The Guardian from London, Greater London, England • 7

7 THE GUARDIAN Monday February 24 1964 review ARTS ANGEL Huntington Hartford's latest project described by Willa Petschek VIOLENCE IN ART by Eric Newton I AM not sure that the Institute of Contemporary Arts, when it envisaged an exhibition on the theme of Violence in Contemporary Art in its Galleries at 17 Dover Street, 1, had quite made up its mind whether violence was to be found in the artist's theme or in his manner of depicting it. Ideally, of course, the two could be combined, united, perhaps, by a hatred of violence rather than by an obsession with it. Anti-war propaganda tends to underline the horrors of war pro-war propaganda may easily glamorise and romanticise it in order to make it acceptable. One can imagine Poussin depicting the assassination nf Julius Caesar or the Rape of the Sabine Women in a spirit of devotion to the gentle art of pictorial composition. Even Cezanne's attempts at Bacchic frenzy look like an exercise in converging diagonals.

But contemporary art has got into the habit of wallowing in a kind of stylistic violence that is an end in itself. Even as far back as Van Gogh one notes how the turbulent brushstroke can turn a serene night piece into a wild ballet of somersaulting stars and writhing cypress trees. The result is exciting but inappropriate. Roland Penrose's Preface to the catalogue admits the dilemma. It is never certain whether the artist has worked on us purely with the cruel intention of disturbing the self-satisfied or whether his creation is the inevitable reflection of a corrupt society mirrored in his sensitive mind." The exhibition (divided into subjects like War," Suicide," Hysteria," Distortion is therefore a bit of a muddle, but it is none the worse for that.

Art is basically communication, and during the last decade it has become more so. The what and the how of the happening communicated grow more closely interwoven. The exhibition consists mainly of small to smallish photographic reproductions crowded together. This enables the ICA to include as many as 267 exhibits of which only 30 are original works of art. Which enormously enlarges the exhibition's scope though it removes us, in the case of paintings, from the handwriting of the artist.

The drawings and prints suffer less and in some cases draughtsmanship is more vivid than paint, for the pen can contain more undiluted vitriol than the paintbrush. Georg Grosz's Rape and Murder in the Ackerstrasse is one of the most horrifying drawings ever made. Beside it the blown-up fragments from Guernica look unexpectedly mild. Perhaps as happened in the case of Victorian romanticism our senses have become gradually dulled and we begin to require larger and larger doses of violence in order to create the desired frisson. We can even watch our own familiarity breeding contempt.

There was a time when Burra's and Beckmann's brutalities made us shudder. Now we need Francis Bacon at his most nightmarish. Sutherland's "Thorn-heads no longer tear at the retina of the eye, however determined they may be to symbolise the Crown of Thorns. Violence is more effective than serenity because it is more picturesque, but it is a dangerous as well as an effective theme. It has become a necessary ingredient and not only in the visual arts.

But a moment will arrive when our appetites not for the theme itself but for the overstatements it brings with it will be glutted and the ICA, always determined to be with it, will have to turn back to a new Poussin-esque neo-classicism. Even the sinister mushroom cloud will become an object of beauty. but the hotel boasts a 2.000-seat amphitheatre for dramatic events. With the exception of a film he made in 1952, none of Hartford's artistic projects has been a complete success. Ironically perhaps, his greatest achievements have been in business a plant for extracting crude oil from shale and a million dollar automatic parking garage in New York.

With only one attendant the garage can handle 260 cars and Hartford thinks it may be the answer to crowded city parking. In 1955, New Yorkers opened their newspapers one morning to see that Hartford had taken full page advertisements denouncing the art world for misleading the public with obscurity, confusion, immorality, and violence." He raged against art critics who admire artists who paint with their toes," at artists who throw pictorial garbage in the public's face," and begged everyone to rise up against the high priests of criticism and museum directors and teachers of mumbo-jumbo." IN order that people could see real art instead of that Modern Museum junk," Hartford decided to build his own gallery. With its perforated marble walls, through which visitors can see glimpses of Central Park, the ten-storey white marble building is one of the most beautiful pieces of architecture to go up in Manhattan in many years. Two floors will be used for travelling exhibitions and two for Hartford's own collection of art forty pieces of sculpture and eighty paintings including works by Burne Jones and Monet, Mary Cassatt, Reginald Marsh, and Lautrec. A huge mural by Salvador Dali, whom Hartford considers the greatest living artist, will occupy the place of honour.

