The Guardian from London, Greater London, England • 10

10 ARTS GUARDIAN Friday February 26 1982 the week's rack releases Denselow reviews mounts. may be ing North African" approach of For Seed That Always. Random Hold Burn The Buildings (RCA). Back in 1979, when they, recorded tracks like -FilmViMusic and Montgqmey; Random were? developing nat they'-'-'thenvcalled Stephen Garhes previews, an ICA debate on sculptured in architecture? 't. for airt? THE, Arter- wgs-.

formfl in 1947 by a group; and artists- shared a belief in thfr community of art! Since mixed- with funk, (f ronu bass player'- Les NemeS)', (from sa xcphondsf Phil Smith) and latin (from conga player Mark Fox). --But: oil their first Pelican." West (Arista) the re-' suit is some of the least com- pop around; thanks to thef mixture of light, clever songs and more subtle, sophisticated production work from Bob Sergeant (responsible for The Beat's record- ings). The album kicks off with the two hit singles, Favourite Shirts and Love One, then branches out with a series of new songs that show the -influence of two of Hey ward's the Monkees and early Talking Heads and the more specialised interests of the band's other members. Several songs use. the light, strummed funk guitar style from Favourite Shirts, but i and sounded as'if they were about to come' a i-yhighlyi -invejijlve.

1 band: niereljr become- ver'efficrit; Ferguson Peter Phlpps are left from 1 the original group, they've been joined by a' new guitarist, and bass player, Sue Raven on vocals and Rikki Sylvan (who helped to produce the album) on synthesizers. The result has some of the faults of Sylvan's own recent solo album it's slick, predictable and lacking in emotion, and only the one live track shows them playing with any great spirit. except, probably, The Of Venice. Possibly with this in mind, Bichard Cottrell's delightful, lively version the Cambridge, Theatre Company currently at the Arts Theatre is set firmly as a play within a play. The introduction is made more prominent 'than usual, and its characters remain as a potent presence throughout by judicious interpolations from the anonymous Taming Of A Shrew, printed by Short in 1594.

Roger Hume is an excellent Christopher Sly; The way is thus opened for the main action to be played as barnstorming farce, in. as with another Shakespearian play within a play, they do but jest, no offence in the world. The pace is furious, the business energetic the front couple of rows of must not mind too much if they get splashed as Petruchio overturns the water bowl in the supper scene. Tyrence Wilton plays the part as a personable and handsome hunk of beefcake, oozing sex appeal and charm. June Ritchie's Kate is shrewd and curst enough, but she is at her best in the few contrastingly ouiet moments later, on when her genuine affee'tion for' her wayward husband is allowed to show through.

COVENT GARDEN Mary Clarke this is mixed with light, babbling percussion and good brass work, as on Baked Beans, or as the basis for a pop ballad on English nostalgia, like Mijk Film. Some songs are nielodlcally very i th 1 even straightforward, cheerful, material is given a sophisticated once-over for a band still in their very early They can already combine confident, light melodic pop with the jazz influences of tracks like the tonsue-twisting Calling Captain Autumn. Gary Brooker Lead Me To The Water (Phonogram). Brooker is the 'sixties veteran, best-known for the haunting Procul Harum hit of 15 years ago, A Whiter Shade Of Pale, but this most under-rated veteran of British music has an even longer history in the rriicl-'sixties he led the Para- But I suggest Mr Gilroy gets his obsession with lusty patriarchs out of his system by writing a third family play to be set in Biblical times. I can even give him a title: The Subject Was Moses.

ICA Nicholas de Jongh Real Time THE IDEA of London as a corrupting millieu, with its inhabitants incited to greed, corruption and sexual despair is ancient. But it is the starting and finishing point of Joint Stock's new production, drawn from the actors, "collective ideas and experiences." As an idea it needs careful dramatic control, development and resolution, and though the director Jack Shepherd is credited with the "structuring" of the play there is little sign of it. The play takes as a focus of stability a grotesque version of the North, a church TWO -good British albums are released-today, one by a new, young b'and who play unashamed pop music of rare freshness and charm. The another by a'veteran from the "sixties who displays rather more surprising freshness in an album that shows that it's too soon for him 'to- be relegated to the rock history books. Haircut 100 have notched il up two sizeable hits with their first two singles, have done wonders for the sale of Arrari sweaters, and promise to become the most scrcamed-at band of the year when they start their first national tour this weekend, A description of their music makes it sound as if every fashionable trend of the moment has been blended by a computer there's melodic pop (from guitarist, singer and writer Nick Heyward), TELEVISION Stanley Reynolds Mutiny THE British regimental sys- tem which makes a soldier feel part of a family has always "been admired but never by the Amer- ican regular army.

