The Guardian from London, Greater London, England • 5

THE MANCHESTER GUARDIAN SATURDAY APRIX 195? A Music Survey FERRUCCIO BUSONI CANOEING HELPS CHARACTER "Venture training" By our Special Correspondent girls drawn from industry and commerce in London, Surrey, and Liverpool have been on a venture training course in North Wales over the Easter There is. plenty of evidence that they have derived benefit as well as enjoyment from their experience, i The girls have been divided into groups to under skilled leaders, in such activities as canoeing, climbing, 1 ridge-walking, scrambling, camping, and nature study. The leaflet advertising the course says that its purpose is to help girls to develop latent powers of leadership, fulness, and self-reliance by offerine them challenging physical activities by day and some selected cultural activities in the evenings." There are about twenty helpers. They believe that the various kinds of training help to "bring out" shy girls, and some even maintained that those already sufficiently extrovert benefit in stxange ways. It is good, fos instance, that a super-confident girl should occasionally learn that a canoe can tip even her into the river.

Enlightenment For the city-bred, the North Wales countryside brings some chastening enlightenment. One London camper returned from a farm with the hews that they had television and some other amenities that she herself did not enjoy in London. The faith which its advocates have in venture training is well illustrated by the'1 attitude of a canoeing enthusiast who said he would "not regard his time as wasted if none of his pupils ever set foot in a canoe again. Many of them tlive in areas where canoeing would be hard to organise, and he seemed to think that the more intangible benefits they would gain were sufficient reward for his effort The course has been centred on. the Colomendy camp schools, near Mold, and the campers, occupying a fine site on the banks of the Dee near Llangollen, have played host on various nights to the other groups.

By Neville Net much is beard nowadays ol Ferruccio Busoni, except as a pianist. A narrowing, almost secret society remember him also as a force affecting the direction of music itself. His works are heard or echoed In theThird Programme from time to but few musicians are to be met with. who can quote a theme from any of his operas, or from his monumental piano concerto. It Is true that certain 'of the so-called advance guard go about talking Busoni without knowing it but Busoni would not have liked their accent.

Though he Insisted that music should get rid of sensuousness and renounce subject! vity," he was never likely to go the way of the tone-rowdies His idealism and sense of spiritual beauty were rare, and at the present time more or less obsolete in music. His aesthetic philosophy is outlined in a collection' of papers (The Essence of Music, by Ferruccio Busoni, translated by Rosamund Ley. Rockliff, 21s), published in English for the first time. The composer, Busoni maintains, should stand back from his work and pursue a purifying road, a hard way, a trial of Are and water." He should aim at the reconquest of serenity." Neither Beethoven's wry smile nor Zarathustra's liberating but the smile of wisdom, of divinity, and absolute music." An austere philosophy indeed for a man who as a pianist identified himself with Liszt. He was Faustian in many of his characteristics of mind and temperament, especially In the fact that two souls dwelt in him and were never joined together His father was of Italian stock, his mother German on her father's side.

Busoni developed intellectually with Germanic seriousness German was the language in which he mainly conveyed his ideas In his piano concerto he set out to assert his essentially Italian origins and stuff of imagination. He had the score title printed in Italian (though his publishers were'Breitkopf and Hartel) with his name given as Ferruccio Busoni da Empoli." This concerto was magnificently presented to a Halle concert audience in March. J934, conducted by Mr J. Forbes, and played by Bgon Petri. After a single hearing of it I wrote of it in this paper a possible study or ground-pi an of the opera Doktor Faust for the music and the forms In which it is cast seemed to me to suggest, by associations and like- connected with Liszt and Wagner's Faust in Solitude," the introspection of Faust in 'the study while the gigantic tarantella of the fourth movement jured visions of the "Walpurgis" night.

Moreover, for the Finale. Busoni calls on an unseen. male chorus to intone phrases set to verses by the Danish poet Oehenscla ger. apparently derived from the Chorus Mysticus which ends the second part of Goethe's Faust." If ever I heard a Faustian musical conception it is this hour-long piano concerto yet Busoni himself mentions as musical studies for his "Doktor Faust" only his Nocturne Symphonique and Sonatina Seconda." It was a finely and subtly -spun, Italian brain that could think of opera of a kind in whush sensual or sexual music is obviously out of place owing to the nature of this art" He goes on to asseverate that opera should be cleared of all traditional theatre routine. An opera score, whilst fitting the action, should show detached from it a complete musical picture in fact, the composition of opera leads us back to purer and more absolute music." He objected to a libretto based on.

say, La Dame aux Cameras." or La Tosca," because in a plav written originally as pure drama we are lot seised with a longine for the nj'ssiris music The piece good or badi is in itself, understandable and complete with out music, so much so that one foi gets that there is such a thing as music in or out of the theatre." Many of us 3n our hearts will feel sympathy with such a loftv conceptinn (for a brief Lenten neriod) much as we mav revel In ooera that mirrors in music a vivid human rene. From a high aesthetic nrtnrt cle Busoni teaches the straight path: onfa rts an integrated serious art form shrvild be One in which drama and words are taking part in a venture course for girls in North Wales, shooting -rapids on the Welsh Dee, at Bcrwyq. yesterday One of the young women Nezu Films in London Independent Television AUSTRALIAN AUTHORESS'S PLAY Life and power under a load of romantic fiction By Bernard Levin AUDREY HEPBURN DEFEATS DISGUISE Still charming as the ugly duckling By our London Film Critic Cardus entirely subdued to the condition and terms of music. And how contrary to this counsel of perfection has opera recently developed For the production of operas to-day men not strict musicians are entrusted with control of scene and lighting and movements on the stage. Moreover, the fundamental opera aesthetic of Busoni is- considerably reversed "Wozzeck" had existed as an.

