The Guardian from London, Greater London, England • 7

THE GUARDIAN Tuesday April 12 19W Leonard Bernstein TALKS TO EDWARD GREENFIELD Lutmat DanJ Anntttty LONDON GALLERIES Norbcn iynton I AM not happy unless 1 can com-1 pose." There Is no self-pity in Leonard Bernstein's cry for happiness, only despair that so much has to be expressed in so many ways in so short a time. Within minutes of his arrival, the commitments have come crowding in. When you are as versatile as Bernstein, the detailed organisation of your different activities becomes as much of a nightmare as their execution. It is absurd," he admits, that 1 am permanent conductor of a major symphony orchestra." He has been with the New York Philharmonic for 10 years now, and that alone would be a full-time job for most conductors, for the American concept of permanent cohductorslup is far more taxing than the European. Even the appointment of William Steinberg to be "Permanent Guest Conductor" (splendid title) has not lightened Bernstein's burden.

He still conducts sequences ofj five performances of the- same Philharmonic concert throughout the season, and on top of that is a uniquely effective expounder of music to the widest public through his regular television programme. Yet still composing is an essential. Very practically, he took a sabbatical year in 1965, not so much to rest (how could such a man do that as to have leisure to compose. He intended to write another work for the stage Call it opera, call it musical" but after six months he realised the music was not achieving what he wanted it to do. It was then too late to conceive and write another opera in the remaining six months before engagements crowded in once more Don talk to me about writing stage works," he pleaded It makes me very sad." Yet plainly the germs are there of more stage works from the man who wrote West Side Story." The musical stage, he feels, provides the most exciting opportunities for musical development, and whatever the obstacles for him, It is plain that he intends to be in on that development.

As he said in1 a recent article in the New York Times (republished in part in the current Music and Musicians he is committed to tonality as a composer, but that does not prevent him from complimenting the work of Boulez and Lukas Poss. The ability to see both sides of the issue it is a Hamlet-like torture to be truly liberal continually illuminates his conversation. Here is a man, apparently an extreme extrovert, who a DAVID ANNESLEY'S exhibition of sculptures at the Waddington Galleries 2 CortStreet, London Wl until April 23) li itrikliiglr brig-lit and cheerful, we bave come a long' way' from the sUm-anxled males and. females in pitted bronze that used to represent the latest thin in' modern The Idiom has changed completely, and In 'the process the mood has changed too. I mean that the way I put it: when avant-garde taste requires the -image 'to be human and the surface to.be expressionistlc you have little option: bat to dive into the sorrows and burdens of human existence: when circumstances Invite you to work In entirely abstract' forms, to colour your sculpture and to keep It very clear-cut.

the result is likely to be gajand decorative. Annesley too, no doubt, has his troubles but he chooses to bend bis sheet metal into rhyth-' mlcally echoing and contrasting shapes and so, in so far.as he reveals" himself at all, it Is his benign and sociable aspect he shows us. In jniny ways bis kind of sculpture resembles current modes of painting. His use of colour. and his neighing of gloss surfaces against mitt both suggest a visual delicacy trained on painting.

His forms, too, remind us of forms 'seen In paintings. The result is often that we become more critical of the pictures: these forms gain in presence and interest from the fact that they given the three-dimensionality and weight of steel. At the same time Annesley retains some, of the grace that belongs to pictorial forms by limiting their depth and appealing to move his material through space with the fluency' of pigment coming off a brush. Michael Thorpe's pictures at the Rowan Gallery (26a Lowndes Street, London SW1 until April 28) invite comparison with Annesley's sculptures. Where Annesley uses bands of steel, Thorpe uses narrow bands of paint, often on a white ground.

In his most -recent works these bands weave randomly in and out of each other in some cases they shoot off the edge of the canvas to continue as painted metal pipes and, after that transformation scene, to return to the canvas to start meandering all over again. This mad linear polyphony is made more awesome still, by the fact that the bands change colour or rather, they start as colour, gradually turn black, and as. gradually turn back into (heir original colour or some other. It is quite Impossible to describe the effect of this double process the gaily contrasting colours turn into one common blackness; flat and weightless bands turn into the three-dimensional reality of pipes. After Annesley's good-humoured sculptures these conceits seem decidedly hard-hearted, for all their initially Jolly appearance.