Since the museum building was begun two years ago the art world has doubted whether the exhibitions could possibly measure up to the architecture. With an announcement from curator Carl Wein-hardt a few weeks ago about some of its forthcoming shows there is now a more interested air. Even the New York Times has thawed. Although the new gallery was expected to become "the home of ultra conservatism, a sort of aesthetic Birch Society," it has the opportunity of becoming important addition to the New York art scene." Its function, hopes the "Times," will be to fill a gap that has been yawning wider and wider. It already seems that by showing some neglected phases of nineteenth and twentiethcentury art (the first two travelling exhibitions will be devoted to Tchelitchew and the pre-Raphaelites) the gallery will be a showcase for an historical period not on view in any other New York-museum.

Huntington Hartford's great sorrow has been that no one will lake him seriously and give him the respect he feels he deserves. Almott inadvertently, the new museum may do just that. His great desire has been to see jusc one of his projects really succeed and prove that he can get somewhere on his own ideas. The new museum could just possibly do that as well. ON March 16 New YorlTs newest and most elegant museum, the Huntington Hartford Gallery of Modern Art, will open in Manhattan.

The gallery is the latest project of a handsome, high strung, melancholy, middle-aged multimillionaire who in recent years has been creating one expensive project after another. Like' many of Hartford's projects, the seven million dollar white marble museum designed by Edward Stone has, until now, been considered rather vague in its purpose. The vagueness is typical of its patron and founder, who says he is really a philosophical sort of man. Ethics, aesthetics, and the philosophy of art to me they are more important than anything else." The image of Hunt as a patron of the arts still puzzles friends who knew him at Harvard, where he majored in tennis and squash. It puzzles those who remember him in the years that followed his brief clerkship in the family grocery business or when he bought a square-rigger and sailed around the West Indies for a while before taking a job as a crime reporter on a New York tabloid newspaper in which he was a shareholder.

Unwilling to give up his usual way of life, yet anxious to be one of the boys." Hartford usually arrived at the office by limousine, then used the subway to go off on his assignments. For a while after the war Hartford ran a successful fashion model agency but, suddenly bored with his playboy existence and anxious to prove to people he admired that he could do serious things," he decided to adopt the arts. In 1949, Hartford created Rustic Canyon, a colony on the edge of Los Angeles where struggling -writers, artists, and composers could work for six months in idyllic surroundings and without financial worries. He also put up over half a million dollars to support the project. A few months later Hartford, who is known for his dislike of abstract art, wrote a stinging essay called Has God been insulted here in which he mourned the vulgarity of Faulkner, Picasso, and Tennessee Williams men of no standards who don't even try to communicate to the public." To make sure it was read he mailed this essay to several thousand tastemakers in various parts of the country.

Perhaps his most sustained interest is in graphology. Hartford has put almost a million dollars into his handwriting institute in New York in the belief that graphology can be a scientific way of assessing "character. Everyone who works for him must take a handwriting test, for Hartford believes that handwriting not only reveals character and capability far more than the ordinary intelligence test, but can also determine If a person is susceptible to cancer. Hartford is also the founder of Show." a three-million-dollar magazine of the arts, which he admires but feels might be getting a little too arty and intellectual for the general public." He also bought and developed Paradise Island, an exotic 25-million-dollar resort in the Bahamas. Even this is meant as a place for cultural enjoyment.

No cars are allowed, no honkey-tonks. ANDOR FOLDES at the RFH by Edward Greenfield AMONG pianists today Andor Foldes stands in a special midway position. He is Hungarian-born, yet no one could better represent the central German tradition. In age as well as approach he is midway between scholar pianists of the stamp of Schnabel, Kempff, and Backhaus, and the young Titan virtuosi mainly from America. Foldes's technique is prodigious yet he never uses it for mere display.

