The Guardian from London, Greater London, England • 9

THE GUARDIAN Friday September 22 1967 9 Suttley Baker in Robbery TELEVISION by Stanley Reynolds Rough stuff NEW FILMS REVIEWED BY DAVID WILSON THE CINEMA has produced its own crop of attitudes to war, with films generally either firmly for (crude heroics) or firmly against (strident pacifism). The Dirty Dozen (Leicester Square Theatre) tries to have it both ways by striking a note of ambiguity. Heroics, its message seems to be, are not the exclusive province of fresh-faced West Point graduates with a thirst for action; war can bring out the best in the worst of men. The idea of war as a sort of moral laxative is one that might have appealed to Plato, but within the terms set out here it seems simply obnoxious. It's typical, though, of the unsavoury moral confusion running through the film.

Something of the film's muddle-headedness can be seen in the time it takes to bring on the action, which used to be the point of blockbusters as long (2J hours) as this. Twelve condemned men, convicted of crimes ranging from rape to murder, are granted a stay of execution because the American top brass have decided in their wisdom that these are just the types for a daring commando raid behind enemy lines, the objective being the demolition of a French chateau housing a fair number of the German High Command. Most of the film is taken up with the training of the twelve misfits, as they are kicked and cajoled into some sort of fighting unit by the luckless officer assigned to them. But in spite of an intelligent performance from Lee Marvin as the officer, director Robert Aldrich spins it out at such length that by the time the men actually get to France one has lost all interest. A few years ago Roger Corman, more usually noted for his superior brand of horror film, used the theme of The Dirty Dozen to much better effect in an underrated film called "The Secret Invasion." His latest film, The St Valentine's Day Massacre (Rialto) traces the events leading up to that black day in Chicago gangland history when the Capone gang decimated their only serious rivals, the North Side mob led by Bugs Moran.

The film opens with the massacre, as Capone's men, disguised as cops, line up their opposite numbers against a wall and fill them full of holes. Then into flashback, and a boardroom meeting presided over by Capone to consider an antidote to Moran's poisonous infiltration into his territory. The story has been told before, but it works here because of the awful fascination some of the details (to protect the guilty and never quite generating the vicarious thrill one should derive from watching the calculated audacity of this extraordinary crime. It's all very entertaining in an undemanding sort of way but one wonders if the real robbers wouldn't find it all a little ersatz. Fortunat (Cameo-Poly) is a lengthy French tear-jerker which has Bourvil as a country bumpkin suddenly called on to shield genteel Michele Morgan and her children from the attentions of the Gestapo, who have seized her Resistance leader husband.

Taking refuge in Toulouse, they find themselves lodged next to a Jewish family, hiding an American airman, and learning that life under the Occupation disrupts the normal social conventions of peace-time. Honourable intentions, alas, are undermined by sticky sentimentality. Finally, a word about the season of Hungarian films opening at the National Film Theatre on Monday. Those who missed that fascinating cinematic game of chess "The Round-up" will have the chance to pick it up. Also recommended is Istvan Sz6b6's Father, a rich and imaginative study of a boy's efforts to free himself of his dead father's hold over him.

exerted by Corman's semi-documentary approach. Events are given a context, settings and incidental details have an authentic ring, and the muddy brown photography of the flashbacks gives them the look of old newsreels. The only jarring note is the casting of Jason Robards, who after Muni, Steiger and Edward G. Robinson makes an oddly unconvincing Scarface. In the same programme is One Born Every Minute, a lazy comedy (directed by Irvin Kersh-ner) about an outrageous elderly con-man who roams the Southern States taking gullible yokels for a1 ride.

The Flim Flam Man, as he is known, is joined by a dreamy youth on the run from the army and tutors him in the ways of duplicity. The trouble here is that the leisurely pace makes the comedy seem laboured, in spite of amiable performances from George C. Scott and Michael Sarrazin. Even the best scene, a Sennett-like car chase in which the two tricksters wreck a town, lacks that spark of anarchy so essential to this kind of comedy. The Great Train Robbery so captured the imagination of a stunned public that the film version, Robbery (Odeon, Marble Arch) inevitably looks a little dejd m.