At the Grab ow ski Gallery (84 Sloane Avenue, London SW3; until April 2Z) there are paintings by Wojaech Fangor, a Pole, who has been working in Berlin and now teaches at the Bath Academy of Art. They are unambiguously Op works, solidly painted in oil on canvas. Many of them exploit the familiar target theme; others use squares within squares, and one particularly effective picture has wave patterns In contrary motion, which again reminds one of Annesley. Fangor's speciality Is defocusing bis forms, SO' that a sequence of concentric rings becomes a fused band of chromatic modulations. The optical effect is very striking, especially seeing the exhibition as a whole, and some of the colour effects are original and strangely beautiful.

delights in the glamour of conducting a full symphony orchestra, of directing large-scale works, the bigger the better, yet who still has extreme curiosity about the feelings and reactions of those around him. I tackled him on one of his less successful records, in which he performs this double function of pianist and conductor, Beethoven's First Piano Concerto. Why, I asked, did he play his solos in the slow movement at quite a different speed from the tempo he had set for the concerted passages He did his best to justify it. The piano, he contended, takes more time to sing out than the orchestra. He noted the same discrepancy in a recording he made onlv a week or so back in Vienna-Mozart's fiat Piano Concerto, K.450.

He was worried at first by the changes of tempo as they grew more then realised that that was indeed what he intended. That particular performance was conceived in that way, but he emphasised that no two performances should ever be In that very concerto his recorded performance was overtly romantic with plenty of pedal, but when he went to Monte Carlo to play in a comparatively intimate hall he found himself using next to no pedal, none at all in one movement, and the result was more classical. SOMETIMES, he admitted, a recording session doesn't go," and then you have to piece many bits -together. He conceded that maybe the Beethoven First record I disliked had been made up from too many tapes. It wasn't a real performance.

On the other hand, the disjointed technique inevitable in recording complete operas did not necessarily prevent a real performance in the end. He has just finished recording Verdi's "Falstaff" in Vienna with Flscher-Dieskau for CBS (following his direc tion of Visconu's production at the Vienna State Opera) and that, he had instinctively felt throughout the sessions, would be a real, coordinated performance. Now in London, beginning next week after the Royal Albert Hall performance on Sunday, he is going to recdrd Mahler's Symphony of a Thousand." It is partly a compliment to the LSO (also partly economic necessity) that he Is doing it on this side of the Atlantic. He is looking forward with relief to conducting in English again after his six weeks in Vienna. The names of nqtes are so difficult in German, he complained, but it is hard to believe that anything Is difficult for Leonard Bernstein.

Not even crossword pussies. He likes the one in the Manchester Guardian Weekly" which he does regularly. An excellent point, he says, having consistent themes running through the clues. But one wonders how' he ever finds time to do it. JOB ORION'S "LOOT" at the Manchester University; Theatre by Am Shearer THE VOYSEY INHERITANCE at the Royal Court by Derek Malcolm JOE ORTON digs us playfully In the ribs with nymphomania and homosexuality in "Entertaining Mr Sloane." Here, his macabre smirk turns on corpses, Catholicism and the police.

By a reversal of the old dictum, poking fun at death and fiitti is more acceptable than at living miseries. There were people lurking under the innuendo in "Mr here, he settle for caricature pure and simple. Under' the slickly genial- direction of Britain Murray, riding heedless over the i greater most of this is a jolly enough stab at undergraduate daring. It would be a good thing if Mr Orton were to nettle for comedy. The new' "Loot" (the "'original has been re-embalmed and re-rouged) often bits good notes.

The author's gift for the cadences of language doesn't get the showing here that it did in Mr Sloane," but there are some excellent jokes and sharp observations. The situation is well explored instead of trouseriess husbands chasing roguish wives in and out of brass bedsteads, we have money abasing a corpse in andj out of a solid oak coffin, aided by two crooks of an eventually tedious stupidity, a nurse to the deceased with at least seven murders to her credit, a foolishly sorrowing husband, and a policeman who turns out to be the nastiest of the lot. It is, however, more than Mr Murray and his cast can do to keep the author's culpable dishonesty hidden for the whole and too lengthy evening. Julian Chagrin's determination not to do a Kenneth Williams on the policeman doesn't help. We come, with a nasty jolt, on the Moral Point the innocent and sorrowing husband must go to prison for the sins of the rest.

