The Guardian from London, Greater London, England • 10

ARTS GUARDIAN Friday February 19 19S2 10 California soak opera Nancy Banks-Smith savours the heady promise of Dallas's successor Robin Denselow reviews the latest LP from Teardrop Explodes and Echo and the Buitnymei. 22 eeSnoes were Jane Wyman plays an old bat, Angela Chaining, who pushes her boozy-brother's body over a cliff in a blazing car after her batty laughter Emma has pushed him off a balcony. She does this to cheat her upright, nephew 'out of his just deserts under Mad' Jasper G-io-berti's will. I hope that is quite clear? 'All it is necessary to know in this sort of story is -who -is Vanilla and who is Chocolate. Chase, the chief Vanilla, is concerned about his children or cornets.

Vicki is In love Gioherti family. You might call it Chateau Psycho. It has turrets, pelmets, gussets, gables, curlieus in its purlieus arid' sonie exceptionally nasty stone cladding. Hitchcock would have felt at home. It' does not.

seem tohave -a-swintming pool like South-fork, so convenient for submerging surplus, relations, but it has a shed of sorts full of wine barrels, which Richard III found equally satisfactory. If it weren't for the. family, you would say thft all Chateau I'sycho lacked Landis, Alea McCoweh, Jefery Vanderbyl and John Salthouse in mean, vicious and boring," insisting on trying to show her capable of love." One feels for Rliss Wyman, a former Oscar winner, in a serial where all women act from the elbow, raising and; lowering both forearms but the star in a soap opera is 'meant to be mean, vicious and boring. Ever' since people- started trying 'to see the bad guy's point of view, soap opera has been the last refuge of that much endangered species, the villain. Miss Wyman, who -has ter The Portage to San.

Cristobal of ticated for Elgar in his most innocent mood. Felicity Lott saiig with limpid clarity in the small part of Mary: Kenneth Woollam and John Shirley-Quirk did all that could be done with the parts of the Narrator and Peter, who have much fine music to sing but who come from a more distant world of 18th century oratorio. Alf reda Hodgson lacked the colour in lower registers for Mary Magdalen we don't seem to creed old-style mezzo-sopranos who can do justice to this part anymore. RHF Meirion Bovven Philharmonia REPLACING the conductor Bernard Haitink at this Philharmonia Orchestra concert was Rudolf Barshai who, in the two Mozart items of the first half, paid less attention to the overall shape of each piece than he did to the incidents along the viay. He allowed the straightforward format of the Symphony No 32 in an operatic overture in disguise to speak largely for itself.

Its robust orchestration, featuring four horns, came effortlessly across in this reading. with an Older Man Barb, we've been going together all semester" and Cole is in gaol. Chase thinks they would lead a healthier life in California at Chateau Psycho though what with Jason going over a cliff in flames and Emma being in a catatonic trance and Julia hitting the bottle one suspects they would be better off on the Bowery. Angela should be Chocolate, of course, but Miss Wyman, misguidedly one ferls, rejected the original col.ception of Angela as distinguished. But then mood has replaced flaccid conversation, and the work ends with a reassuring major chord.

Aldous Eveleigh's colourful sets and costumes abstractly match the seasonal theme. Nick Chelton's lighting achieves some effective changes of atmosphere. David Freeman's staging (unlike his Opera Factory, work) seems completely unengaged. James Lockhart conducted. The hard-working singers, with noticeable prompting most of the time, were led by Malcolm Rivers's Brig-hella, Nigel Robson's Harlequin, Teresa Cahill's Columbine, Paul Hudson's Pantalone, John Winfield's Doctor and Fiona Kimm's contralto Countess.

RFHRADIO 3 Hugo Cole The Apostles THE long-deferred performance of Elgar's Apostles, which should have opened last year's Proms season, was conducted this week by Rozh-destvensky. Though big choral works often make a great impression at the Albert Hall, the change of venue was in many ways welcome. In the clear Festival Hall acoustic we could hear most of the words and appreciate in this light-handed luminous performance many details of orchestration which go for nothing in more resonant places. The BBC Singers and Chorus and Goldsmith's Choral Union produced a satisfying weight of sound and better still answered the helm like a chamber choir: their lightest staccato as convincing as the sonorous Allc-; luias of the final section. There were three particular heroes.