Peter Yates, the director, plots the story at arm's length, altering on, they at least managed to look like recognisable caricatures of an original sketch. Although it is only the merest guesswork, here and there one sensed the cogs and springs of a rather good comedy script; unfortunately none of the actors ever got tired enough to give it a chance, which is a tribute to their stamina if nothing else. Perhaps the next time around they'll give Miss1 Gaskell a break and put it on ice, or rather water. Believe it or not BBC put Snow White on to water skis last evening. (I certainly would not have believed it.) Billed as a "Water Ski Spectacular," the show came from some chilly English lake, and had Snow White and Prince Charming whizzing around to a jazzed-up version of the Walt Disney film music, with a wicked witch who chased them in a motorboat Humble it may have been In the extreme, but by the magic of showbiz it managed to convey even on all that icy-looking water the frenzied air of improvisation and rigidly forced gaiety of amateur dramatics in the village hall.

The girl water skiers playing Forest Flowers even pointed and giggled at the camera. But who could be stony-hearted over a show that had commentary like Now Snow White's wash mixes with Prince Charming's" as ht transfers to the Prince's rope. Royal, Stratford East It is my unhappy duty to record, however, that the audience, which included several of my husband's so-called colleagues from the House of Commons and Hudders-field Boys Brigade, could not stop laughing, even at the most unseemly lavatorial parts of this supposed entertainment But, you know, Harold did take it all well After he had put out the small fire in his kaftan caused when a glowing strand of rich Bruno dropped from his pipe at the spectacle of Tom Driberg two rows in front of him bursting his horrid.sides, he began to chuckle grimly to himself and enter names in the Lady Penelope schoolgirls' diary Giles gave him last Yuletide. Amorig those I understand are destined for deportation to Pakistan are Bill Wallis, who regrettably outdoes the. regrettable John Bird in parodying Harold's little Grant, Myvanwy Jenn and Stephen Lewis.

Miss Joan Littlewood, having directed this travesty with positive relish, will certainly not be the. first Chancellor of the University of the Air. And I shall decidedly not offer Maryland cookies to Richard In grams and John Wells, the authors, should they mistakenly enter my portals. It was all most unpleasantly ho w-ever, and will assuredly have a tawdry success if Harold, by his "actions, does not skilfully render it redundant within- the week (This sort of stuff goes on for two and a half hours and it bears up astonishingly well.) the Royal Festival Hall 1HAVE been reading Jane Austen like a maniac recently, and only last night did I realise that the reason for it was the seemingly endless procession of hippies and their swinging dollies we have been seeing on television; the mind works in mysterious ways. But not, I think, as mysteriously as the accents we heard in Jane Gaskell's Breach of Promise," ATV's "Love Story," a simple tale of a deb left waiting at the church by a long-haired artist.

I suppose we should pity the poor British actor who is called upon to impersonate a hippy, for he has not yet had a Marlon Brando or a James Dean to show him the method. Last night we got an assortment of hippies, led by Norman Eshley playing the jilter, who spoke with an extraordinary rhythm in their speech which failed to sound like any real human talk, and yet was still vaguely familiar. Finally, one realised they were talking like Damon Runyon characters, the ones who say things like "and there I am standing in front of Mindy's restaurant, and along comes Harry the Horse," except the actors were talking about bread and birds," and "cats," and "swinging." The rest of the cast were playing debs, and debs' parents, and judges, and solicitors, and as they have had innumerable models over the last century or so to work MRS WILSON'S DIARY at the Theatre by Peter Preston STEWED in hot haste, as the Immortal Bard has if and pausing only for a digestive biscuit and ruby Wincarnis after weighty affairs of state, Harold and I hastened last night to what I had hoped would be a joyous evening of theatre (writes Mrs MW). But barely had we wended our way through the unredeployed layabouts lounging outside the Theatre Royal and donned our kaftan and bead disguise, so thoughtfully provided by Mr Wigg, that I realised my tragic mistake. This was not the touring version of "Charlie Girl," as Alice Bacon had mistakenly informed me, based I suspect on yet another misreading of Queen under the hairdryer.