important play nearly a hundred years before Alban Berg made his opera out of lit: and I imagine that "Wozzeck" as a piav will persist as an entity after the music has fallen into disuse. Nor can we say that in essence "The Turn of the Screw," or "Mathjs der Maler or OrfT's Antigonae," or indeed any opera produced since Busoni's death, has imperatively called for musfic to realise full expression On the contrary the tendency of opera at the present time is to fix attention and the centre of gravity on the stage, the drama, and the picture. Even voices are counting for next to nothing the music in fact is more and more employed tin modern opera as so much elaborate incidental commentary. Part of Busoni's theory of opera is that it gives opportunity for the irse of all "absolute" musical forms; "the domain of opera extends over the simple song, march, dance, to the most complicated counterpoint and so on. It is a principle acted on by most composers of opera of to-day.

The paradox is that though in the evolution of opera we have reached the point where supposedly absolute forms are adapted to dramatic and psychological action on the stage none or few operas written on this principle contain much music which has an appeal as absolute musfcc and can hold the attention awny from the theatre The so-called "Lulu" Symphony, arranged by Berg from, or based on, the opera, does not truly stand on its own legs qua music. Post-Busoni opera, in fact, so far from realising Busoni's' dream of opera as the one fqrm of musical expression and content." only achieves music as a sort of by-Droduct of the stage or dramatic action. It fis not necessary, for example, to engage a great orchestra for the production of, say. Wozzeck any expert body of instrumentalists would serve Berg's ends. Singers of the vocal quality of Lehmanh.

Jurinac. Schwarzkopf, or Hotter would not only be wasted in the operas of Berg, Hindemith. Orff, and the like they would dispel the necessary atmosphere. Beautiful tone would be as much out of place as Ellen Terry in Look Back Anger." Among Busoni's compositions, a long 11st includfing four operas, is one bearing the title of the Armoured Suite. The title might with ironic relevance cover his creative output' as a wbole.

We are conscious of the dark, burnished glow of his musc. its stiff-jointed unbending dignity, its noble remoteness. It does not sound hollow if we tap it. It sounds empty; we are aware at opce that the spirit and the bodv have gone. The Mephistopheles -in Busoni had sport with the Faust In him.

Whfile Faust-Busoni sought for the essence of music, the sphere from which all beauty and power and while he strove to turn away from sensuous temptations in his art crying Renounce Entbehren sollst du the satanic part of him. Mephisto-Busoni. whispered in his ear of the allurements of the of the pride and glamour of Liszt, of a great conquest of the grand piano Thou supersensual wooer sensuous of desire" sinnlicher No wonder he wasfor years obsessed by the desire to compose music to Goethe's Faust." out veneration of Goethe led h'im to suppress it. He wrote his own libretto of Doktor Faust," and steered clear of Goethe, returning to the old puppet-play for a starting point His life and his works none the less were noblv symbolical of the ereat line of Goethe in the Prologue in Heaven of Faust "Man nvist strive and striving err" irrt der Mensch solang er strebt This "book. Essence of Music." ends with the following paragraph Music is not.

as the poet savs. an ambassador of but the ambn'sadors of -heaven ae Shose ehesen on wh.om the high charge is laid to h-r-ie us single rnvs of. the original light through imme.T'irah'e snace Hnil to the prophets 1 He. Busoni. is one of the maior 'ones.

not have been quite the thing to dun foreign princes'appointed to the order, and their "first entrance" alms were paid by the crown. They were rated at about 20. and by 1672 the privy-purse had stumped up for eight German emperors, three Spanish kings. five Portuguese. two Swedish, one Polish, and two Neapolitan, besides divers Dukes and other free Princes." The rulers of Europe, admittedly according to an English source, regarded the Garter as the summit of their Glory and the highest Trophy within human grasp.

Second thought A pamphlet recently published by the Economic League lists 70 thoughts on explaining company finance to employees Under the heading Profit it has this to say: "It is also open to doubt whether the word 'profit' can play any useful part in explaining a firm's accounts to employees." LOST FACES Persons known to have been enoayecf wi subtHT.vi re activity shall not be ehgihfe to stand a.s candidates in ihe new LeaisJa-tivc Assembly. Singapore Constitution. 3 Free Singapore will hold her first election Minus some leaders hitsh in her affection Sue rmt vote for old subversive faces Strouu wiie of freedom citizens are But In The cup one bitter drop's remaining They not drink to old subversive face? Brjtn is deaf to Singnpore's persuasion. Thouyh several Premiers. African and Asian, 'kiw ihe Commonwealth old subversive faces Whici of them was not in the past a persori Known to engage in sedition and sub- Nehru.