He is a thoughtful pianist he writes music himself yet except in his beloved Bartok he provides quite the tension one associates with the most searching performance of the great scholars. The Beethoven second concerto at the Royal Festival Hall last night may not have been the best work on which to judge him for profundity. Next Sunday's solo recital with four Beethoven sonatas will provide a better measure. But there were moments in this early concerto, notably in the hush of the dialogue which ends the slow movement, when one began to think he had developed full masterhood. The arpeggios in the development of the first movement too had the sort of jolly bounce which brings a smile to the lips and which in quite a different way shows mastery.

Against this, the finale had more of the jewelled precision of a Mozart work than the bubbling syncopated comedy of early Beethoven it was a little too small-scale even for this work. Performances of this quality are not come by every day and John Pritchard drew from the London Philharmonic Orchestra Mozartian playing which matched the soloist perfectly. The orchestra triumphed in quite a different way in the opening item, the ballet music from Hoist's Perfect Fool," played rumbustiously and (most remarkable of all) with discipline enough to achieve perfect precision on the wickedly exposed fortissimo chord at the end. DIG THIS RHUBARB on BBC TV by Mary Crozier IN the earlier numbers of Dig This Rhubarb the BBC had a good iight show with much that was fresh and amusing in it. The anthology of song and quotation, with the authors identified in captions, and the performers suiting the action to the word, provided sometimes a kind of satire, and when without satire, a polished sort of commentary on a theme.

Those who liked their comment ruder and their humour broader naturally thought that Dig This Rhubarb was too civilised and mild. Still it does no harm occasionally among the oceans of brutality and vicious-ness to spot an island of gentleness. In a world where Steptoe and Son seems to be the ideal mode of behaviour to many millions, a bit of Dig This Rhubarb must be allowable for a minority. One of the best things in the programme was the way that it would take one subject and tell its history with pictures, song, and music The first such essay was about the battle hymn of the Republic and there have been others since, equally good. The method was new, a return to simplicity which seemed novel because television has for so long given way to the great strangling octopus of overelaborate presentation.

The method caught on and one could see it at work in ITV's remarkable Freedom Road." However, the method last night seemed in danger of killing itself, and the programme will have to be careful or it may become a caricature without meaning to. There was what seemed an interminable item about the American buffalo and its near-extinction. Somehow this quite lacked any drive. Not all the period songs or the prints and pictures could make the buffalo's history exert any charm. The story of the press gang was rather better shorter with more spirit and life.

The piece about hooking a man was quite good, and that about kissing was rather too slow. It is a pity that the names at the end are not attached to faces as not everyone can identify all the members of the cast. The Gallery of Modern Art, Columbus "ircle. New York ceptive dramatically that her performance will certainly become a classic of the gramophone. Christa Ludwig has made many fine records, but none more overpowering than this.

Other performances not likely to be outshone come from Fischer Dieskau as Telramund and Gottlob Frick as King Henry. Elisabeth Grummer is a sweet Elsa, much more convincing than most, and Jess Thomas, in his first major recording role, makes a marvellous Lohengrin, not as characterful as he might be but gloriously clear and ringing with no jense of strain. In place of Deci brilliance the recording provides warmth or atmosphere. I see the action more clearly than I ever have done in stage performances even, and certainly more than I do 'n Decca Wagner where the orchestra is more intrusive. It really is astonishing what a different sound the Vienna Philharmonic's violins maki when recorded by different engineers.

For Solti the sound is astringent and biting for Kempe it is alternately lush and ethereal. And that just about sums up the over-all contrast. RIO DE JANEIRO QUARTET at the Wigmorc Hall by Colin Mason Postmortem "TEVINS MUST GO" is not a slogan we are likely to see adopted as an official postmark, but it would make an effective sticker perhaps with a portrait of the Postmaster-General at the top right and Ron Smith brooding in the opposite corner. Once printed there would be no difficulty in getting hold of them because they could be delivered by means of the un addressed mail service with the instruction that one (self-adhesive) sticker should be placed on each unaddressed and unwanted envelope before it is returned to the pillar box. Donations should be sent to any charitable body, except Aims of Industry.

