knowledge is largely inference. The actual observation and record of arrivals and departures is more than scanty. Some of the eels at any rate must travel overland like snakes. There is no watery connection between inland ponds and brooks or between eastern and western rivers. Because . of such surprising absence of visual evidence about these mysterious creatures the incident of the struggle of the score - or so of elvers in the beck seems to me more than usually interesting Were the elvers driven by a blind desire for the deeper tarns, that lie like set jewels, between the rocKs ot the UDDer Fells? But even if we have information nn' the local history we shall not know whence springs this excel sior spirit, n is inaeea a strange device. The march of the elvers seems to have as little reason as the immigration into England of butterflies, which do not themselves re turn and for the most part leave a progeny that does not survive our winter. Suah problems are too oimcult tor us, but " the difficult is entrancing. By MAURICE COLLIS WE do. -not know how the British public and critics will receive an art which to. .most of them is entirely unknown," writes. Mr. .rik W.etter'giseusiri the catalogue of the? contemporary Swedish paintings .now on view .at the Wudenstein Gallery. How ex- ae artists jar ace witaisi cn-iney,' si lr no: such; ss-' a "cuational; tvles j:h jdb ti i, .anpftTnose i -Xbretearf . that &iir2?Jfi orv.thanfo oi - oyi puiiu-of arjrje'ar- hmari in an English lElish landscabe.doeB not look Quite the same-ai-aHwerlp in his setting,. hut to-day rthey both think-.much in the saine-way, and that.iiB What gov AM expression in art Olke tte, 'the Swfdj3aw in modern . French; 4jjanitl)S cori- ?:enialnirdeB'foiS tte eresswn of heic iafiMriitlpairttfBJuijthey have used those -hitfdeBj',asthey have been used here: . and "elsewhere. There is not a single picture, in the exhibition which if.wauld-be impossible' to imagine an .' English aruBi Duinnne were ne . tour ins Sweden,, and contrariwise, were tne sswedes to come here and paint, their pictures would blend intustinguishably with our productions. w THE FILMS By C. A. LEJEDNEr I thi BUUUUIU ing to -trail ance; an house in ImjEVfirlatiohs EnglU an Ei Chess By BRIAN HARLET Problem No. 1,414. By T. and J. Warton " MRS. WARREN'S PROFESSION " Here devouring Time has blunted the lion's paws. The Censor kept this play caged for so long that when it was set free after thirty years it had hardly a pounce or a roar left : it could only move from the fierce light that beats upon the Shavian stage. Periodically a producer bids it roar again: but to-day the only speech with theatrical thrust is Mrs. Warren's confession. .Vivie (the New Woman) is a holy terror; Frank, young man of the period, is an arch fiend,' and Sir George confirms us in the Gilbertian belief that all baronets are bad. At the Torch, where players of the London Theatre Group producer : Mr. Eric Crozier) manoeuvre neatly on a table-cloth stage, Miss Olga Edwardes-has the right idea of Vivie, the snow-maiden, and the Sir George of Mr. Julian Somers was obviously born sneering. Mrs. Warren needs more variety of tone than Miss Constance Fecher can command. J. C. T. bib aaaf White moves. plays and mates in three No. 1,413. By R. C. Lyness. 2 move. rvey a rv.5, iu marKS, 11 x. x 00. Kt Ba (vice R Kl ) : 1. F x B, 2. B QB4 (added mate) . Skilful mutate, with plenty df tries. Chief point is White interference mate after P -B6. Tourney N01 77. Also prizewinners in section Ji. Lore ana w. a. Howett. - The Hastings International Congress, promoiea oy iocaL clud ana axz.b . runs from December 28 to January g Six tourneys, headed by contest of 13 famous internationals. Entrants to 7, Carlisle Parade. Hastings. 