The Kokomo Tribune from Kokomo, Indiana • Page 15

Second debate Is better television LOS ANOBLES (AP) The long- awaited Jimmy Carter-Ronald Reagan television debate was a distinct Improvement over the show that preceded It, the Reagan-John Anderson encounter. At least this presidential debate had a president. And It was better television, If not a showcase for exemplary statesmanship. The four members of the questioning panel were less Interested In self-serving soliloquy than In aspiring debate, and If the candidates managed to avoid answering the questions, at least there was the element of face-to-face confrontation. Which brings It down to this question: How'd they play? The history of presidential television suggests that such trifles as manner and appearance carry sway with voters.

In that line, Carter seemed In command of his facts but stern and somewhat humorless as Walter Cronkite pointed out. Reagan stumbled over his words, was unspeclflc In his responses, but he smiled and even joked a bit. In the context of television, you could say that Carter was documentary, Reagan sitcom. In the context of debate, call It a draw. Tuesday's debate also featured a couple of curious TV sideshows.

ABC used a telephone survey to conduct an instant nationwide straw poll, with callers giving their opinions as to who won. ABC admitted It was an unscientific survey but it seemed like science fiction. A late result of the ABC News "Viewer Preference Survey" showed Reagan leading Carter 437,279 to 215,541. ABC did caution, however, that the poll was subject to stacking, that calls were fatting clogged In traditionally Democratic urban centers and that some callers complained that they connected with the Reagan number even though they called the Carter number. scientific Associated Press poll Indicated that most of those watch- Ing favored Reagan In the first place, and that each man gained 9 percentage points among the viewers, mostly from the ranks of the undecided.

ABC's poll may have been a food ratings gimmick for ABC's "Nlghtllne" show, but It didn't seem an especially responsible way of gauging the candidates' success In the debate. The. other TV curiosity was provided by the Cable News Network, which tried to mske the debate a three-man affair by splicing In John Anderson's comments from Washington. CNN planned to originate live In Cleveland with Carter and Reagan, then cut to Anderson while recording the Carter-Reagan match In progress, then Yes, It was a mess. Technical difficulties thwarted the noble effort, prompting CNN moderator Daniel Schorr to promise with a hint of embarrassment, "Four yean from now, we'll do it better." As for the debate, you will not likely find the winner by perusing a transcript of the encounter.

Toe only hard statements were Reagan's admission that he felt the minimum wage hindered young workers and Carter's belief that fuel costs would go up. So, this was the TV show that Is supposed to decide the fate of a nation. What would the Founding Fathers say? "That's incredible," perhaps. Ballet group greets applause By Mary Campbell Associated Press writer NEW YORK (AP) The Jeffrey Ballet, which had no New York season last year because it was broke, raised the money to have one this year. From the buoyant quality of the dancing and the applause of the audience in the City Center on Tuesday night, everybody was glad It was back.

The novelty on the program was "Illuminations," being danced by this company and very well for the first time. Its choreography is by Frederick Ashton and white clown-type costumes by Cecil Beaton, while the music is by Benjamin Britten, a setting of Arthur Rimbaud poems which were sung in French, the ballet Is a series of sometimes disturbing scenes from the poems, commenting on the up-and-down life of the young poet. Beatrix Rodriguez was especially good as Profane Love to Gregory Hoffman's Poet. The ballet originally was done by the New York City Ballet in 1050. The evening began with the lively, lovely, side-lighted "Suite Saint-Saens." which Gerald Arplno choreographed for this company in 1978.

One striking feature of the four-part work is the lifts which end with a little push away, sending the partner out In a new direction. The dancer among the 20 who caught the eye is sprightly Andrew Levinson, who turns out to be on loan from the Contemporary Ballet company. Luis Fuente was outstanding In the three-character, Spanish-flavored "Fanfarita," clicking castanets, Jumping high and pirouetting with balance and dash. This ballet was choreographed by Arplno for Fuente in 1968 and has never been performed by another male dancer. The evening ended with Agnes de 1942 "Rodeo," a warmhearted part of ballet Americana.