I suppose it is reactionary to stand in the way of progress and unaddressed publicity, even if it becomes as subversive and as embarrassing as some examples of the addressed variety. As a new-image Young Conservative said to me the other day, "You got to get in gear." "Yes," I replied, not quite convinced by this linguistic descendant of Sir Alec's secret weapon, and soon they will lift the ban on sending obscene libel through the post." "Well," he said, "the Post Office must make' a profit and it would be the next logical, enlightened step, with the trend, with it you know." I had to admit that the Post Office is one public service to make a profit and that there would be no point in widening the service if the additional profits were to be shared among the men who have to carry the extra burden. And. anyway, hadn't my affection for Mr Bevins increased when it seemed last week that he was going to save the Children's Hour? But his words fell on unreceptive ears, perhaps because, for a fairy godmother, he hadn't really seemed very concerned about it. Similarly, if mail bags go astray don't worry everybody knows they will turn up eventually, on a siding in Stockport or somewhere.

There's no cause for concern either over the most serious moment in Post Office Union history since 1920 older postmen in places like Stockport know, and Mr Bevins knows, that they will lose their pensions if they strike. Perhaps we should promise, in a manner Mr Bevins would understand, that we will not deposit unaddressed mail in the pillar box if the postmen get their 5 per cent rise and keep their pensions. Or we might compromise with a rather stronger hint to the BBC about the reprieve of Children's Hour. QERALD LARNER WAGNER ON RECORD by Edward Greenfield RECORDING Wagner operas has become such a speciality of the Decca Company that it is a wonder any rival tries to compete. In sheer brilliance of sound Georg Solti's recordings of Rheingold," Siegfried," and Tristan are unapproachable, but now HMV brings out a complete account of Lohengrin (Angel stereo SAN 121-5 mono AN 121-5) so wonderful the whole opera is transformed.

Decca still holds its lead on the purely technical side, but I have no doubt whatever that in this Lohengrin," Kempe gets to the heart of Wagner's music in a way that Solti has still to do on record. Some may think it invidious to simplify the issue by focusing the contrast on two personalities, but the contrast is real enough, and neither. I am sure, would be afraid to justify his approach to Wagner. There is no need here to repeat Solti's great merits as a Wagner conductor, but Kempe's performance of Lohengrin is greater still. Intense to the point of religious dedication.

No one could miss that sense of dedication in the prelude to Lohengrin." At the end of the long crescendo, the climax is overwhelming, but not so much in terms of decibels as tension. There is not the slightest suspicic- of vulgarity, and in the Prelude to Act 3 there is a deliberate underplaying of the middle section, and a refusal in the famous opening to indulge in any blaring. It is a measure of Kempe's power that he conceals much of the weakness of the bridal chamber scene, makes it seem shorter and more interesting ban usual. Act 2 with the contrast of Ortrud's black evil, Telramurrd's weakness, and Elsa's innocence inspired Wagner to the first expression of his fully mature style, and Kempe forces one to reassess the whole work in the light of this. He is helped by an Ortrud so powerful vocally and so per his Sixth Quartet (1938), where the music's nationality is more evident, but the composer equally anonymous." It is sweet, docile, undemanding music, and the main theme of the finale has some vitality and character though not quite enough to hold the interest through the entire movement.

Guarnieri's Quartet No. 2 composed in 1944 (also being heard here for the first time) has similarly little personal (as distinct from national) identity of style, and rather less amiability. Although capably composed it shows, like so much other Brazilian music, and South American music in general (Spanish too), how difficult it is for composers in that part of the world to rid themselves of their regional accent, or rather to get beyond purely regional topics of composition. In such a programme the quality of the performers was difficult to assess fully, but it was clear that they are a first class ensemble, very evenly matched, and strongly led by the one woman player among them, Mariuccia Iacovino. One would like to hear them in some standard works.

IF the Rio de Janeiro string quartet had considered their own advantage in their concert at Wigmore Hall on Saturday afternoon they would no doubt have played Haydn, Beethoven, and Villa-Lobos. Instead with self sacrificing patriotic zeal they performed a programme entirely of Brazilian music two quartets by Villa-Lobos, and one by Camargo Guarnieri, a younger composer. In spite of the interest of hearing three unfamiliar works this was a surfeit of one national flavour, the more so for its being so strong though it is pleasantly diluted in Villa-Lobos's seventeenth and last quartet (composed in 1957 shortly before his death) which was having its first performance here. Its themes have a more cosmopolitan, neo-classical cut. and if their parentage is traceable to Czerny more than to, say, Haydn and their melodic invention excessively reliant on the charms of scale movement, the charm is nevertheless there, and the absence of a heavy national accent was a relief to the ear.