In the US Army a soldier is transferred regularly from one unit to another. It is not a good way of instilling fighting spirit. The British regimental system was protection against that. It is necessary to stand this to see the reason 1 for the mass disobeying of orders during the battle of Salerno in 1943, the story told in Mutiny (BBC-2's 40 Minutes) last night. Follow-J ing the refusal to march to the Front and fight in a strange division 192 men of the 51st Highland and the -50th Tyne Tecs regiments 4 were charged with mutiny, as 1 Alan Patient, the producer of the film explained yesterday in a Guardian article.

The privates got seven years, and corporals 10 and three ser-' geants were sentenced to death, although the sentences were later suspended. They were all veteran infantrymen who had distinguished with the 8th Army in Worth Africa and had all i "been wounded in the invasion of Sicily. They were in a transit camp in North Africa recovering from wounds when they were asked to i vhunteer to return to their units fighting in Italy. Some 1,500 volunteered. They were not told they would be going to the 46th division of the 5th Army at Salerno until they were aboard the troopship.

The soldiers had been told by their own general never to allow anyone to put them into any division but their He was never asked to ive evidence during the court martial. -Alan Patient has done a remarkable piece of investi-i native journalism here. Three soldiers, John McFarlane of jiCllasgow, holder of a Military flledal, Hugh Fraser of Aberdeen and Wally Innes from JVewcastle, appeared on the film. They returned to Salerno and, sitting in the afield where it happened, "Wally Innes broke down and 'wept recalling the events. He been one of the sergeants sentenced to death.

They were all men of pro-f-ven front line experience who had fought in some of the fiercest battles of the war. The court martial knew and that they were all recently wounded some died of their wounds during the trial. To be called eow-' ards and have their honour questioned, not only in 1943 but during the years since, must have unbearable. There was one touch of humour -when Wally Innes told how they were marched into a pen alongside German prisoners who started shouting British cowards at them. He went over to the wire and asked for an English-speaking German.

"Vou tell the others," Wally Innes said that we are the cowards who have just chased you 3,000 niiles across Africa.1' Jl DitMFO As devilish as the sentences was the way the men were treated after their sentences were suspended. They were sent back- to the Front with strange outfits and put en continous combat patrol, the Army clearly -wanted them dead. I trust Alan Patient's film will lead the way to exoneration. To this day many of them still have not received the medals which they had won before the incident at Salerno. APOLLO Billington The Housekeeper, SEVENTEEN years ago Frank D.

Gilroy wrote a hit Broadway play, The Subject Was Roses, about a son caught between a loving mother and a bullying father. Now in The Housekeeper he has probed the same psychological vein, seeing the story from the father's point of view; and the result is a thin, starved, redundant piece of American family drama that leaves one's emotions untampered with. The setting is Brooklyn and the characters three. Old Matt Quinlan, after 39 years of joyless marriage, finds himself a tetchy widower without much will to live. Son Dennis, off to California, offers cantankerous dad the prospect of being put in a home or taking a housekeeper.

At which point enter an applicant for the post in rimless specs and fiat black shoes both of which, as any student of drama knows," will be off (along with much else) before the end of the evening. Indeed, at the risk of blowing what little gaff there is, the nlav focuses on the son's agonised acknowledgement of his father's sexuality and the severance of their tenuous mutual affection- For me, the only question the play raises is why people should be expected to go out in the rain for a bit of paperback Freud. "We are vouchsafed such truths as. Every son competes with his father for his and Mr Gil-roy's point seems to be that a man cannot achieve emotional maturity until he accepts his father's genitalia. But this hardly comes as a profound revelation.