The company will dance at the City Center through Nov. 23. i Lynn Symphony sofoJsf Collkt set for concert INDIANAPOLIS Lynn Harrell, regarded as one of the finest cellists today, will make his Indianapolis Symphony Orchestra debut at 8:30 p.m. Friday and Saturday in concerts In Clowes Memorial Hall on the Butler University campus. Harrell will be featured in a work never before performed by the Indianapolis Symphony Orchestra, Edward Elgar's "Cello concerto in minor." The program, directed by symphony conductor John Nelson, will open with Samuel Barber's "Adagio for Strings," and conclude with the "Symphonic Fantastique," by Berlioz, the "Adagio for Strings," will be remembered as the soft, quiet music heard on the National Broadcasting Company programs following the death of President Franklin D.

Roosevelt in June 1945. The Tos- canini recording was used for those broadcasts. Harrell will be the speaker for the free "words on music" discussion before each concert at 7:30 p.m. in the Krannert Room of Clowes Hall. The orchestra will travel to Goshen Sunday for a repeat of the orchestral part of the program at 3 p.m.

at Goshen College. ISO concertmaster Hidetaro Suzuki will replace Harrell as soloist and perform Mozart's Concerto No. 3 in Major, K. 216. Winner of numerous honors and was the first Avery Fisher award winner, and recently was nominated for a Grammy Award for his recording of the Dvorak Cello Concerto.

Tickets for the performances in Clowes Hall may be purchased at the symphony box office for $10, $9, $8.50, $8 and $7. For further information call 923-2500. 'The Plumber 9 will moke you bit nervous By Peter J. Beyer AF television writer LOS ANGELES (AP) While there Is something to be said for gory monsters who make anatomical Jigsaw puzzles of their victims, as well as for vampires and ghosts and slime retching demons, the best scare Is the one that enlists the imagination In Its cause. PBS has such a scare this week (this evening, In most places), a fine specimen of pschologlcal horror that features neither blood nor other-worldly antagonists.

It's about a plumber. (WFYI, Channel 20, Indianapolis, 8 p.m.) Plumber" (featuring a fine though unfamiliar cast) was made for Australian TV by Peter Weir, an Australian whose theatrical movies "Picnic at Hanging Rock" and "The Last Wave" had cinema types proclaiming the arrival of the new Hitchcock. This movie won't unsettle your stomach. It will simply make you nervous. Hitchock delighted in simply making folks nervous.

Indeed, Sir Alfred is brought to mind in the very first scene of "The Plumber." A man is taking a shower. The camera cuts to the drain, where swirls of soapy water spin between the bather's feet. Nothing happens, but you feel a chill coursing up your spine (even, I'll wager, if you don't remember the "Psycho" scene). A plumber arrives one morning at the campus apartment of an academic couple she a housewife temporarily retired from the rigors of academe, he single-mindedly involved in some obscure research that might Illuminate his name. The plumber announces he's there on a routine check.

There seems to be something a bit weird about the fellow. Or does there? The routine check becomes a major repair job, end that hint of bizarre in the stranger becomes overt craziness. Or is it just eccentricity? The housewife at first tries to ignore the plumber, but is soon obsessed by her fear of him. She is changed by the obsession, and that is the center of the film. Of the Hitchcockian qualities admired by Weir, the one most obviously emulated is the choicest the ability to isolate tension in the commonplace.

The sounds of a man taking a shower, a bar of soap, a tea cake. By merely presenting a fertile circumstance, uncrowded by gimmicks and ghouls, the filmmaker draws you into the process, literally relying upon you to supply the anxiety. Oct. 29, I MO Kokomo (bid.) 15 CHRISTO'S HALLOWEEN PARTY Nlto, Oct. 29 FUN and PRIZES! FLOOR SHOW 9:30 to PH: 459-9958 ilk.

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