Tampa Bay Times from St. Petersburg, Florida • 45

'ft 0 FAMILY LEISURE THE ARTS section JANUARY 24, 1977 ST. PETERSBURG TIMES 'Roots' thrives after transplant to TV LP "NaT ft "Roots." TV drum baud upon Alaa Halay's noval, with an all-star can, ba-gan Sunday. Jan. 23, to comlnua (or aight conuculiva avanings on ABC-TV. WLCY Charmal 1 0 and WXLT-Chirmal 40.

By CHARLES BENBOW St. Patarsburg Timas Talavliton Critic LeVar Burton (left) plays an African boy -1 i I facing the nightmare of slavery when he is i 1 delivered to America in 1767 on a ship commanded by Edward Asner in the second segment of "Roots" is making television history as the first limited series scheduled on consecutive nights for maximum impact. If it proves successful and all broadcasting executives are watching the experiment this type of intensive programing could cause a small revolution in TV scheduling. The experiment is off to a good start. A black man from Baltimore previewed "Roots" at a recent press meeting.

He was emotionally moved by the television dramatization of Alex Haley's best-seller. BUT WHEN HE heard the film being praised by the assembly, he revealed his surprise that whites could and did sympathize with the blacks in the story, with the African youth named Kunta Kinte who was captured, loaded aboard a slave ship and sold in America. How surprising that in 1977, any American, of any skin (particularly a well-educated, articulate individual) can still be making such discoveries about his neighbors. So it seems the nation sorely needs more experiences like that of "Roots," never mind its flaws. For viewers who liked the opening episode and those who didn't, a note: The story takes a major shift in tone in the fifth hour.

Young LaVar Burton is replaced in the role of Kunta Kinte, renamed Toby, by John Amos (despite a dissimilarity of faces) and the scripts approach the more familiar but no more pleasant history of American slavery. "Roots" attempts to tell a difficult story in a popular medium, commercial television, and for as wide an audience as possible. Hence the insertion of scenes not in Alex Haley's book examples, for popular appeal, 0. J. Simpson outrunning Kunta Kinte and, for dramatic variation and tension, the entire voyage of the ship toward Africa with Captain Davies (Ed Asner) who appears only briefly BENBOW ON TELEVISION opinion blocks, plantation life and the rest.

Knowing is not the same as "feeling." This drama is an attempt to help us feel it all. In the first hours, the African tribal elders spoke in an articulate, rather noble English mode. Documentary purists on Public Television would probably have recorded a native language and printed inadequate translations in subtitles at the bottom of the TV screen. A documentary, too, would have shown swarms of flies and dust in the African village. Instead this production moves into the cultural context of the Kunta Kinte's village as seen from his point of view but paralleled and transposed into observations we can accept and understand.

Consider for instance: As in any society, tribes do have wise elders who speak (how to say it?) more graciously, with more elevated tone, with accumulated wisdom, than an ordinary shepherd. How could this be more effectively projected to us in terms we'd understand than it is here? This isn't an old debasing Tarzan movie and we don't object when we hear, say, Russian peasants speaking colloquial English in movies. We should be able to accept that, from Kunta's position, the elders are noble. The members of any culture accept the situations of life it generates. The furnishings of a village are just as routine for its inhabitants as traffic signs are in our culture.

True, Kunta's village is too manicured, too Kodachrome-green perhaps. That departure from reality is for our benefit, to our taste, so we'll not be repulsed by trivia or distracted from the important drama any more than actual tribal members were by hordes of flies. Any real, 18th-century Kunta Kinte would not have questioned the "primitive" (again by our standards) conditions of his birth. One critic complained that the youths were too playful. Why not? Where is it written that African youths should be less capable of mischief than ours? Or maybe that critic had a sheltered adolescence? Besides, for dramatic purposes, Kunta's youthful freedom sets a contrast against his enslavement.

One of the most beautifully conceived moments is his flailing in chains like a wild stallion being broken-in. IS SLATER'S CHARACTER drawn too viciously, say, as he recommends crowding the blacks into the ship in 4aJI ABC (who also adapted the book for TV) and Ernest Kinoy's scripts are a fine balance of insufferable horror and relieving humor (the latter is very important in order to hold a mass audience). If anything, the incredible torture below decks in the ship is not shown with enough emphasis. The physical pains, abrasions of wood on bare skin and excruciating muscle aches and spasms from lack of exercise for eight days, are not mentioned. THE ACTING IS UP to each performer's capacity (no one should expect much anyway from Lynda Day George tonight).