On top of which Mr Gilroy tricks out his theme with a few fashionable four-letter words, a smidgin of sex and devices that Pinero would have blushed at. To have the son make a feigned noisy exit and then hide under the stairs so he can hear his father's copulatory encounter with the housekeeper is to be transported back to a world of vanished Victorian artifice. X. Tom Conti as director can do Jjttlc with such a lifeless with a cast of only three lie might have troubled to get the accents right. Leo McKern (a natural Lear) uses his unrestored Rembrandt features and bulldog growl to some effect.

Clive Merrison as the son gives his not unfamiliar display of knotted emotional anguish and Connie Booth does her best to look conscientiously dowdy. i GLC Philharmonic. Zeppelin 'fans-'are compensated, just' ibyJhe" racks Jam Sandwich and TheRelease. Jona Lewie Heart Skips Vsmf; isT- an. ClftC (he "plays" -everything; "ftpmi, piqp.0 synthesisers and write' the' liant one-oEitiovelty he.T" should: 'i-t-listened to oc'a.

full' album is another This set contains all Jiis re-' cent hits, from You'll Always Find Me In The Kitchen At Parties (given away as a free single with the album), to the clever, bouncy-sad Stop The Cavalry, and Louise, with its growling, catchy chorus line. Ifew songs range from the noveltyragtime styles of Ab-ra-cad-ab-ra to the noveltySpanish and wail Indian. But, ironically, it is the African 'who proves -the real outsider. After the interval Mr White really shows foriri. in a comic but elegaic lament for lost: times- which shows some of -the power of his earlier piece Lament for Rastafari.

It is 1950s, in Clapham, years before. the-Notting Hill race riots and the graver disturbances of our' own unhappy England, with "Wallace, a ticket-collector welcoming his wife, hst seen five years ago, from Trinidad. In this Black Theatre cooperative presentation, Charlie Hanson's production is somewhat swaHowed up- in the theatre's vast spaces, and James Dillons, designs do not help much. But there is such ease, spontaneity and grace in the playing of Gordan Case. Detima Francis, and Victor Romero Evans that the occasion is jubilant.

WATFORD MUSEUM Waldemar Januszczak Von Herkorner THE Vanity Fair; caricature of Sir Hubert von Herkome'r barely touches ore 'his achievements. Painter, Sculptor, Blacksmith, says the cheeky caption underneath a character who looks like a thickset Disraeli. Had there been more room they might have added etcher, engraver, lithographer, theatrical designer, writer, enamel isl. inventor, librettist, film-maker, film star, school- founder and, of course, eminent Victorian. It is fitting that the new Watford Museum should pay this busy tribute- to a man who lorded over all the arts in the area from- the got hie lair he designed for himself in nearby Bushcy.

He even painted Bushey church in a delightful village scene. This is Herkorner doing one of the two things he did best, making England look merry. The other thing was peering behind this merry-facade. Here he saw poverty and malice, workhouses and old age. His workers look fit to drop but his strikers will hold out for ever.

Herkorner gives his working-class heroes chests like Hercules, determined brows carved out of granite and bedraggled wives and children to support. Sometimes you could almost believe the old crocodile's tears are real. His best known painting. The Last Muster, is a classic Victorian melodrama. A Chel-.

sea Pensioner appears to have nodded olf in church but it is a sleep from which he will never' awake. Her-komer's greatest nioment as a painter comes in The Lady In Black, a portrait in which he finds dark Spanish passion in an English rose. The last word on him should be supplied by The Old Woodcutter, a character he played, in the film he made, of a story he wrote. Have I not told thee, sirrah," says the heavily-disguised Herkorner to a shoddy apprentice. that if thou canst not achieve true artistry, thou mightest at least practice the lowlier virtues of neatness and cleanliness.

