The Guardian from London, Greater London, England • 21

ARTS, PERSONAL 21 Michael Billington applauds the ambition of Angels In America Nation built on guilt Wilder 's waltz through the post-war world THE GUARDIAN Saturday January 25 1992 and Mae West. Clift turned it down, and whatever West said, it stopped them in their tracks. It usually did. She had a tvnical Map West flat. Hugh Hebert Wilder says: "All white and cold and feathprs Shu looked like a locomotive." Some loco.

Some engine. I am still working out where the feathers were, apart from springing from Ms West like a steam leak. Britain does not have a Hollywood, or a Mae West but it does have the Royals. This Week (Thames, Thursday) took the current wave of quiet royal-revulsion beyond complaints about the of a country where justice is purchasable, where Cohn and a presidential aide toast the death of liberalism, and where Louis sees everyone as Reagan's children "selfish and greedy and loveless and blind." Mr Kushner, who in A Bright Room Called Day at the Bush in 1988 equated Thatcher's Britain with Hitler's Germany, is no stranger to exaggeration. But the chief fault of this play is that he seems enthralled by his own virtuosity.

Scenes spool on verbosely, particularly those involving Joe's wife, who is driven to Valium her ecological passion and lack of marital sex. I also winced at the whimsicality of the episodes where she has a vision of Antarctica and where a Heavenly messenger arrives to claim Joe's lover: at these points Kushner seems like a hip Barrie. But Kushner's overwhelming virtue is that, unlike most American dramatists, he is unafraid to link private and public worlds. The scenes where Louis discovers his lover has Aids are unflinchingly honest; but, instead of simply wringing our hearts, Mr Kushner develops the point that society's "bourgeois tolerance" conceals a passionate hatred. Even better, for my money, is the scene where TONYKUSHNER could be accused of un-American activities.

In Angels In America at the Cottesloe he has written a big, noisy, public play about the state of the nation; and this is only the first three-and-a-half hour segment of a two-part work. It is far from perfect, but it has a roller-coaster energy that sweeps one along in its wake. Guilt, I take it, is the theme that plaits together the story's multiple strands. Roy Cohn, Senator McCarthy's former sidekick, may not seem crippled by it except that when, in 1986, he discovers he has Aids, he memorably tells his doctor "Roy is a heterosexual man who fucks with But Joe Pitt, a Cohn protege and a straight-up Mormon with a pill-popping wife, is riddled with guilt on discovering he himself is a closet gay. And Louis Iron-son, a word-processing Jewish clerk, is mortified by his own panic-stricken, helpless response to his lover's hospitalisation with Aids.

What Mr Kushner seems to be saying in this hurtling play subtitled A Gay Fantasia On National Themes is that guilt is part of America's Judaic and Puritan inheritance; and that it has been exacerbated by the society's failure to live up to its Utopian dreams. Indeed, Mr Kushner paints a lurid picture Ormerod's design helps to achieve a breathtaking fluidity endless hangers-on and the question ought they to be set- ting us all an example. Which of course they do, if you think about it. It is not exactly staggering, however regrettable, that all but 10 of the 821 people in the royal household of the head of the Commonwealth are white. Lip service to equal opportunities is usually exactly that, right across the commercial board.

What begins to tick a 0 bit at the back of the mind is the two-way traffic the programme's Richard Lindley traces between the tight lit- rl rnval fli-nla ilia P.iv anil PHOTOGRAPH: DOUGLAS JEFFREY closeted Mormon, Felicity Montagu as his flaky wife, Marcus D'Amico as the guilt-stricken Louis, and Joseph Mydell as a compassionate black queen. Sprawling and over-written as it may be, it is a play of epic energy that gets American drama not just out of the closet but, thank God, out of the living-room as well. Donnellan also has a Bryden-like ability to combine ensemble work with a respect for individual performance. Outstanding here is Henry Goodman, whose Cohn has a buzz-saw voice, stabbing forefingers and a close-cut ferocity that suggests power is the most dangerous drug on the market. But there is also good work from Nick Reding as the shy, the Conservative Party.