What the work lacks is a very strong personal accent, and this is equally true of ANGELS FEAR TO TREAD Mr John Gale writes from the Strand Theatre, London In his notice of Where Angels Fear To Tread at the Winter Garden Theatre, Blackpool, (on this page last Tuesday) your critic says 'Delicate, subtle Mr Forster, one feels, would not be too Mr Forster has in fact seen the play three or four times, and I would like to tell your readers that on each occasion he has been extremely pleased, not only with Miss Gray and Mr Denison, but with the whole production." CONCERTS MANCHESTER THEATRES MANCHESTER SUNDERLAND AnELPHI (Tern. 76U.) Et. 7.30 Wed. 3.0. Sat.

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CHARADE (A) la Tech. Prot 10 3 0 5o5 910. Doori UM. LONDON PAV1LJO.N Oer 29SX) Aajert FlnDey. York.

Hozn GrUBUi TOM JOVFS X). Eaatman Colour. SZxrw-lni at 10.30. 12.45 35 5J. and S30 METRO POLE.

(VJc 030S. 550O. 4o73.I LAWRENCE OF AR.1BIA (A) 7 Acad. Award! 3.15 7.15 Sun All teata bookabw ODEON. Ilayinartet.

(Whl 2738.1 S3 Day at Peklnc (111 2 30 Sun 4 30 7.45 Bkbie ODEON Left Sq. (Wla. SU1.I Toot, at 8. Royal Pert. (aH semta arid).

Dona Day. James Garner PoUy Bexy i MOVE OVER. DARLING (A). Totnr. 1.5 3.30.

5J0. 8.25. ODEON. MAreb. (Pad SOIL) Norman Stltcb ta Tlma (U).

Proi- 1J. 4.35 73t'. PLAZA. ZULC (U). Prod.

1Z30. Sfl. ft. 40. 8.30 Technicolor and Teehnirana.

aUTZ. Leie. 5q. Dirk Bocarde Sarab Mllea. Wendy Crala TUE SERVANT (X).

Pros, at 10 315 3 4S 8 30 Sat pi. ROTALTT CINERAMA (He) 8004) La 4 weeks. WONDERFUL WORLD OF THE BROTHERS GRIMM (U). Daily It Z30, 8 8.40 San 4.45 7.45. Mar 23 THE BEST OF CINERAMA.

Book now. STUDIO ONE. Dlaney tbe Ineradlble Jwar. E.ey IU) Tejh 2.4S, 8Jxjs 4 Th. Walta KIne (IT) Tecb 1.0.

4.10 730 WARNER (Ger. 3433) MART. MART IA). Tech Dtrte Reyncida Barry Keeaon- pea. 10.20 12-25 3 0 5.35 S.1S.

CLASSIC. Oxford Road Station. CSS 0015. KIND HEARTS it CORONETS (A). Programmes 1.10, 3.30.

5 5, 8.5. GAIMONT. (CSTM1 504S.) Evrnii at 7.15. Mt3. Sat.

2 15 Sunday 6.30. CLEOPATRA (A) Colour and Tcxjd AO NEW. iTem. 3S7S Evra. 7.45.

Sat and Easter Mon at 4.30 LIONEL BART'S OLIVER! LONDO.VS LONGEST RUNNING MUSICAL Now in lu 4th FABULOUS YSAR OLD VIC. NATIONAL THEATRE. Andorra: Tue. 7.43. Uncle Vanya: Wed.

and Sat. 7.45. UbbMn's Choice: Thur. 2.3o 7.45 OSlcer: Frl. 7.45 Sain.

Sat, at 3.30 (Wat. 7618.) PHOENIX. (Tern 96U Eva. 0. Thurs 3.45 sal.

5 0 and 8 0 Jimmy Thompson In MONSIEUR BLAISE LAUGHTER I SPECTACLE I THRILLS I PALLADIUM. (Ger. 7373.) 2.5 7.30. (No mat. February 23.1 CHARLIE DRAKE in Musical THE MAN IN THE MOON LAUGHTER I SPFCTACLE THRILLS I PALACE.