Better an honest carpenter than a sorry career." Exactly, Sir Hubert. Sir Hubert Herkorner A Passion for Work at Watford Museum until March 10. Study oj a Chelsea Pensioner (detail) CAMBRIDGE M. Grosvenor Myer Taming Of The Shrew THE TAMING Of The Shrew is more out of tune with hiodern attitudes than any other Shakespeare play remembered for their rousing version of Poison Ivy, and since Procul broke up, he has toured with Eric Clap- ton's Band, which Has clearly revived his piano- playing and writing. On this excellent new; album he's joined by- George Harrison, Clapton, Albert Lee and Phil Collins, among others oh a rolling, tuneful collection of songs' that sounds v.

like a very. English combination of country and They range from, the sturdy and cheerful Home Loving, to the sturdy and pastoral The Angler, the Reggae-tinged title track, and the solid, more dramatic Hang On Rose.1 Brooker's voice is still as distinctive as ever, and though none of these songs have rough edges, it's, good to find that he can still sing. and. play spirited Victor Romero Evans, Riverside. Picture by Douglas Jeffery social where most of the guests are either kindly or portrayed with the kind of head-rolling shuffling gait and -shambling manners associated with Victorian lunatics.

Two normal members of this group, David, a smooth fellow returning to the London art world, and the minister's daughter, Linda, are soon seen in the capital city, hot for bliss at each other's hands. The juxtaposition of his jaded sophistication and her painful hopefulness makes a sharp point that the play is to articulate again and again the clash and collision of innocence with experience. In this schematic version of things the girl soon heads for mental collapse. This couple contrasted with another young girl on the make in London and temporarily housed with her curious Uncle Sandy. The unroman-tic, cocky girl flourishes while her relation slowly goes out of his mind.

This quartet provides sufficient material and guidance on what manner of life survives best in London, but it unfolds further' in an art gallery where three of these characters are seen at work the manner' of this upmarket speculating dandyish London is beautifully done, with Bryer as a gay art dealer, with cigar, buttonhole, a line in mellifluous malice and a sexual yen for David. The relationship between another woman in the gallery and her husband is the least convincing aspect of the MNMSSERS CUTTER'S WAY, ISTVWSZUO'S uuuwnuus- WW BUT KRZVSZTcTlUESLDWSXrS CAMERA BUFF. -TCMAMUULMASTERUr hNM. -SONUUTING-SEEMOENJOY- "SfUNDDLVERYBESTFUr KRZYSZTOFZANUSSrS THE BTWNSUBO'S saauur was ahd listings Jlmniy. Page Death II Soundtrack.

"The 'solo return of this veteran', is' -nowhere near -so happy, When; first hfinrfl that. Pnfffc mnlrfna. this I thtuglftiit roust a valbitiv-ai' might, e' appropriate, fbr the: film, but hardly ipakes inspire jts own! 'Th'etjfljrs'tvfrack metal with wailing; guitar: atdded- oh, with unfortunate vocals from Chris Far-lowc, who "manages to sound botli dated and rather laboured; Other sections bound like a guitar band-version of standard film sequences indicating a chase or moment of tension, while the statutory, orchestral passages are provided by the whole, not only because of the way' the' piece accumulates extraneous materiallike a limitless- 'soap opera, -'but because the marital angers, and subsequent, collapse- seem unconvincing however much Robby Nelson is- able- to animate ''these scenes with a remarkable display of. frigid, tense resentment. play's denouement with, a general disintegration, either through escape from, the metropolis or into madness, reinforces the idea of London's dangers.

The structure and, its controlling -rather, melodramatic schemes are inadequate for the generally excellent character creations which a team of gifted actors supplied. John- Halle's stage set is shamefully inadequate. COLISEUM Hugo Cole Manon HENRY Bardon's realistic and painterly 18lh century sets for Manon would probably have been received with cries and admiration at the Comique in the 1900s -and would have set this ele- Karit, touching opera in just the right perspective. We accept without question the conventions with all their absurdities and emotional short cuts, the 19th century interpretation of 18th century attitudes, only Edmund Tracey's translation jars, cliche-ridden but without the lightness and elegance of the original French. There are three main reasons for this magical production's success all round excellence of casting, with the principals finding a common and acceptable Anglo-French idiom; the refinement of orchestral playing under Lionel Friend which allows the singers to maintain an unstrained conversational level and to introduce the finest dynamic nuances; most crucially, the performances of Valerie Mas-terson and John Brecknock as Manon and Des Grieux.