David Wilson Johnson as Jesus exactly fulfilled Elgar's conception of the unaffected and unsancti-monious man following his predestined course Malcolm King as Judas, by far the most interesting of the Apostles psychologically and musically, sang with just the right sort of vehemence and force. The big monologue was more than usually reminiscent of lago's Credo, though Elgar's Judas is by comparison a. benevolent and well-meaning character. The third hero was Rozh-destvensky himself, controlling the huge ensemble with the lightest touch yet allowing his performers ample freedom. Only his handling of the opening of- By The Wayside seemed to be just too sophis- FALCON CREST (ITV) is a serial aLout a Californian wine-growing dynasty.

I think-you may be amused by its presumption. It starts like Dallas as well it may, being a chip off the old potato with the screen; split into sections, showing the stars registering three or even four different-emotions. This is to show they can. Falcon Crest, the equivalent of Southfork with its: tempest-tossed terrace and frightfully fraught alfresco, meals, Is the home of the' From MERMAID Michael Billington The Portage of A. H.

CHRISTOPHER HAMPTON'S stage adaptation of George Steiner's novel The Porlage To San Cristobal of A. H. may not be a great play. But it certainly contains a great final speecn an attempted vindication of racial extermination delivered by Adolf Hitler. It assaults the nerve-ends, delivers a sharp blow to Western hypocrisy and triggers off a debate that will continue long after one has left the theatre.

How many plays do as much as that If I have doubt about the work, it is that the preceding adventure-story seems, despite a dazzling production by John Dexter, a rather tenuous support for a speech of such furious power. We see a group of Jews capturing the nonagerian Hitler and transporting him through the Brazilian rain-forests while remaining in radio contact with their unforgiving leader. With filmic speed, the play also cuts to Oxford studies. Moscow offices, Paris boudoirs and Washington conferences where the legal, moral and practical implications of Hitlers capture are interestingly aired rather than strenuously debated. Naturally, these scenes pitch some provocative notions at the audience.

To whom does Hitler rightly What justice can be commensurate with his crimes? we hang him," says one of 'his captors, "we'd be that what he did could be made good Is genocide sus-; ceptible to common law? Was Hitler himself a Does: a younger generation care, about the enormity of his actions? Are obsessive Hitler hunters perpetuating his myth AH vital' and fascinating questions: and Mr Hampton-has excavated them from the" novel with some skill. But on stage the first-half jungle trek and international interludesi don't allow the big issues the breathing-space they need. Moving from the first to the second half, however, is likp going from The Long and The Short And The Tall to the trial in Saint Joan; when we. get to the improvised court in a forest clearing in which' Hitler makes his self-vindicating speech we enter the thrilling realm of moral drama. Hitler's arguments are that the thousand year Reich was a hungry imitation of Zionism; that the Jews have I "1" dent, whether on TSP's folky The Winds, on which Balfc demonstrates his keyboard skills, or on Lori and The Chameleons' Lonely Spy on which the distinctive Zoo style is overlaid with a breathy girl singer.

Nick' Lowe Nick The Knife (F-Beat). Two albums this week try to evoke what some would see as the golden age of pop innocence, the era of the late fifties and early sixties when pop music was joyful and unashamedly romantic. Nick Lowe manages by far the better of the two. He can almost be classed among the grand old men of rock by now, having survived the pub rock scene, more good-time thumping with the much-missed Rock pile, and having worked as producer for the likes of Elvis Costello. As a solo performer, he has always been brilliant at one thing stealing other people's riffs, or parts of their songs, and re-working them into new material with a distinctive Lowe stamp.

The new album reminded me of (among others) Crce-dence Clearwater, the Supremes, the Coasters, Bo Diddley and even early Cliff Richard. The best songs are the slow ones (surprising, considering! Lowe's history), and many of these are an absolute delight. The old Rockpile song Heart sounds like fifties doo-wap with a reggae tinge, My Heart Hurts has a catchy, pulsating organ riff almost worthy of the Sir Douglas Quintet, and Couldn't Love You Any More Than I Do is a modern version of the most charming, sloppy fifties romantic ballad, with just a slight hint of a spoof in the lyrics. The best pounding rock track on the album is Stick It Where The Sun Don't Shine. And if you want to find out where the opening guitar riff of that was stolen from, compare it with Side Two, Track Three of The Creedcnce Clearwater Revival Hits Album (Fantasy).