Is it, shall we say, politically cor TN 1946 Billy Wilder returned to the US after JL a couple of years making documentaries witn tne American troops in Europe. His first Hollywood film after that was The Emperor Waltz. This had Bing Crosby in knee socks, lederhosen and a be-feathered hat, trilling away on the side of a Rocky Mountain thinly disguised as an Austrian Alp while milkmaids yodelled country invitations. Wilder and his regular co-writer Charles Brackett improvised what passed for the script. and thought it a catastrophe and the moguls naturally thought it was great.

Cros by's tee lines, apart trom fro zen knees, are not recorded in Billy, How Did You Do It? (Arena, BBC2), which might at this stage have been titled Billy, how could you? He had, after all, just come back from a mission part of which had been to film the scenes in the death camps. They made a documentary they wanted as many Ger mans as possible to see, and Wilder suggested a Hollywood-style sneak preview in a Wurzburg cinema where, as it happened, they were showing a cheerful operetta. The 500 audience were in vited to record their reaction to the surprise show with the pencils and cards provided. At the end, 75 were left in their seats. Not a single card had been filled in.

All the pencils had disappeared. Never a flashy director, Wilder preferred a good line to a camera trick and wrote most of them himself. In this three-part conversation with Volker Schldndorff half in English, half in Wilder's native German Wilder sits like a crinkled cherub in open-neck shirt, braces, and various props, like a black fedora or an oriental backscratcher. He talked about one of his best pictures of the time, Sunset Boulevard, for which neither William Holden nor Gloria Swan son was first choice, They wanted Montgomery Clift rect for a high member of the palace entourage to be also involved with a company that gave the Tories 60,000 at the last election? Never mind, in Wind On The Willows (BBC2) down on the Somerset moors the 1 i il. tion of Birds is cosseting the wetlands and tempting back the snipe and the godwits -it Jazz Cafe John Fordham Ginger Baker GINGER BAKER'S cadaverous frame, stance at the drums, upturned cigarette at the corner of the mouth and crooked smile were more than ever reminiscent of the late Phil Seamen British modernism's neglected drum genius who died in 1972 and whose pupil Baker was.

In an instant, Baker's presence brought back the steamy, flat-out Soho blues and jazz scene of long ago, before Cream made him a star. On the other hand, the roadie who could have stepped out of Spinal Tap, the young keyboard player (Jens Johannsen) who delivers those tedious seventies funk licW aria the4 i 4 a i ran. tion. The men who farm or grow, cut and weave willow withies glory in names like Boobyer and Chedzoy and Duckett and complain bitterly that the old crafts are dying. They live in a tangle of confusing and conflicting interests.

There's Alan Bennett reading Wind in the Willows on the soundtrack, the water rat plunges obligingly, the badger waddles through the undergrowth, and the cuiu uuu nvio mioi cisci county council wants to turn all into a tourist attrac man behind the camera is called Paul Otter. England, i in other words, trundles on. Yesterday's weather Obituary: Edith Voge! Around the world A seeker aft Mhie keyboard! Star-crossed lovers Nick not so much for fear of social stigma as because gays have zero clout. Mr Kushner avoids the melodrama inherent in many Aids plays by constantly relating sex to social attitudes. You could say he chews off more than he can bite giving us glimpses of Mormon morality and the mutual antipathy between many American blacks and Jews but I infi Royal Festival Hall David Nice Philharmonia Sanderling ORCHESTRAL musicians admire Kurt Sanderling for his precision, and to many concert-goers he has come to embody the cardinal old-master virtue of letting the music speak for itself.

But where is Mahler, even in the super-refined world of his Ninth Symphony, without lashings of the right temperament? The Philhar-monia's admirably balanced approach seemed rooted at the rehearsal stage, with virtually no performance sense of the players being pushed to 1 expressive limits: everything fell into place as an insight into her phrasing and her unique legato a legato that made one forget the expressive limitations of the piano. The concept of "passagework" was quite foreign to her too. She would search out the underlying cross-rhythm of anything that threatened to fall into a ready-made pattern, so that the music would acquire a hidden layer of extra meaning. This didn't make things easy for her, and it didn't make it easy for conductors to follow her especially in a piece such as the slow movement of the Emperor concerto, which she played so memorably at the 1978 Proms. Edith Vogel was one of the most original and uncompromisingly honest musicians I've ever known.