1.000 fund is requirea. A Master -The only sensible anrjroach is tn consider how good as individual artists are the exhibitors. How far have thev digested what thev have learnt froirrFrancet and put iv oui in a particular ana forceful manner? Are there any of them so personal and strone that .thev may be called: mastprs in thpir own right? (There are onlv eleven altogether, each showingome five nwino, auu uuc uiaj sujjpuse mai they are the eleven best in Sweden or, at least, eleven of the best.) My. impression is that Carl Kylberg can stand as a master in nis own right. His is texture painting of the very highest Quality in " The Wise Vircin " and ..wie nying jjuicnman. wimout seeing more of bis work it ik im. possible to tell whether his con tent and feeling are on a level with the entrancing Quality of his naint. All one dare say is that he strikes one as a master. Karl Isaksoh. thbufeh. It seems. a famous Swedish painter- anriears from the five works here shown as only a highly talented follower of L-ezanne; and Isaac Grunewald of Matisse. Both Sven Erixson and rcagnar Sandberg seem more per sonal . artists, and the first in camping Place " and the second in Children on a Swing ' are seen as accomplished colourists. Head In Chalk There is a verv Ktrikine head in cnaut, me emmney Sweeper, uy l-uti ueinens. ann vpra Nilsson stands out as a handler nf paint rather than a colourist, her " noViir iir.;tArt it t - ai qualities of free brushwork which we admire in Augustus John. While, it is very agreeable for us to be able to inspect good paintings from Sweden, it would be wrong to " believe that these pictures can do more than add to our general knowledge of the narticu lanties of -European modes. But could we ourselves do better if we sent to bweden five works bv each of eleven good. English living painters? Perhaps, if we put in Sickert to balance their Isakson, who is dead, we could iust achieve a balance in our lavour, but it is probably safer not to claim more than that we could do about as well. HEN I was a very small child, on a wet 'summer holiday in Wales, I came across a book that I was forbidden to read. I have forgotten its name, but ' I remember what it was about, because I took it oufsIde 'to'The hayloft ahd read it through a soaking afternoon in the stuffy, inviolate, and somehow :senupus secrecy .of the hay. It was about, Wink. It was a terr rible, passionate ' indictment of Drink. Everv Dersoh in the book fell, sooner or later, a victuh to happened to these people. They 5a-w pm& eiepnani5 ana green snakes. They were trampled underfoot by the noble cab-horses 01 teetotalers. - xaey cringeo m the snow outside glaring gin-palaces under threadbare shawls. They died miserable deaths in E5or-houses, muttering, " The arches " - or ' " Lyndhurst," or whatever may have been the name of the . desirable detached residence . in which they were born, It was a terrible book, and the most terrible thing about it was its peculiar dullness. I remember that I went back to the farm, looking 'guilty but defiant, and read with great pleasure' and profit a couple of chapters of I he White Company. These memories of a long ago holiday recurred to me vividly when t was invited this week to review a Him about the evils of drink, en titled The Lost Weekend (Plaza) , with Ray Milland. "The Lost Weekend " is concerned with 48 hours in the life of a drunkard, who will - go to any lengths of then and degradation in order to secure a bottle of whisky, but is finally prepared to settle -for a typewriter, a brunette, and a chance to write a pulsating novel named " The Bottle," " Only Paramount," says Paramount, " dared bring it to the screen, with, uncompromising frankness." It is frank; it is well made; it is un compromising, in the sense ' that' it holds that a drunkard s. dream is a sufficient theme for drama tists. But to mytaste it is oust dull Valley of Decision (Empirel. with- Greer Garson and Greeorv Peck, is no place for a critic. It is aoout a servant girl who loves her master, as he loves her. and they don't marry for some stupid CAN YOU SAY? Set by MORAY McLAREN I. (a) What is a murex: and (b) What famous English poet brought one into a poem.' 2. What was the name of Dr. John son's cat, and what did he give it to eat? 3. How many times did Frederick tne lireat of Prussia take bath in his life? 4. If Mr. "W. H." of Shakespeare's Sonnets was neither Lord Southampton nor Lord Pembroke, but a boy actor, what, probably, was his name? 5. During the laying season how many eggs does a normal fertile Queen bee lay a day? 6. Which David is North St David's-street in Edinburgh named after? Answers on pags 5) By OVR CORRESPONDENT T OTS of us complain sadlv when dealt a yarborough, yet a C.M.F. corresponaent lu.u.) Has cause to remember a most happy issue out of sucn an annexion, n.