The Guardian from London, Greater London, England • 5

5 The east end of St Augustine's Church, Pendlebury Outworn ferocity THE GUARDIAN SATURDAY JUNE 18 1960 by our Film Critic Built to be beautiful sixteen feet above ground level and do not let in enough light to see the inside by at midday in June This building seems to me to merit the line of dandelions that outlines it and the coke piled against the walls of the choir. A dream triumphantly realised is the interior of Champneys' Ry lands Library. The pillars in the entrance hall rise like a forest, and at last one can understand what the Victorian Gothicists were getting at. Yet this was the first Manchester building designed for electric light, and the well-detailed wrought-iron pendant fittings make the readers' bays the focal points of the design as, of course, they should be. This is a lovable place, but the Renaissance is over now.

It is time Manchester, in common with our other nineteenth-century towns, woke up both to the sordidness and to the beauty of her inheritance. The new buildings that are going up give no indication that their architects are aware of the character of the town The palaces and the temples are black and incisive in their design. The new buildings are in pastel shades that look impermanent, and faintlv embarrassing. Only the black wal' and plain silhouette of the Granada building come into key with Manchester. And the view from Water Street of the college of building in contrast with the red-brick power station the only good piece of new townscape.

No doubt many of the small Victorian terraces will have to go as they have done in London. But by no means all, particularly St John Street and the surroundings, which could well form the start of a new neighbourhood in the direction of the Exhibition Hall. at the York Festival Contemporary challenge EVENTS have caught up with Luis Bumiel. Time was when the ferocity of his films had a considerable rarity value and this, quite apart from his exceptional skill as a craftsman, gave him his warm corner in the estimation of the select minority. But nowadays the film festivals are full of ferocious realism-on-celluloid, not a little of it, incidentally, coming from Latin-American countries I can remember films of the last few years from the Argentina (for instance) which yielded nothing to the master in the matter of savage, iconoclastic realism.

So, whether we like the trend or dislike it. Bunuel's themes nowadays seem much less alarming. The themes have lost their sting and much, therefore, of their stimulus. "i ine SKiii, i course, remains, out, since the shock-tactics that accompanied it have been dulled, by otners' rsoetition, this skill has to work harder now to impress us. It is, frankly, unable to persuade us that Republic of Sin (at the Berkeley) is a work of any great significance.

"Power corrupts and absolute power, such is the fairly typical message of this film, and Bunuel, again typically, has preached his unpriestlike sermon against a background of crumbling Latin-American architecture and of utterly corrupt Latin-American authoritarianism. Thq background, both moral and architectural, is valid but the story in the foreground really is a good deal too simple-silly, in its savage way, to carry conviction. Such a tale of double-and-redoubled-cross needs to be more subtly planned, with much more attention to the characters of the people involved, if it is not to seem ridiculous and ridiculous, alas, is what this particular tale does become long before the unscrupulous game is played out by the lay figures taking part in it. This failure is all the sadder Elliot last year, is unashamedly romantic, in spate of the overlay of modernism. The young Welshman is sensitive to Celtic twilight, which pervades this music save where it lapses into phases of quasi-Lisztian empty brilliance.

The first two movements at least are remarkable, powerful, and purposeful. The so-called "madrigals" for violin and viola of Martinu (by Dvorak out of Bartok so to speak) are pleasantly slick if a little protracted) It is all expertly done, but it takes a Mozart to handle so slender a medium wdth the natural and effortless fluency that makes it seem like musicians' daily bread rather than something spicy and exotic. Hindemith's charming third quartet completed the programme. There is nothing here to make even the most timid quail, and, after the SchSnberg, one was barely conscious of the characteristic touches of aridity which sometimes hamper freedom of expression. The gifted and devoted young artists who admirably presented the music were John McCabe and Geoffrey Buckley (piano), Rodney Friend and John Davies (violin), Elizabeth Hol-brook (viola), and John Catlow C'cello).

by Mary Crozier reading out a cutting. Prayers for the soul of the condemned slayer will be offered on an adding machine." And there was the description of Lonelvhearts in his apartment He lives by himself in a room that's as full of shadows as an old engraving." The unfortunate columnist becomes obsessed with the sorrows of the world, nagging at him in every wretched letter he receives. And finally he is shot by the crippled husband of one of his women correspondents, with whom he has unwisely made contact. This is a very bitter and a very clever play, and its production, including the music arranged bv Walter Goehr. got every possible shade of meaning from it.

The narrator. Robert Eddison, played a (particularly vital part, for the voice here is only to a certain extent detached from the action, but is also a barometer indicating the mood. HAROLD HOLT, present AN EVENING WASTED at of of is the other peak In the range which was of more than average excellence. The memorable things here were Peter Schidlof's noble tone and gravely beautiful phrasing in the opening statement of the motto theme from which the work grows, and the perfectly controlled dialogue in glissandi between the inner parts towards the end of the first movement The first of three performances in York Minster of Britten's dramatic cantata Noye's Fludde (which brings a fragment of the Chester miracle plays to the home of the York cycle) went sadly adrift on Thursday. The congregation, clearly at a loss to know why Norman del Mar was glowering so fiercely and waving his stick so urgently in their direction, had no idea that they were contributing to the failure of the performance there was no hint on the programme that several of the climaxes required them to sing like an Eisteddfod when the two hymn tunes which Britten uses made their grandest appearances.