She scorned tradition and always approached the music as though it had just been written. In the slow movement of the Hammerklavier there are two long ritardandos which Beethoven wanted to be carried over six whole bars. Impossible! to slow down so gradually in what is already an Adagio sostenuto and most pianists delay the start of the rit. But not Edith, and the music appeared to stretch out into infinity. She was also supreme in Brahms the minor sonata in particular.

Even so, her great love was Schubert and it is sad that the recorded cycle of the Schubert sonatas on which we were working up to the time of her illness last year remains in- tions of the Oxford Polytechnic Modular Course, Mobbs devised a slot tune-tabling system which maximised multi-disciplinary flexibility. This and all student programmes and assessments were "plumbed" into a computer programme which he designed. The structure and management of the course led to a very economic use of teaching resources. In 1972 the Oxford Polytechnic Modular Course was innovatory. In 1902 its basic structure and regulations remain virtually unchanged.

Mobbs was always generous in giving advice to others devising their own systems, For 10 years, as a member of CNAA boards, he was involved in their validation. Ursula Bowen David Mobbs, born April 3, 1934; died January 9, 1992. (luheh-time reports) Alacclo 15 59 London 3 37 Algiers 8 46 'Los Angeles 19 66 Amsterdam Fg -3 27 Luxembourg 0 32 Athens 12 54 Madrid 5 41 Bahrain 12 54 Majorca 12 54 'Barbados 29 84 Malaga 13 55 Barcelona 7 45 Malta 17 63 Beirut 16 61 Manchester -1 30 Bclgrado Fg -3 27 Melbourne 16 61 Berlin -1 30 'Mexico City 19 66 Blarntz 4 39 'Miami 24 75 Birmingham 0 32 'Montreal 0 32 Bombay 32 90 Moscow 1 34 Bordoaux 8 46 Munich Fg -6 21 'Boston 5 41 Nairobi 27 81 1 Bristol 2 36 Naples 11 521 Brussels -1 30 'Nassau 26 79 Budapost 3 37 Now Delhi 23 73 'B Aires 29 84 Newcastle -1 30 Cairo 16 61 'New York 5 41 CaP0 Town Nice 15 59 Cardltl 3 37 Oporto 10 50 Casablanca 16 61 Oslo -7 19 'Chicago 1 34 Pans 1 34 Cologne 1 34 Peking 6 43 Copenhagen 2 36 Perth (Aus) 29 84 corlu 14 57 Prague -1 30 'Dallas 11 52 Reykiavik 0 32 'Denver 5 41 Rhodes 16 61 Dublin 46 'Rio De Jan DR 24 75 Dubrovnlk Riyadh 13 55 Edinburgh 5 41 Roma 13. 55 Faro 11 52 Salzburg 0 32 Florcoco 10 50 Seoul 3 37 Franxlurt 1 34 singapote 30 86 Funchal 17 63 Stockholm -3 27 Gcnova -1 30 Strasbourg -3 27 Gibraltar 13 55 Sydney Dr 21 70 Glasgow 4 39 Tangier 13 55 Helsinki 1 34 Tel Aviv 13 55 Hong Kong 19 66 Tonerilo 19 66 Innsbruck 4 39 Tokyo 9 48 Inverness 6 43 Tunis 15 59 Istanbul Dr 5 41 Valencia 9 48 Jorsey 4 39 'Vancouver 7 45 Jb'bu'9 Venice 7 45 Karachi 25 77 Vienna 1 34 Lernaca 17 63 Warsaw 0 32 Las Palmas 18 64 'Washington 6 43 Lisbon 8 46 Wellington 23 73 Locarno 5 4t Zurich -7 19 nitely prefer a play with too many themes to too few. And he is beautifully served by Dec-Ian Donnellan's direction and Nick Ormerod's design, which achieve a breathtaking fluidity: scene melts into scene, the company truck the furniture on and off and the detail feels right, down to the images of Garbo and Bette Davis that decorate the gay lovers' bedhead.

Such heart-in-mouth risks are, of course, as much a part of the score's demands as the notes or the bare dynamics. Yet it was only at the queasiest harmonic moments of an appropriately lumpish and ugly scherzo that we were made to feel the danger of Mahler's roller-coaster ride towards resignation and acceptance. It was all too easy to see why drier scholars might pick at the "structure" of the massive first movement when its deeper line pattern of hopeful build-up, horrifying collapse and tentative reconstruction had no special urging from Sanderling. Neither here nor in the usually vicious rondo-burleske was there any sense of desperate forward movement and consequently no real need for the massive consolation of the final --v. complete.