Brecknock has never shown himself a more subtle and accomplished musician. His handling of the cadential flourish in his song in praise of the simple cottage small and white (Oh, Edmund Tra-cey -was so bewitching that one forgave the audience for breaking in with a round of applause. Valerie Mastcrson is my ideal Manon, and I suspect, might have been Massenet's also at any rate, the opera could veil have been scored with her light, pure, silvery voice in mind. She risked some of the nuirtcst inrinff I have heard in the Coliseum, though never lacking power at moments of ecstasy and anguish. Manon's occasional hursts of high spirits were played down, tut the portrait of the pathetic, pleasure-loving girl was complete and infinitely moving.

Stuart Kale's Guillot and his vocally commanding trio of girlfriends deserve special mention. RIVERSIDE Nicholas de Jongh Trinity EACH or Edgar. White's -three short plays contrasts the way in which black people use waste or suffer their lives and come to terms with new environments. Together they provide a vivid impression of unhappi-ness jauntily The second and weakest of the three set in some African prison cell after a coup d'etat Kola, the suave Minister of Health, nervously waiting to see what, if any-things, the future offers for him. The arrival of Sergeant Kay, "wearing menace and dark glasses, is the cue for a litany of accusations directed against the corrupted Minister.

Although there is a certain comedic affect in the Minister's evasions and defences, the lurid catalogue of corruption soon palls as melodrama bears down like an imminent storm. Such temptations are quite resisted in Won and Soul, where a young African and West Indian are brought together in one detention cell during the Nottlng Hill Carnival. The middleclass African in his -tie, formality and incipient panic is an obvious foil td the doped, cool West from the mrec'tpifship ot reier qok; arcmiecture seems to have disappeared from the ICArs repertoire. Its only recent exhibition notably Rudolf sky Arch i-teclure without Architects in 1974. But now the 'architf cts -are being invited back, conference artists and historians tylll try to persuade thetfi''tlw the antidote to is good, sculpture.

The aim of the conference fce to p'ress-the Government: local authorities to a' small- prop'ortiori the budget future.1 buildings in' to. ljicor- pbrate works, of a which already exists -abroad. So popular of the ICA it has already frigge'red-. other debates on the 'same, topic at the Royal Institute- of Architects and- trie' Royal College of Art Inveach; sculpture was' rejeetedj.Ort' the one hand for being expensive and irrelevant, 'welcomed on the other as humanising the built environment. Thirty years ago a friko-laus Pevsner would havs 'welcomed the lack of arjislic expression in public buildings.

The role of thejchurch or the civil -plaza- jvas to be neutral, he. wouldhavetaid, eqhoing the ideals' of the Modern -Toddjvjudg-ing by the rauch-feporfto de mise of modernism and tlu occasion of the ICA debate, we're not so sure. Pevsner saw sculpture as functional rather than aesthetic. In Gothic architecture, it had been used to narrate Biblical homilies to the great unread: in Baroque architecture, it had contributed to the overall sen.se of theatre. But with; the rise' in literacy and the industrialisation of the building process, architectural' sculpture" had become redundant and inappropriate.

More recently, Pevsner's two paradigms the Gothic and the Baroque have come in for further criticism from other quarters, including the American architectural practice, SITE. SITE believes that modern architects have relied for too long on wonks of art to provide' meaning and "significance" in public places, thereby letting the architect off the hook. Their own approach has been to turn the whole building into an easily understood joke. SITE'S position is an extreme one; yet most architects refuse to abandon their belief in themselves as architects. Look at Centrcpoint; it could have been a plain straight-up-and-down- glass box.

Instead, Seifert's building swells out on its long elevations and each precast concrete element is tapered. The result is a restless, fussy, aggressive pattern but a bid for artistic expression nevertheless. Both architects and sculptors have wanted to ask questions about the relationship between object and viewer, how space is defined, and so on abstractions which lend some justification for seeing the sculptor's offer to redeem architecture as something akin to the blind leading the blind. But Linda Brown, the ICA organiser, believes that the problem with art is that it has become gallery-bound and that architecture provides the vehicle for getting it out on the street. We need to encourage the public to be more enthusiastic about art she says.