This a most hurtful attack on all that we hold dear: our Downing Street pop art ideal homestead, our cup of togetherness, Milo at bedtime, our crispy sugar puffs, and inevitably our own beloved Mr Brown. Not only did it portray Harold as a megalomaniac cross between Batman and Caligula aping Churchill in his distressingly demented moments (which is shocking enough and not the sort of thing we discuss outside the family, anyway) but it was seriously inaccurate on several major points. For example, "Mr Hoffman," as he is caUed here, our cherished chief of staff, has rather less hair than was portrayed last night And there is no downstairs loo at Number Tenl SPECTRUM at Bury St Edmunds by James Kennedy' WOULD, of course, be most unfair to ask for any close conformity between a theatre architectural style and the style of entertainment provided on its stage. AU the same, there was no ignoring the lack of sympathy between the diminutive, Regency elegance of Bury St Edmunds's Theatre Royal and the Grahamesque contortions of Spectrum," the new work which Western Theatre Ballet presented there last night The idea which prompted Gover Roopes choreography was one she has used seven dancers to impersonate the colours ot the spectrum and out of the interplay of the seven is evolved an eighth dancer a creature of pure whiteness It is just sort of theme which might well have flowered into a graceful little baUet an essay, perhaps, in whimsical absteaction. But Miss Roope, with Malcolm Williamson's variations for cello and piano as ner music and with simple decor and costumes by Charles Dunlop, has been concerned OTHELLO at Nottingham Playhouse by Philip Hope-Wallace THE new season at Nottingham's splendid Playhouse has opened with a taut, fast moving "Othello," excellently lucid and practical under Noel Wlman's direction.

It is not as yet crowned with a very commanding performance of the name part, though last night it held the audience firmly in its spell, John Neville plays Iago, as he did some years ago at the Old Vic opposite Burton, and once again he cuts a most plausible figure in this part; watchful yet trusting, explaining himself to the audience on easy terms and making every point without resource to fashionable pathological gimmickry. This is one of the best Iagos I have seen. Robert Ryan the American actOT, plays the Moor and has a great deal of the right presence, virility, and voice, for the part. Moreover, his sense of rhythm seems to me to be very good. But his articulation lets him down.

It Is not his transatlantic accent for this does not disconcert after a few minutes any more than it did in the ca'se of Barrymore's' Hamlet. But even words like plentiful and wit are apt simply WILFRID JOSEPHS'S REQUIEM at by Edward Greenfield A' COMPOSER naturally turns to writing a solemn adagio if he has a mood of profound sadness to convey, yet he can hardly go piling them on, one after another, just to intensify the sadness. Unless he is a master like Haydn Seven Last Words" the obvious example) the law of diminishing returns quickly applies, and so I fear it is with Wilfrid Josephs's much publicised Requiem, given its first London performance last night at the Royal Festival Hall with the Royal Philharmonic and the Royal Choral Society under Moshe Atzmon. This was the work inspired by the sufferings- of Jews in the last war with which in 1963 Josephs won the La Scala international competition, and my appetite was certainly whetted when three years ago three of its movements Requiescant, Lacrimosa, and Monumentum were given in their original form as a string quintet The pattern of three movements, each one slower, simpler, and more solemn than its predecessor, was intensely effective, though even then the thematic material seemed a little undistinguished in relation to the solemn tone of voice. In the expanded work Josephs deliberately multiplies his problems.

The movements for string quintet alone form i the 'cornerstones of the Requiem, but grouped with them are six choral movements (set to the Hebrew text of the to disappear from his enunciation. Nor does he seem to come at all easily by the volume and vehemence which need great technical mastery in the second half of the play, and his anger is mostly apt to be blustering and muttery rather than dangerous. All the, same' there are large virtues here which may yet come more fully to light and he manages to make a sympathetic focus for the core of the tragedy, I found his last speeches in the bed chamber decidedly moving. Ann Bell, speaking well if in a somewhat too modern idiom of accentuation, at times makes a Desdemona of courage and candour whose dismay and loneliness at the latter end of the play are extraordinarily well conveyed. Notable too are the Emilia of Ursula Smith-and a well thought up Roderigo by Terence Knapp.

The stage pictures devised by John Gunter sometiipes recall the painter Veronese. But it is not on the visual merits that this performance is likely to succeed rather on the extreme intelligence behind the performances, especially that of Mr Neville. Kaddish) and a purely intrumental interlude, De profundis." Of the ten movements no fewer than nine are slow, and as the one allegro (the third movement) comes early, the pressures towards boredom are intense long before the end. Had the thematic material been expanded more memorably, had even the-dramatic gestures such as the fortissimo cry of "Kol YisraeU" on the last page-been more frequent' and musically more striking, it might have been very different As it is, sincerity may be written in every bar, but the masterpiece Josephs intended to write has eluded him. A more inspired performance would have helped.