(Gt-r t-N44 i 7.30, Wed Sat. 2 30. THE SOUND Or MUSIC. Hit MuMCal by Rodgers A KftrrrfOir-rmgn Lindsay A CToure PICCADILLY (Ger 4506.1 Evn.nx 7 JO. UU Hair.

Arthur In Edward Alhec' WHO'S AFRAID OF VIRGINIA WOOLF? D.iz.y.lLnc and noleotly funny The Qfrjs.erveT. PRINCE CHARLES. iGcr. S1S1.) Opening Thurs 7 30. iuh3.

nlcntly 6.25 8-50. FIELDING'S MUSIC HALL Cicely Oyurtnc4de. Dccald Wolllt ally RtaseU. Joyce Grant and Company. A tovtsh Tartesy extra.

vaiaxiza. PRINCE OF WALES. (Whl Hol.) V. 830 Wed Sat. 6.

0 .30 nal 3 waefci Fred dark Erelyn Laye in NEVER TOO LATE UNIVERSITY OF MANCHESTER WHTTWORTH HALL ORGAN RECITAL by PETER HURFORD (o-vtl5t ot St Alban Cathedral) ffEDI.bSOAY, FEBRUARY 36 at 7 p.m. Proxrionme includes Sooat No. 3 to Mnor tS 'irrt by J. S. Sacb: Sonata No.

3 by HtadtTni-h and worfci by AlAOfl. Adnxlfajon Fee Prosramme fid. UNIVERSITY OF MANCHESTER FACULTY OF MVSIC. DENMARK ROAD. RtcitaJ by THE AD SOLEM ENSEMBLE FRIDAY FEBRL'ARY 23 at 7.30 m.

ProirramTie Quart: in E. fla-i auijor. Op. Hay in Quarot mince From my Life ') PLino QuArr. in Biinor.

Op. 60 Sot-TT-'ary, DepartmeaK of Music EViimJirt Road LECTURES AND MEETINGS The University of Leeds Today. Monday. In the P.upert Beckt.lt Lecture Theaire. New Arts Baildlns (entrance lr.

Boechrrwe Terrace). 5 30 m. MR NOR BERT LYNTON will lecture on PAUL KLEE (UlusirataDd) AdmUslon free. CAMHKIIHsE. (Teen Eves at 7.30 Mat Thurs.

a 2.45 Sat. 5 40. 40. TOMMY STEELE ffi HALF A SIXPENCE Thi oould pack them tn aoywhere In the wtjrtd Over 3SO performance's CASINO CINERAMA. (Gr.

6677.) Dally 2 30 7 45. Sflt 2 30. 5.35. S.40. Sunday 4 30 and 7 45 HOW THE WEST WAS WON U) Extra late pert ai 11 50 p.m COMEDY.

(Will. 357S.) 30. Wed. 6. 8 40.

NIGHTS AT THE COMEDY It's rind wonderful rtoXous." E.N. Overwhelmingly and shottertasly funny." Haroid Hobwn Sun. Tiroes Music hall back, lusty twisty, brash." D.E. CRITERION (Whl 5X6.) Evf. 8-15 Sal.

5 30. 8.30 Thutt 3 Robert Hardy the IrU Murdo2iJ Prteatley comedy. "A SEVERED HEAD" Tt'i worth cro-wlng the Atlantic to see tt." York Tel. Sun A brilliantly funny farce about ex." BBC CrtUc A drasznng The Tlmea DUCHESS (Tern 62431 Bvitii 3. Mat.

Thur 2 45 Sat 15 SftU Thomdlke. Naunton With. Frank pttmeoU la Wen Doiur.H Home new corr-dT THE RELUCTANT PEER Ol'KK OF YORK'S. iTem 5123.1 Eo. 5-0, Wed 3 0.

Sat 5 30. B.30 Donald Pleaaaoos GharlcJ Gray and Ronald Anouilh's POOR BITOS The best play ol the rear CtTfnlca Standard Drama Award FIELDING'S Ml SIC I1ALL openmx next Thur See uixVt PrtrLce Charles Thetre FORTUNE ITem 40 Thurs Sat 6. 8.40. Reme OVD THE FRINGE Openlnji Wed -Sew 104 Version GARRICK. (Tesi 460L I Em 8.