Nkrumah. have old subversive races Why then of Singapore make a st ranee i i VV hAi n. 1 Oot Er i -vo on! i nn Tnoiseh they a re owners of once subversive faces Britain. departs frpm ner practice democraiic. Lest Singapore show a preference empnaiic l- For those forbidden but familiar faces Free napore meanwhile her it me ts b'dinti One knows 71 theVll-an com out nf hiding jr They'll bt? those oltfsubvers: APRIL 17 prorr.p: ar1 severe of T.v nw Tfle r.iri: of u'orkmen cnnibir.e U-r nrbr.rar'ly of their waes or cnndion U'-drr they art 'i work, cannot he Tne pol.cv -uch proceed qut-t iiv: ono it ueier lt'CurL1.

'nnidrrd of oe lef' nr Hut fe unre.i-on:::' 1 -cv pr(s-cs second -ar and d'Ti by v.ulo- Ci dt-'-v rur.i f.er i vu- 1 -c life rn" 1 a jut exrru- 1 'A I'xrr'. ord'r a crus MISCELLANY to use the author release the safely catch on my typewriter. And never was an author so cruelly used by her plot as Miss Roland. Then why do I hesitate to pronounce the dread words that will turn the point of the prisoner's sword towards him Certainly not because of the play's production which had Cyril Butcher's Dame attached to it but none of his usual smoothness or efficiency The most elementary problems seemed to have been ignored the length of time the cameras would have to linger on a man opening an envelope, or the terrible gagging that had to be put in while an old man was helped out of his armchair or the frightful, scene of Australian drunkenness, in which six nervous extras moved a tew feet each way. desperately conscious of the fact that they would cannon into the cameras if they really began to live it up (I beg pardon, break il down) As for the acting it was almost nonexistent Miss Roland's play stood or fell on its own merits.

And. strange to tell, it stood she should not allow net-self to be put off bv my sort of curmudgeonliness. Buried beneath all the tired writing, the gimmicks and the bright ideas. Granite Peak contained a tough, solid skeleton. 3 genuine feel for its people, a sense of direction Australia, to Miss Roland.

Is not merely home. It is a theme'; it presents problems that other countries do not, or If thev do in' a different way Her characters, though they were all too rarely alive to us. are clearly alive and throbbing to their oreator and that even applies to the absurd things that for-the most part thev Between Miss Roland's aim and its realisation there was a veil. "Granite Peak had all the hall-marks of the academic exercise in creation for the stage but it also had. moving about below the surface, a life and a power of its own.

If Miss Roland can tear down the veil she will be able to communicate what she evidently feels deenlv. and in that event "Granite Peak" will not have thrust Its bare, lonely head Into the sky In vain If someone was to approach you in the I street and. seizing you by the lapels, roar "Good on you, cobber, coo-ee. outback, break down fair dinkum in your face. I have no doubt that your natural desire to give him in charge would be tempered by the knowledge that he was, to put it mildly, an Australian, to whom things are allowed that would not be allowed to an Englishman.

That, more or less is the situation with which 1 am faced in considering what to say about "Granite 90 minutes of which was given us by Associated-KediffUsion on Wednesday. For this play is by Betty Roland, whose name was hitherto quite unknown to me. and Miss Roland is very Australian indeed iNow I would not insult Miss Roland or -Australia by saying that her play was not bad, considering As a matter of. fact it was bad, whether considering or not. Looked at with ruthless objectivity, it was the tntest kind of romantic fiction, tricked out 'in all the cliches you can think of, with the occasional Australian usage on the outside like a bright yellow luggage-label- on a black tin trunk.

Australian cattle family; grandson apparently going the way of father, who died by drunken-driving his car into a tree young miss behind the bar in rough, tough. neighbouring town; big, bad wolf who gets: vouhg miss in trouble (and when I eay in trouble I am actually and literally. Quoting the play) grandson conceives deep, tender affection for young miss passes out. full of Mickey Finn, on her. bed proposes to her.

learns of earlier error, bites hp. forgives, clinch, close-up. fade; Not only was Granite Peak about the story that I have outlined (there was a sub-plot, about a man with aboriginal blood in him who makes good." that was as silly) but it really was made, bone for bone and sinew for sinew, out of-this, stuff. Plots matter, little, provided that they are used when the plot begins IRISH BRAIN WASHED MAN A BOX B.B.C.'s experiment By a Television Critic: Those sinister peeps grammes at the -man in. Studio," eyes, bandaged, ears plugged, enclosed in cardboard tubes, sealed off from the world; were much thfe.best material the.

B.B.C. got from its short experiment in actual discussion of techniques in A Question, of Science last night, arid the examination' 6f Mr Russell Willett when -he was let.bu't of his' seventy -sixv box after 25 hours', solitary confinement, were disappointing too much time was background information and not enough', to iriterroga -tion; and showing the techniques in action By the three brief- tests which-were; made. Mrc Willett, who tea young. and unimpres-sionable-'Australian psychologist, was found to be a little more suggestible than he was before he went into Studio; (he. still refused to fall oh his "nose when-told that he was doing) i aler.t.

this eyes were able to recognise a picture of a mattress flashed" momentarily on to a blank screen) tout how unable to do a simple sum His most interesting discovery, he told us. was that when- he. awoke after sleep his mind. tricked his senses into experiencing morning-, sensations', the studio seemed to lighter, and' the air crisper He measured time roughly by. testing the growth, pf his' beard on his pillow.