But even a helping hand from the congregation would hardly have saved Noye from shipwreck. The balance was hopelessly overweighted in favour of the orchestra. The great spaces of the Minster took up the bugles and the large percussion section and spread their noise so thickly round the building that hardly a note could be heard of the singers' final eight-part version of Tallis's canon the more elaborate and exciting bits of percussion writing were dispersed into vague gongings and tinklings and the lack of co-ordination between the various children's choirs of animals," as they came aboard the ark singing Kyrie Eleison to a two-note marching tune, suggested that the production was under-rehearsed. Altogether, this was a poor second birthday present for the work, and no help to anyone who was trying to decide whether Britten in this English-primitive vein is a real magician or only a conjurer with some rather special tricks. T0 walk across the centre of Manchester from the Central Station is like crossing the ruins of an Italian city which is being used as the set for a thriller.

Against the massive plinths of the Renaissance palaces wash, not the waves of the Adriatic, but the flood of litter with which the Mancunians strew their city. And between the buildings forlorn grass shares the bombed sites with rows of abandoned motor-cars. The palaces are warehouses and the Greek temples may be anything from the Royal Manchester Institution-turned Art Gallery to a assurance company or carpet showrooms, advertising its wares in all-too-legible lettering The tour arranged by Cecil Stewart to show Manchester to the architects conferring here confirmed the initial impression of squalor, but displaced all preconceived ideas of the place. This is a dream city, built to be beautiful, by architects who had seen beauty made of limestone for Italian sunlight, and did not hesitate to translate it into porous sandstone for the Northern fogs. In Watts warehouse.

Portland Street, the dreamlike change from Greek below to Italian above does no harm to a splendid building. Nor do stylistic oddities of other warehouses in the deep red brick that suits the smoky climate better than the sandstone. To the huge scale of this city the switch from Greek to Gothic does not seem worrying. It did not worry Sir Charles Barry or indeed any of his contemporaries, who were competent In both styles. In Manchester the The art of Kremegne by Frederick Laws TINCHUS KREMEGNE was born in White Russia in 1890 and reached Paris in 1912.

As a painter of the school of Paris, influenced most permanently by Cezanne, he has long been respected without being celebrated. He was, in fact, in danger of being remembered by art historians as the man who brought Soutine to Paris. Last year, however, his exhibition at the Galerie Durand-Ruel in Paris gave him sudden fame and prosperity. His new London show at the Adams Gallery, 24 Davies Street, W. 1.

will consequently attract speculative buyers. It is nevertheless worth the attention of people who like good painting and are bored by the effects of dates and influences on the market for art. His show consists of some fifty paintings, spread fairly evenly in date from 1916 to 1959 and consisting chiefly of still-lifes, landscapes, and a few portraits. My personal preference within his work is for the still-lifes, which are apt to be of crowded tables or sideboards. But his Corsican landscapes of the twenties are good and the professional certainty of his management of paint has altered little over the years.

A few nudes and portraits show the same habits of composition and respect for reality as the kitchen tables. It happens that one of the best landscapes, of trees in Corsica, is reminiscent of Cezanne, and the most Interesting still-life of 1930 has a flavour of Soutine. But Kremegne is not an imitator and it would be wholly wrong for him to be treated as a figure of art history. But even at that his paintings are now financially undervalued in England. MANCHESTER THEATRES, ETC.

OPERA HOUSE. Thll week 7. Sits. Uld 8. THE MOSCOW STATE VARIETY THEATRE.

Next week at 7. St 5 8 BERNARD BBESSLAW, Jack Watllng, Peter Gray In a new farcical comedy. MASTER OF NONE. Sat 8 p.m. ALACK THEATRE.

(Central 0184 6.13 ana 830 Leslie A. Macdonnell presents MBEBACE in THE MUSIC BOX SHOW with America's JANET MEDLIN and the London Palladium Production Next week. 7.15. Sat. 5 and 8.

Jack Hilton brlngf world famed LU1S1LLO and his exciting SPANISH DANCERS presenting THE GLAMOUR OF SUNNY SPAIN: June 27 week. BJS and 8 30. ANTHONY NEWLEY SHOW. July 4 (two weeks). 715.

Weds and Sats 2.15. London's FESTIVAL BALLET. LIBRARY THEATRE CEN 7401. Evgs 7 Mats Wed 2 30 Sats 5 ill I "THE PLAYBOY OF THE WESTERN WORLD" Tuesday next. For three weeks.

ANGELS IN LOVE." Comedy by Hugh Mills. ARTHUR WORTHING TON HALL, Dover Street. PIRANDELLO'S RIGHT YOU ARE." June 22. 33, 34 and 25 at 7.15 m. Admission Free.

Tickets University Dept ot Educat'n: Forsyth's, etc. BELLE VUE GARDENS, ZOO. ACQUABICM. Open dally from 10 a.m. WRESTLING and SPEEDWAY TA-vmWT 7 ra rtANrTNR NIGHTLY In the New ELIZABETHAN BALLROOM.

First-class Catering Se price. Banquets our speciality. Apply Catering and Banqueting Manager. ICE- SKA TIN TO-DAY, 10-12. 26.

2-5. 26; 7-10. 38. Restaurant. Snack Bar.

Car Park. RINK CLOSES JUNE 25. ICE PALACE. BLA W98 ainei.vsn (Trm. (fill.

I Kvgs at I 45 Sal. 10 nd 8.45. Dickie Henderson. June Lavertck teanor Summerfleld in WHEN IN BOMB. A saucy musical." The People ALDWYCH.

(Tern. 5404.) Evgs. 7.45 SU 6 3U aJU Th. 230. Kathleen Harrison WATCH IT SAILOR! "Galea ol laughter." "Superb." "Uproarious successor to 'Sailor Beware' AMBASSADORS (Tern.