Wed 3.30 Sat 5.15 and 8 30 Sxcftlnt new play John ceja-on and P-Aymcrid HuntJry. DIFFERENCE OF OPINION try Ross Sin- (author of Guilty Party G-pini. Iniellleeot. and highly entertaining D-tll-- Express GLOBE (Ce: 1S2 Evenlnw 8.0. Wed 3 0 Sati 5.30 A KM THK POKER SESSION.

Oocnedy Thriller tr Hus: IrfOhard. an nor lyead-jic t.T triumph Sx YM RKET. (Whl I S.fl Sat 5 A 8 afltihart Flanden. tn AT THE DROP OP ASOTOER HAT. Must end March 21.

HER MAJESTY'S. (Whitehall 6006.) The New Richard RwJeers Musical NO STRINGS Erradaj at 6. Mats- Sal. 3.30. HALE CINEMA fAlt.

2218). C. 5 30. L.S. 8JS.

Stanley Biker. Jeacno Moreau IN THE FRENCH STYLE 'X) Thurs. riicht of the While SUltlons. NEW OXFORD. fCl.

3402.) Eveninxs at 7.15. Mats. Wed Sat. 2 30. Sun.

2-30 A 6.30. Carl Potreinan a THE VICTORS (XL AU seats bookable. 106, 8- 6 fi. 5-. ntMTNGH AM BIRMINGHAM REPERTORY THEATRE.

Opening Tuesday. Feb. 25 for si weeks: AMIDSUS1MER NIGHTS DREAM. EYra. 7 15 Mat.

WcJ.1. 2 30. Box" Office 10-8. MID 2471.. LONDON ART EXHIBITIONS OIEON.

(CEN. 3964. James Justice FATHER CAME TOO (A) 2 15 5 15. 8.50. IMPACT (LT fct 1.20 i 7 3.

fVfter Seilers, Geonte In Kubrick's DR STRANOELOVE (A. on now Larned to Stop Worrjinx and Lore the Bomb. Showlns all next week. Why did US H-bomben aitack Russia LIVERPOOL LIVERPOOL PLAYHOUSE (ROY 8363). Evz.

at 730 Sts at 2-30 and 8 p.m Mats. Tom. 2.30 Weeks comm. 2nd BUi Star. Mats.

Tue Wed Thurs Saw 2.30 m. OjcSj. tomorrow- "A MIDSUMMER NIGHT'S DREAM." A1A GALLERY, Is LisJ StTWK. Irfcraerr Sj. Laadoa to.c.

Exhibition of Watr Colour Govache, OU oa Paper and Draw-Ins. U- weekdays. U-4 Sata. until March IS. EDITIONS ax.ECTO.

THE PRINT CENTRE 8 Holland Strict. W.8 Modern EJcrdnira. Ltthosraphs Woodcuts Open dally 10-6. Thursday- 10-1 LONDON OPERA AND BALLET COVEVT GARDEN OPERA. Tonic ht and Wed.

at 7 A Ida. with "lahnerafcaya, Slimonato. Vlduri Gicsscrp Rouleau. Godfrey. Oond: BalkwiU Tbur and Moo.

next art 7 30 Marbeth. Brjrra only for to-niplv and Wed Seata avaLable lor Tear and Mod. next. COVENT GARDEN, THE ROYAL RALLTT Tues and Frl 7 30. Oncloe fTue.

PoDtern. MacLeesryl Sat. 3-L1- and 7.30. Sleeploc Reality. Seats aTailabe.

Cor. 106C DRI'RV LANE. 'Tern 8108.) Mar 2. 7.30 Wed. Sat.

ANTONIO AND HIS SPANISH DNC CO. GutSt Amsle, Rosalia SADLER'S WF.LLS. (Ter. 1672-1 E(T- 7-30. (No pre-f.

tralrh: Tue. and Thur Tha Mafcropuloa Cit Wed. Ariadne on Naxoa. SAVOY. (Tern.

BSSS.l D'Oyly Carte Opera C. in, Gilbert and Sulliraa Operaa. 7.30 S. 2 30. Tdy.

W. Gondoliers. Th, S. Cox and Box and Pfra4e. FLAZA.

Stockimrt. STO 1818. Dean MArtln. Yvette Mlmieux Ton in the Attic (X) Mori. 2 50, 5 55.