Nasty, but not as intended: Mr Orton's spirit shines through the fun. His morality is a spurious thing, an easy way out. His macabre jokes are intended to shock, but that they can be so easily brushed aside shows them up as cheap gimmicks. Mr Murray has bad the maximum fun with the material available, but no approach to the play can make it a satisfactory statement rrUHS is precisely the sort of play it is the JL job of the Royal Court to revive, and Jane Howell and her cast have done so splendidly. Granville-Barker, after all, was the Devine of his day at the Court and a playwright too often dismissed as a middleweight beside Shaw, an Elisha who just happened to write "the best English comedy of business." "The Voysey Inheritance" can today stand comfortably beside all but the finest of Shaw and certainly outdoes such as Pinero's "The Thunderbolt." It provides an evening to revel in Voysey is a solicitor who has used his clients' copious capital to produce income for himself and a large family blissfully dedicated to living the life of the gentry, for which, as he puts it, there is no higher or at least more practical ideaL His son, a perfect little pocket guide to life," is desolate when he finds out the frauds and determines after his father's death to pay back the money bit by bit until honour (of a sort) is satisfied The play is beautifully, almost too beautifully, planned and characterised and its wit and invention are enough to fill two or three lesser works.

Its crushing satire on the society of the day is at once spare and prolix, so that one is constantly doing mental double-takes to keep pace. Granville-Barker was never disposed to write for sluggish minds and, 60 years on, he appears scarcely less stern a taskmaster. He may not have been profound but he was never frivolous, and his mind was possessed of a formidable intelligence. Sebastian Shaw's Voysey is a marvel of casuistry, and John Castle plays his ton with a nice blend of low cunning and high principles. There Is also a wonderfully amusing Mrs Voysey from Gwen Melton, while Jeffry Wicknam's portrait of the family bullyboy and Victor Henry's Hugh Voysey are of the same calibre'.

There were moments last night when a little more animation and less appeal to mood seemed to be needed. But it is production altogether worthy of. the English Stage Company's tenth anniversary. JUNO, AND THE PAYCOCK at the Lyceum, Sheffield by Benedict Nightingale- EMERGENCY WARD 9 on BBC-2 by Mary Croiier Fhls last full-length play Vote, Vote, Vote, for Nigel Barton Dennis Potter showed himself so sure of touch that his 30-minute play on BBC-2 last night seemed to saddle him with a disadvantage because it limited his own capacity. Emergency Ward 9 was not stnetly a parody of that endless serial on the other channel about Ward 10, though it adopted the same format it was rather a variation showing the seamy side of life in the ward, not without its bitter humour, and quite without the saccharine of the commercial version.

It failed to show Mr Potter at his best because it was fragmentary and without a plot, though the characters were strong and TUNO AND THE PAYCOCK must be one oT. the "few r-Shakespearean tragi-comedies, in. the 'language that. can really work. In all its, shifting- moods.

We, are made to feel that the' captain's- caperlngs are simultaneously tunny (considerably so) and callous; they have a wilful flippancy about 'them, that adds desperation to the examples of human failure and misdirection that pack the play. Sir Laurence OHvler's production of the National Theatre Company fa as cool- and assured with most of these moods and mlrturea of moods as one would expect; but would be better still if It hadn't a curious tendency towards (rudeness and excess In handling some of the comedy. At one point-Colin Blakely's Jack Boyle stumbles across the room in a parody of fright and bumps heads with Joxer, Laurel and Hardy style at others, he pushes his impressive technique a little too hard and produces some odd vocal effects Louis Armstrong or the Mayor of Toy Town. Altogether the National Theatre is as awkward with its Irish accents as it was with the Scottish ones of "Armstrong's Last Goodnight." But, as a whole, Mr Blakely's performance comes off strongly. Strutting, puffing out his stomach (drink and sloth have left him unable to do much with his chest), wagging his self-satisfied head, quivering with egoistic bluster, he would remind one of the peacock, even if the image hadn't occurred to O'Casey.

He dominates the play to the cost of Joyce Hedman's Juno, who is hardly the impressive matriarch she could be capable with the money, but not dominant in the household. It's impossible to see why Joxer should stand so in awe of her. Perhaps the reticence of this performance is the reason why her climax at the end, son dead and daughter abandoned, is so disappointing, hut it is the only disappointment of the evening. that it does not exist Mr Potter manages to involve one immediately with Ms characters, who come up close and can't be beaten off. The death of the old man who kept vainly calling fbr a cup of tea produced a chill and finality quite devoid of sentiment One must regard this play as a number of sketches Mr Potter keeping his hand in and wait for the next full drama with even more anticipation.