The string quintet movements played by the Delme String Quartet plus Anthony Pleeth were by far the most compelling. Thomas Hemsley, the soloist, sang with conviction, but Mr Atzmon failed to inspire much enthusiasm from the others. A word of complaint about the so-called vocal score of the Requiem published by Weinberger. If we buy the vocal score of an opera we do not expect the overture to be omitted, yet this one omits all the purely instrumental music four and a half movements out of ten. If the public including gullible music critics in not to be misled, the volume should at once be retitled choral parts." LONDON GALLERIES by Norbert Lynton with deeper meanings or so it What it does seem is her "Spectrum" is meant to be more than just an agreeable series of patterns; it hints or seems to hint at some deep and even passionate statement about' the human condition.

The message, it must -be admitted, is not quite conveyed. That, would matter less if the movements and groupings themselves added up to an arresting spectacle. Alas, they mostly fail to do so. Miss Koope Is a -young dancer-turned-choreographer who has shown-clear talent both in the traditional style and in the modern' American idiom which has been her study in recent years. There is plenty of promise scattered about her "Spectrum" even though the overall impression is of material incompletely Stylised and of movements -failing to carry quite the intended The eight dancers last night showed admirable mastery of the strained and occasionally awkward choreographic language.

His new paintings consist of juxtaposed canvases, each bearing the sample sort of geometrical division, usually in three colours, but in developing sizes and proportions. The earlier ones are grouped vertically and imply a lateral sequence; the most recent consist of horizontal units and imply an upward sequence. This may sound dry and mechanical but, neat and controlled as they are, the paintings are far from that Thompson's designs and colour choices are intuitive and visuaL The calm surfaces that confront ns have been established gradually, reworked and adjusted until they have exactly the presence, and exactly the interplay of positive and negative-colours he wanted. One senses great energy focused on a succinct aim. (25a Lowndes Street, SW 1 planned to close on September 28 but likely to be extended.) THERE are two encouraging facts about the exhibition of contemporary Cuban art (entitled Cuba as though it were a musical) at the Ewan Phillips Gallery.

One is that the work is very varied, so there can be no question of any patent or latent pressures towards stylistic conformity. The other is that, although most of the work is bad, only about half of it is bad in the old-world, Paris-centred way that still seduces a lot of would-be modernists in, for example, Poland, Turkey or Israel. These straws grasped, it has to be admitted that this is a thoroughly disappointing show if it really represents the best of what that brave island has to offer, then one's heart bleeds for it. There is little or no sign of artistic judgment, let alone originality. There is no hint of collective energy or pride, let alone of materials (string, wood shavings, even paint) in his search for more compelling structures.

What links his work through the decade is a feeling for a kind of rhythmic articulation, and this has now come to dominate his work to the exclusion of the pretty tones and textures offered by found materials. The latest works are wood reliefs, built up in flat planes and painted white so that the edges and their shadows effectively present his complex designs. (50 South Molton Street, Wl; until September 30.) Jon Thompson's paintings at the Rowan Gallery are all recent In past exhibitions Thompson demonstrated an impressive competence in several directions in semi-figurative paintings, abstract-surrealist sculptures and suave abstract paintings that owed something to Richard Smith at his most enticing. satisfaction that goes with being a tiddler in a minute bowl. What tbey seem to need in Cuba is a few months' drill from some British art school teachers I can think of, and if the Cuban National Council for Culture, who present this exhibition, would care to approach me about it I'll be happy to fix them up.

It is not the size of bis boots that stops a runner from falling flat on his face, especially if he hasn't yet learned how to walk. (22a Maddox Street 1 until October 7.) Gwyther Irwin's exhibition at Gimp el Fils covers ten years and amounts to an outline retrospective. I was never very enthusiastic about the collages with which he made his name in 1957tastefully tattered and torn affairs, heavily nostalgic. VThe subsequent years show Irwin pulling away from this I obvious romanticism (rather less obvious in 1957, I admit) and trying alternative shared values only a general sense oi sen- i i onieniec I I AM HAM TIMFMAS LONDON THEATRES THEATRES i 1 MANCHESTER CINEMAS AULLFHl (Tm. 7611.) ETOOLOSS 73, 6.10 6.45.