9 p.m. Tu to Fri. 5.55. 9 p.m. MARLBOROUGH.

39 Old Bond SC. W.l MAY 5" CI EMU. NOLDE Paintings. Drawings WaTerwlours. First Retrospective Exhibmon Until Marcn 14 Admlss3oD Free, rtolly 10-5 Sala.

10-13 UARLBOnOUCn f.EW LOVDON GALLERY. 1718 Old Bond St 1. MAY 5161 ROTHKO Recent Pv-vlru Until Marcn 12 Free Daily 10-5. Sata 10-12 PRINTS ETCHINGS ASD ENGRAVINGS. Royal Soduj ol Palmer-Etchers arid Encraveiz, 36 conduit Street W.L Daily.

10-5. Sata. 10-1. Uatll March 11. RII GALLERY.

33 Oora Street. 1. NEW PAttTBi'GS py BOB CROSSLEY. until Feb 29 Dally '9J0-S 30 Ban 0.30-1. BOWAN GALLERY.

Lowndes 8.W.I. BEL S4S0 SCULPTURE by PHI1-UP KING Feb 5-29 Dally 10-6 Sat 10-L ROYAL ACADEMY. GOYA AND HIS TIMES. 10-7 Suns 2-0 Adm. 5a.

Gostns March 1. WADDINGTON GALLERIES. KIT BARKER. RSCENT PAINTINGS. 10-.

Sata. 10-L 1 Cor Street. London NOTTINGHAM NOTTINGHAM PLATHOCSE Welltotton Circus. Bo OTr.ct 45671 dally 10-S. Tonlrbt 7.30 THE LIKE IN MY HANDS controversial new play by Peter Ustinov.

Tues. 7.30 THE BASHFUL GENIUS new farcical comedy about G. B. shav. SEX.

Wilms low See Under Theatres GBADOWSKI nsUOERY. 84 sloanc Arasue. Chelsea. W. 3.

A-VrtlONT BESMAMIX BRIAN WALL Patanngs sculpture DaEy. 1M. BOTAL COURT. 1745 EvenLnjS 8 0 Thur. 2.30, Sat.

5 30 30 Limited SeaiCCi. Bernard Braden Barbara Kelly. Be-r-sy Rial Dcfz 5m erland A wvmj.1"-fully veTaatii- quirt-t." Goard SPOON RIVER The Dramatic Rm Among the theatrical erentnea of my life. "Harold Hottton. Sun Times.

SAVILLE. (Tern. 4001.) Eva 8,0 Wed-. Sat-30 HARRY SSCOMBZ to Th Nerw Musical Eln PICKWICK A miracaloua Zt will draw tba town." iliiton Scho'-man, X. TATTON, Gatley.

GATIey 3133. Tom Courtenay, Billy Liar (A) at 5 55. 8 50: The Double fU) at 7.35 p.m. JEAN STRAKER'S PHOTO NUDES." 1-9. 5- Academy of Viaaal Art.

13 Snho Sq. LZXCESTKB GALLERIES. 4 Aodley Sxyoare. 1. Tttuvgr Paintlnca by FRANCES RICHARDS.

Sculptural by GEOFTKEY HARRIS. St. VO-1. Lut meek. LONDON CLUBS CDHUNDO ROS CXXTB, zxne and Dane gn 9 psa -tot fairy air -conditioned Starlit Room SparkXIztK rartae.

FIESTA. Beaerratlon Rej. 7575. LONDON CONCERTS BOTAL FESTIVAL HALL. IWal.

K91.1 9. FOLK SONO CONCEBT. Pessy ace ger. Loytl. Kent.

THEATRE ROY CINERAMA. BLA 5366. Evening at 7.30. Mailnee Wed. and Thur.

only at 2.30. Sat. 2 p.m.. 5 p.m. 8 p.m..

Sun. 3 p.m.. 7 15 p.m. HOW THE WEST WAS WON (U). All se.ts bootable.

136. 106. St. OLDHAM OLD HAH COLISEUM. ItAIn 3339.

(Membership 76. Juniors 36 per year). THE LODGER by Anthony Ekeae. Evaa. 7.30 (Mat.

Tues. 3 JO. Sat. 4.