The Guardian from London, Greater London, England • 8

8 Friday August 8 1969 ARTS GUARDIAN parable quality Grande" indeed much too close a parallel in the choral writing), these cadenzas, played superbly by Barry Guy and effectively amplified, marked a genuine extension of expression, not just a gimmick. Not that one should underestimate Mellers's achievement in puttinc together with such flair so many different startling effects, whether vocal or instrumental, but in terms of 1969 it is an achievement to compare in all sincerity with Coleridge-Taylor's in Hiawatha rather than with, say, Messiaen's in Turangalila or even John Taverner's in "The Whale." Certainly it is a work that ought to be remembered when it comes to drawing up future Prom programmes. Alexander Gibson was the conductor, brimming with enthusiasm to infect both the Scottish National Orchestra and the BBC Chorus, not to mention the soloists the ladies apparently revelling in the mild bawdy of the words by the American, Gary Snyder. Television STANLEY REYNOLDS A way of life I AM GOING on two weeks' holiday from today, but how will I be able to stay away from the telly with Mr Tripp not only on the verge of losing the Angleton Advertiser" but also in danger of fjeing charged with printing obscene libels, with Janet Cooper getting cross-petitioned for divorce, and with Sydney Huxley named as the co-respondent It never rains but what it pours down Angleton way. Watching BBC-l's "The Newcomers" is a way of life twice a week one tunes in on the little farming community which two years or so ago had a modern factory and a host of Londoners moved into it I dont really think "The Newcomers" serves very much of a social purpose, although one defends it every now nd again for bringing us light on such problems as young widowhood.

It is a nice watch and perhaps nothing more, and the BBC is, I think, mistaken in taking it off in September. Taking it off for, of all things, a new doctor series about a group practice. "Codename: Portcullis" by Bill Hays (BBC-1) was an incredibly backward step into the old-time secret agent thriller with melodramatic language right out of John Buchan's waste paper basket Clifford Evans played the Master of Martyrs' Hall, Cambridge, who between ports in the evening, runs M17. It was never quite bad enough to be good, only boring. "The Noble Art" (Thames's "This Week was an essay into boxing's rapid decline centred around Joe Bugner, who got beat in Manchester, and on the BBC this week by an American who went to work on the British white hope like a brain surgeon called in to syringe an aching ear.

There was some interesting stuff about the number of licensed fighters declining to a pitiful small 400, about fights being promoted more as entertainment than sport, and about those rather horrid hotel fights where men in dinner jackets and women in sequins and bleach sit around and have a prize fight with their pudding. But the report was fouled by the curious presence of Julian Cntchley, who looked distinctly uneasy talking to all those husky chaps with flat noses and whose commentary contained feeble heights such as "after the brandy, comes the blood." Coliseum PHILIP HOPE-WALLACE Force of Destiny AFTER the National Anthem, all standing in the dark strange rite Sadler's Wells opened a new opera season at the Coli-eum last night with a former success, their very creditable English version of Verdi's long and uneven "The Force of Destiny." There have been alarms and excursions behind the scenes, but the level of execution was highly competent, though I for one will be glad when we hear less of the stage manager's agonised barks over the intercom. In Italy, of course, you hear the prompter bawling away half a bar ahead, but one of the things about the Wells team is that they know their notes and words. The house was a good one, nearly full, and it clearly wanted to manifest enjoyment. But in a hundred small ways the audience was baulked of this simple pleasure.

It is quite absurd, for instance, that at the end of the monastery scene, especially when done with as much spirit and tension as it was by Pauline Tinsley and Clifford Grant, under Bryan Balkwill's idiomatic hand, that there should be no "curtain" at all, merely a rattle of applause, which is quickly doused by the house lights being turned up and the general scamper to the bar or to the fresher air of St Martin's Lane. On the other hand, a very indifferent performance of the vulgar "Rataplan" chorus, which Joyce Blackham did with animation but a very indifferent outline of phrase, was the occasion to bring not only her but a very minor comprimario before the curtain. There is a way of overapplauding an opera which can be most damaging. But there is also a way of dashing hard-won excitement: can you imagine Caruso, at the end of the duet "Solenne in quest' ora," being bundled on to a stretcher and wheeled off before the audience could give him a angle round? Donald Pilley, deputising at short notice, made quite a telling thing of most of the tenor's music. The baritone, Robert Bickerstaff, a much bigger man with a powerful voice, could have learned something about projection from this rival.