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Lale nlefat tbow Saturday U.15.' Lie. bars Pad. 2011 HutoN. Ha)cnrtel iWM use ii raui SeoOelO MAN FOB ALL SEASONS IUI Sit Oscars maudinl best aim Sep perls Bookeble 2 30 5.10 8 45 Sundav li lis l.a'e NLept snow Sat 15 ODEON. Ulc Sq Is closed lor remodernlsa-tlon Openlnr.

aealn earlj 1968 PLAA uif.MN A i Cram Steven) Laura Devon reih pikbs lli 1 50 6 0 lo son lo ih i R1S-PHLLMAN, Drayton Gdns rFre 539S1 THE GOSrEL ACCORDING TO SUNT MvrTtlfcW 'Ul Showlne 3 15. 5 8 13 Last 6 days j. PRINCE CHARLES. IStti Smastl Wk.l From the makers of Mondo Cane, AFRICA ADD10 XI TKh PrDIS 1.25. 3 W.

5.5. BJO La'e Show. Saturday 110 p.m. Kirz. IRei 11311 Uir Bosaroe, Olat MOTHER'S HOUSB (XI Pro JJ 30.

320 1 30 840 H50 Ute Fn Sat 1113 STlilUII ONE, Otf Urcoi. Sean Connery la James Bond in YOU ONLY UVE TWICB IAI 110 3 45 a 20. 8 53 Last orot K5S WARNER H37 3123 1 warren Seatiy. Faya Dunaway BONNIE AND CLVDE IXI Col Profs: 125 311 550 8 20 Late Nlttlt Qhnw Prl and at at Petf' TCon i jnustcai fiay irom aum burph FUv, JOCK ON THt GO Thl wonderful entertainment Hobon ROYAL ACADEMY rim aui ot- imf nami io-" OOMVDV Wtu 'i7H Ees 1 Wed Sn HALK CINEMA ALIrintfaJim Ul Paul storteio Robert Snaw Nue. D3vwtLxr! (JiitJQ Weliea.

MAN FtiU ALL bbAhONS U1 separate Pejlonnaucea a SU and 8 41) Circe TO SiaUa Crjitctren At- ana Jf nrsi nouae qui? Oldham NOW BOOKLVG FOR BLACK AND WHITE MlNivlltLL SHOW December 19. 6 15 and 8 45 Tor 14 eeks TTE GA.I.LERV OLIIH4M MAIn STBAIT) tTera 95601 Com Wed nerl 7 30 irjen vg5 BO Sat 5 46 6 15 Th 3 0 MARGARET DOt" LOCKWOOD HOUSTON THE OTHERS A new Jlay or RICHARD LORTZ A DAY IN THE DEATH OF JOE EGG a new olat Ptur Nienol "Thwtncai triumph "--EN BrUl.aui Mlrmr HAYMABKET Whl dS3J I BvenLnjta at 7 44 Saf 4nd t5 Mot Wed 5 THE MERCHANT OF VENICE Haijjo Kiunrirdjim ai Qyutiuttt ana oowpilui Sbjlock Times THIS IS A gilPERB PERFORMANCE Tlmea Anceln Thorne wa wonderfully wltt? and wordlj "Dally Mirror Til -Fn i sal ipm uieiinwRi ALL THINGS BRIGHT AND 8EAUTTPVI Keith Walerlw and Wllllt Hill NEW OXFORD Mfart) bireel CLN Sltit Elizi.be th Ta Jot and Ricbard Bunon lamlni ul the bturw tU) 330 and 7 30 CUBIST ART FROM CZECHOSLOVAKIA KtlWXfl Hltwi Ataiiw nd othera AaTS 0OIINCT1 EXHIBITION DLI Oct 20 Mon Wrf FTt Stl 10-6. Tue rrtuw 10-fl Sun Admmtcm '6 Sheffield IJUMJN Oxford street CbN $441 IN THb HEAT OF nil- 11)11 Ai Col Pol tier arm Sieiiter I 4o. 5 'U. n35 THEATRE 15 (Mai, BS07 8 0 5 8 A Lampoco, Mrs IVILSOVS DIAItY.

UCTOltlA PALACE I Vic 1317) NWltl? II 0 16 and 3 46. TV'a faatest ipectacular. The BLACK WHITE MINSTREL SHOW World record-nretklDz Musical Now in RE, WILMbLOW HOW TO SUCXtLU IN CRITERION (Whl -tail! I Eva 7 45 Bits 9 and 8 15 Thura 3 30 Ditvld Ptore?" THE RESTORATION OP ARNOLD MIDDLETON Siend1dly comic" Sundir Ttmea "Grest pla? "Financial Ttmei PALALfc. (Ceo U184 Oct 9 week. Uucti Cheshire's KINO'S ItHAPbODV.