Workshop on BBC-2 was an ertremelv good programme on Mahler written and conducted' by Bernard Keeffe yet another example of how well the BBC now does, music. the dialogue often pungent There was crusty old Flanders played by Terence de Marney, for ever arguing and upsetting people 3 beautifully acted Welsh schoolmaster and lay preacher by Tenniel Evans, and a huge handsome and rich coloured man, confident in bis wealth and his motor car. looking down upon the poor white patients. The BBC will be lucky if it gets away without controversy about the insults offered by Flanders to Mr Adzola and the subsequent fight Yet the rigid category of Niggers used by Flanders, he naturally calls all Sambo," is characteristic of many people and it is no good pretending THEATRES CONCERTS LONDON CINEMAS LONDON THEATRES MANCHESTER CINEMAS BELLE VUS ZOO PUUL Open dallr 10 u. (WHL ami fcUTilABjitT THEATJtA.

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'April iimd a oi brfksnaaTtoit, wm BXX. Wllralow. THAT DA1W OAT (Ul Mat Tomorrow 9at 30 LONDON OPERA AND BALLET ART EXHIBITIONS Stoke-on-Trent VICTpaU THIATIS flH. wurflxawo anrjOSTS. ttaw adapt, Ttaltftt at JJO rtucr.

(Oer UNI 7J0. Wad, Sar 3JO TO Swand af Untie. Ltuatta) by. Roorarl aid Hlmtnerrtrja Llgdaay and Crom Pa'UAiniM i Oer 7373 rrasaj. at 7 30 Uata TAj Wtd.

Thur Tri alat 341 rck (arid S'dney Jmtk. Hr IfJcarar, KrnnaUi conno and Arthur AaVt to BABES IN THE WOOD STUDIO 1. Oilard Baad. CT.N un Tha FuonJnl Pntnaem Toull Ever Sor JaoQLlcs Tatl'a Hllarloua atxaterplcot MB BULOT-8 BOUDAT fU) 2.45 SJQ IV) Our HTccto Lsaral at Mi4y tJ! 1 13 US 7 20 OWL and the PUSSYCAT Out ot ut nenw, mir, atrtnvt itUMi 1 nn Mt Kn LafrvliA TImt CntrrJcrr; itKllii bJt oa ihetr Hue" Fib Tipm EXHIBITION OBABOWSar OALIXBI, Sloan AKnna DBAVil.NtaS. UaUl April Dail? Satav 10-1- AitailMJoo 1-9 KAFlaAN GALLEKY, fl UuU Sae.E.

St Jusni't, 3W As UH3LUob oi pmi- lat GUSTXVX LOlfDUU IMIOS Dti 3U 10-1 LbKtVBil OAJOJvBt, BntiD HI CO NTTMPO RAR PAINTLNGa OM VIEW DkiW 10-3 Sua 10-1 KLUUIUiUGtJ riNt AET LT1 ll Ot Bwd SUtti, 1 HOMAC.l TO KOKOGCUIU. 3 wavtwY oVcuri arflap mdudiDj dwisai for "151 hUt.c JLorsJ 1 DUIj i S.U 10-13 llAt Old Boad St 1 tICUAtLD US- Uw paaiaunxs IVl rtHeU LlrC3CBKatT nontt vork umti Apr, tx jo-a SctonUy 10-13 lVKE.VS OA LLC SLCKIMOBAM fAtJLiX. Cafj IV utd Om Art DaJl? 12-4 5untUi a-4 riiart CM Boad tfi i.BW Kv, ChlaeM Ganauaa AtW DUy aau -5- Until April 2S, TeL 1ivf4.tr 1900 tlniJtrmtnl Catkrroa X- nU5UB OAULEBT, ljji, St-L Cromtior fcuart. 1 WOEkiS IV rtOtiliSa-Sjalte. CnulfltEd RuKJtoa, PaOJttH, SMf.

ttc DJt7 10-A U-l tttirtfcT rsjcsTuw. kivg strxet sn AinSS '5. 3W 1 WH1 lTi Vft. centar? Stxx rjuuLtiei at tftt NhfriaUii3a VriDUUiGTOX OXLLUil, i CW UltH I DAVID A HTLV( -6cy -pTUTw OaUly U- SaatuMari 10 SCXTOS (Datknalra) AXnaiTS rATfi. P0 10 30 12 50 3 JO.