That an artist pos sessed of such musical and intellectual strength and insight to say nothing of her sheer key board mastery remained so little known to the public is a mystery only partially explained by her mainerence to any con ventional notions of a CaroHne Palmer writes: My first experience of Edith Vogel was as one of the audience at one of her master-classes at the Guildhall School of Music and Drama. I was struck by an intensity and vitality alongside a razor-sharp tongue which was directed at anything that verged on the vac uous or the superficial. But most memorable was a sense oi revelation of the score through the most logical thought processes, coupled with a profound insight So I was surprised to learn, on commencing my own studies there, that she had earned herself the title "the Dragon" among other students. Her relationships with them were often far from easy, but what I gained was immeasurably enriching and outweighed all the pain. Balanced with this were times of sheer joy I knew when looking at a score with her.

She had an unreined imagination, an overall view of the structure of a work combined with the closest attention to detail. As a performer myself now, I feel privileged to have experienced these qualities. Edith Vogel, born December 191 died January 15, 1992. Letter Lavinia Monaco writes: Reading the obituary notices and memories of Robert Eddison, I felt the lack of a mention of the Honourable Maud. Around 193839, at the Players' Theatre, which then had its venue in St James's Street, one of the highlights of the evening's repertoire (another was the imitation by Alec Chines of two ducks in the mating season) would be the appearance of the Honourable Maud Eddison.

This immensely tall, thin, formidable grande dame, with swept-up hair and fringe, in severe Victorian dress, gave a short talk, followed by an impromptu ques-tion-and-answer dialogue with the audience. I still remember the ecstasy of her slightly harsh, meticulously articulated, deadly serious delivery of brilliantly witty and hilarious words. There was a story that, wheeled into hospital after being wounded in the last war, Robert Eddison was cheered by a nurse's greeting of "Oh! It's the Honourable Maud!" the power-crazy Cohn denies his homosexuality to his doctor fine bassist (Jonas Hellborg) who mixes driving jazz time with percussive Motown sounds and occasional ECM romanticism mixed the motifs of the recent past more randomly. Though the result of all that was never likely to be a performance at the cutting edge of contemporary music, Baker's trio did deliver an honest, unassuming set based on heavily electric blues and ballads. Keyboardist Johannsen was the most tentative, his phrasing rarely surprising and his timing sometimes adrift, but Hellborg played several startling solos and Baker's dramatic, tomtom-dominated sound, buoyant cymbal beat and unexpected placing of accents (even with Cream his bop-derived unpredictability was unspoilt), constantly kept the steam rising! Edith Vogel: illuminator she was the right person for this very taxing programme.

Shortly before the recording, I wrote to her about a passage in the first movement of the Haydn that had been bowdlerised in all the older editions. I expected to be rapped over the knuckles for bothering about such details, but not a bit of it she always delved deeply into the text of whatever she played. During the many years we worked together she would often point out discrepancies that no one had ever noticed. Her fingerings were fascinating too. At first, when one looked at what she wrote into her scores with such care, they seemed convoluted, ignoring the natural way the hand lay on the keyboard.

After a while, though, Mobbs was convinced of the need for a flexible type of course to allow a student the freedom to choose the components (modules) within the disciplines concerned and at the same time be able to choose modules outside his chosen disciplines. The Oxford Polytechnic Modular Course allows a student to combine any single field or discipline with any other, permitting combinations across the traditional artsscience divide. Progressive assessment term-by-term enables students to monitor their achievements. Under the guidance of tutors, students can change fields and change their choice of modules. As well as planning the academic structure and regula when the girl grows up and has a child of her own.

And in true Hollywood style, the ageing star becomes a drunkard. Although Trestle's style of mask work has remained fundamentally unchanged over the years, the group's sense of stagecraft has become progressively more inventive. Here the story is given compelling power by weaving together a silent film (where the actors appear in monochrome) and the present in the same space so that one story illuminates the other and the actress's life emerges as a tragic replay of her film role. The achievement of Trestle Theatre is that it can portray complex human situations entirely through silent gesture, and without the technique becoming obtrusively self-conscious. Ends tomorrow: O'Brien, MP, 63; the Rt Rev Anthony Russell, Area Bishop of Dorchester, 49; Prof Edward Ullendorff, Semitic linguist, 72; Viscount Watkinson, CH, former minister, 82.