This is a new compilation of old Creedence favourites, and is almost identical to earlier compilations like Chronicle. It starts with Bad Moon Rising (which never sounds quite the same again after you've seen An American Werewolf in London), and includes all the other brilliant, chugging Fogerty classics from Down On The Corner to Lodi and Green River the track Mr Lowe has been listening to. Orange Juice: You Can't Hide Your Love Forever (Polydor). The second "pop age of innocence re-visited" album of the week is a more curious affair. Those who avidly admire this young band seem to regard it as a virtue that they can't sing or play too well, simply because they are honest, cheerful and uncynical.

It's true that they do have naive, cutesy charm, rather like Jonathan Richmah, but- -that's not enough to get them through a full album. They range freely from pop to soul, frunk to folk, and from the charming to the very, very slushy. The slush includes L.O.V.E. Love, which could come from some dreadful musical. Other tracks, like Upwards and Onwards and the witty Consolation Prize show they've got potential.

The Cimarons Reggaebility (Pickwick). Not just the worst reggae album for months, but surely the worst album that Paul McCartney has had anything to do with. The Cimarons are a veteran British, reggae, band who agreed to make an album of McCartney songs and other material -in which he apparently has interest'. The songs range from McCartney favourites like Mull Of Kintyre to reggae versions of Arriverderci Roma, Poor People Of Paris and even Eve Boswell's Pickin' A Chicken. The Teardrop's Julian Cope THE HISTORY of pop music has been affected almost as much by grcat record companies as by great artists.

After all, wuld Soul have developed in the same way without Gordy and Motown, would the scene have been the same without Chess, or would reggae be 'itiite so popular in Britain vithout Island On a smaller scale, there's urely no question that much the best British music in -ecent years has been developed by the indies," the -mall, local labels that appreciate the worth of local 'iroups and help them to record. With the new Liverpool scene" now so firmly established (and with The Teardrop Explodes set to return London this weekend), it's an appropriate moment for a -etrospective from Zoo, the Mersey label responsible for "oth the Teardrops' and Kcho and the Bunnymen's success. The label was started by Drummond and David Balfe, who between them 'iave worked as managers, producers and musicians Balfe now a member of 'he Teardrops). Both can be 'leard playing with a variety if bands on the quirkily- itled new compilation To The Shores Of Lake Placid Zoo), which aims to represent what the label has chieved in a year and a alf." The expensive gatefold leeve (a rarity in these days falling record sales) is u-edictably littered with pic-ures of the two best-known 'oo bands, and both the 'eardrops and Bunnymen ontribute early or unre--ased tracks. The songs by he flamboyant Julian Cope nd his early Teardrops include the original, entler version of When I )ream, and the unreleased Take A Chance.

The Bunnymen also sound antler than they do now, out still liavc the same moody insistence. The lighter, simpler versions of Pictures On My Wall or the vivid Vil-Hers Terrace are in some ways more effective than later, heavier styles. Along with these intriguing period pieces from recent pop history there are tracks from lesser-known Mersey bands Turquoise Swimming Pools and Big In Japan with Drummond and Balfe among the performers. Here again, the moody, Irif ting'." Zoo sound" is evi- ISTWNSZdBO'S UtARVELIOUS" -JEST HEW FlUT KRZVSOFKIESLOWSXIS CAMERA BUFF. TCMAfKABl.UASTERLY IM Tasrt -SCINTHIATWG -SEE AND EHJOV "SPLENMDVEflYBESrFRM' KRZVSZTOF2ANUSSF5 THE CONTRACT BTUMSZAaO'S t- 1 SEE MltY PRESS MDUST1NGS IVAN PASSER'S CUTTER'S WAY.

leftr-Morgan Sheppard, Harry throughout history erected ideals that leave man a "guilty that the crimes of Stalin are infinitely than his own that the Holocaust helped to create the state of Israel. Just as. Shaw gave the best i to those, who to' hum so Steiner gives Hitler a rancid. fiery 'eloquence arid one test the play's ultimate success is that one Is riio're interested in discussing the ideas than their presentation. The ideas also act as a mirror to our own hypocrisy the attack on the West's subservience 1 Stalin, on wartime civilian bombing and on the use by supposedly civilised governments of napalm seem to me so powerful as to be unarguable.

These are not in any way justifications of Hitler. What Steiner and Hampton do is to use Hitler as a vehicle for uncovering our own intellectual double-think. The arguments about Judaism seem to me more susceptible of rational attack. To argue, as Steiner's Hitler does, that the Holocaust led to the conception of Israel Hcrzl create Israel or did I is like trying to justify the Black Death on the ground that it led to improved medicine and sanitation the good that evil produces is no vindication of the evil itself. And the notion that we have throughout history hum cowed by the Judaic bacillus of perfection is to erroneously suggest that conscience and guilt are of religious systems.