3 50 8 Uc Oar uKTaornuc tkosk uaomticknt uxn mciB rLTt.No magbines tot TcdO-AO and TVffl A' 1 SO JC 4 30. SO All txii' iVlc 0308 50O0. 4073, OUtO.N. Barualkrt W1 ZTlt TOE KVACK IX, tHM L4 IXItlCB 1X1 Sep porta, wkdra aoo ji 2 0 7 0 BooAatOa ODEON, L1C So. tWhi 01U 1 Dean atartln VUtl Heim in THE SIUNCCBS A1 ProttramaMa 1 IS.

10. 43. 15 rUZV UldltAl Cilue id ALflK iccrt XI P-uca. 10 3 JO Wft 3 La Slow sjj pm sua. jo im ma i pm rtu.Ncas cvluuju.

ior mat i LAK I Stn UOLT DACHSHUND IUI IO0 WINNIE TUX POOH il'i Praia 11 10 JO, 50, 30 BJTZ. iOr. 1SJ4 1 Dand Kvrc. rraneutM Dorlaao tn WBEBX TBE SPUS ABB IA1 Prosa. I 3 30, SO SSO Sat pjo.

aVOIALTt CCflULAlU. MJaiiwaj iSol. 80OI) UT PAIB LADT IU DalO at 145 St. Sundara A1S and 7 30 All Oookabla txeeUetrt evcnlnc Car oartunA. ITCOIO OXE.

PranaSa Bovard TKk OBEAT 8T TRINIAN'S TRAIN BOBBEBT (U). 140. 410. 30 A OKITA TUE UlSTIT OBEraOCNti IL'I at 13 49, 3 13 3 SO. 30 WAJtNPB.

(Oer 34a 1 PUUr Otnaed Oar MT PAIS LADY IV) at 130 and 7 43 Sana 3 0 7 13 Sep JTt All xa La-r Ricm Sam-airt 11 45 Smi3? til 5 14 ud Ukl Wixj 5 0 INCIDENT AT VICHY STCTVIO t. Owtard IM OEM 84JT Detibla fUtneMi AstM Uoorcfattfl siyc.ixo jrer fu, so, 3 so. BcO Hoot, Olaotl Alfajf lA 710 TATTOS. Gatlcr. QATar U3X Oaaralna (Ul.

Tacb 0.40. pjn Omcft In tha aamaa (Ul. 7 JO. ItHL Wed. Sal.

MANCHESTER BUILDING AND 6t fcPJwif IT.brr IjlST rELST LAME Ttra 51 00 I Grft 7 Wtd 230 The Smaub Hit fctaQi MARY MARTIN to HELLO, DOLLY 4j mitfucatt stable wnaeneroo Tirt-I DCCUESS I TW SM3) El 0 Wed 140 Sal 3 15 ajd 90. NICHOLAS PASSONS In BOEING-BOEING riFTH BTLAiUOUS TEAR I rAOfrmas tm nuwincs GRAHAM METSON aura a-apnj as. HOY AN GALLERY 2 7a5aa.LAmA TtU. norm oAAcit opiea. TBktx tm taat paftunnanoe a ELEKTRA wttn tutuara coiner, tMl batuian.

sttaw. Downed su. A Th neat 7J8. bat parte at atAOAJU IDYronr. SHU traram orjy UM Ctlt EVT OkJUJEN TBS BOTAL BALLET Wed.

Tttur, A Pn. 180 claaantla. Mm. oa 7 30 Card Ommi. JiStSSSi Km.

a A 8, Law Heeea A few aeaM araalkfcat laaayt Wad I COT IBM eadub's rnxi.9. nv itnt oeauTm Eulias Eiwdna 749. TonScU. Tbon. Sat A asm 10 andTsT DIE FLEDERMAUS rn la auauex.

aptu a pai-bt. TBXAT7U BOTAL rJOCAPtULT (Git (99t fl, 3t txC X3b MtflaVT. Utrio ThotttU BAREFOOT IN THE PARK One at rne ninnkkri oxnedlet ta roam areola! Standard All tuami tod. Sat.l 1 pjn, I pjn. Son 8oda at 3 pjn.

and 7 pjn. Cbarl'on Barton. Etu Barrlaon TUB AOOi( A TRI ECSTASY ai 13Vt. 10, l.T. eve at Theatre Axenta DESIGN CENTRE Qaninawa iTtiBKHrri ot nU-daeraad rwtaojxnmma rasaics A nw cell artist ct inodam aull-aala for curtain, looat corara, upturiattir.