He looked well indeed the whole design by David Collis, with its suggestions of Goya canvases and battle prints, is a good example of how to mount romantic opera deftly and inexpensively from which Covent Garden might also learn a thing or two (whatever happened to their "Forza de Destino" still on the shelf?) Derek Hammond Stroud was a first-rate Melitone. But the opera hangs very much on the tenor and the soprano who are yet so seldom on stage together. Miss Tinsley phrases Verdi with an innate sense of drama. If her voice is not always ample and variegated enough in tone, she it is who sets the pace for the performance. Essy Persson and Anna Gael as Therese and Isabelle Birds of a feather DEREK MALCOLM reviews new films Yorkshire exhibitions MERETE BATES David Evans and others THERE ARE two very different exhibitions in the Bradford area this month.

The first is at the Lane Gallery (until September 3) and is an exhibition of members' work. It is scrappy and disappointing a hotch-potch of representational and abstract styles, second-rate in quality and craftsmanship. The artists suffer from limited representation, but also from the fact that many of them have not submitted more than experimental or old work. L. Mierins shows paintings sectioned into different colourtone stripes all right as experiment, but what about conclusion? He has done much more complete work.

Dave Clayton shows prints Chevron or Halo which, although among the best work in the show, date from some time back. It would be good to have at least one example of what he is working on now and surely more to the point of an exhibition like this? The best work is the cheapest: Tony Sharp's controlled but exotic prints of Tiger Flowers," Mrs Rothenburg's black and white symbols, both at 8. Christine Ogilvie shows a warm, exuberant nude, Phillippa Hurrell has developed her own austere interpretations of moorland segmented by walls and tracks. But otherwise there is little but dry exercises or romantic effusions. Even the sculpture is unexciting more like pottery.

Only Harold Mason's humpy, red forms ask to be sat on. The paintings by David Evans at the Goosewell Gallery, Menston (until August 29), come as a striking contrast Not only are they imposing and haunting but show sustained effort in pursuit of a highly individual vision. There is confidence and belief together with a mastery of style unusual so young a painter. The paintings are surrealist: they cloak dreams and feelings in representational forms, contain them within severely geometrical compositions. The horizontal of a wall or horizon, the vertical of a door, the rectangle of a window these divide each frame into classic proportions.

Even the colour is cold and restrained. The form is always clear, but the feeling remote, indefinable, like a question hanging in the air. A man's face looks up at a bird pale, expressionless. Two girls sit in armchairs in a park: the one watching the other, registering. There is no answer why.

Then a gun-barrel comes out of a hill, a man's head hangs, grinning weirdly in the dark sky. A white hand reaches to pluck the moon. Reaching, searching this is the movement Restless, like the clouds and shadows flowing over moorland. Aware of mystery David Evans takes chance as much as logic. A hand feels round a door for a pear it started from an accidental trickle of paint when Evaps was working outside.

He was at a loss how to finish another canvas, then saw the man look up at a bird, knew it wss what he wanted. The paintings bring to mind Northern writers rather than other painters David Storey is writing, for example. And like literature they seem to need human associations thev weaken when thev grow too detached. For example, a man's face, a dog, a fruit, a chair, diminsh in strength as symbols in that order. A painting of just a chair in a landscape can almost be pretentious.

Or absurd. David Evans is 27. It will be intriguing to see how he develops. 1166). Ergs.

7.45 Wed. ACADEMY ONE (Gez 2981) memories of the lost love affair and tries very hard for atmosphere, rather at the expense of pace and variety. It fails, too, where Mms. Leduc triumphantly succeeded. The book looked at its characters from within the film does so from the outside.

There is a purely external sheen about it which is fundamentally at odds with its theme. Isabelle, in particular, is never developed. Is she predatory temptress or just sexy kitten And what of the other girls They scarcely do more than cavort like a bunch of Rank starlets in gymslips. Yet it is not at all a bad film. A genuine atmosphere of tragic yearning does pervade.