7 jtlsc Sit 2 16. Oct. 15 weeJc HUMAN I AN NATIONAL DANCE CO. OKCHES1KA. 7.15.

bJw Wed and Sat 2.5U, if6 to 176 Bookiiis Oct 23 week Criterion Thcatie nieces LOOT, wuh Bill Maynird, 7 and Stt. 5 pm. md 8 3fl to Booking soon, Nov I-Dec 16 Don Hrrirj ind full Dniry Line Co HELLO DOLLY Wedt and: Sau 5 pro and P.m other eves 130. booking swn. 6- to 170 Dec 23 onw Dei O'Connor, VI nee Bill Id ClhDEILELLA.

with Jack Doug lis also Tanya, the baby ele pliant 2 pm and 7 om. C6 to 178 Certain child, part? and matinee prices Nrw booking UbalAt.nb WIJIIMIVI tU.AJULt lUtlNfi PLAVIIOIIMS. ShKlBl1 UNTIL SEPTEMBER 23 THE rUrdllTEK IN LAW bs Lawrence Evtnmss 5it Saturday 4 vM 7 30 (U). 7.au a p.m Tomor 5 d4J ana apni Otli rear Booklnt until Hpvwnber. 1968 IIFR MAJKSTVS (Whl 6R(Xl 1 Erenlnm 7 Matinees Wed and Sal ai 2 30 TOFOL tht- 0Td mm ao laimpc miwn FIDDLER ON THE ROOF with MIRIAM R.ARUN Directed n0 ctiareoRrapbed ov TERONtE ROBBINS fTemple Ear 4871 7IC10 I VAUDEVILLE VICTOR WMHHNOTHN JMW.ft i1! MaiKce Adler Lhoie Daily 10-8 10-1 25 Cm Sfrfel Lnndra 1 IV ALDINGTON OMLFRIKS.

1 Cork Street Wl BRYAN WYNTKR Pilmlmw Sit Dill Ox lord Unite. Chi AA1 Michael Came, Jane Fonda, Diahana Carroll, Jonn Phillip Law UimitY SUNDOWN 4Ai Colour Weekdays at I am, 4 56 7 45 FILL THE STAGE WITH Stoke-on-Trent I'ttntmiA niEAiith. ii ssstn DICIH.S rTem "1243 1 FJvi HO Wfd Sat 30 and Vi Second Tear of "The test thriller for njte BARBARA MURRAY 1n WAIT UNTIL DARK -A first-rate thriller Ty Prederlrh Knofi author ot Dial for Murder Teleiranh HAPPY HOURS Evs 8 Sats 5 ond FunrJT and attracUve peirtDnnanaTes from Harr Corbelt. Snetla Hancock and HslAi Baker" Eva -7 30 Sat 5 A 8 Nen Terson Musical RAM-AO DF THE ARTIFICIAL HASH STUDIO IIVC) Oxford Kuad CUM 44 7 Marsnai Tbompion, Kim Harkes FlfcttU UITHIHK A r-ACE IXI Weekdays 12 44) 25, fl 15, It 0 Robert Hutlorj, Cleanc CoLttoum THb MAN WllttOlri A HOIIV (X iVeritdavf 1 55 4 4U 7 30 LYRIC. (Ccr 306G i Evenlnjs at 8 0 Mat Thurs 5 30 Set 5 30 and 8 30 DOJAI noVFUy PATRTCK BEDFORD PHILADELPHIA.

HERE 1 COME -The sun LONDON OPERA AND BALLET ftVMtllW! iTem EO'Jfl 1 Ev Snt 5 4S UNIVERSITY IHEAl'HE. Aitll SIUI Ontnrj Thmr Autumn 6a3md UNTIL OCTOBER 7 EnlnB ai 7 30 Mary Wunbush Cmrd McUitkiii Jeffry Wicfcriam THE SAVIOUR A tto pnay tiy O-rnrd McLamoo UNTIL SEPTEMBER 30 (Prior to New Yoik Lit Nleht Show ai 10 30 om JnllRn Chajtno in ONE IS ONE CONCERTS TATIOJV, tjatlfj, GATlry MAGNIFICENT 1WO UJ I 5 30 56 MUNSTER GO HOME rUt Tech al 7 10 Matinee Saturday at 2pm "-IE MAI II HI 71V. Reilannnl 2JS35, Bl a Ov WIM 3 rOUHUr init-iNUT' nmjirh inlrfw TrjwfntYl Bo! MufwlrT THE PRIME OP MISS JEAN BRODIB "A resoundlnt whnleGom triumph oi itit wit reierveiJ for mitsliroL" OLwrvpt COtKVT GAltDFN OPERA. DEE KING DES NUIELUNOEN Tonltht 6. Mffrird.

