The Observer from London, Greater London, England • 20

JUNE 1967 1 8 THE OBSERVER REVIEW, A legend on trial TWO ROUTES TO ARDEN umiak Ild a ROY A FESTIVAL HALL LilUkl.ll M.tmlKlT J. DL-lTlMjn. I Bt. Today 18 JUNE Bcelhntra loiin tv.ru.cnp in Brahiti Symphnn No. in rnino I'ifase ilf i hang "i cnmim tor and sniatM in 2 Jil in ricrs solU i FVIDENTI.Y the iheatrical quc-i-lion of the eyr is lo be how d'you like your As You Like II? Trans-vcsiiie, in ihe projecled National Theatre production this autumn Mod, as in ihe cheerful Birmingham Repertory version which arrived last week in London at ihe Vaudeville Or druidical.

its wood-kind les-, green than sacred, in Ihe new Roal Shakespeare presentation al Stratford The one thing you can'i have, apparently, is As You Like II straight. Ik years of Viclorian popu p.m. mann, who has already scattered his views on this work through most of the theatres of Central Europe that are capable of performing it, was to undertake yet another production. In fact, the result i.s full of fresh and relevant detail. It is, however, a production that cannot be assessed apart from Josef Svoboda's sets, and here I am in two minds.

In general style his colourful mixture of cut-outs and LONDON SYMPHONY Ln an Krrtciz it s-ph Eiiclw J.inrfrfl iirpjpnjnt ihthr--ira J.rrf. ROYAL PHILHARMONIC Paul ToncU-er nisr Sca InrcrKidrj jcLl rum i i piwrm Rloch R. Straus id. tic Orchrt tiy al Philhar? larity with West Hnd lady-stars have- caused a revulsion actainst it by aca Fland) Oncer to Gnissn in minor, i)B 6 No 12 Mendelittohii hjIui Oonceno mmnr Brahms Symphony Nil 4 in minor demics and new-wave directors alike. Mnn.

19 SI NE 8 p.m. Tue. 20 JINK 8 p.m. 1 hues. Jl NE 8 p.m.

uriuen down as second-rale Shakespeare: prosiest of ihe poetic plays. Leai comic nl the comedies PHILHARMONIA 'Nullum MiMcin rw Irffl iJ LONDON SYMPHONY 4 ntul ltormi t'HfTord Curud 1 suspect myself lhat I his lias les. persistently levelled against the libretto are overdone. Like The it is often puzzling in detail, yet bare outline it is clear enough. Two women are childless.

The Empress has to learn that her union will only be fruitful when she has achieved hum-anity through sacrifice. Barak's Wife has to come to love her husband as to enable him to give expression to his love for her. Hofmannsthal's language is often over-elaborate and mannered, and his text is hung with symbols like a Christmas Iree. Yet it also has the psychological insight that had so fired Strauss's imagination in earlier collaborations, and it is firmer and more pointful in structure than many operas that have won popular acclaim. To lay all blame on Hofmannsthal ii manifestly unjust.

But a librettist ha a function beyond that of merely providing a serviceable dramatic skeleton on which a composer can drape his music. He also has the task of firing his partner's creative powers, and it is here that Hofmannsthal failed and both of them knew it. Afler Strauss had played him most of the third act, the poet wrote that this crucial part of the score, which should have been 'its crowning had left him oppressed and In a nutshell Strau'ss. who at first reading had been enthralled by the libretto, was understandably piqued. Characters like the Emperor and the Empress, and also the he replied, 'can't be filled with red blood corpuscles in the same way as a Marschallin.

an Oktavian or an Ochs. No matter how 1 rack my brain my heart's only half in There, in a nutshell, one has the reason for the failure of Die Frau ohne not only to win the popularity of Der Ro sen aval ier," but even to fulfil its own ambitions. Yet if it fails it does so on an heroic scale, far beyond the reach of lesser, if less flawed, composers. In a real sense it marks the watershed in a creative career that stretched from the year of Liszt's Mo? art lo do with the play actual qtialily than sviih our current dominance of directors in the theatre. As You II i iiN nr.