i But the experiment did go some, way towards making its. point When' he "first came out of 'his box, he trembled under the shock of all the stimuli light sound, and so bn.r-df'. which he had been deprived' a whole day. Could he have been broken- down You could have donft.that" Mr. Willett thought.

particularly when I first came put of the room." This was almost as disconcertlne as the adyice given by a. to anyone who mignt resist inougni. seduction "in Hip future. -All he 'could: suggest. when you had' been under solitary confine-merit for days a hear starvation diet, that you should keep sepse of.

humour and detached and never get: angry -or coroperate with your interrogator TUESDAY MIDDAY CONCERTS HOULDSWORTH HALL. TUESDAY 30 10 to 2 OJn. JENNY ASHWORTH PIASOFORTE RECITAL Worfcs by ScarUttl. Cbopin. 'and LtiZL Admission IJ6.

Children l-- LEASER" FREE TRADE HALL. MANCHESTER TUESDAY NEXT l7 30 MYRNA EE ER PIANOFORTE RECTTA Mourn-Schubcri Albenir Granido'. rickets Otl 'itb: nb'w Forytr Bro Ltd. 126 peansgmw. Mancbcaier 3.

Manchester Cathedral. OkGAN RECITAL WEDNESDAY MAY I. i 7. FLOR PJSETERS Toccata, Adagio, and FUsuC BACH Variations, Est-ce Mara SWEEL1NCK Choral No. 3.

FHANCK PasGacaxHa Fuftue op 42 PEETERS Admission by 2a 6d, Wilmslow and District Symphony Orchestra President: Sir Jabit Barbirolii Cbnductoi MICHAEL BRIERLEV. Leader S1MONE WENISER TUESDAY, MAY 7. at b.m hi the PUBLIC HALL. WILMSLOW SYMPHONY CONCERT DAVIT) MARTIN (Violin) FLORENClE HOdTON (Cello) Overture. The Corair Pavane pour une Inlarjte -deluate Concerto Ibr Vloiin.

and Cello, Op. 102 Symphcrnv in minor' CESAR FRANCK iThn concert Is jttven with the support ot the Aru Council of Great Britain.) Tickets: 5- and- 216 from Muaic, Station Road. Wilmslow, or from mcmbera of the Orcheitrm. NORTHERN SCHOOL OF MUSIC 91 OXFORD ROAD MANCHESTER I FOUNDED "520 LNCORPORATED 193 Founder Mra BiLDA COIXENS President Dame MYRA- HESS Actlmt Principal Miss IDA CARROLL SUMMER COURSE IN MUSIC JULY 29 to AUGUST 1, 1957 Lecturers, include Mt CLIFFORD CURZON Mr MICHAEL KENNEDY Mr NOEL LONG Mini DOROTHY PILLING Dr A. O.

WARBURTON iir 5TEUART WILSON Svnibui ot the Course and Prospectus ot the School on application to the Secrcuu-y SUMMER TERM BEGINS APRIL 29 AND FULL-TIME STUDENTS RE-ASSEMBLE AT 10 30 THEATRES FESTIVALS DUBLIN INTERNATIONAL THEATRE FESTIVAL Political boycott Twenty years ago when I first began, to read poetry (writes Neville Braybrookei 1 was brought up to believe that Rov Campbell was dead and. although a few months later 1 discovered the truth this incident may serve to show how powerful was the political boycott surrounding his work Even ten years ago. when he was living only a few yards away from my home in I was warned that to attempt a meeting would be to invite first insults, then blows. I think he was aware of both these myths about his character, for he would make it an art to let his conversation turn from the most roisterous to the gentle an art he also practised in his poetry For instance, I shall always remember the party held to celebrate' the jubilee of his wedding. My mother was to bake tht? cake and it was to be crowned with a hermit's cell, hich.

according to the drawing submitted was to be made of three trellises of blue icing (He had been working on his i translation of the ooems of Saint John of the Cross.) On the evening when the time came for it to be cut somebody mentioned I the frill round the "base. Off with pyjamas'." shouted our host, brandishing a knife. And a moment later, with a slice in his hand, he turned to me: "Now I'm! going to eat your mother's health." And now he is really dead, killert hv a car accident Irl Spain. Once he offered me a poem for the small literary quarterly I edited, and after it appeared he asked for the money in rash. The fee was only 10s 6d and we drank it quickly Entrance fee.

There was a time, long since past, when Lords Ismay and Middleton would have had to pay for the privilege of joining the Ot'der of the Garter. They would hae been stung according to their Emminence and Degree" for a "certain Alms for the Perpetual Maintenance" of the thtrlecn secular canons and 26 vetrran knights supported by the order. When (he Garter was in its infancy these pious donation?" ranged from a king's forty marks and a Prince of Wales's twenty to a humble knight's five, still a substantial sum in the days of chivalry. But it had to be paid before new knights could take to themselves the Name and Privileges of tfe Order." or hang their over the stall allotted to them St George's Chapel. Windsor, it would A lot of nice things can be said about "Funny Face" (at the Odeon.