But the fact that one wants to exercise the right of reply is a measure of how much the play finally got to one. And Alec- JfeC'owen's delivery of -the final speech is one of the greatest pieces of acting I have ever seen a shuffling, grizzled, hunched, baggy yet 'suggests the monomaniac, power of the Nurem- burg inhabiting, the frail vessel of this old man's body. He delivers the ideas, with clarity; yet the convulsive clutch of the left hand and the barking shriek in the voice chillingly transport one back to the figure glimpsed in old news-reels. One also, add that Jocelyri Herbert's with their enveloping folds of close-webbed material, uncannily evoke the Brazilian rainforests, that Julian Beech's sound design repeatedly explodes on the ear and that Mr Defcter's production is both atmospheric and ultimately clears the stage for the ideas. And in the end it is the ideas that make this an unmissable theatrical event.

This review appeared in some late editions yesterday. SADLER'S WELLS Tom Sutcliffe I Gommedia EDWARD Cowie's first opera, premiered at Kassel in June 1979, is a re-vamp of the old comedia del'arte tale of Columbine and Harlequin with a libretto by David Starsmeare. If Cowie had Strauss-like musical and dramatic skills, his attempt to create a gentle atmospheric fantasy by breathing new (faintly contemporary) life into the ancient archetypes might be interesting and charming. But his apparently easy neo-tonal note-spinning fails to define either character or scene with any firm edge. Though his three-hour work (including one interval) will be inoffensive to most, the lack of rigorous structural discipline in (he compositional technique, the failure to differentiate be- Teresa Cahill and Ntqel Ko'isom tween vocal foreground and orchestral background which often renders the words inaudible and the sung lines uncharacterised in musical terms, makes for a dull experience.

There are moments of pleasant repose. Some passages do manage to establish their credentials firmly enough to be welcomed as musical scenery, But in writing dramatic parts whose intervals usually take large steps, and maintaining a process of continuous variation, Cowie does not recognise that the tension needed to sustain interest depends on the strong identification of that which is being varied. Only when the season turns to winter for the fourth act, is the landscape pared down to the point where Cowie's mildly scored events (though secondhand and predictable) become dramatically, if conventionally, ribly tiny features, does manage to force a terribly tiny sneer as the Vanillas arrive for dinner. They all troop in saying things like You have been more than fracious" and "Hi Lance, 'm Coke. O.K.? and Meet Chase and his lovely wife, Maggie and a falcon turns his head incredulously after them then back to us with a look first patented by Oliver Hardy.

There an invisible thinks bubble "above his head. A bottle of Californian wine to the pers who fills it best. A.H. Picture by Douglas Jeffef In Mozart's Piano Concerto in Major- (K467), Barshai seemed over reticent in the company of the soloist Sir Clifford Curzonv In fact, he allowed Curzon to dominate too much and since this pianist was. occasionally erratic in tempo (notably in the first movement), the dovetailing of orchestra and soloist was often shaky.

Curzon's delicate touch went to such extremes of pianissimo that the orchestra often overbalanced; him inadvertently. A novelty in his interpretation was the inclusion of arrangements of Bus-oni's cadenzas, which worked quite well, even if they weren't quite Mozartian. enough in style or pattern. Mahler's Fourth Symphony-appeared to benefit quite a bit at first from Barshai's. undemonstrative and the first movement especially gained in clarity and revealed a wealth of detail generally glossed over.

The rest of the work was somewhat disappointing, however; the scherzo had a bumpy ride, with too many accents and not enough cohesion; the slow movement was simply too fast to achieve its fundamental mood of rapture; and the conductor's concern for detail made the finale sound merely pedestrian and even the soprano Sheila Armstrong was, for once, here unable to. turn it into a child's vision of innocence and heavenly bliss. ART GALLERIES EXHIBITIONS VICTORIA ALBERT MUSIUM.S- Ken. LUCIE RIE. Pottery from 1926; 1981.

Until 38 March. Atfm. SOp. THE ART OF THE RADIO TIMES 1923-1981. Until 21 Feb.

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THE PRINCES GATE COLLECTION. Paintings a Drawings. Weekdays. 10 am-3 pm. Sun.

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