It sounds goodi but hat art? Carl 'Andre? Caro? Tim Scott? dffetdo Paolozzi? Is' this warkwnfeh can be said to have endeared itself tq the public! whatever, its merits ot, then getting it hitchieqXup with architecture wont Kelp: both babies are in' jie "saine -Maybe artists should be sorting but their own -problems before preaching to architects. If the ICA event is to of; any value. will havejito keep reniinding itself tlrat-'t is dealing with, as design, "not as jore At the same die ICA bev aware thatthe moment art, becomesJ.s instead of it7Yttturas into, the-1 taste, and -Vfc jugcsgpjiy popular taste of ilrie i clothes and mgs tepd to may short-terni- palliative but it doesn't get. at tais. neaitniew artistic culture of recent years jfras in me J.V3US wnen-arc-ana architecture erfc clearly separate and -Gro'pius.

and Gabo.V Brancust Jand Breuer could (represent '-a'. community of artists; without treading on each othersMoes. It was the to bridge tfce Tvo Cultures vision of: art; and. fechnbBgy in the if ties' pplk'a'-dbt fabrics, ceoheshapd. table lamps and abstract murals on the sides of buildings that brought artiatic-V expression into, disrepute.

rTastes may have changed sirtce then but there's no reason to think that the ICA event doesn't represent the same kind of cul-dc-sac today. Bayadere Two Pigeons A DOUBLE bill of Nureyev's staging of The Kingdom of Shades scene from La Bayadere and Ashton's delectable The Two Pigeons gives the Royal Ballet a splendid challenge in the grandest of Petipa's classical choreography and one of the most tender and charming examples of Ashton's work. Bayadere has been absent from the repertory for too long and Nureyev's return to the company, which has give.i a lift of excitement to performances, has meant 1 that thev can again dance a hallet whfch Nureyev brought to them from his Kirov memories and in which, at one time they could nearly rival Kirov dancing. Not any more, as yet, The corps de ballet had a good many wobbles, which many more performances must correct, and. the girls seem to have slipped back into an old-fashioned English style of formal behaviour.

But when they first acquired the ballet those faults were there; surely, with time, they will achieve a manner more expansive, a stretch in extensions that is more positive, In addition to its marvellous discipline for the corps, Bayadere provides three solo roles, for Shadows, and in these jewels from Imperial Russia young talent can shine. The shining youngsters at this first performance of the revival were Bryony Brind, Fiona Chadwick and, shining hriehtest of all, Ravenna Tucker. Then there are the two star roles. Merle Park is very much in command as Nikiya, whizzing through the fast passages, taking the proud poses with total authority. Npreyev still takes the stage as a star and is greeted as one but in the scene, where the male dancer has almost no character and must rely on sensational virtuosity, the years defeat him.

Yet merely to see him walk is a lesson in stagecraft. The Two Pigeons was made for, the old touring company (for Seymour and Gable) but looks its best on the Covent Garden stage as Ashton choreographs for the Gypsies' whirling skirts (in Jacques Dupont's lovely colours) and their dances need space. Except for the two principals, however, the present company hasn't got its measure the Sadler's Wells Royal Ballet dops it bptter. But no one today excels Leslev Collier in the rapture of reconciliation in th final n-s rfe Hnx and no one David Wall's ex. aid undemanding of th" r'e nf the painter.

Wall doetrn't nlay it as a hov anv mnrc, but as a mature rnn and his amiptv. in ftiat reunion dance f'at hp lm vp nrpofnns on b' own fwpi, yiihr an(j vcry very beautiful. A QiDM) (DF and just to prove the point we're giving away a specia I 32-page "vintage Sounds" supplement. This over-the-shoulder look at the early days of hi-fi, its products and the people who made them makes for interesting reading and provides some amusing comparisons with today's hi-fi world. You could be forgiven for asking has anything really changed? Wharfedale Golden Era Fifty years on.

going strong. We join the 50th Birthday celebrations with a big, big competition. Wired for Sound Some sound advice on loudspeaker placing. ill mm tsmm mem mexasBmnKi oomi rcRyctJE MARCH ISSUE.