cond; Solll All soata sold COVEST GAIIDEN OPERA SeaJOn opens Oct It. Rep La Tralta, Le M)e dl Flcaro, La Boheme. Norma. Stratford-upon-Avon ROTAl SHAKLSPEARE THEATRE'S lOaili Seatcn Some sea's still available ALL'S WELL (Even Sees Sml 21 Oct 41 CORIOLANUS (Evenlnes Sept 20 Mai Oct il ROMEO AND JULIET Matinee Sept 27) Write now or telephone Box Offlc1 Str Hard-ucon -Avon 2231 3 aw rtwnn a mra otiti Maurice Dennam Ritchie William Dfa'tr NATHAN THF WISE FERNANDO GERMANI. Orjjanllt Of Hie Vatican Rome ti giving an Orcan Recital In Bolton Partin Church.

Mondaj September 25. 17 at 7 45 pm Programme 6a Student! 3a Worlti by Bach, Franclc, VlvaUI. and Reger niEATKE KOVAL Vttttl hi ULA 358 Dorlj Day Richard HarrXa, CAPRICE (AI it I Dm 4 30. fl 40 Richard Artennoroub Mia Farrow ClUNs AT ATA SI (A) 2 45, 0 33 Licensed Restau ran Open Dal It Mil' ni iinr vnTm rf Now oooxinK to uec -ot. WKSTHINVrfcK (VlC 02S3 I Wed fiat 2.30 MAROARET BURTON In ANNIE a new musical SVW ITem 3S7A EfU 8 0 Sat I 80 and 140 Mat Tue at 3 0 Alfred Mrk Irtvre "7eron, Melwn Hates It) 1mdnn' rvntesT-ninnln mrnpil SPRING AND PORT WINE POPtll AR PRirKP 1Y v.

tni. SATILEIt'S WELLS 01-S3TT 1GTJ OPERA tt Encl'sii Tonlsht and Wed at 7J0 THE MAGIC FLUTE Sat. at 7 30 La Belle Helene. at 7.0. The Marrlare of Flcaro.

BELLE VUE ZOO PARK Own daily 10 a AVTARtES AQUARIUM REPTTLJUM. Sea Lion Performnnwi HUGE FUN FAIR DAKCING NIGHTLY in the New Elizabethan Ballroom, TOP TEN CLUB members) Sunday 7 pin TEN-PTN BOWLING i DAILY 10 ji WREITLTNG Tomor at pm SPEEDWAY Tomor at 7 and Wedneidar, 27 at 7 45 0 prPTitri-fPtrg Tmr Ji nTAT- FREE TRADE HALL BABBinOLLI JUBILEE SEASON Sunderland WHITEHALL (Wh: 6632 oponinr OcS 19 Nicholas PARSON'S Joan STMS. Peler BtTTTERWORTH Ceoffwy. STJ71TNER THE NON-STOP LAUGHTER HIT UPROAR IN THE HOUSE EMPIRE THEATRE. 3M1 LECTURES OLD VIC THE NATIONAL THEATRE TonlM Tit- inrl Wixt ner! 7 30" DANCE OF DEATH Sat, 2 15 and 7 30 Thrre Sixers.

Thur nel 2 15 and 7 30- Riwrnrninln and Oiclldenstern Are Dead fOl-KS 76161 PLETE BANOTfFTIiVG SERVICE FaHM 11 for ianre or rmalt Dltm- Dances. Prle RePcptEoas Meftinea Conferences. TtiMTe Dinner LujpMfns Suites and Rooms THIS MIMMV. SEJTKUIIIiH AT 7 m. THURSDAY.