hen nldi Overture. I.ikk Silla I1 ja ro 'on uerto i rial Symphony No. 3 in Hit tJrujjc tontiuvtnr laLI airier ld) Like ll isn't a director's play. It LAST WEEK Die Frau ohne Schattcn, which devotees like William Mann salute as not only the biggest and best, but also the most profound and the most real of the Strauss-Hofmanns-thal canon, came lo Covent Garden. The arrival of this.

legendary beast on home territory is in itself an event of no mean order and in many ways the production is worthy of the occasion. Georg Solti is in his element in this vast and sumptuous score, and unfolds every dimension of it with mastery. The theatre quakes as no fewer than 1 23 instruments join to build up climaxes thunderous power, unequalled even in Yet detail that is too often left to fend for itself in a swirling river of sound is superbly defined, so that the music's opulence is not allowed lo swamp its delicacy and the ardent cantilena in which it abounds soars out with irresistible eloquence. Orchestrally, it is an intoxicating evening -at any rate for those of us with a sweet tooth. Trap avoided The cast is strong if not outstanding.

Inge Borkh's voice lacks that indefinable quality of personal magnetism, but as, Barak's Wife she uses it with splendid power and assurance, and she cleverly avoids the trap of playing the woman as a mere shrew: for the first time 1 was made aware of the extern to which her savage resentment of her husband lies in his failure to satisfy het physically. Regina Resnik was far from immaculate vocally. But here again was a performance that put across the equivocal, cynical character of the Nurse with unusual impact. James King is an accomplished, firm-voiced Emperor and HUde-garde Hillebrecht negotiated the tricky and vocally exposed role of the Empress with skilful caution. As Barak, Donald Mclntyre is still a little lacking in diversity and character.

But time will doubtless look after that, for the matching of a resists tailoring into a single style or idea. Kor all its hints at a 1 Tempest like discussion of the ideal Utopia. never quite arrives there. For all touches of midsummer-niglii's QUEEN ELIZABETH HALL magic, it nerver wholly leaves the AUE DKR VOL SG Ucrwn Rl MT-'PHENS tpianov Schumann LicderkrcLs Op 24 JGedichic von Heme Brtlien The Holy SonneiA of John Donne l.iFt Ire Soncui a fcirarta Hida Carvzunci Purceli Sonic 2 I rrrwJaj Cftvau.f gTOund. All the same, as actors know, it's one of the most theatrical things SJiakespeare achieved, working best when the cast arc given their legged and coolly witty, masquerades in an orange corduroy joke about ldy Chatterlev's lover.

Colin Far-rell's Touchstone is a television comic, with bell-bottoms and a David Frost fringe, fastidiously scraping the sheep-muck from his Cuban heels. Brian Cox's Orlando, in railwayman's boots and cap. is a sturdy North Country rocker. The test of such gimmicks is how much lire they give or take from the text. They give a surprising amount: a splendidly comic wrestling-scene, several new meanings to old jokes, a general air of youth and holiday.

They take what some old squares may regard as the heart of the play: its poetry of woodland and natural life. The jokes which come off, you slowly realise, are all the urban ones about rustic naivety and discomfort. Of the various versions of As You Like It' aimed at this ycai's GCE students of the play, this should be the most popular. But if the purpose of offering Shakespeare to our industrial young is to widen Iheir experiences and imaginations, it fails totally. Early promise Not so sadly, howcver, as the RSCs revival of Ghosts at the with Peggy Ashcroft playing Mrs Alving.

Aflei long self-debate whether disappointment was caused by a misfired performance or production, I'm forced to choose the latter For the evening begins well, promising a great occasion. In her first scenes. Dame Peggy's as fine as I've seen her. She comes on, a controlled, erect figure in dour, peaty silk of the same colour as the set's gloomy panelling, her face white and un-speaking flint. She sits motionless, listening to Pastor Manders praising her dead husband, only a beating finger betraying her impatience.

As he flounders further and further, the face's intelligence comes alive: irony, scepticism, contempt, chasing each other across it. The whole play is there this is a woman, obviously, who has fallen out of her time. Why. then, does she wear its clothes, the colour of her surroundings heads. Ml SIC OK LONDON MRTSA ROBLfcS (harp' Mozart Omrwei in flai.