1171 I Evas I Sa. lues SO Sit iJ St 8 The Mousetrap, by Agatha Christie EIGHTH FANTASTIC YEAR 1 APOLLO. IGer. 2663.) Evgs. 8.0.

Sat. 5 30 and I 30 Kenneth Williams Fenella Fleming Pieces )' "A must News Kllllnglv tunny News CAMBRIDGE. (Tern. 6056). To-night 6.15 and 8.45.

DoeT'i English Michael Bentine Dick Emery. Cllve Dunn. Maggie Fltxglbbon. A hurricane of laughter." Dally Herald. CASINO IGer oSTi.i Cineramas sOIITH SEAJ-ADVENTURE IU) 2.30 6.0 140 Sun 4 45 7.30 COLISEUM.

(Tern. S161.) Monday to Friday 7.45. Sat. 5 OS and S.30. Frank Loesser's Smash Musical Hit.

THE MOST HAPPY FELLA. COMEDY (Whl 2578 1 Evgs a 15 and ao. Mat. Wed. 2 30 A passage to india "A ofuuant play "Evening News The eninii Bristled with uccess News Chronicle CRITERION.

(Whl. 3216) Evgs. 8 30. Mats. Sat.

2.30. Jerome Bllty. Cavada Humphrey In DEAR LIAR. The Bernard Shaw Mrs Patrick Campbell comedy. Rare wit.

intelligence, and originality The Times. DRUfcY LANE. iTHn. 0108.) Alec Clunes James Hayter In My Fair Lady. 7.30.

Sat 20 DUCUE88 ITein i243.) Th. 2.45. 5.30. OJO. The Caretaker, by Harold Pinter.

Great tides of laughter." N. Ch. Best play In London Hd Donald Pteasenee la outstanding." Sap SABRICK. (Tern. 4S01 Evgi 8.40 W.

j. 6 40 FINOS AIN'T WOI THtY USED BE Musical GLOBE. IGer. 1592). To-day at 2.30 and 8 0.

Dorothy Stlckney in A LOVELY NIGHT. HAtHAUHEl I Whl VB3J.) Evgs so weo sial 2 90 Alec Guinness in ROrt bv frenrr Rsrnsao BEIt MAJESTY'S IWhl. 6606.) Mon to Fn r0 Sat- 5J) and SO. Wed. 2.30 WEST SIDE STORY A musical with New York cast LTICIU.

IGer. 30M Evgs 7 43 15 SJ1U rues 2 30 (than) Wallts in IBM A LA DO! CK Musical MERMAID 1CH. 7656.) Brecht's Gallt. Fn. 8 Tu Thur.

4 Sat 4 30 8 NEW. ITetn. 3878.) To-day 5 30 and 8 30 Last 2 perfs wive ire iv nnra hv Wnir Mankotvltz OLD VIC. (Wat. 7616) (Evgl.

7.30. Thur. Sat. 2 301. To-day.

MOn TUes bai.ii ju.i. Thurs. At Sat. HENRY V. Frt.

RICHARD II. because "Republic of Sin" (a Franco-Mexican co-production) was the last film of that magnificent actor Gerard Philipe his role is that of the young idealist, corrupted like all the rest by the opportunity of power but. the last, returning, suicidally, to the lost path of his idealism. Like all the rest this role is no more than that a symbol to illustrate a text and even M. Philipe cannot clothe it with personality.

John Wyndham is a prince among writers of science fiction, and Village the Damned (at the Ritz), which is taken from his story "The Midwich Cuckoos," is no usual film of its science-fictional kind. Certainly its story contains monsters and, in a sense, they are monsters from another planet or at least rrom anotner worm. Th. noint about them, however, is have the appearance of charming, blond children. The story is most ingenious and told by Wolf Rilla (director and co-author of the screen Dlay) with just the right laconic touch.

Chief among the unfortunate grown-ups in the cast are George Sanders, pretty Barbara Shelley, Michael Gwynn, and Laurence Naismith: they all look bemused and who could blame them Good shot at greatness The Life of Galileo Mermaid Theatre BERNARD MILES in the title part and two score and more of a gallant company make a sporting attempt to render Brecht's long, moralising chronicle in the authentic, that is to say original, "Berlin" manner with screened captions in the style of the silent cinema, chanted ditties, rather more self-consciously art-school in effect, acting above the average pageant-level, and, in sum. a good shot at displaying a play held in some quarters to be among the five or six greatest dramatic works of our time. Whether that contention can seriously be argued need concern us less than to offer a blunt assurance that the two final scenes justify some preparatory tedium. Under the Marxist lens, Galileo, the saint of the telescope and the gallant "epur si muove becomes the reverse of a mystic legend or a liberal romantic hero: He is shown from the first as someting of an opportunist. The scene of his recantation as it affects his disciples is moving, in simple, almost operatic terms (Verdi or Mussorgsky would have done it much the same).

What is most arresting, however, is his last apologia, still in captivity under the Inquisition. Here Galileo is betwixt and between. He is still willine to smuggle out of gaol a subversive essay, but In the main feels he was right," if morally reprehensible, to recant. All they want his knowledge for is to seek power, make war, crush down. There is a grandeur about this down-to-earth explorer of the heavens, left with his daughter, his principles secure enough, but with no heroism, no martyr's crown awaiting him.