Also aamsBSvaxiBS wMa in a anpamica naiaond Iff aha Ojuocll tt Industrial sSn. xa7 to rrlSif. 0. Trra. 115 Portland sotA.

TtiqUMPi cax tan. nn i (beau Wona LECTURES MEETINGS att ajto joaa amam MDUtBX WILLS. Asrl 13 10 XL el 7 30. ao8 Apr. I 73 at I JO WESTERN TH.

RALLET fttift lvtii irrm-itm Ant I) UiBKti AtrrTttl. Tutttia ROGER HAMPSON Ajati ma djro OUBE OP tOBKS. iTam S12I Evia 0 Sat 3 30 1 Wed 3 0 Deer XK pane beryl asm in BEST PLAT YEAR S'ao award TBE HILLING Or SISTER GEORGE PrlA-StSTElRS to ST ilARTINi. Apf-i I AJT 30 CJTaiwtoM La Waboor-At ta THE ISMVEFISABT nujm mi irsti" mu ti" io Prl ancJ Sat 6 0 ts Srw Mtulovl THE MATCHGIRLS Blomiiii aurrtrUoot '0 Sk Scan a trlumpb 5iia. Tlmtl.

KRwrtl; hiodicd. to foil ot ilfe utd afMrtt rxiCE Or ITAUI OpeoUia tosartuw 7 30. Bm Ett 8 0, Sau Jo aod 8 0 BARBBA STOETSATfD FUXST OtPJ. WCHaJEt CRAIG Tk-ktU aratlanle Bj OWfe iaya; Afrcgea UIEP.V8 IlStl Thj-Jt celt 7 SO aolu evaolnta to Saurdtr 130 lr '1 trm M'o" s' rird A SONG AT EUtAt. (XII KT ISO 17UI 7 JO Sat 7 78 I'll April SI CraorUlo BarkeTa The Voysey Inheritance Apr tt.

a 75. Jt Seraail Uaatraee-a Oanea EXHIBITION rafTOun-r or makcbestek. tXTRA-MURAL DIPARTMKNT SctHoi. 1W9-1M0 TSRSX SViOOSt CmJU ot thw CountTTl.I CSutsdaUi 3 lawrence FtutZker deWls cts tit otaUnea trucn tha BMra-laTurmj DaprtraeiT The Ualenvltr, MuKhesUr 13 Tt. ARD S333 Ext.

Tf THE TIB LANB GALLERY, THE COTTON BOARD Qdnr Deaia and stria cmtra. It York stnat. uaaobotar "AT HOME WITH COLOUR" nMtaran tt mom Htttsa Cor arrrrOaj lmns. LECTURES MEETINGS HTU CJCMtBt SEASCAri P41VTLM13 at the Necber-ands RIPEftT PBCSTON, 17 KDfO 9TRI-T. TT JAUSS'S.

SW I TaKwon WU1 17M LONDON RESTAURANTS LONDON CONCERTS turn wot ttK ti Xae cioot tw LONDON CLUB Bimtngham Aifrjrrnxa tic roa envaca schools Bear KNIGHT. WILUAM HAJCJNG JCP. HSCTOR HATfTOS. DAVID TIUBX. JObaoc Ball.

Caxum Strett. Lcodani SW 1 St Jirata Pant Undeftroundl. Wednaodo. Ann IS. 1 as rua.

Mi tuna! taralar Srior, 109 Bortoao BKb Srrtat. Losene SI 1. SAV1LL4L 1 Tern Oil I Cotnta April 18, 13) Snba rra. 7 45 1UU wed. aat.

1.13 a dtn nine new BTtrnsH kftlStCAl 0J THE LEVEL Br TDe teala riut eraa-K EOfllET AND EUtABLTB t.sotot HOBdw IMau Otocaddtw ataTao. cam a oaejieUi ux" mm O'nm lunannt Clsat Ik4 fnm qxbq to 1 a oa ta tb mott nmm Ttpbcrr rtb Uocnig to tt ftttMt SU W. tptr. 3 ALAN 8ADEL. fITItaUPS In Batrtiairel Shw" Ooottt HAN AND SUPERMAN SWISS OOTTAOB ODKO.f (PRI SaH).

Tmt at a. R.r O. rraaaden, Oailxi. nam enneartxt tOrldi, srmctsnu IMetoenl EJlUUNDp BOS' CLt-B. rja and dance tram pa.

Cahem with Tfja Oaaawr and TVa I Jaaea Bara at 1 ajn. Ret 1ST.