K. 42 Bee ho en rio in flat Op 97 (Archduke. Ra i. eJ I iKtoj ljo. i on A A I iegri for harp, ri im ne fl ui clan net Potilenc Scvcct fpi.i no wind I- 2 I (ft IM I tlfril.

t.rsi. AEOLIAN' SINGERS SF AS I conductor" John McCabe (piano) Manm Ncitry fojffjiJ Hm'h lu Moicts. I Pccmsercs. MrCubc Caniau. oT tiilcntXiS Forbes: fur Kci board works Bach nt Hajdn 2 1 I 10- A mliun Htngrrs Litl.

This happens eventually in Ihe Today IB June 7.15 p.m. TuenJaj 7.45 1 I p.m. Thorsdaj' Jane 7.45 p.m. :.1 June 7.45 p.m. second half of David Jones's production, and because Stratford has Ihe better actors it yields marginally the projections seems admirably suited both to the work's fairy-tale atmosphere and the need for a formidable series of transformation scenes.

But to my dismay these are for the most part simply funked. Time and again the heavy plush curtains roll down to sever the continuity that is so essential to the second and third acts and is as clearly prescribed by the nature of the music as by the explicit stage instructions. Nor was a sedate lowering of the ceiling at the end of the second act an adequate representation of the cataclysm that should engulf Barak's hut. Essential detail, such as the fish that the Nurse conveniently conjures up for Barak's supper and which symbolise his unborn children, is simply left out. Can producers not grasp the ehmentary fact that an invisible symbol is a contradiction in terms Or is a demand for stage magic now to be dismissed as a childish whim we should have long outgrown Clear enough Still, the production as a whole is carried by its high musical standard, so that little of the opera's failure to grip the imagination more than intermittently can be laid at its door.

Yel fail it does, and at my eighth or ninth hearing of the work in a theatre 1 am no longer willing, as I once was, to attribute that failure to my own inability to plumb the work's depths. The notion that it is profundity that has stood between Die Frau ohne Schattec and popular success seems to me the very reverse of the truth. Complicated the work is indeed. Yet the charges of obscurity that are so Peggy Ashcroft and John Castle in Ghosts at the Aldwych. Those surroundings are part of what goes wroog with the evening.

Jocelyn Herbert's set, though a distinguished design in itself, gives away too quickly the horror of the life led within it. I'm afraid that if I stayed cries Oswald, 'everything I did would become as ugly as it It should be the play's first great illumination: that this ordinary nineteenth-century drawing room, and the civilisation it represents, are repellent, crippling. We knpw it already. From that point, the play should crackle with the racing flames of the domestic Gotterdammerung Ibsen dreamed for his century. Not here.

No glare from the burning orphanage reaches the gT6om of the Alvings' house of ghosts. The pace is quiet, almost sluggish John Castle, as Oswald, listens apathetically to his mother digging the truth about their lives out of her being, and our interest flags with his. His great final cry I didn't ask for life. And what sort of life did you give me should ring like a hammer. Instead, he hisses it with soft, underplayed intensity.

Ibsen's final lighting instructions are ignored. The grand illumination which should dawn on the heights behind, too late for these stricken figures in the shadowed foreground, struggles through the wrong window, on to Oswald's sagging features. Alan Bridges's faujt in directing is one of those Ibsen aimed at: good taste. Afraid of melodrama, he's played dov.il the violence of incidents which can only be played sensationally. The result is cold, remote as a culture dug from peal- Dame Peggy's playing can never be less than a pleasure to watch, but the hope that she might do again what she did for Hedda Gabler' has been thrown away.

RANI SHVNTALA A Dane-Prama iBallci Twcniy Lantcrti cf rbc Asinri Music C'ircte; North Indian Musiu specially com-pivcd rv I iiad All Akbar Khun. Cnorcojtraphy KHhna Rao. haodrabhaEa Devi. "I- Hi- a wn Mu.u'c Circte POLYPHONIC ORCHESTRA BPlS j'conduuor) RibiLTd RoOnev (pi.i mi Hamilton Overture 1LU2 Lambert Ja cimcerto inr rjiano and nine inMrumcms Sullivan: Symphony in Poiyphon Ltd ROYAL ALBERT HALL Kensington, S.W.7. MANAGER FRANK rV'L-NOY lan JnhiLvon prntnlt A ROM ANTIC tTCNTNt; WITH JOSE ITURBI FISTOULARI ROYAL PHILHARMONIC ORCHESTRA Panta? O.