We last see him tucking into the gift of a roast goose, sent anonymously, while the voices of the commentators carol a little sermon about learning to use science aright, or instead of soaring up like a flame, it may turn downward and consume us. Mr Miles is genial if not always quite big enough for the central role and there is much praiseworthy effort elsewhere, notably from Hazel Pen-warden as the sacrificed daughter and Michael Griffiths as Cardinal Barberini. The staging in the bare open style, with top lighting and quick fades eventually imposes a certain authority. We ought to be glad to see it, if only to know how Brecht stands, in English propagandists apart. But a niece as earnest as this and one misht add as large should perhaps have had a more richlv acted production on its firt armearance in this country.

Admirer? will not dispute the food intentions Philip Hope-Waixace. WITH ROYAL MANCHESTER COLLEGE OF MUSIC Owing to the generosity of the Musicians' Union, th Royal Manchester College of Music Is able to offer. In addition to free tuition, a maintenance grant of 333 per annum, tenable for a period of three years, to a student of an ORCHESTRAL INSTRUMENT There are no specific conditions of entry, but applicants will be expected to show exceptions! promise In their particular Instrument. Auditions will be held at the College In early September Forms of application, obtainable on request from the Registrar. Royal Manchester College of Music Devas Street, Manchester 15, should reach the College not later than August 15, I960.

ROYAL ALBERT HALL HENRY WOOD PROMENADE CONCERTS BBC presents 66th Season Saturday. 23 July to Saturday, 17 Septesaber. PROSPECTUS 6d (by post 10d. Postal Order, not stamps), giving programmes and details of bockine arrangements. NOW ON SALE From BBC Publications.

London W. 1, Royal Albert Hall. London S.W. 7, and Agents. GUILDHALL SCHOOL OF MUSIC" AND DRAMA Victoria Embankment, London B.C.

4. Principal: Gordon Thome. M.A., MujuB. (Cantab). F.R.C.O.

presents "The Three Sisters" by Anton Tchekov. Produced by Daniel Roberts. At 7 on June 28-July 1. Complimentary tickets may obtained from tha Secretary. Eric H.

Day, M.A-(Cantab.). Hsfi. GSM Gothic seems to have been a more literary tradition starting with Sir Walter Scott and ending perhaps when Sir John Summerson took finally to scholarship after working on the detailing of the tower of the Church of the Holy Name, one of the most uplifting of the city's churches. It is not just the public buildings that are Mediterranean or Gothic. Manchester is steeped in elegant and amusing architectural detail right down to cottage level.

In Salford, where Lane's Town Hall is a triumph of integration between the grand facade and the humbler brick working wings, there are examples of desirable by Diana Rowntree residences of Georgian pedigree wherever you go. Here, too, Smirke's church of St Philip is as politely treated by the town around it as such a pattern of workmanlike classicism deserves to be. A street is laid out on the axis of its west door, and the very humble nunnery at the other end politely closes the axis by means of a plain circular window and a corbelled arcade. Past the indefensible Whitworth Gallery a row of small terrace houses combines slender arched doorways with sensible wide windows to let in the light, which the great Gothicists did not seem to value. Bodley.

who held strong views on the Perpendicular style, seems quite to have missed the point that the main feature of this style is the glass wall. At St Augustine's, Pendlebury, the windows start only Music THE learned virtuoso is not such a rare bird as he used to be, but at any time there are very few people in whom fine scholarship and passionate artistry are combined as potently as they are in Ralph Kirkpairick, the American harpsichordist and editor of Bach and Scarlatti. His Bach recital at the York Festival yesterday must have touched the English in his audience, at least, with the force of revelation. For while our standards for Bach are no longer largely set by cathedral organists of the old school, who used to try to make his music match their Gothic surroundings, the English still seem to lag behind in their appreciation of the true nature of the baroque. Kirkpatrick's notes in his edition of the Goldberg variations are immensely helpful to the ordinary listener as well as to the performer, but to hear his understanding at work with the music itself is the very best way of getting to know Bach.

More than any other interpreter, he has that sure grasp of the complex and subtle nerve system of great baroque art that can show the most elaborate ornamentation to be a vital radiation from the centre of a work's organism. Interpretation apart, his technique is dazzling, and with the bright harpsichord tone gave the liveliest variations a fiery brilliance that no pianist could hope to match. One's only modest reservations were about the extent of the rallentando for the end of the first part of the canon at the fifth, and the use of the lute stop in the nineteenth variation even at this speed it made the semi-quavers sound rather gossipy. The Amadeus Quartet launched the musical side of the Festival with a series of recitals which provided a short guide to the history of quartet writing from Haydn to Bartok, and a fair notion of this ensemble's particular strength and" weaknesses. Two of the recitals were given in the little church of St Michael-le-Belfry, under the shadow of the Minster bell tower.

For the other, the audience had MIDLANDS THEATRES BIRMINGHAM REPERTORY THEATRE. Last day day ot "ONE MAN'S MEAT." a play by Thomas Muschamp From Tuesday, June 21: LYSISTRATA." the comedy by Aristophanes. Evenings 7pm Matinees Weds Sats. 2 TO p.m Box Office 10 a -7 30 MIDland 2471. BELGRADE THEATRE.

COVENTRY. June 13 to 25, FIVE FINGER EXERCISE, by Peter Shaffer. Evenings 7 30. Sat 5 0 and 8 0 Matinee. 2 30.

Box Office: Coventry 20205 Open 10-9. NOTTINGHAM FLAYHOrSE (45297). To-night and next week BEAUTIFUL DREAMER." new play by Jack Pulman. Evs 7 30. Sats 5 8 Comm.

June 27: YOU, ME AND THE GATEPOST." new revue. Booking now open. SHEFFIELD THEATRES PLAYHOUSE, SHEFFIELD 122949). Monday. June 20.

lor two weeks. A CLEAN KILL." by Michael Gilbert. 7 15. Sats. 4 30 and 7 30 m.