-w. were vul nerable when North dealt: A, x O A, x, x, x, x, x, x A, Q, J, 10 4 Q, J. 10, x , . K, x w e I 8 1 X, X, S, X, X 9 x, X, X o 4 9, x, x, x. x A, K, Q, x, x O K, 10, x K, x, x S?J, lO.x.x, 03,J.s The biddine was. shall I aav. little intriguing, so I merely record it without comment except that North expected to be 500-700 points down to save a certain rubber: reason, and the audience cries, and the film goes on, and still they don't .marry, and the audience cries again, ana ne servant gin saves heX master from financial ruin, and even then they don't marry, and the film ends, and it's sad, kfnd-'6f7,'but nobly, irresis-, tibly, and commercially beautiful. Ovr: 21 CNpw Gallerwl is not so m'ncK-ar flbn' as a photographed play, and not so much a. play as a farcical conglomeration of inci-rlmitsjwhieh take nlace with a tre mendous burst of speed in a fixed field "of -"Vision. The scene is a bungalow at an American Army training camp, wnere a iaay novelist has followed her husband as he tries ' to qualify fr a commission. Since he is considerably over 21, the age at which, he has been told, the, brain ceases to absorb knowledae. and since he gives little evidence of having been a quick study at any time, ne nnas the going hard. To add to his diffi culties, his old publisher comes roaring along and insists that ne writes a series of editorials for his old newspaper, which has been getting into trouble over its reports of the Big 3 meeting. As you can Imagine, the lady novelist, although just a teeny-weeny bit over 21 herself, say 22, whisks things into shape; getting her husband through his exams., pacifying the publisher, and putting the Big 3 on their feet again with a series Of strong, masculine articles, beginning with a powerful leader entitled " T,he World and Apple Pie." " Over 21 " is the sort of film in which you might expect to see Rosalind Russell popping out from the cover of a type-writer, but actually it is Irene Dunne who plays the lady novelist, and very prettily, she does it. If there is any humour hidden in a line Miss Dunne can be trusted to worry it out and display it to advantage; and if -there is no humour, she is just as apt at concealing thf fact, a talent that has long kept her in high demand as a cinema actress. Alexander Knox plays the husband with all the animation of an agitated egg, and obligingly trips over the furniture when the lines are not quite as funny as they might be. "Over 21 is likely to be a highly successful comedy. It will make an audience laugh, instead of keeping them for two hours hoping for the chance to laugh. It has set out to capture laughter and has won. Journey Together (Odeon) is a fine little picture, but it may have come two years too late to ern its full meed of appreciation. Produced by the R.A.F. Film Unit, directed by John Boulting, written by Terence Rattigan, starring (if the Services will permit the word) Richard Attenborough, and introducing Edward G. Robinson in a minute part as a guest artist, it describes the training and first operational flights of an R.A.F. bomber crew, with particular emphasis on the unspectacular but crucial part played by the navigator. " Journey Together " is very good; observant, touching, reticent, witty, perceptively directed, gaily written, charmingly acted, and altogether right in fact and feeling. The lads are coming h o mc again, t h e Weather Report i-; 'news' again, cars a.c on the road again, ami the day draws nearer for the return ot Kia-Ora fruit drinks. Kia-Orau means Good Health All good slioes need a shine for. extra smartness 'la Black, Brvra & Dtrk Brow Supreme for Qualify North East South West 2 0 2 N.T. 3 4b 3 N.T.f!) 4 N.T.O !) Double 5 0 ("!) No Bid 6 Double All Pass . West, after much thought, led his singleton trump. West North East South 1. x' A x x 2. Ox Ox Ox x 3. x 10 x x - 4. 0 J 0x 0 10 x 5. vi V x vi 8. OQ OA OK The position now was A, x S - 0 X, X, X, X Q, J, 10, J, 10, x o N W E S 4K,x VA,K,Q o 4K, x Sayings of the Week " Of course I said the Irish are not proaresaiue. Who wants progress, anyway?" Lady Charles Cavendish (Adele Astairg). " In England toe are a shabby Jot all of vs." Sir PatricK Ashley-Cooper (in Canada; on clothes). X, X, X, X V X o 9.x The declarer now led another Diamond from dummy, and what should East do? It doesn't matter, does it? What Actually happened was: 7. 4 x Ox K 4 x 8. 4 10 4A 4 x 4 x 9. j x Ox 4x 49 10. 