TOMORROW: Ronald Allison, journalist, 60; Michael Bentine, comedian, 70; Jack Brymer, 77, and Michael Collins, 30, both clarinettists; Marti Caine, comedienne, 47; Jules Feiffer, cartoonist, 63; Stephane Grappelli, jazz violinist, 84; Christopher Hampton, playwright, 46; Rt Rev David Jenkins, Bishop of Durham, 67; Eartha Kitt, singer, 64; Paul Newman, actor, director, 67. faithful possessions. A dog should be sitting on the floor by your chair, and you shouldn't be able to hear the trams. It's not yet six in the morning, and there they are, already wailing as they leave the park, and making my accursed dwelling shake. However, I mustn't tempt fate, or else this summer, who knows, I might lose even that the lease is running out Manuscripts Don't Burn.

Mikhail Bulgakov A Life In Letters And Diaries, by JA.E.Curtis (Bloomsbury, 1991). mmuilliHM. Wy'! j- ja''-'' HraK fflHK '-t g.S..S: i nim i slfiiMs, I 8 mt- wrf; 8fes kjgfife''- SeraiUM HEp: Si JT ggl vS IV: i I' i S. SlV -m -1 '1 1 Mm Pureed Room Kenneth Rea Crimes Of Love GOOD mime companies are not made overnight; it takes staying power as well as talent With 10 years' experience, Trestle Theatre have become the undisputed masters of the mask. Their latest production sweeps into the Mime Festival with consummate professionalism and a shrewd sense of entertainment value.

Crimes Of Love is a genre piece about a silent film star whose career crashes when she becomes a solo parent. Her unfailing love for her daughter turns to cruel possessiveness Birthdays THE Countess ofFinchley's Offi cial Birthday? Angela Thorne (above, playing the former prime minister in BBCl's Dunruling) is 53 today. TODAY: Rev Prof George Anderson, Old Testament scholar, 79; Sir Thomas Arnold, MP, 45; Raymond Baxter, broadcaster, writer, 70; Viscount Blakenham, chairman and chief executive, Pearson, 54; Russell Braddon, author, 71; Dame Gwen Ffrangcon-Davies, actress. 101: Witoid composer, conductor, 79; Sir David Nicholas, former chairman, ITN, 62: Lord Justice Nicholls, 59; William Another Day Moscow, January 25, 1932: So here at last a reply is getting written to your last letter. Insomnia, which has now become my true mistress, comes to my aid and guides my pen.

But mistresses, as we know, can be unfaithful. Oh, how I would like this one to be unfaithful to me! And so, dear friend, vou ask me what one should eat to ac company vodka? Ham. But it's not sufficient. You have to eat it at twilight, sitting on an old, worn sofa, amongst old and --Jf 'JM- HE names of eight Vogels appear in the New Grove Dictionary, but not Edith Vogel the pianist, who has died aged 79. Many fellow-musicians who heard her especially in massive works by Beethoven and Schubert requiring not only keyboard mastery but an architectonic imagination regret that; as one of our critics wrote: "She belongs to a great line of musical illuminators." Born in the Ukraine, she first played in public at the age of 10 and had for her own teacher a fellow-martinet, Madame Wally Loewe.

At 19 in an important Vienna competition she got a "best newcomer" mention. But in 1938 she arrived, like so many others, at Victoria station with a few shillings in her purse. During the war she did factory work and assisted Kapp, the cartoonist Only in 1948, when her first husband (the Viennese music critic Alfred Rosenzweig) died she was able to play professionally again. She then returned as a mature artist, internalising and recreating the European classics for a generation that has had less to endure, personally or politically. C.P.D.