Leicester Square). It is a "musical" which, for all the excessive length of some of its numbers." has an integrated choreoe-raDhic rhvthm which puts it nearlv in the class of On the Town is a complete musical," not one which stops for interludes of plot and spoken chatter and then starts again into song and dance Its Vistavtsionary colour is wonderfully orettv anri it uses trick ohotoeraohv not just as a startling end in itself but as an imaginative and decorative contribution to the cadence of the film. It also manages to" be both whimsical and satirical the targets of its satire the nonsense of and the nonsense of Parisian Left Bank theorising may be a bit too easy but they are shrewdly hit all the same. In all these ways it Ls worthy of its director. Stanley Donen.

the man who made Seven Brides for Seven Brothers and Singin' in the Ruin." and who has given so much help to Gene Kelly in raising the level ot him musicals. Yet. when all is said and done, the great merit of Funny Face is Audrey Hepburn. And, ftpr-adoxically, its eon-siderable demerit that for much of the time it minuses her. The point of its story is that Miss Hepburn, an ugly duckling, an outrageous bluestocking in an intellectual bookshop in Green wi-ch Village, should be transformed into an exquisite mannequin Miss Hepburn, as it happens, is a bundle of genuine charm, and nothing that the film or the latest creations of the fashion designers can do will quite smother this quality of hers: the fact remains that when we see her as a kind if intellectual waif she is obviously and radiantly pretty and that when the fashion designers have got at her they nearly succeed in making her downright ugly.

And that, in sDite of the film's satirical aspirations, is not, 1 think, quite what was intended MisS Hepburn, it may be remembered, was a bit of a singer and dancer in the days before she. became famous Her singmg voice is tiny; her dancing is quite good enough to rjartner MANCHESTER THEATRES ETC. UPERA HOUSE. Al I WM. n0 sl 1 10 STEPHEN MURRAY WALTER FITZGERALD.

SOS I A URtilJf HUGH WAKETIELD in a pity by Leo ITlii DF1ECTOR. Nesl week 7 Wed nd Sal 30 PAUL SCOF1ELD MEGS 1ENKIS5. in Kodnn Ackund's new thriller A DEAD SECRET. Ma rek ai 7 5 and JOHN GRF.GSO in THE A IN I.N QUESTION. new 0U Rdvmond Bnwers wish LI AM REDMOND PALACE THEATRE, ft 15 and iit THE PLATTERS.

Sexi week 1HCKIF VALENTINE, pliia Two Too TV C'umedaiw. HILL MAYNARU DIOHY WOLFE My week J.K-k Hyhon's Siaae Comedy DOCTOR IN THE HOUSE. May 13 week MAX BYC1 RAVES. I.II1RARY FHEATHE C'en 7Jfll.i E(rs. ai 1 Sat ar Mull Wdls -tr 2.

JO Noel Cowa'd "HAY FEVER." lue-Klav May 7: STREET CAR NAMED HrPPODROME. iAKDwilk ttm i b.Zi and a 4t Sinmnii Star It (INN IE HILTON. Comediftna MORFCAMBE and WISE. Nexl WeeX: EDWAHUS. Mur itt lake From Here" BELLE VL'E CARIENS: ZOO.

AQUARIUM, daily from IANC1NG NIGHTLY WRESTLING TO-NIGHT. 7 nm SPEEIWAY 7 pm Bm-s ReiMiirann. Cufcs Panv catering itiv number laptv Caierina Mannsrcrt A DVTE IO ICF SKATE. In-day: H)-2 2-5 I'd. 7-Ti 2,0.

7-TO 2'- Skdlins Now Eer, Thursday Skatins to Starvley Tudor trie Com-'ton Orejn and Skates on Hire I rOL'IPP! SKATV SHOP for all voof Ice Skannw Requirement Rf.STAURAN'T SNACK BAR arKl TAPE AKo ripen in 'he se-nenal puhlic Privaie Car P-v lei BLA QG'iR ICE PALACE Derbi Sr'eer Oieetam BIRMINGHAM THEATRE MRMirCHM REPERTORY I HE A I RE. April 13 lo Mj.y II. THE SLAVfe OF TRUTH and a RKI.l.f." Molicre. ad rip red ty Miles MJIlcvin Lemrma 1pm Mavne Wffdncdy3 and S.niirdi,v. (p lUtt I Dlnnd Zt open LIVERPOOL THEATRE LIV'FKPOOL PI.AVHOUSF, Rat KJ.) Fvre Men 4 ami Fpi-rnnia." Mm, 7 "tti Timlni of 'h Shrew.

MANCHESTER CINEMAS CINFPIIOSE. Vitriol St. PEA -di ina twl nrk Scandal in Son-cnm i A. i rhe Sleepwalker. Jh' NS(.

1 1- lnn--d BcrcTnan Yul Brnner HiMi-ri -r. i ASTASIA 1 A 2niTi Omurv -IFT V. (Bla 0366 i Day WAR 1 (I)f OS. iKf fi ai 5 0 '0 nm "Ditty Crockett A ihr I i -mil itt i BROTHFTtS PI KI AP( ICF VSKLJ-S (Ui i i -i Rrl'il Sidney Sf VMFF Sh.i ina 1 2 2 1 HI (k WHIP s.1 1 IN I rMWK I WIS-N f'" 1 Ml TRFS Mna T'l pr THE 7 teo I iwjii- re-J 'rei i ir-jri Keith Pr 7 ra rel ButHi i (, U.MH- CHKISllb Tu1 ru1 Ml SVMrM UM 1 -l l.4 1 'V, I I fl krt It nj-j suuirc IMF 1 iKt 11 S3- I Rl ION VI 1 (it- tHf rOHh VOfJRS nn 1 1 1 mi rm- iuihh.i TtlF HUl Fred Astaire In his. autumn years.