Miss Persson is often most affecting, and though the love scenes are erotic, they are never prurient But it looks to me as if the makers were finally not up to the story's real complexities. Black and white, with subtitles which mysteriously disappear at awkward moments. Better brush up your French. John Olden and Claus Peter Witt are responsible for The Great Train Robbery (Berkeley, Tottenham Court Road) and I'm quite certain they, too, had trouble with the complexity of their story. This German production, pretty hideously dubbed into English, is fair movie class and thankfully does not involve Edgar Lustgarten.

It pays neat homage to the criminal heroes of our times. Everybody is, of course, called by different names. One half expects the familiar any resemblance to any living person tagline. But it seems reasonably accurate, though the bit about the Fulham gang "not in your class, I'm afraid, but I haven't got anyone from another district "surpasses belief. Apparently they got tired of hanging around the farmhouse and fled on bicycles in the general direc THEATRES FILMS about lesbians are not exactly two-a-penny, but there are now enough of them about for clear judgments to be made.

There is no longer any need to wonder aloud how much honesty a director was allowed in the treatment of his subject. He has only himself to blame if he exploits rather than illuminates, or befuddles the truth through compromise. It is thus to the credit of Radley Metzger that his adaptation of Violet Leduc's novel Therese and Isabelle (Continentale, Tottenham Court Road) has a basic honesty of purpose Few could call it merely a piece of sensationalism, open as it is to such charges from those who object to scenes of physical love-making as explicit as any in The Killing of Sister George." Yet it manages somehow to be rather a dull film, shorn of a good many of the insights which made the book so fascinating Los Biehes," for all its game-playing and frank entertainment value, seems generally much the weightier piece. Therese (played by the very beautiful and by no means untalented Swedish actress, Essy Persson) is sent to a finish-in? school when her mother remarries. Her hate for her stepfather rubs off on the youn! man with wiiom she tentatively experiments and she is befriended and seduced by the more experienced Isabelle (the French actress Anna Gael, now Lady Weymouth) Afler a preliminary skirmish in the lavatories, the couple get down to serious work in the school chapel and thereafter no holds are barred, except when Therese objects to being taken for an afternoon to a seedy pension most appropriately called "Les Oiseaux." The film is built round the now mature Therese revisiting the school to recapture MANCHESTER CINEMAS BC AIU WICK 1(1 001-273 1141 CAHR1 ON CMl'lNG 1 40 55 THE COUNT Hit FLIT KILLEtt (A) 5 15 6 50 LIBHAKV Aus Full The Proms EDWARD GREENFIELD Yeibichai YOU MIGHT roughly describe "Yeibichai," the new work that Professor Wilfrid Mellers wrote for last night's Prom, as an up-to-the-minute cross, 1969-style, between Hiawatha's Wedding Feast and Lambert's Rio Grande." And I can't think of many better models for an extrovert Prom piece than those.

With a scat-singer billed (fresh from the Playboy Club, Park Lane) and a jazz trio composed of Meller's talented long-haired students, the extroversion went hand in hand with symbolic concepts of daunting complexity. "Yeibichai" (the title meaning an Indian chant) retells the myth of the girl who is wooed by a bear and gives birth to human cubs. So, deftly enough, the composer takes the theme of returning to the instinctual life. He represents humans and their civilisations with conventional singers and instruments, while setting against them the seat-singer and jazz instruments, representatives of the wild, untamed world. Their untamed music brilliantly sung and played by Frank Holder and the Howard Rile Trio, is almost entirely improvised, except for a series of astonishing cadenzas for the double bass, the bear in ghostly reincarnation, yelping, snarling, howling.

Where in much of the work Mellers's bubbling, exuberant concepts seem hardly to be matched by musical ideas of com- LONDON THEATRES GAR RICK (Tcm 4601). Bvenlnss 8.0. QUEENS (Res Mat. Thur iai. 3 ac N'o Thurs Mats durlne AUtust.

TOM COURTEN AY and JULIET MTLLS SHE STOOPS TO CONQUER Rich ioltv utteri Eneiisn oonwiT m. GLOBE. (Get 1592) 8 15. Sat 6. 8 40 Wed 2 30.