Romen Jullel TchatknTks Val Triple Slbell Placn Conceno in A minor Polovlsiiin Dames Borndin Piano Concerto No. I In Hat Usrl i l-k 25 2 ft, ID ft. r.KLN Open today from 10 a voice so splendidly nch and steady to evident musicality promises great things. I must confess that my heart sank when I originally learnt that that veteran Straussian Rudolf Hart- Sl'NDAV NEXT, al 7.3 death (' Aais 1 taken, the score in which Strauss's individuality first emerged, dates from 1886i lo the early works of Bnulez, whose second piano sonata is an exact contemporary of the Four Last Songs, and in. it 'almost every aspect of Strauss's genius, in all its splendours and miseries, can he observed.

It looks back on and is sustained by the phenomenal orchestral virtuosity of the tone poems that set the nineties alight with their sweeping energy and air of unbridled sensuality. There are passages that match the dramatic fury of Elektra," and others that mirror the delicate, intimate style of Ariadne auf There are traces of the exotic, Beardsley-like atmosphere of and some of the human warmth of Der Die Frau ohne Schatten is an anthology of everything Strauss had achieved by his fiftieth birthday. NEW PHILHARMONIA Fantv; O-ertBre. Ronieo A Joiiel Trhalkoltj Piano Concerto No. 2 Rachraanlntu Symphony No (New World Dvorak ANTAL DORATI PETER KATIN belter of the week two buys.

His first two acts, tracing in powerful imagery7 the escape of Rosalind. Ceiia, Orlando and Touchstone from a darkly devious Renaissance court to a winter forest in whose primitive glooms fur-jacketed outlaws raven bloodily after venison, establish impressively that their creator was also the poet of King They offer little, though, in the way of laughter. By half-time one suspected sinti'ngly that the house-policy which worked such miracles with 'The Jew of Malta and 1 Revenger's Tragedy had overreached itself: that we were in for blackness without comedy. Choirboy cheek After the interval, however, Tim O'Brien's fallen, revolving tree-trunks put forth some green, and things cheered up. Mainly this was the work of Dorothy Tutin, revealing new finesse as a comedienne.

Her Rosalind, looking rather like Tom Sawyer in straw hat and breeches, is a small figure of choirboy bossiness and check, forever climbing mossy rocks to lecture her elders on love and collapsing breathlessly into femininity and an inch of Orlando's arms. It's: a fraction consciously delicious at moments, but beautifully objectified and limed. With her lead, Janet Sumiati let her wit off leash, making Cclia for once her cousin's equal rather than echo Roy Kinnear's Touchstone, hitherto more buffeted than tart, developed a nice line of grumpy W. C. Fields lechery The one great success of Jones's approach is Alan Howard's Jaques: a while-faced.

haunted apparition of walking pain, whose vrc'A nf Ihe world is amph juslified by the Darwinian jungle of slaughter and mating he finds around him. He reminds you that the part is Shakespeare's signature to the play: but there is no need to make him the whole picture. INSIDE THE RECTANGLES TIckew 7 ft. 3 6 from Hall and Ajrenn HENRY WOOD PROMENADE CONCERTS flBt pracnt 7-rd Season SATl'RDAV, 22 JULY to SATURDAY. 16 SEPTEMBER Fach wcedar and Sundays, July Sept.

at 7.10 July, I 4 A Sept. at 7 p.m. PROSPECTUS I- now on Sale (by post 1rS. Postal Order, noj iiamw). AH tlckota for SEATS and PROMENADE (Arena and Gallery) for the Fsm and Last Concern have bctrn atlcxratcd by baJtoi- Vcir ihc re ma mm a concerts IV.

1 tickcis wilt hc available from Mnnday. 1 Jurn- t.r.iil Saturdav. Julv by POSTAL APPLICATION ONLY from Royal Albert Hal CRnvelope to be marked PROMS in lop left-hand corner Thereafter normal booking arransernenis. PROMENADE SEASON TICKETS. Whole Serka 125'1-.

Half Scne wiH Available rrnm Monrtav 9 June Postal A onlica tion only, from Howl -lbcrt Hall uun.fi preference for Arena or Gallery. (Envelopes 10 be marked f'RoMS SEASON TICKETS in top lelt-hand comer APPLICATIONS should live ahername dates and price and stamped addressed envelope. CHEQUES and POSTAL ORDERS must be made payable lo Hi. Dpropristt Booljioa rtfficr and MOT to the BBC Sn tTAt M. i 1ICKI i lvilf of o'r'm iriul.Hln: rhe Fust and Last) ago.