Unknown LaVar Burton's work is a compelling delight for aficianados of fine acting. Unfortunately neglected in all the advance publicity was Ji-Tu Cumbuka, who is spectacular as the wise wrestler. Having seen only the first four hours and many long scenes from the remaining eight hours of "Roots," I can't promise the high quality will hold. Filming was started before all the scripts were prepared and post-production work was still in-progress at preview time. "tight pack?" And is Captain Davies too innocent, too moralistic and, finally, too weak? Again, consider the isolated and insulated "culture" these men are in (which is not to excuse them however).

Slater is a veteran of 18 such trips; what would that do to a man? And Davies is carefully depicted as initially naive, albeit with qualms, about what his assignment involves and gradually is taught (corrupted) by its realities. Slater's character and instruction to Davies also serves to pass additional information to us about the slave trade. The exposure of some women's breasts while others are covered seems a bit inappropriate. The choice seems to have depended upon whether the woman was a star or an extra. It should have been one way or the other; now the nudity seems to be unnecessary sensationalism.

The sensationalism is compounded by an unforgivable oversight when darkening makeup was not applied to hide the lighter areas normally covered by swim suits. Otherwise David Greene's (first three hours) and John Erman's direction is nigh impeccable. And William Blinn's a 5 in the book and his foul officer, Slater (Ralph Waite). Haley enthusiastically approved these additions, recognizing that a printed, personal history and the entertainment element of television drama may require differing structures. WE MAY "KNOW" the general facts about slave ships, about (National Geographic's) Africa, the slave Timss DIGEST opinion SHENK ON MUSIC Principals lead Tosca'to impressive heights "Toaca" (Puccini), praaantad by Asolo Opara Company, tarring soprano Judith Anthony, tanor Thomaa O'Laa-ry.

baritona Harlan Foaa. Jamaa Poulliott, staga dirac-tor; Margarat Singar, musical diractor. Aaolo Thaatra. tingling Muaaum, Saraaota: Jan. 22, 1977, 8 15 p.m.: rapaatl Jan.

24. 26. 28. 30 (7:30 p.m. I.

Fab. 1. 6. Tick-atl Sl.60-S10.60: call Saraaota 968-7884. By MARY NIC SHENK StJPstarsburg Timas MusicCritic impressive because it is more thoroughly integrated and honed to the finest detail.

THE THREE PRINCIPALS, supported by a large and well-trained supporting cast, are exceptional, each in his or her own way. Top honors for total acting and singing accomplishment go to baritone Harlan Foss, no stranger to the Suncoast, but making his first appearance with the Asolo Opera Company. Now with New York City Opera, Foss was heard frequently in past years while studying at the University of South Florida in Tampa. His high degree of professionalism cannot be overemphasized as the thoroughly despicable Baron Scarpia in "Tosca." Not only is his voice beautifully produced and controlled, but his interpretation of the role is superb, and he never in the emotion and drama of her difficult role her sacrificial love for the painter Mario Cavaradossi and her extreme hate for the chief of police, Scarpia she becomes Tosca. Never for a moment do you doubt her feelings, and her strong facial expressions enhance the horrors she feels and plans.

Her voice is large with a wide range, and when she and Mario sing their parting duet both soar to their high pvtes with full voice. Tosca's celebrated aria, "Vissi d'arte," sung partially from a couch, and the horrifying murder scene which follows in Act II, are both highlights of Ms. Anthony's oustanding performance. TENOR THOMAS O'LEARY, another newcomer to Asolo, is the most mature tenor we've seen on the Asolo stage for some time. It is a great pleasure to hear a See TOSCA, 4-D drops character for a moment.

Whenever he is singing he dominates the stage, and when others are singing he holds his own in an appropriate and fitting manner. He doesn't overplay the role, fortunately, but develops the character quite carefully and personally. As many times as I have seen "Tosca," I can't recall a more convincing interpretation of this role. Soprano Judith Anthony as Floria Tosca, also a member of the New York City Opera, has the title role thoroughly understood and developed. Her passionate acting and amazing recitatives (spoken parts), although in Italian, are completely communicative and chilling, and soon make you forget a slight vocal wobble in her voice.