Rl orlccs 5- to 20-Peter Bjrne. Vlvlerne Ball Richard Cole man In 4th rr tf Terence Fdrfy'i corned? There's a Girl in my Soup Transfers to Coined? Theatre Aue. 18 UA MARKET (Whl 9832). Even In ra 7 45. Sats ana o.id.

aiaif wea DOUGLAS RAIN in PETKR LUKE'S HADRIAN VII UER MAJLSTVS (Whl 6606) Evjs. 7.30 Mats. Wednesday and saiurd.iy 2.50 (Wed Mats reduceil pr'ccs 5- to 25-) ALF1E DASS in che world's rreatest musical FIDDLER ON THE ROOF with AVIS BUNNAGE Directed and Choreotraphed or JEROME ROBBINS TRIUMPH FOR FIDDLER ALFFE EN FINEST MUSICAL SINCE MY FATR LADY "Net; oi the World. SHAFTESBURY ST MARTIN'S Mats Weds. Sai.

Paul The Bsp. ROIAL COURT SaL 5 0 THE SAV1LLE (Tem. Leonard and London By Breoht Sheer SAVOY. KENNETH iQ THE Sheffield l'LAUOUSL. (22949).

Manchester 1HEATKE JJB 7406 25-50 BALLETS MIMItVA programme at Dwt Ofllce. 4 Ac AULXlDe AUULbl. JONES. Jeremy CLYDE in Conduct Unbecoming best new play In London." A triumph." Sun. Tlrats.

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MANCHESTER Perform ins Tucs to Sat 7 45 THE Fl OI'LE'S CK Peter Wlldeblood Directed by Barry Davis Booking and membership details 834 5000 Oldham OLDHAM COUsLUM Mermaid ROBERT WATERHOUSE The Other House FIRST written as a three-act play, then serialised as a novelette, now given its stage premiere at the Mermaid, "The Other House should properly have been left to the forgiving innocence of obscurity. Certainly it does nothing to further Henry James's reputation as a dramatist though with the present rather inexplicable vogue he is enjoying it may not be a financial disaster. In what will clearly take the prize for the most involved plot of the year, "The Other House" plays with Jamesian verbosity on the ungentlefolkly exercises of two women who are in love with one man, and another two men who are in love with one of the women. To complicate matters the lucky man, a young widower, has sworn never to remarry while his baby daughter is alive. So it is cloak-and-dagger stuff with the distaff side proving incredibly vicious and the baby finally gettng unmysteriously drowned in the river.

Basil Ashmore's adaptation of the story, edited and directed by Bernard Miles, runs for nearly three hours and to such verbal extravagances as Go then, the sooner to be restored to us." Indeed at times it seems as if James was seriously trying to write Shakespearean tragedy and unfortunately didn't have an editor beside him to tell him what rubbish it was. The result is a series of half-conceived acting parts, which are never quite allowed to rise towards the melodrama they so often imitate. Sad to say, none of the Mermaid cast are prepared to ham it up, though Vilma Hollingbery as the murderess almost lets go in her last scene. A drab, depressing evening. LONDON CINEMAS ODEON, Uajmarket.

t9o0 27SB. Z77J) Peter O'Toole. Katbarlne Hepburn In TtIB LION IN W1NTEE (A) Col. winner ol Oscan lncl. Best Actrcsj Award.

Sep. 2 30. BO Sun 40 80 Ute ho Sat 11.50 m. All mts bookable ODEON, Lelc Sq. 1930 6111) Sophia Lorcn.

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rilRLfc i Ger HH19). Laurence OlMer's THE DANCE OF DEATH (A) ProKS. 5.0 8 O. Bookable 100. ASTORIA CINERAMA.

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CASINO CINERAMA (Ger 6877). Lie Bar ICE STATION ZEJIRA (U) Dally at 2.30 and 8 0. Sat 2.0. 5 8 iO md 12 nncntiht Suos 4.0 and 7 50. uatn SHturcay (uikusi The Repertory Premiere DFAD SILFNLr By MONTE DOYLE Evas 50 Sats.