10 Q OJ? Q P x, 11. 4J 0x fx 12. 4. Q 0x yA 4 x 13. y x x 4k 4tx I feel East was a most sumrised and disgruntled man at the result You would have doubled in his place, wouldn't you? THEATRE NEWS Shortly after Christmas V, John Clements is to present (and appear ml a series ot plays m the West End on similar lines lo tne uid Vic ana Haymarket seasons. He is opening with a new play, as vet untitled, about Warwick the Kingmaker, to be fiillfiwcd after a few weeks by Dryden' Marpiagf la Mode (Kay Hammond as Melanlhal. Is Your Hoveymoo.n Rfally Neies-sa-,'' 'Duke .of York's1 rciches its Otr.h performance on Thursday A Night in Venue i Cambridge! has I passed 4110 performance1:, and The Nicht and the Mtbic iColiseuml 200 Fit For Heroes will continue its Embassy run-u:iUl October 20. ACROS8 1 Isvestia? Ours (anag.) (6t 6) 8 Room that doesn't sound entirely intentional (9) 9 Form that even the best judges seldom study (5) 11 In R.L.S. again and in Saki too (8)- 12 The animal that goes father? (6) 14 Drinkable ham (4) 16 Revelling, like Berlin (2, 3, 5) 18 Happv without hay (10) 19 A danger to pedestrians. (4) 21 The opposite of 18 in a heap is all rot (6) 22 Lettuce and cress sandwiches, and angelica on the cake' (5, 3) 25 Big enough to ( make vou very j annoyed (5) j .26 To give slight I trouble to save a ! greater (9) 27 Destination of an early Irish emigrant, who carried his own luggage (12) DOWN 1 One of those who approve of Silvia (5) 2-Seriqus fan (61 3 Newsy; see it (anag.) (10) 4 Her heart was sad in the cornfield (4) 5 Held by a sublieutenant who has lost his place 8) 6 " The Lake Isle of " (N o charge for staying there?) (9) 7 Earns the right to arrange the musi-c a 1 programme (4. 3. 5) 10 Educ (12) 13 Fanciful, with a harmonious start (10) 15 The bird to pull your leg and part of your foot (9) 17 Not to .be depended on to make a silly ado (8) 20 The taste of squirrel is horrid (6) 22 Here's a crown; give it back to a painter (5) 24 Eager to reverse a TetrazxLLU Hi EVERYMAN CROSSWORD. No. 5 YOUR OWN CONCERTS FOR THE WINTER EVENINGS JBJ3.C. Ph I ' The i$45 Promenade Season is over, but the music lives on in recorded form, in many cases by the MKh lly' same artists whose performances delighted you at Sway the Royal Albert Hall. Programme building for home concerts is a fascinating pastime for the musk- lover. Here are two suggestions each of them r based on typical "Prom" Programmes of the I I JV&v kind of musical evening you can enjoy with M j jip5T Aj "His Master's Voice" records. lfpSttLU nrnznzcEriipzni Zlj.yjZDggZDZDZ zpzn!bzciz'DppzDz A TCBAIKOVSKY XIGHT Polonaise ("Eugen Oncgin") Tchau.r. Sir Adrian Boult B.B.C. Symphony Orchestra DB 3132 Pianoforte Concerto No. 2 in G Tchaikcisky MoisErwrrsCH and the Liverpool Philharmonic Orchestra C 3410-13 Conducted by George Weldon Symphony No. 5 in E Minor Tchad'inly Constant Lambert London Philharmonic Orchestra C 3088-02 Variations on a Theme from Suite No. 3 in G TchH-.i'- h Dr. Malcolm Sargent Liverpool Philharmonic Orchestra C 1 y'.-1" BRAHMS ME1VBEI.SSOHX LAST WEEK'S SOLUTION AND NOTES ACROSS. 1. Wish-ton-wish; 11. Knee ("eye ot a needle"); 12, Wheelman; 13, Is-a-beHU; 14. Wake up Ihldden): 15. Elgar iRegali: 16, Ball IGray "Eton College ") ; 17, Clap (Peter Pan); 19. Vergetle. 22. Hartey: 25. Hyades iTenn. " Ulysses."); 27. New-tonic, j ZB. Dona r winic is as good , 29, Mere: 31. Shrof (by changing money): 55. Oraclet: 54, A-ganc: 55, Rocalllet; 36. Nine. 57. Skimming-ton DOWN. 2. In-so-late "too much 1' the sun"); 3, Sea-bar (sea-swallow); 4, Hebe (H.MS Pin.): 5. Twelvemo, 6. New-ark 7, Wear lA.YX il. 7); 8. S-meat-h (Smeel ; 9, Haul: 10. Unpleasance 11. Klnchinmortl 16, Bema-d: 18 Plate, 20. Glycogen: 21. T-rent-ino 25, A-wrack; 24. Unhelm: 26. Dorrit; 30, Eros (Ant. & CI iv 121 ' 31, iMulSlim, 32, Fang (2 Hen IV. i OI. Twist). T iliitt Overture Fdxoal's Cave (Hebrides') Sir Adrian Boult BrB.C. Symphony Orchestra DBaioo Violin Concerto in D Heifetz and Boston Symphony Orchestra Conducted by Kovot.vh.- DB 5738-41 & DBS j-,. Symphony No. 4 in A ("Italian") MrM KoussEvrrzxY Boston Symphony Orchestra DB 2603-7 Symphony. No. i in C Minor TcscAWna rN3.C Symphony Orchestra DB 6134-8 lis MastersVoice - TnECORDlAc 7 THE. GRAMOPHONE COMPAJiT LLiCTT.D, HA J, IflDDLllEX

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