For some reason it is a little disappointing. Scott, a previous Caro disciple, worked cleanly in the modern idiom but whether owing to the works themselves or to their installation his light touch, sharp functional colours and crisp forms have taken on a look of brittleness, a kind of thin overstretched appearance descending in one or two cases to the outright trivial Wobbly finish There are certainly some good pieces here like myself ihc eariy wheel combinations, Ouanlic of Quantic of and Quinquereme ') but in others conception has outrun execution. This kind of work materialisations of sharp formal conceptions demands not just good workmanship but perfect technical finish, the ultimate elegance of a mathematical equation. By this standard these are too wobbly and approximate (they look best in photographs). Scott has quite evidently got a store of sculptural images in his head.

have a feeling that they are reaching us in an imprecise form. For real precision you must go to the Axiom Gallery, where Kenneth Martin's now familiar screw constructions show the virtues of wringing the last distilled drop out of a limited content. A narrow but intense and rewarding talent. showing his new work. He is a painter who knows how to draw interest out of a simplified equation.

In some of these elegant paintings he gives an edge to a stripped-down design of rectangles by combining oil paint with acrylic, moving upwards across the picture from soft to firm so that the forms seem to loom out as they harden. Or he will set two cut-into shapes side by side on a two-level canvas so that they set up subtle variations. Altogether a talent which seems well under control though 1 think some more daring colour ventures would pay off. Good taste lies within hailing distance. Sharp and cool Sculpture seems nowadays to have taken over the high-voltage loads which used to run through painting, and the sharpest of the impacts of the week come from the sculpture shows.

Eduardo Paoloizi, whose new work is at the Hanover, has for long been one of the most alert minds on the London art scene. His strength comes from combining sensitivity to the subconscious sources of surrealism a sense of presence and mystery with the sharpest, coolest kind of mental agility! He is fascinated by the odd effects which have been produced by flashing the torch of science on the mechanism of pictorial communication and image-making YOU could say that old-style Renaissance pictures bear an invisible sign: Come In and Look Around, while modem painting usually states implicitly No Admittance Except On Business (sometimes even No Admittance). The change began at the turn of the century, when the device of inviting the viewer to stray down illusionary vislas gave way lo exploiting the fact that a picture is in reality a plain flul surface. Une of the attractions of Roln Denny's paintings, of which a selection is now on view at the Kasmin Gallery, is that they seem to block and to beckon simultaneously. If you respond, they offer a mild but singularly pervasive message.

They are made up as ever of large rectangles within larger rectangles, like doorways in a wall, now sometimes decorated with a kind of architectural motif. The ambiguous effect is got by a very fine balancing of closely related tones, so sensitively judged that in the best examples they give off a soft, furry refulgence like a flower at dusk. They have the gentle austerity which infuses much good English art. Something of the same firm but retiring mood dominates the Rowan Gallery where Mark Lancaster is Music in ihe Open Air Hardening arteries But it also looks forward, towards the slow yet remorseless decline that lay ahead. True, tho score is enriched by the entrancing stream of golden cantilena that was U) become characteristic bis later music.

But it also gives the first glimpse of that terrible hardening of the creative arteries that set in at about the same time. Of course. Strauss was stall a formidable composer, and, backed by the arsenal of his prodigious technique, he laboured mightily and often to impressive effect. Yet the nearer he drew to the crucial mysteries of the last act. the more he felt what he described as 'an academic chill (what my wife very rightly calls "note that no bellows can ever kindle into Like his Emperor, Strauss was in the process of turning to stone, and in that letter of Hofmannsthal he was in fact recording the first symptoms of a disease that was finally to overwhelm him.

Long, cruel and barren years lay ahead. His new show profitably exploits both worlds. The sculptures are medium- or small-sized in gleaming chrome-plated steel. There are a few of the old Arp-ful ripple-edged pieces but Ihey are outshone literacy by a set of plainer shapes like glittering headstones which have the calm finality of Greek memorial steles. Though these cunningly use the quick, topical surface-texture obtained by their reflecting surfaces, they are basically emotional.