A and 7 AO 4011). Et 8. Th Sat. 3. Rosslter The most vivid, oom-oelllrjg hilarious act lac on the Son Tclcjtripb ABTURO Ul A triumpb Oosenrei.

entertatninent Sun. Times. Harrogate tion of SW6, with the notes stuffed in suitcases. And one can't really credit all that whisky-sodden quarrelling either. But a jolly piece, not to be entirely sneered at on a wet evening.

Whatever you think about Bob Dylan will probably be confirmed by D. A. Pennebaker's entertaining cinema verity record of his 1965 tour of England, Don't Look Back, at the ICA cinema (Saturdays to Mondays, from this week). It is a fascinating progress which stays just far enough away from idolatry to preserve a reasonably clear vision. There are two or three wonderful episodes Tito Burns cagily bargaining into a telephone with television, Dylan furiously trying to discover who has thrown a bottle out of the window at an after-show party, and desperately searching for ways of being polite to a ludicrous lady mayoress in his- dressing room.

But it's the acid brushes with the showbiz press that give most away. Here he is arrogant, even insolent but with some cause If he's a fakir they're fakers. The first of the Paris-Pullman's summer season of revivals is Visconti's third film Belissima (from August 14) This 1951 neo-realist fairy-tale about a proud Italian Mama hawking her brat round Cinecitta in search of fame and fortune has the benefit of a great operatic performance from Anna Magnani which stands the test of time better than most things in the picture. The rest, its purity of style assailed by cliches, and punctured by a slightly false charm, pales in comparison. But perhaps we are too blase about exploitation to take this wide-eyed finger-wagging any more.

Complete version, new subtitles and Magnani, with the stops out, conquers all. ADELPIt! iTcm 7611). Evks. 7.30. Thur.

3.0 S-uupjay 30 and 50 iTH VBXR CHARLIE GIRL Longest Runn.1 nc Comedy Musical THIS WEEK. ANNA GERRY NEAGLE MARSDEN DEREK NIMMO MAId 2S29 ALDWVCH RSC 1969-70 SEASON TROILUS AND CRESS IDA (Today 7 50. Sat. 2 0. 7 30.

Monday 7.30) Strattor d-upon Avon 'i MUCH ADO ABOUT NOTHING (Tu 7 30, Wed 2 30 St 7 30, Th 7 30) rvto ql'W Harold Pinter plays LANDSCAPE AND SILENCE J0782I 65962 AMBSSDORS (Tern L17D Eve. 8 Matt Tues 43 am a. nzawia uarua THE MOUSETRAP Ser- enteeth Inexorable year SOCIETY APOLLO (Ger 2662) 8 Thur. Sat. 6 and fl 45 JOHN GrSLOUD ALAN BENNETT Id 40 YEARS ON A Comedv Review bloane Avenue.

sat. CFRAT Council) South COM EDI (W1! JnTRt Last 4 perls. To-ilcht 6 0 8 45. Wholche-tU-d adm' ration "Times for John ALDFPTON Pauline COLLINS and tin ndertui ctress Teie-CTaPh DcJtrlx LEHMANN The Night I Chased the Women with an Eel William Payne domestic UDroar ol W. tiampstend brl ant An eTcellent cast Stand CUMtUl HW 2578) LoadOnS 1020: runnlne cotned? nit 4th Tear! There's a Girl in my Soup Trms'ers here fm Globe Theatre Aue 1R Cor CRITERION tWhi W16) Even-ncs 8 30 Sat 6 30 One the creat acttnit oertormance? ot out time Kathin sun ROY DOTRICE tn BRIEF LIVES GINGER ROGERS sclnt'llallnfi Tel.

la Lawrence Lee-jerry nennan Broadway Musical MAME Until August M. BAROQUE ARTHUR MILLER'S THE PRICE a maneltu's evening Exp OKTl'Nt lleni Jo8) 8 13 Saturday 5 30 830 Lllim MORRIS. The best contender I k.j, lor the throne of Beatrice Llllie Evening News in the new. vrAty and tuneful Rtvu AS DOROTHY PARKER ONCE SAID SN1)Y WILSON the test sco-e for a Bnuh show since Ol'ieri Splendid sud'-S. E-ess Realh suwb th'r'ct ions-lyrics DOROlIlY PXRhFIt observer Th's 'deal niur dinner Kow detsod bv Leslie Lawtou sd directed br BUI Hayes has oeen rrtoun ed toy laviihly." Evening Newa.