Misha Donat writes: Some years ago I was preparing a series of programmes juxtaposing the Beethoven piano sonatas with 32 of Haydn's. I decided to begin the series with the grandest: the Hammerklavier, preceded by Haydn's last, in flat. I knew David Mobbs Around Britain Report lor the 24 hours ended 6 pm yesterday Sun- Temp shine Rain Weather hrs in (day) ENGLAND Aspatria 0.7 -5 5 Cloudy Birmingham -4 1 Cloudy Bristol 2.2 -3 3 Sunny am Buxton -4 -2 Dull Leeds -2 0 Dull London 0.1 0 4 Cloudy Manchester Newcastle 2.8 -3 0 Bright Norwich 0.9 13 Cloudy Nottingham -2 0 Cloudy Plymouth 0.5 2 5 Cloudy Ross-on-Wye -3 3 Cloudy EAST COAST Tynemouth Scarborough Skegness Hunstanton Cromer Lowestoft Clacton Southend Margate Heme Bay 0 Bright pm -1 Dull 2 Cloudy 2 Cloudy 2 Dull am 3 Dull 3 Cloudy 3 Sunny 3 Dull 2 Cloudy SOUTH COAST Folkestone Hastrngs Eastbourne Brighton Worthing Litllehampton Bognor Regis Southsea Sandown Shanklin Venlnor Bournemouth Poole Swanage Weymouth Exmouth Teignmouth Torquay Falmouth Penzance Isles of Scilly Jersey Guernsey 3.0 3.2 39 0.7 0.1 1.2 -3 3 Brignt 2 4 Cloudy -2 4 Bright 4 Cloudy 1 Cloudy 3 Cloudy 3 Cloudy 5 Fog 5 Bright 5 Bright pm 4 Cloudy 4 Cloudy 5 Cloudy 4 Bright pm 5 Dull 6 Cloudy 7 Bright pm 6 Cloudy 7 Cloudy 8 Cloudy 5 Sunny 6 Sunny 1.6 1.5 0.7 0.2 WEST COAST St. Ives Newquay Saunton Sands llfracombe Minehead Weston-s-Mare Southport Morecambe Douglas 02 08 1.4 7 Dull 6 Cloudy 5 Cloudy 5 Bright pm 5 Cloudy 4 Cloudy -1 Cloudy 0 Dull 5 Cloudy WALES Anglesey Cardiff Colwyn Bay Tenby 2 6 Cloudy 1.7 -3 4 Cloudy 2 6 Cloudy SCOTLAND Aberdeen Aviemore Edinburgh Eskdalemulr Glasgow Kinloss Lerwick Louchars Preslwick Stornoway Tlree Wick 2.9 002 0.6 0.01 0.1 0.02 2.8 0.02 0.35 4 Sunny am 5 Rain pm 6 Cloudy 1 Dull 5 Rain pm 7 Rain pm 6 Cloudy 4 Bright am 6 Dull 8 Drizzle 8 Drizzle 7 Cloudy NORTHERN IRELAND Bellas! 0.02 2 7 Rain pm Reading not available High tides Today London Brldgo- 0525 0229 0246 7.0 6.2 9.2 12.1 7.5 3.8 5.4 4.1 6.7 5.9 8.5 to 3.6 5.1 3.9 uover- 6.7 1453 9.0 1504 12.8 2320 7.1 2210 3.4 1810 5.3 1856 3.8 1533 Liverpool- Avonmouth 1057 Hull 1003 Greenock 04D6 l.eith 0637 Dun Laoghalro 0310 Tomorrow London Bridge 0608 Dover 0315 Liverpool 0331 Avonmouth 1137 Hull 1049 Greenock 0451 Leith 0726 Dun Laoghalre 0403 692 1642 6.4 1542 8.5 1552 11.9 6.6 2301 3.3 1655 5.0 1946 3.6 1635 IWeather Forecast, page 24 Degrees of flexibility cloudy; Dr, drizzle; F. lair; Fg, log, H.

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Tomorrow THOUGH a biologist by profession, David Mobbs, who has died at the age of 57, became an influential innovator in higher education. At Oxford Polytechnic, he created the first multi-disciplinary modular degree course validated by the Council for National Academic Awards, becoming its first Dean. When he was appointed to lecture in biology the University of London notified its intention of withdrawing entry to its external degrees. An alternative validation system was needed and the opportunity was there for a completely new approach. Mobbs put forward his ideas for a multi-disciplinary modular degree to the newly appointed director, Or Brian Lloyd..