Mr Astaire's dancing deftness is. apparently indestructible but, the dancing apart, it really was not kind to give Miss. Hepburn as his partner. Kay Thompson is also in the film a dynamo of strident, comic energy. Obsession (at the Continental) was one of the items on view in the recent festival of French films in London.

is redeemed by the acting of Morgan, whose distinction is not to be submerged even in the most turgid melodrama. Jean Delannoy directed this film a pretentious whodunit about circuses and murder. The direction is heavy-handed. There is a very funny performance by Tony Randall in Oh, Men Oh, (at the Carlton) there is the usual suave, well-timed acting of David Niven and there are some good lines, most of them given to Dan Dailey But the joke, about the troubled private life of a successful psychoanalyst, wears thin long before it reaches its predictable conclusion Ginger Rogers is in the cast time, but hot the casting director, has been kind to her TWO NEW ASSOCIATES, OF ROYAL ACADEMY Mr Henry Carr and Mr Tristram Hillier, both painters, were elected Associates of the Royal Academy yester-. day.

Mr Carr, who is 62, was an official war artist and painted most of the senior Allied commanders. He has painted portraits also of Princess Margaret and the Iraq Royal Family. Mr Carr has published a book on portrait painting and has been seen on television in a programme on drawing. Mr Hillier, who is 52, served in the R.N.V.R. during the war.

Examples of nis woric nave been bought for many national collections, and his autobiography, "Leda and the Goose," established for him a second reputation as a writer. HALLE CONCERTS SOCIETY FREE TRADE HALL TO-MORROW NIGHT pi HALLE ORCHESTRA SIR JOHN BARBIROLLI SYLVIA FISHER (Soprano) OTAKAR KRAUS (Baritone) Wagner Programme WAGNER WAGS' LR WAGNER WAGN'ER WAGNER OVEHT7JRE. rannhavcer WESENDONCK SONGS SUITE. The MaMersinscrs SIEGFRIED YLL ACT 3. SCENE 3 tMe WalkuM nela 216 5t- 716.

101- 1216 from the Halle Bookir" Onie or from the Ha II -ito-morrow nishL. WFDNESDAY MAY 1st. II 7 Rl. THURSDAY. MAY 2nd.

7 LAST NOD-WEEK CONCERTS OF 1956-7 SEASON HALLE ORCHESTRA SIR JOHN BARBIROLLI ANDRE NAVARRA ('Cello) Elgar Commemorative Programme EUGAR INTRODUCTION and ALLEGRO tor Strlnn ELGAR 'CELLO CONCERTO 111 MUiot ELGAR SYMPHONY No .2 in Flat Tickets: 216. 316. 5-, 716. 126. 151- from Ihe HaJle Booklna Office.

Fonvylh'a. Lewis's, and usual Kent PAUL SCOFIELD and JOY PARKER win trtvc LUNCH-HOUR POETRY READING LIBRARY THEATRE sT PFTER'S SQUARE. MANCHESTER FR-tDAY. Mi AY 3, 1917. it 1 IS D.m ADMISSION FREE Ore.ant by tlx ROY A.L MANCH ESTER INCTrTUTlON St George's Hall, Bradford FRIDAY MAY ir 7 15 BR A SU BSCRIPTTON CONCERTS Firti Keen in England nd the OrUy RccJtv! EMIL GILELS THE EMINENT RUSSIAN PIANIST hhaniia Op tth Bnhm StTMia in flt Chorun iniRca i Book.

1 i Dctnewy Sulk PeucMithki Sir vi risky -Price: StalU 6i-. SJ-. Tes Ctrck 7. nd Upper Cn-ck 5- "rxl il- FUUciTm il- and 31-Postal ipptjcataon ccrxnpa ntcd w.th remittance receive pronun ten lion hoi Olftce L0 lo 7 5 Tel Bradford 52513 LONOON KIR TI NE, acm iO 30 I Mr-twci FlarnKrs iJonajj Swinn AT THE DROP OF I A r. Af lerKlmnef F-arrsuo (irVRRIt l4-nirn -t -Ui lOtlier The ROBFRf UKFRY ri' la PLUME DF MA TANTE.

Kfris.ii trnhh fun Tero tn tiWJBK, 'tier IfW Si 5 y. Wed 2.y nhn (i at ud. Hiunon Jovce Carey. David HKrne in PVUOF. WITH IOLXN.

by Noel Coard A A KIT iWhi i Tin Wed. and Sai. 2.JI). I rj.rh varr Owen Ff rsnncon-Oa Fcli Avlmcr in The Challi Garden." bv Bajznold 2nd vcar. HER MAJfcSTYTS.

iWhi evriw 7 3U Sii ui unj ft if Va, va i K) Barry NeKon NO TIME FOR SFRCF.ANTS. Very funrty Times HIJWUROME, 121 ft I 45 DAVE in THI D4VFJ KINC; SHOW." with Shant Wls iC riX( i tiin 7 Sat md ft M) Mar, Ttr MF 'lONDOLA. Molt i hilar in a miiiiiTil ion Siar 1. Kit lUmmmmnfi. iRn JJ.iJ Evn 7 4S Sal ki M- iriurt lu HARMONY CUBE, Turie- iL lrl.