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Thurs. LO-8 Suns. 12-6 Admission NaMi Uouse, The Mall. MV 1 Tel 31 'i3i4 YOUNG AND FANTASTIC 1J ouiie British Artists Tues -Sat 12 8 Sunday 2-7 Adm. 5-.

Must end UPSTAIRS ROi COURT. Titp tn Frl. Sats NOTTI.V.tlVM 1'IAMIOt'SL. Tel. 45671.

EenLn, "30 Saturday 50 80 TV Ito weeks only. Lvnn nv tAUlAVE. Nirit HENSON. Caidii'i UAILER Sandra CARON Yionru AVI lOBLS. Larr AUBREY and Richard WARWICK In 700 700 UlDlttKMlINS ZOO ViH suitable for children A New Crcnedv b- Kevin La flan Directed Fnnlt Dunloo Prior to fie Fdlnburch FostU.il NB Mais at 5 0 T.usda Atisriist 1 for one Wool ROBUJ BATLEY la THE UILI) DLCK 38 seats only GARDENS OUT I HFQUET.

Kenwood, (Tem 9987). Evs 8. Thurs. Sats at 5 and PHILLIPS. DSRMOT WALSH Most Likely To SECOND YEAR 1 i anr.

rairilinja Dy FHILIP ThK-C'KH iloSD-17601 29 July-28 Sod-umlKT o-i 10 7 Sun 2-7 AdmLvJoo I -e Nearest stations, Golder Green Aichia 210 Bus t'LACE, (Vic 1517) Twice LEICtSTFR GMIFRILS. 22a CONCERTS isany watercoiour I WHITE Paintings by CLINIC, BaLer SL (Wei. 8R36) DOCTOH ZHIVAGO (A) Sep prfrs. 2 0. 7 20 Laic film 11.15.

Quality Street (U). CLsSIC, Chelsea i352 4388). Ma ood THIS PROPJRT1 IS CONDEMNED ii Ij.ie film 11 15 Marx Uoree-tealhers (U. nnn CLSIt Hampsteid. 794 40O0 A.

Quion LV STRAI (A) 1 55. 5 15, 8 45 11 pm THE QUEEN (X) 3.40. 7.10. CUSSIC Notllns Hill Gt. (727 5750).

Terence Stamp. THE COLLECTOR (Xl Lnte tlim 11 15. Marllro Monroe. RrVLR OF NO R1TI RN (U) rt CLlK I'lcc Circ IGct 2o80). CANDY it 1250 2 50 5 30.

8 5 11.15 pJn. ClAH Waterloo Sin. 1928 323). Dirt B. ante, ACCIDENT (U 9-0 A 11.15 i only HIGH TRISON (UI.

7.5 in oill. COLt MBIA (Re S414). Baxbrt Streisand (OSCAR Best Actress) Omar Sharif FUNNY GIRL (U) Pert. 2 30. 7 45.

Sun 4. 7 45 Lt show Sat 11 15 Bfcblc CIRZOV (499 5737). Fully air condltlcncd vnr a short seaaon only. CLOSELT Olist ED TR4INS (X). 2 30 5 45 and 0 10 It FIXE DE JOUR IX).

4.0 7 50 DOMINION (5R0 9562) Dairyl P. Zanucts Tin IOVGFST DAY (A) ja 70min. and 6 taci( S'ereophonlc round Sen perts 2 30. 7 45. Sun.

3 30. 7 45 Bookable. EMPIRE. (Ger 1234) ALFRED THE GREA1 (A). 2 30 8.15 SL 2.

5.15. 8 50 11.30 ESSOLDO. CHELSEA (352 748M. "IF" (X) sw twrft 2 40 SO 8-10 Advance Booklne Omce 552 4 187. LEICFSTER Tn.

1930 52521 OLIVER' (U) 6 OSCARS tnr Best Picture Seo pi-'-fs 1 "0 Tli Sun. 4 0 7 45 Late 1115 m. Boofcabie. IXVDON I'WILION 21. Rod Strleo- Ool Ji-1T C-eesco 3 INTi 1 OVT GO IXt Crnt.