TOURING THEATRE CENTURY (on wheels). BeUiesda Hanley. Tonight 7.30 last performance. UNCLE VANYA. SCARBOROUGH THEATRES THEATRE IN THE ROUND.

Vernon Road. Every night at 8. PRENTICE PILLAR, Next Thursday. WUTHERING HEIGHTS LONDON THEATRES PALACE. (Ger.

6834.) Evenings 8.0. Mat. Wed. and Sac 2.30. Rodsers and Hamruersteln-Flelds Musical Comedy Hit FLOWER DRUM SONG PALLADIUM IGer.

7373 Evgs at 6 15 8.4S. Mat Sat. 2.40. Cliff Richard Russ Conway. Joan Regan.

Edmund Hockrldge In STARS IN YOUR EYES, with David Kossoft and Big Comedy Cast. PHOENIX (Tern. 8611.) Evgs. 7.45. Sat.

5.15 8.30 Mat. Wed. 2.30. Molly Picon, Robert Money In A MAJORITY OF ONE. It's a loy J.

C. Trevtn. So entertaining." C. Most delightful PICCADILLY. IGer.

4505.) 815. Sat. 5 30, 8.30. Th. 2.45.

Ltd season. Michael Denlson. Dulcle Gray. Jeremy Spenser in Bernard shaw'a CANDIDA. Among the two or three most entertaining plays now in London D.

Exp. One of the most charming comedies ever seen on the stage" D.Tel. PRINCE Ol- WALES. (Whl B681.) Evgs. at HMS Sats at 6 15 and 8.50.

Broadway's Spectacular Hit. THE WORLD OF SUZIE WONG A rich and gaudy evening with lots of colour and laughter It will run for ever John o' London PRINCES. (Tern 6596.) Mon. nest. 7.30.

Subs 8. Sat 530. 8.30. THE LAUGHING ACADEMY. QUEEN'S.

(Reg 116S Last weeks. 7 45. Mat. Sat. at 2 30 Flora Robson Beatrix Lehmann Robert Beatty In THE ASPERN PAPERS.

ROYALTY, Klngsway. (Ho). 8004.) Opening June 23. 7 subs. 7 30 w.

2 30 Ltd seas. Alfred Lunt. Lynn Fontannef In The Visit. Dir. by Peter Brook ROYAL COURT.

(Slo. 1745.) 8 0. Thur. 2.30. 5 0.

815 Wesker'a CHICKEN SOUP WITH BARLEY. ST MARTINS. (Tern 1443.) Evgs 8 0. Tues. 2 45.

Sat. 5.30 and 8.30. Margaret Lelghton, Richard Johnson. Robert Stephens in THE WRONG SIDE OF THE PARK. MUST END JULY 2.

SAVILLk. (Tern 4011.) Evgs. a Wea 2 30. Sat a a Evelyn Laye jimmy Thompson Walter Fitzgerald Hugh McDennott. THE AMOROUS PRAWN Farcical cainedv ov anthony Klmmlns SAVOY Item SSSA.I Evgs 8.

Sat 5 30. 8.30. I 30 Ian Carmlchael Molra Lister. Michael Good II IT in Tlllt GAZEBO Comedy 'hrlller for 'he family STRAND. I Trm.

2600 Evgs at 8 0. Thurs. 2 30 Sals 30 8 30 ltd season Laurence Olivier la Ionesco's RHINOCEROS, produced by Orson Wells. VAI lltt II.Lfc ileni 4871 1 EveninKS at 4 0 Sats 3 and 15 Thur '30 New S1.ADE nrl "svvni Musical pnniw thai gibl VICTORIA PALACE. tVlc.

1317 Last 2 perfs. 15. 45 miW C1NC In fTHlWltf JEWELS. WHITEHALL tWh) 0(392. Ev '30.

Sat. 5.15 8.15. Wed 2 30 SIMPLE SPYMEN 3rd vr "Hilarious" WINDMILL. Plc Ore. REVUDEVILLE 29th 313th ed (3th wk Cont.

dly. 13.15-10 35 Last pert 0 p.m. A Van Damm production, We Never ROLAND. BROWSE A DELBANCO 19 Cork Street, W. 1 FRENCH PAINTINGS AND DRAWINGS of tne lain ana sow ceniury iweesoays in vu Salurdavs ill 1.) ROYAL SOCIETY OF BRITISH ARTISTS SUMMER t.XHIUlTION.

57 Suffolk Street, ran Man e.asi, 1. Dallv 10-5 (NOT Sundavs). Admission l6d THE KPSTfcl.N exiIlnlTION Opens To-morrow at the LEICESTER GALLERtFS LEICESTER SQUARE WADDINGTON GALLERIES Recent paintings IVI1IV H1TTHENR lll-T. SJUS IU-1 MI nillTECHArEL ART GALLERY. CEItl RICHARDS a retrospective exhibition of paintings, drawings.

ana reiiei constructlona iaju-iy. upens inurs-day. Wfek-dsys 11-6; Sundays 2-6. closed Mondays Admission free. Adjoins Aldgste East Station.

HALLE CONCERTS SOCIETY HALLE SUMMER PROMS FREE TRADE HALL HALLE ORCHESTRA TOM LEHRER SINGING THE SAME OLD SONGS WHERE FREE TRADE HALL WHEN TUESDAY, JUNE 28 at 7 30 FOR ONE NIGHT ONLY HOW Buy tickets now, 38, 5-. 66. 7B. 86. 108.

Forsyth's. 126 Deensgate. BLA 3281. by W. L.