its-, itnj Sundy Times." N't 1 cm Tu-n ah, 6 i nd JO UNDER Mil WOOD. c-mt. Tiinei Lair nfj Nl- iTrm i omm i lte5 rxnt 7 jn Uarp Mr i mu T'hm Rtu J) tT3 till MMMIR OF THE SFVFMEFNTH DOLL. Ot If. -Vs- Th 2 in and I i j-i -win Anfon) and Mon Tif.t i id drnnx-ut ri Tli Cofnrdy ROYAL BALLET, COVENT GARDEN THEATRE ROYAL (Mar I3-1BJ.

Swan Lake Lea Sylphldes, 1 Check nuic Birthday OfTcrirwt MAR GOT FONTEYN. MICHAEL SOMES. ELAINE FIFIEXD NADJ A NERIN A. Tickets 41- to .21 ITALIAN OPERA SEASON GAIETY THEATRE (April ZSl La Trarjata Andrea Ch eniex Don Pasquaic Tosca Alda Barber of Seville Twenty famous Onera Stars from Rome Tickets: tt- to OLYMP1A THEATRE (May 13-25) Firs: Week Fcatrvaj production THE IMPORTANCE OP BEigIG EARNEST. Mariwrei Rutherford fecdnon Derek Blocnfletd Perllta Net ton Second.

Week THEATRE NATIONAL POPULAIRE, PARIS Lo Malade Imsalnalre. Le Palaew Tickeu Xf. to Mfb BOOKING JLGENTSr KEITH PROWSE. mil Brmncliaa, FESTIVAL OF CORK fMAY LZ JUNE 91 1 ABBEY THEATRE (May 1325) Fentival Production JUNO AND THE FAYCOOL. Golden JubrW Production THE PLAYBOY OF TUB WESTERN WORLD.

Tickets: 1 16 to 7-. GATE THEATRB (May 14-25) iXdwards-MacLtatnrnoLr-Lona-ford Productions). Production: THE OLD LADY SAYS NO. 26 to 107- GLOBE THEATRE CO. (May 15-26) SEASON OF YEATS PLAYS.

Tickets 3f6 lo 610. PIKE THEATRE (May 12-26) THE ROSE TATTOO, by Tennessee Will lama; Uq Concerts tm tats rilsiit Revues INTERNATIONAL CHORAL FESTIVAL CITY HALL (May 12-16). Continental arid Irlab Choirs and Polk Daoetoa ui German Frca-h Swiss Swedisb. and IrWi WORLD FILM WEEK SAVOY CINEMA (Jnnf Sew Feature Firmi Docurnentarr Stars and Dl-cf(ors will attend. i WILLIAM BLAKE B1CENTENABY.

1757-JW7. LXHlBfTION OF PAfMINGS, IR AWLNOS. A P5UNTV Cicxn LiniiJ May I I UeeJtUay tu to 5 m. 1 unul prrj AOmmion Free WHITWORTH ART GALLEHY. OXJ-ORJJ ROAD.

MANCHESTEH li. i LONDON CINEMAS i ACADFMY 1 Crci 2JJ Tba Loci Coailnrrrt OT Cc. vL Friend lor Lil Pru 1 2 30 5 20 113 ASIORIA Lt. Rmd BROTHERS IN LAW i(J 111 Bnpokc 0crcfji iAi i'tue 3 25 3 SO 1 2U CAHLIIIN. Oh.

Mn Oh. Women! Vi Ci itani5(o oi un Ita ic (i.nner Raicn Laid N.Ten Bar tuna Rih Ton Kandatl Prt. 12 51, 5 a. EcrU daily I ill fa ri Ml Sund. 5 and 7 JO rk Doualaa.

LUST FOR LIFfc i Ah C'Scaoc Col 12 Ml. 110 5 45 I 20 EMPIRE Htrer 1 2 i (reiior Pock Lauren Bacan DESIGNING WOMAN Do lore. Oiwy Prownmea 1 12 MS if 5 15 Hi CinernaScopc GAUMONI. irirarkd FHF DAY THEY GAVE BABIES AWAY lech ao For Jaml Din CA1 LFKFSTFR 0 TH 5252) Hcnr, Pmida AI nrry Mrn Al 1 5 10 )r 12 LONDON PAVrilON. jcfl r.ndeT at DRANGO i Jirnr I London Rontld Howard Pr'iiramme ai Uj.

S3 4, i. 5 1 in PHILHARMON1A ORCHESTRA CITY HALL Ma 19 and ID). CooductU pv: EFREM KURTZ Sotolsta. LOUIS KENTNER VEHUDI MENUHLN (Violin). CORK BALLET COMPANY CITY HALL LMs' I2-1SI Mot Mat; Caprtcclo EapagDOl QwciH BOOKING tPcmalli FESTTVAfL OFFICE- Ih PATRICK STREET.