The prints, on the other hand, stem from deep burrowing into theories of communication. I have often in the past found them fussy and cranky but in this set he seems lo have struck a brilliant new vein in which Mickey Mouse and Michelangelo are deftly interlocked in a style as tight as a folk-weave. This confident, personal show is Paolozzi at his best. The Whitechapel Gallery has a retrospective exhibiuon of Tim Scott, one of the talented young sculptors who emerged, in the New Generation show in that gallery two years KENWOOD LAKESIDE CONCERTS Saturdays at 3 2J lime ROY' AT POOL O'xetture. Prince Isor Trumnes PHILHARMONIC Hjydn La Boutique Fanta.sque Symphony Chaiies Groves No 2.

Brahma. I July NEW PHfL HARMON! A ORCHESTRA Peter Dews's production pushes Jaques almost inlo the margin, but it's an ingenious invention and ter-(ainty riotously funny. He has had the wit to realise that the contemporary version of pastoral is the fancy dress of King's Road and Car-naby Street: that those braided tunics and flowered dolly-smocks, designed for no real weather or public occasion one can imagine in Britain, belong to an imaginary Ruritania or Arcadia of youth, an androgynous, perpetually sunlit Arden of huge paper blossoms. Deborah Stanford's Rosalind, long- CRYSTAL PALACE CONCERT BOWL Sundays at 7. .10 Tonizht CITY' OF BIRMINGHAM Overture.

Benvenuto Cellini: Symphonv No. SYMPHONY X. Dvorak Fantasy Overture. Romeo and Huho Rignold Juliet: 1812 Overture (wjih canixro effecut). 15 June ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA Dekcbairs 4s.

ftd. bookable at Ca-ctl Houae. la Charine Cross Road, WC'2 Telephone UM. ext. lV Advance bookirifis close ai noon on Unreserved deckchaim -i Situng on the mm OPENING TUESDAY, JUNE 27th WILLIAM MERVYN LONDON'S FESTIVAL BALLET July 21 21 Designs with Strings, Night Shadow Graduation Bail RICHARD GALE JANE DOWNS Danatd Abery presents a Prospect Production ROBERT HARDY JULIAN GLOVER CHARLES MAY JOHN WARNER TIMOTHY WEST EILEEN BELDON JULIET HARMER HELEN LINDSAY in ARQU HAR'S Hilarious Comedy THE Hampstead Arts Festival 1967 OPERA FOR CHILDREN CINDERELLA by ROSSPsI 7.30 p.m.

Hamptend Comprehend School. Ttnaif. YYednexlitT 21 June. TburKliij 21 June. THAT'S ALL, THAT'S ALL Birth.

Copulation and Death, a programme of poetry and pro New College of Speech and Drama. North End Rosd, N.W..V p.m. Wednesday 11 Jut. Thuntdaj 22 June. Friday 13 Jane.

NORTHERN SINFONIA ORCHESTRA Music by Gordon Oojse, Malcolm I.ipkin, Bach and Moiart. p.m. Himpjlead Parlih Chrarb, Church Row, N.W.J. ftatordaf 34 June. ROSAMOND GEORGE BURNE HOWE VIOLA KEATS in Frederick Lonsdale's Comedy July 24, 2ft Paquita, Night Shadow, Etudes July 27, 28 29 Noir et Blanc, Winds Bride.

Pas de deux for Four, Graduation Ball "AREN'T WE ALL?" with ROSEMARIE DUNHAM and VINCENT BALL 43rd HASLEMERE FESTIVAL ILLY 14-22 Director: CARL DOLMETSCH CONSTANT COUPLE PlCf Vnifhi Beale. Wihie Camden, loan Davies. Paul EsswooH. A pus I 1 lo 9 Tchatkav.vi. y' 7 Swan Lake in iis entirety "This production of Swan ake exhilarates the British Ballet scene Evening Jean Harve.

Elizabeth Harwood, Gordon Hone. Peter Httrtord, Jean Pnugnet. Lionai Salter. hrisHipher Wood, elf. Programmes and tickets ll.i--lcrm.Tc Mali.