Webb to drive out to Castle Howard, Vanbrugh's first fabulous creation, which stands in the middle of some square miles of demesne surrounded by obelisks, temples, decorated gateways, and every kind of folly known to the mad gardeners of the eighteenth century even the stable block looks rather more important than the average Oxbridge college building. Partly, perhaps, because of the distractions of the setting, partly because it took in neither of the great peaks of this massive musical range, the Castle Howard recital was the least memorable of the three. The main excitements came in the last two movements of Mozart's Major Quartet, K.590, with the whining chromatic cadences of the minuet, and the weird humours of the final allegro, when Mozart's demon was led out on a long leash but never allowed to wreck the balance and musicality of the performance. The great achievement of the series, however, came in the first recital given under the massive black and gold reredos of St Michael's a performance of Beethoven's Opus 127 which revealed as much of the beauty and mind-stretching originality of this master work as one can ever hope to hear, generating all the peculiar radiance of the counterpoint of the opening allegro, and exploring the strange tangents and mystic conjunctions in the second adagio with the kind of inspired intelligence that only a few interpretative artists are occasionally visited with. No musicians can give this kind of performance very often, and in their last recital one or two characteristic Amadeus shortcomings were especially apparent.

Nortoert Brainin's tendency to slide fractionally out of tune in rapid passage work was noticeable when his part was exposed in the allegro of Haydn's Opus 54, No. 1, and he was too assertive at the beginning of the allegretto of Brahms's minor Quartet, where the limelight belongs to the viola. But this concert, too, included one performance of Bartok's last quartet, EXHIBITIONS Paintings and Drawings MATTHEW SMITH, L. S. LOWBx iVON HITCHENts JACK TEATS, W.

SICKERT. May IB QDtU June SO. THE TIB LANE GALLERY 14 Tib Lane (Albert Sauare) Manchester 2 LIVERPOOL THEATRES LIVERPOOL PLAYHOUSE. (Royal 8363.) Evenlngl at 7.30, Saturdays at 4.45 and 8 p.m. "I REMEMBER, I REMEMBER." One Thursday matinee.

June 23. at 2 MANCHESTER CINEMAS CINErilONE, Market St. IDEA 4771 Retained Sablna Sesselmann as "The Girl oF Shame" X), French. Fernandcl the Dressmaker lA), French. ODEON, Oxford St.

Cont 12 50 Summer of the 17th Doll (A). Comm To-mor. ISun.) Whs Was That Lady 1 (U) 3 55. 7.25. Serengetl Shall Not Die (U) "EROICA" RECORDING STUDIOS For better -class Tape Recorders (earn.

Ferrofrapb. Branell). Studio Mobile Unit. Discs from roar tap. Peel Ecdea.

ECC 1624. Dir. Wm Thurlow Smith WYNDHAM'S. (Tern 3028.) To-day 5.30 and 8.30 last 2 pens, urenaan Benan a sue Hostage, --as runny as ten comedies Observer. Superb D.

Sketch WYNDHAM'S. Comm Wed next CALL IT LOVE by Robert ranitch wlin music oy sanay wnson. OPERA AND BALLET CO VENT GARDEN. THE ROYAL BALLET season enas June To-aay at 2 la bcenes oe rtauei, Fille Mai Gardee. Tuc.

next 7.30 Le Lac des Cyenes. Wed next 7 30 The Sleeping Beauty. COVENT GARDEN OPERA. To -night at 7 30 Cavallrria KusUcana and Pagllacu. Mon.

de Kn. next at 7.0 Othello. Cov. 1066. SADLER'S WELLS.

ITer 1672.) Com. Mon. June 2U. evgs. ax I do.

Aiai. ssais ie. rinsovni STORY with Ernest Milton. Historical play with music Box Office closes 6 0pm dally. LONDON CINEMAS ACUIEMI, oxld SC.

(Ger. 2981.) AndrzeJ Waidat A Generation A) and Beckers toward ana iraiin IAI. Gelln Anne Vernon Pcoes 1.15, 4 JO I 45 ASTORIA. Ch Road. Howard Keel, Susan Kohoei BIG FISHERMAN (U).

Con. perfs. 1. 4.15, 730 CARLTON. IWhl.

3711 Robert Money. Ralph rucnarason. myitis tjaivert, jonn nevuie. uows WILDE (X). Programmes 12.30 3 0.

530. 8.S CAIM). (Ger. S877.) Cinerama's SOUTH bEAS ADVENTURE (U). 2.30.

6.0. 8.40. Sun. 4.45. 730 COLUMBIA.

IReg 5414.) SUDDENLY LAST suHHtu (jt). rrogrammcs at iu. sju, o.k. Extra late night show to-night 10 45 cm. Feature 1110 Dm CLRZON IGro.

J737.I American Acad award. Black Orpheus (A). Colour will knock you nai wito excitement." Exp Pgs. 12.15.2 0.4 15 6 30 41) DOMINION Toll Crt lid. (Mus Z1T6 Todd-AO Hodgers and Hammersteln's SOUTH PACIFIC IU) Weekdays 7.45.

Sunday 6 0 Matinees Tuea Wed Thtirc Rat 2 30 Slats bookable Theatre Agents EMPIRE. Lele. Square. M's BEN HUB lA) Week-days 7-5 I Box Office open from 121 Sundays 6 15 Mats Weds and Sats at 2 0 LEIC. S().

Til. Burt Lancaster. Audrey Hepbum in THE UNFOBGIVEN IAI Tech 12 55. 3.5 5 40 8J5 LONDON PAVILION. DCC.