OCTOBER at 1 IS available all oaten lUMisifcAii imviitt (Mil (oi it'i iim FrxitTi Hie Erflnbureh Festlvil NATHAN A rnTITII tnil Ol.llKNnHRO -F a ill "Rrf nii rrtmrnine ftHKri pfU Ufa 11 LONDON CONCERTS tJif: new rbo orcufsth iTriinfiii Orchestra) in Briatol invites applications ror FLUTE viemcT candldatea mint be'ween and on October 1 1SW7. And must have hid a thorough tratnlni immiTrataiKts lull-time engigmtent salary ttO per week: otembershlD of the orchestra 1s to a minimum of tvo eara a sitWncinT? serrkel with (i miTimmn, of three tears form tnupt be obtained rrom HeifJ of Mii.t ScrtHh ind Wesl. Broadwstinc Houie UMelndlf! Road Cllflon BrMol imtPtlnfi (IiGIIS Gdn wlthm win this adverttRcmen Evenlncs 7 30 Matinee Saturday ju The IntemitionallT Famoua IOSE GHECO AM) HIS SPANISH RALLET Dartcew Musicians and Slnseri Direci rrom the Royal FeitlvnL Hall London nfl prior to World Tom Seats at 7fi 10-. 15- 20-RffX offlr-p Crutn 10 tn om lin Hinr DFsUtT S0.Llv aim? QulEHlQt nmmunii wt rum. trtratlem owfl nn tfiracnun iwnensniu wi'h tfH for nire not ornflf i onltMrfli onri H' 'etnlf-sli'P i-1 racifll'sm 11 wr wnre i iimwlrtB oinvmeni nM iinvup LTifprlnfi th3 irvmref.

On World fO. The (bUst Part nT HB niaphsm Hieh iwi iaim cw Cheltenham ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA CONSTANT IN SILVESTRI BARBIROLLI SYMPHONY So 9 ICtlurall BEETHOVEN 25- only SEPTEMBER 28 SOLD OUT SIINIMY, OCTOBER HI at 1 0 a BARBIROLLI Alderman Mush Mrmorlal Cnnrrrt ruu m- thf rmvN it p-'-n 11 n'T-inp 1TH1 Tlini'inif 1i- rr' tvn ivir I. t-Vft i ti DTCKTT? VALENTINE KEN DODD EVERYMAN THEATRE. Cheltenham 23544 UNTTI SEPTEMBER 2 A VIEW FROM THE mtlDGF Tuesday. September 20, Tor 2 fveeks The itranx Strain erm MANCHESTER ART BOYCE an LAMBERT Sinphonv No 5 Chesterfield LONDON CLUBS MOZART TCHAIKOVSKY Piano Confto No 9 Mittilrcd symphon VERDI PI BRAHMS Overture, Die Force of DesllrjT Piano Concerto Symphon5 No 1 RESTAURANTS HINA OARPLN Iradm a iros -leeaDi rhlnew Heliuranl rve Chine" rood Irmi noon to a In tlir rwnanttr tinosntiere trllti dnnclnB tr.

SJ Brewer Street 1 lOer East Grinstead lMHNt (It-Ntt rilETIlK Dormnrui Hk I Sppt IS to 23 pm Mitlnfc 'urdri 5 30 pm Prosneel Produpilnna Prewni a Rrmu WITH a VHW from irie nmeS br Ft FoTMer. From 7 Write (ot eftsnn'a detalla. "irC (ll I I llHi Fvje 7ffi WhI I IP iti-i Tit, 'ti Pf-ri MihIj-N1 OLIVER! WHAT 4 RA tt'MAI FMN I CO n-n hitmphrie as FAH1N A REALTY RRTT.T.1ANT COMIr PBRFORMANTr-E FTTiTMa 074,67 at only 66 lo 30-. CIVIL IHK A nth Unrwlerfteld iliO; HoDdaj to Thursday Frtdaj 7 Saturday pm and Bom Uorll September 23 BOEING-BOEING apt. 38 I'm Talbloe About Jernnlrai, HHHiMin UOS' Ct.l'n fftr dinner an4 dandns tn bsre: Pterin Fs.pan&l.

lt Rsafael de SfTllta "f1S Miiuiifn cu.u-in yum Until OCTOBER 7 AUTUMN EXHIBITION 10 a '4 ibi Saturdjys LO-O si 35 SOUTH SING STREET. U7C 1 JOHN OGDON PETER FRANKL Ticket from V- lo 2- Ttokoti irrfm V- 10 r- Halt Box Office' a Ptter'i Square, Manchester a. Tel. CKN.