PHTS 1 30 3 40 25 I Si 11 15 Emery. Freddie Davlea. etc. ETHFI mfrt LAWRENCE TOYNBEE 10-5 30 Sata 10-1 UW u-k LONDON ARTS ILLfcltY, 22 St Bond Street, W.1. (01-495 ASA RELY Oils ard Graphics Opeo DatK 10-fi Sa.t.irda'.

10-1 HEAR MUSIC LIVE at the (Vie 02Ro) (Resiaurani Muriel SMITH Patricia BREDtN DIPLOMACY tunclul E.N 45 Wed Sat 2 3Q. MARGARET LOCKWOOD ON A LYRIC iGer 3686). 8 0. Sat. 6.

8 40 Wed 2 45 JOYCE ELM AN. JAUL ROGERS PLAZA SUITE HILARIOUS fj St. RIOTOUS." EN. MEKMMD THEATRE. (248 7656).

(Restaurant only 248 2835) THE OTHER HOUSE bs Henrr Jamej. Evja 8 0. Mat. Thur. Sat.

3.0. NEW (Tern 5878). Mon to Thurs 7 30. Fn Sat 5 and 8 15 A MUSICAL ANNE OF GREEN GABLES Gill's 0ER Back to Methuselah Tonich' Mon. Wed Thur nest at 7.50 Part 2 Sat Thur.

next 2 15 Tucs 7 30. Part 1 55 available each perf- day. 928 7616. VICTORIA OPEN AtR, Recent's Park (486 2431) Evs. 7 45.

Mats Wed. Thurs. Sat. 2 30 The Merchant of Venice OPEN SPCR Ski.hi Tah plajs WeUcr Aue 12 to 24 ltTS A THE INDIVN VT THE HKONV bj HorovtU. Aits 25 to 30.

Re. 3S0 4970 wyvniUM'q trusts, at 8. PLL.UILM. (Ger 7373 1 Tlce Mchtly 6 15 and 8 45 Mat. Saturday 2 40.

DES O'CONNOR in New Spectacular Uere and Now Los Paraguayos The Rockln' Berries a'r cva1 ruOEMX (Tcai 8611 Mon. to Thurs 8. Frl and Sat 15 and 30 XO YE-VR THE AWARD WINNING SMASH HIT MUSICAL CANTERBURY TALES THE RACIEST BAWDIEST MOST GOOD HSARTr GOOD HUMOURED SHOW IN LONDON 'Ssna TlTif 4A1r-eoidIUoaed Theatre Ees Snurdajs at 4 and 8 15 Special EnnaKemem of RICHARD KILEY Creator Don Qjltote and rne Imrxjslble Dream RUTH SILVESTRE BERNARD SPEAR In -he Fabulous Musical MAN OF LA MANCHA ThL' show shf-uid prwe iTeslstible "Mail ROLND HOISE, Chalk Farm (48d R07o) nefc evenrce at m. T1IE PRUCllbR A AfroJazz Mus.caJ Plaj STRAND (Tem. 8 40 (Mat.

DEREK NOT AN LAUGHTER SUCCESS TIIEATRr (Sin ''tJi VAUDEVILLE. 2 30 LESLIE DIANE HART The Man S'JTrTif with Dick WESTMINSTER. Vic 7781) Donald SCOTT HIGH Slick elesant Eentnzs 7 THE BOYS by Mart Crowley Suitable BIS Kevue uuiur BRUCE CHICHFSTLR S0333 Tont at 20 A 9 11 IKE. NOBTUCOn L'ntil Eenlnss at Ex GERALD FLOOD DILYS LA YE tn the 3 Keitn Bin Uar LONDON (Tera 3028) Mon. to Thurs Frl.

and Sat at 6 and 8 45 M4RLBOROLGU FINE ART (London) LTD and GH NEW LONDON GALLLRT 171S and 39 Old Bond W.1. CD ARD MUNCH and EM IX, NOLDE nclatlonshlo of their Art: oils aateroolours and craDbtci. Dalh 10-5 Saturday 10-12 To Auu? 29 IN THE BAND Director Robert Moore for adults only. D- Sr dt: 9 30 196 HOW AN LliERY. 3 1 a It futon IMace.