CIRCUS. CHARLES CHAPLIN presents THE CHAPLIN REVUE IU) Programmes 10 20 12.20 2 40. 5.20. 8.0. METKOPOLE.

(Vic 02059 In Todd-AO. Cole Porter'i CAN-CAN (U). Wkdys 8 Sun 6. Mats Tues Wed Sat 2 30 BkDle Theatre Agents OH EON, Leic. Sq NEVER LET GO IX).

Progs, al 1 15 3 40 6.0 8 25 Last performance of film 9.15 ODEON. M. Arch. Anthony Newley. Anne Aubrey, In The Nick IUI.

C'Scopc. Progs. 12 55 240. 5 20 80 BITZ. Leicester Sq (Ger 1234.1 George Sanders.

Barbara Shelley in illafre at the Damned (Al Programmes 10, 3 20. 5 50. 8 20 Sun 4.40. 7J0 STUDIO ONE Peter Finch James MacArthur Bernaro Lee in Robert Louis Stevenson's KIDNAPPED IU) Tei'h 1 25 4 0 fi 40 0 15 Drs 12 30 Last Or 8 20 WARNER. Starts Tuesday 3-dlmenslon HOUSE OF WAX IMI colour.

Last 3 dss of SERGEANT ULTLEDGK I A) Tech Programmes from 10 40. LONDON CLUBS EDM UNDO ROS CLUB. (Reg 7675 Dine and Dance from 8 m. to EDMUNDO ROS and ARNOLD BAILEY. Exciting New Floor Show.

VISUAL ARTS, 12 Soho photography, drawing by J. H. HPHE MUSIC BRANCH of the Man-Chester Institute of Contemporary Arts, after some tentative skirmishing, have now come more closely to the hub of things. With the connivance of the Manchester Contemporary Music Centre, they gave in the City Art Gallery last night a concert much more challenging than anything that has gone before. It was encouraging to see that the audience was appreciably larger than usual.

True, there is still a long distance to travel. It cannot be said (except, perhaps, in Manchester) that the music played was likely to baffle even a rabidly reactionary Iusten-er. The sole exception was a relatively early piece by Schbn-berg. the Suite for Piano, op. 25, and even here the difficulty is aesthetic rather Shan a matter of idiom.

I for one find the work as obscure, and indeed repellent, as it seemed 30 years ago. The wheels go round, and there is little trouble about following their revolutions. But to what end do they revolve, for what purpose The composer was a great intellectual force in music, a mightly liberator. Was he not also too grimly pedantic The rest of the programme, by comparison, was positively mellifluous. Alun Hoddnnott's piano sonata, written only RADIO rpH.E broadcast of Nathanael West's Miss Lonelyhearts on the Third Programme last night (a repeat) was a brilliantly mordant and satiric affair.

The adaptation and production bv D. G. Bridson drew out the pathetic, the grim, and the horribly comic aspects of this story of the newspaper columnist who answers the letters asking for advice. Miss Lonelvhearts was played by Sam Wanamaker; the deadly Shrike, the features editor, with his swamping sentimentality, religiosity, and immorality, by George Colouns. The voices were handled so tihat all, with the exception of Mass Lonelyhearts himself, (bad the slight grotesqueness.

the exaggeration, of a cartoon. The impact of this broadcast was extra strong it fascinated and repelled. There were unforgettable phrases and moments: Shrike in the speakeasy WELDON MONDAY, JUNE 2D at 1 p.m. Ballet Programme ROSSINI RESPIG HI LA BOUTIQUE FANTASQUE PONCHIELLI DANCE OF THE HOURS (La Gioconda) WEBERWEINGARTNER. INVITATION TO THE WALTZ DEBUSSY PRELUDE, a rapres-mldl d'un aune GOUNOD BALLET MUSIC.

Faust TCHAIKOVSKY SUITE The Sleeping Beauty BORODIN POLOVTSIAN DANCES (Prince Igor) Tickets: 2- to 6- from Halle Booking Office and usual agents. FORSYTH BROS. wish to tmy GRAND and UPR1GH1 PIANOS at BECHSTEUJ. STE1NWAY BLUTHNEK. Write or telephone Co 128 Deansgste Maschestti 3 BLAckfrlars 32a.

BBC LIGHT MUSIC FESTIVAL 1960 TO-DAY. 18 JUNE, at 7.30 p.m. New Music for Brass BBC CONCERT ORCHESTRA Conductor VILEM TAUSKY BLACK DIKE MILLS (Band of the Year) Conductor: JACK EMMOTT Guest Conductors: HARRY MORTIMER OEMS WRIGHT PETER YORKE ELTON HAYES GEORGE THALIIEN-BALL and Massed Choirs in Denis Wright's arrangement of Handel's Hallelujah Concerto. NEXT 25 JUNE, at 7.30 p.m. Prog lncl MUSIC FOR YOU with ERIC ROBINSON.

GRETHE KOLBE. JACQUELINE DELMAN. ROBERT THOMAS, TOMMY REILLY. 1CHAEL ROLL. Full prog, for these and last concert on 2 July, from Hall Agents.

Tickets: 5-. 76. 10-, 136. THURSDAY 8.8 p.m. JUNE 30 SCHUBERT Incidental masle to Rosamunde Gesang dcr Gelster Uber den Wassern MASS in FLAT, No.

6 ILSE WOLF JOHN MITCH1NSON MAUREEN GUY DAVID GALL1VER JAMES ATKINS LONDON PHILHARMONIC CHOIR LONDON MOZART PLAYERS HARRY BLECH Tickets: 15-. 126, 10-. 76. 5-. GEORGE TO-NIGHT at 1 p.m.