CORK EXHIBITIONS 100 YEARS AGO From the "Manchester Guardrayi of April 2X. MANCHESTER RETROSPECTIVE KISLING 1891-1953 (EXTENDED UNTIL APRIL iOj CRANE GALLERY, WHITEHALL (WTu 6W2 I 7 30 i pB 3U Brian Rjx. Baail Lord UoFmnklvn DRY ROT. 3rd vr WINDMILL. Pice.

Ore. HkVUDtVILLL. JWh y. MLn cd week. Com dl 2 3 Lai pert A Van Dmm Production fc" StVE.R WYNDHAWS.

(Tem. Jo: I En Samrdaya and i 30 SUu Wed a i Mi TH BO FRIENU OPERA AND BALLET COVENT GARDEN OPERA. EvW at 7 ju 'Thur Mir at 7.0) To-rusht and Mon A Matnl fUU lut and Thur next, mat peril erf MdA Butitrfl un Italian) Wed La Bo heme. Fri Carmen. COVENT GARDEN OPfRA 1 wo Ccie I HE Hl0 5ecx 25 27 Oct i and Oct 7 i 1 2 Hoi Office open until Mav 25 for nirc txn'n only Sirtale pert xwk f-om Mav COVENT GARDEN THY ROYAL llAI.I.Ff 7 30 Mat Sal 2 i Sett cr! lon Mn Sylphldn.

Prtmhka Tht Flrrhlrd Mj. in l. Patinwin. Patrutk. Itw Flrrhli-d May tl murine and ev-irm Coppelia.

(fo ifuVi i SADLFR5 WFLLS Tier i6'2 Opr-i niion nm My Ewa Mai 1. and 7 rx "xl Trnvalor Maw TtMca. Tt Maytr Flur LOXDOX COXCERTS appear on pace 4 Tt'FSDA V. If any our enn-dtion shows ihe need for education, and at tnc same time int-ftv ciency of much Lh.u Lisses undfr name, it the conduct of smnp n-, ihe working class ihe fieir own no: rc.id.r r-. writing aEone.

but the ''Kibi; of rctS-c1 on on the practical lesions of required to convince men of vu inu? fnUy of the forced means to "occasionally resort rvrW the remuneration of i.ibnur of ho 01 sorts, and derrnnr. vor r-r'1: 'patment i -'c HVt-t'A'O cuniucive and failure nn r.i I of view, but scfutra 'srt fry -n rii i d-s'inc'-jon w- h- ct'K -i ri: in one must be Eef: experience. r.v r. PALLADIUM. lOer.

7373J 6 IS 8-5. Mali Sai 2.40 JOHNNY RAY. Rowan A Martin. Beverley Sraten. PHOENIX.

iTem 61 1 Monday -FrttJi 7.30 Saturday 5 ift and S.JU Matinee V-ednetdav CAMINo REAL, by Trnnewee WiHlama PICCADILLY iOcr 4506 En 7 30. Sat 3 30. 30 Ntoi 2 30 8 Prretler" THE GLASS CAGE. PRINCE OF WALES, (Whi 8681.) 6.15. 8.50 Ne Fahutotre Knllies.

"PLAISIRS DE PARIS." Sensational Spectacle World most eciuni itlrl Plui Sabrina mr cocnedT Bernard Dickie Hendcnon. 3 Monarch PRINCES. (Tem 6596 1 MJF, 7.J5 Sat. 5.15 1.15 2. JO Bnnar Colleano.

Sally Ann Howes Sam Winamaker A HATFUL OF RAIN. ROYAL COURT. fSJo 175. Ei. 7.3D.

ea Sat 2.J0 Laurence Oliner. Dororby Tutin. Oeorfe Relph. Brcnda de Banrie in THF F.N TFRT Uy John Oilwrne ST VfAR TIN'S. Tem 'All Won lo Fri eu Sai 5 and HO Tuck 2 iS Huttb V.illiam Andrec Mell 3n PLAINTIFF IN A PRET7TY HAT SAVHJ.E.

i Tem JO 11 I Evs Sai 5 30 Ml CC 2 Mj ZULE1KA "Spiendid. new musical Sun tutro SAVOY. Tetn S8KS Ew 7 JO Wed 2 JO Sa 5 ft Mamai-ci LocfcwcHtd and Zacharv Scou SUBWAY IN THF. SKY. Ian Mam Swel Stock Valerte White 'Tot Erg 7 JO Sji 15 8 JO lb 1JO Pe-v Moimi SAILOR BEWARE id yean VAUDEVILLE (Ten) S7l Fvaa at Sat 3 and 1 to a Music SALAD DAYS '3rd vea-1 VICTORIA PM.ACE.

iVc 1317 i 6 15 and I j5 Jea Hrlinn crr' THE CRAZV rN'j ya new r-eir If ES FCXt ISH KINOS. 1 I 4 A -NA1HJNA1 -MM IHFATRF W.r Ji.12.1 Tcda Th-' nC aaaoc onJT 1 tVVL'C AuLlre Heomrn Fretf Aaiairc FINNY FACF li Th II 0. 2 0 4 20 Sal 9 n.Ir1! tCh AFRAID (Ai, f.c 1 -G 1 Oreai AJI OsoiuScod CARTOON FFSTIVAL "Irfloia Mar? a in--- 5rtrF.DTO XI i-iiooa ta-IiT I 1 3 La- k.Mm fclj TIM Mi of ink..