London Tel ,727. Dalb lO-o Sat 10-1 RILEY Recent ROAL AfVtiniT FThihiunn ninirt m-ipt mis huhlu o.m FORSYTH D-awlnffs tvm Cliatsworth jl (luiMLvuui o'- luacnis ana rcn-sto-ors hilf nrlce Wkds 10-t Sun 2-6 Chichester 1 1 2d) Season Free Trade Hall, Manchester SEASON TICKETS from 3 10s ON SVLE SATUBDW. AIGIST 16. conductors and Soloists Include Itarlnmlll ILutdford Brendel Atmoti nrownlDE Harrnbtilm Curon ISouK l)u I're Foster C.utnlkov Gibson KichtCT-Husci Jilas Tortclicr lausom uekerraan Prosrxv as poa on sale 3 post freo. Ha lift Box Office 11 Cross St-uet.

Mmcheatcr M2 1WE. Tel 051-R54 1712. ICTOKIV A ALBERT MUSEl TATTON. GTI.r Tel C. VTov 133 TIKWK GVIFICKN Mf.N'lN Till lit FL1 I MACUIM (U Doors 7 pm Pros ctvt Toll Mais Mon Wed and Sat 215 Circle seats bookable Call or telephone THKVTRE ROWI, CINtHM 834 9uo MAXIMILIAN SCH FIX.

DIANF BAKER KUAKrO FiT OK (Al Daily 2 30 7 30 Sat Birtk Hoi? 1 0 4 15. 7 30 Uue Sho Sit 11.15 pm PookabV Lc Bar. MANCHESTER FILM THEATRE OPEN TO LU 237 0497 Ee at 7 0 Mis Sun Wed Sit TIHTRSD.l "i L1DW SATURDAY LE FATE (Sex Quartet) (X) (S.20) Wl-h RAQUETL WELCH MONICA Vim. CAPUCINE MILQS FOnMAN THE FIREMAN'S BALL" (7.0) SUNDAY ON1Y 16 30) WOMAN OF THE DUNES (X) and "THE JOKER (A) EXHIBITIONS COVriNJVTVL Stewart Grlfflttis M-c Bid? Des centre St Aur. il-14.

9 30-7: Aufi. id till noon. LONDON OPERA AND BALLET rtn exnioinon ol czecn art Arts Council exhibition Till sent 14 WJcdys 10-6 Weds. 10-3. Suns 2 30-6 AdmLaslcn 47- FtTt THETRt.

Tel AUS 12 at 7 0 Aux ANTOM AXD at 7 O. THE COL.NTUA COUFFM Sad'er's Wt'h Opera Efj.n 7 30 Sot Office TEM 3161 Ton'cht Thurs next ARIADNE ON NAXOS Exeter LONDON LECTURES Gr MEETINGS THE SOCIALIST IMRTY FESTIVAL oised on common AIMS TIIEATRL. EXetOi 56182 Aueust i6th 0 Saturday 5.0 8 0 Wedneida at 5 0 PRUVELLA SCALES EDWARD DE SOCZA HtKrloLs New Comedr CHILDREN'S Waterouse and Wt'im tlau (autinrs of A Say Who Yon Are OPENING LATE AUGUST. SADLEK'S WFLLS TIIEATRF. Rort.n EC 1 (Tel 01-R37 bl2t 12 to 16 vj it 7 30 LONDON OPERA GROUP In BritCTl 1 TIR.V OK Tilt.

STBTIV Aur. 18 -o 13 FIFnTA GITAN't 0. Sill. FLAME.NCO auction sol for use not prc-fit. It opposes all othc- political parties, all leadership, all ratratlsm.

all war to- details ol a srowtnc movement, new srvmps meetlncs. and lectures to One IIUIROGATF FESTIVAL OF ARTS ANlt SC1VNCES, August 5-16, p-oram-nca a id tUXets for all events from FestUal Box Office, Buib s. Parliament Street, urr rate. Telephone 60544, orja- tuj, rne t-ociaiut 52 Claphxm Uiib Street,.