Saturday "Pop" BERLIOZ RAKOCZY MARCH NICOLAI OVERTURE. The Merry Wives of Windsor MOZART ETNE KLEINE NACHTMUSg KODALY SUITE, Haryjanos rPPOLITOV-IVANOV PROCESSION OF THE SARDAR SIBELIUS VALSE TRISTE ARTHUR BUTTER ORTH THE PATH ACROSS THE MOORS TCHAIKOVSKY OVERTURE. 1815 Tickets: 2- to 76 from Halle Booking Office or from the Hall to-night. LAKE DISTRICT FESTIVAL July 10-15 lncl. Kendal and CartmeL Includes Geralnt Jones Singers and Orchestra, Betjeman, Molseiwitsch, Matthews, etc Write Titus Wilson Kendal.

NORTHERN SCHOOL OF MUSIC 31 OXFORD ROAD. MANCHESTER 1 Principal: Miss IDA CARROLL CONCERT by Members of the JUNIOR SCHOOL HOI.LDSWORTH HALL SATURDAY. JUNE 25. at PIANO RECITAL by SENIOR STUDENTS In the Recital Room TUESDAY AND WEDNESDAY JUNE 28 AND 29 AT 7 ADMISSION FREE Prospectus and syllabus of Summer Course July 25 to 38 oil application ROYAL FESTIVAL HALL South Bank Of the Thames General Manager: T. B.

Bean. C.B Just over Hungerford Bridge from Charing Cross or five minutes from Waterloo. Car Park. Buffets. Bars, and Restaurant with unrivalled views ot the Thames are open before, during, and alter the concerts.

Table Bookings Waterloo 3246. Tickets and full information Royal Festival Hall Box Office IWATerloo 3191). London S.E. 1. and usual Ticket Agents LONDON CONCERTS VICTOR HOCHHAUSER and ROYAL ALBERT HALL CORPORATION present GALA OPENING NIGHT, NEXT MON.

WEEK. 7.30. ROYAL ALBERT HALL in the presence of H.E. THE SOVIET AMBASSADOR and MADAME SOLDATOV. STARS OF THE BOLSHOI BALLET THE LONDON PHILHARMONIC ORCHESTRA JUNE 27 to JULY 17, NIGHTLY, 7.30, inch Sundays (Mat.

Saturdays 3 COMPLETE CHANGE OF PROGRAMME WEEKLY 5-. 76. 106. 15-. 21-, 25-.

30-. KEN. 8212 and all Agents. Full programme detalla from Box Office. Royal Albert Hall, London S.W.

7. ASSOCIATED REDIFFUSION In association with THE HALLE CONCERTS SOCIETY presents SIR JOHN BARBIROLLI HALLE ORCHESTRA SUNDAY 7 30 p.m. 3 JULY Overture, Flngal's Cae Mendelssohn Intermezzo. Fennimore and Gerda Dellus Fantasy-Overture, Romeo and Juliet (vocal version) Tchaikovsky Symphony No. 9B in 3 flat Haydn Overture, Tannhauser Wagner VICTORIA ELLIOTT CHARLES CRAIG MONDAY 1 0 p.m.

4 JULY Symphony No. 5 In Cat Schubert Symphony No. 8 In minor Schubert Symphony No. 8 in (Great) Schubert MANAGEMENT: A. GORLINSKY LTD.

Tickets 5-, 76. 10-, 126. 15-, 21-. SUMMER SCHOOL FOR SINGERS THE HOLYWELL MUSIC ROOM, OXFORD, AUGUST 1 to 27, 19S0. A prize Is being offered for the finest singing or an aria by 'Arne or Handel during the third week of August 115 to 201.

Tenors and basses especially welcome. For full details write to The Secretary. The Garden House. Eelme. Oxford (enclosing 3d stamp).

WIGMORE HALL Recital by the American Contralto LOUISE PARKER Pianoforte: PAUL HAMBURGER. WIGMORE HALL. FRIDAY NEXT, at 7 30. Songs by Marcel lo Bach, Mahler. Schubert.

Sibelius, Jolo Britten. Thompson, Uhmann. and a group of Negro Spirituals. Tickets 10-, 7-. 4-.

from Hall (WEL 2141) and Ibba and TUIett. Ltd. (WEL 8418). WIGMORE HALL. JUNE 30.

at 7 30 Pianoforte Recital by JAMES FRISKIN BACH BEETHOVEN PROGRAMME Tickets 10-, 7-. 4-, from Hall (WEL 2141) and Ibbs and Tlllett, Ltd. IWEL 8418). 3rd BATH BACH FESTIVAL OCTOBER Complete Brochure from Bach Festival Secretary, Bath t3d stamp). ART EXHIBITIONS SPSTEIN.

50 years ol bronzes and drawings at tne LEICESTER GALLERIES, Leicester So. Sats 10-1 Admission 16 En sld of the Bpsixln Studio Trust JEAN 6 fRAKEK PHOTU-NUUES, 12 Soho Sq 1-8 0s MARLBOROUGH, Old Bond Street. W. 1. MASTERS OF MODERN ART.

Important le Exhibition of works by BONNABD BRAQUE. DUFY. KANDINSKY. KLEE, LEGEB. MOD1G-LIANL MONET.

PICASSO. SUTHERLAND. UTRILLO. VAN GOOH. ETC ETC.

New Sculpture by HENRY MOORE. Illustrated catalogue CI. Admission free. Dally 10-5 Sats 10-12 OVAL ACADEMY SUMMER EXHIBITION. 8 30-7.

Sunday, 2-fi. Admission 3- (16 after 5)..