Haslemere Cldh, This week at THEATRE ROYAL, BRIGHTON Tel Brighton 18488 TEM 8888 SAVOY THEATRE MERMAID CIT 7656 London opening THURSDAY, JUNE 29 at 7.15 EW TH ATRE Tel: TEM 3878 St. Martin's Lane, W.C.I. August 24 to September 2 The Sleeping Beauty in its entirety haiknvsky Petipa i rey Steven ton .1 McDowll New Production I-'HSTIVAl SYMPHONY ORCHESTRA Lull Company of 120 Artists F.ts. 7.45. Sats.

4.30 8. Tickets 28 6, 21 15 6, 10 6, 76 Ihe linesl entertainment value in Ixindon THE ROYAL FESTIVAL HALL Itoiiltini! now open. lei: WAT opens June 28 at 7pm a new comedy RAFFERTY'S CHANT by Keith Dewhurst ACADEMY JOSEPH STRICK'S film of JAMES JOYCE'S ULYSSES ALL SEATS BOOKABLE last week Euripides' THE TROJAN WARS CINEMA ONE Oxford Street GF.R 2981 A PROGRAMME of NEW SONGS WITH GUITAR ACCOMPANIMENT ReOrl.yr. Bueltlmtttiim S.W.I, I IHt R.St)'i Michael Tim Peild lasdair Clayre IVI ftM 1 SW 1 SMIRDV MM II 2 JtSi lei VERDI REQUIEM If OI I JAN.FE ClSl'rH llNll PvHktH DON I. RH HI) MnlHS )1 .1 I VM I III I) Vi 'S r-- I I 1 Kl) 24 ai K.l? Crrnl Kiitl.

Fltham Palace. Fllrpnm St Hint AU.tS f.J lure, PHILIP WWVf ACIS AND GALATKA 4Hjildt-i wnVi rhtmtma Oarke. Philip lanRndac rj LS.MOT1 programmes 1 0 and 5 1 Torn Thomas Tallin Soc 82 OrccnwiLih South Si SFIfi Tel GUILDHALL SCHOOL OF MUSIC AND DRAMA rnhank'nrn! I ndn'i, 4 Trtursri fi(h Tul a- ii- -i rn in ihc SthiK'l ln-airt CHAMBER CHOIR Weekdays at 2.30, 5. JO. R.30: Sundays at 5.00.

8.30 ORCHESTRAL VACANCIES IS, per tinr Owing to expansion THE NORTHERN SINFONIA 1 1 1 i mi it i riL pi I Ncto 1 ViUrirv ncmuuiiLii "icniT-ini ix ruinn cm and hi 1 1 a i L-Kij dpplkjnrs mim: he if.a-1- Mr i IM 1 1 i ITTrV ri -n-ld I rn rni'ral uruierr. Northern jrtfiniNL lur xji BlurUel I street. Nfwtavllt lumhi I nv I I rl- Nt-wrsi-Tlf 34771). I 1520 contemporary theaire CITIZENS ARE SOLDIERS Ruth l-uiiiltghi and Alan Si 1 1 hoc THEATRE E.13 mfvi 1. T'.

nnc cc nr' hfi Sdi. 5 TUs 3 ARTS THEATRE CLUB Greal Newport Street, W.C.2. TUE to FRI June 20-23 NIGHTLY 7.30 film "WAGES OF FEAR" One of the Great Masterpieces of the French Cinema Feyder LA KERMESSE HEROIQUE wsih ACADEMY CINEMA TWO Oxford Street GER SI 29 FRANCOISE ROSAY: LOUIS JOL'VET: JEAN MURAT HELV0 UNTIL WEDNKSDAY-. Patroni GnffVs IL MARE TUE to SUN June 26 July 2. NIGHTLY 7.0 Traverse Theatre Club of Edinburgh presents MOVRXIXG BECOMES ELECTRA FROM THL'RSDAN O0U.V ACADEMY CINEMA THREE Oxford Streel GER SSI 9 i Opening Tuesday, 271 Juris I I hy liugcne O'Neill Michel Orach's A fc 1 1 wn three hrdivc I elicit feminine tiar MA.RIE.10SF KT i SOPHIE DMM1ER i CI OTTI.DE JO fl prior to presentation al the BAALBECK NATIONAL FESTIVAL in the LEBANON INTER 1 MI4 SLOT.

BOX OFF1CF. TEM 3.W4. Members only..