This vocal weakness mars her first appearance, but as soon as she gets involved SARASOTA The Asolo Opera Company has outdone itself with its current pro- duction of Puccini's masterful, melodramatic opera, "Tosca." And it features three principal stars who make an outstanding team. Two years ago the company presented a forceful production of this famous opera, the story of which is based on a play written originally for the actress, Sarah Bernhardt. But this season's production is even more Vladimir Horowitz, at 73, tours the country making concert appearances and is currently looking for students to teach. Liza Minnelli's new film 'A Matter of Time' is a 97-minute bore, 3-D 'Oh and 'Prisoner of Second Avenue' open in Suncoast theatres, reviews 6-, 10-D Boxoffice receipts prove the Suncoast is a major rock concert market, 8-D Interested in buying the 'Freedom Remember the Freedom Train that was on the Suncoast in December? The train that logged some 25,000 miles during its 2 1 -month tour, visited the 48 contiguous states and stopped in some 1 38 cities so some 6.8-million could board it (another 1 40-million saw it track-side) well now that the Bicentennial is over it's for sale. Picked clean of such items as Eli Whitney's cotton gin, the first sewing machine, the original telegraph and some 300 other priceless objects the Freedom Train sits at its last stop in Alexandria, waiting for someone to come along and make the right offer for it.

The mobile museum, 23 cars in all, can be yours for $750,000 minus the locomotive. TV tout Tonight NBC and CBS try to counter the pulling power of ABC's "Roots" by repeating two of their biggest hits of '76. "Westworld," (on WFLA-Channel 8 at 9 p.m.) a science-fiction fantasy about a Disneyland for adults, and "Helter Skelter," (WTVT-Channel 1 3 at 9 p.m.) a dramatization of the Manson "family" murders and trial. Now it's Medipet If you send up a howl everytime you take your pet to the vet why not follow the set-up of Paul E. Murray Jr.

of San Franciso who has come up with the idea of Medipet. Medipet is a prepaid insurance plan for dogs and cats. For $68 a year, pets are covered for routine treatment such as physical exams, rabies shots and worming. They also get prescription drugs and emergency hospital care. Murray, who started the San Francisco program last October, hopes to extend his coverage nationwide.

Junior Sungoddess The search is on for the 1 977 Junior Sungoddess for the Festival of States. Applications are being accepted from girls between the ages of 1 5 and 17. Sponsoring the 20th annual Junior Sungoddess Pageant is the Festival of States and the St. Petersburg Parks and Recreation Department. Application blanks can be obtained from Parks and Recreation Department, 1 450 1 6th St.

or at the Festival of States office in the Bayfront Hilton Hotel and many area high schools. The deadline is Feb. 18. MARY EVERT flBpv "'V Jt-Ji cs 1 Horowitz plays with I authority of a legend Pianist Vladimir Horowiti. concart of worka by Clamanti, Chopin, Schumann.

Rachmaninoff. Van Waial Hall. Saraaota. Sunday, Jan. 23.

4 p.m. Sold out. By MARY NIC SHENK St. Patarsburg Timai Music Critic ii SARASOTA Vladimir Horowitz is a superstar. When 'he walks onstage he receives a resounding ovation, and 5 each time he leaves he gets a standing ovation.

As Van 1 Wezel Hall managing director Curtis Haug, Horowitz's con- cert host in 1975 and again Sunday afternoon says, "he is a legend in his time." The dapper Horowitz, who will be 73 this year, is legend-. ary for many reasons, allowing him to name his own price 'i and set his own pace which he does. You can guess at his concert fee when tickets are $16, $17 and $18 in a hall. Horowitz also sets his own concert time, 4 p.m., and usually arrives late. In 1975 the reason given was traffic.

Sunday the story was that he simply arrives when he is rea-J Tdy. And usually he isn't ready when a car goes to pick him up, or when concert time is reached once he gets to the audi- torium. Often he is still practicing and has to be roused to "go onstage. -I HE WAS 23 MINUTES late starting Sunday, but his other disappointment. The extremes of dynamics amid the power, the finger slips among the bombastic sounds, and extreme rubato in tempos, distracted from the stylistic development of the music.

His finest Chopin? The delicate, beautifully expressive "Waltz in A Minor," a true musical gem to begin with and done with amazing pianissimo control by Horowitz. Here his marvelous touch in soft passages was utterly melting, and his highly personal, introspective approach as beautiful as it had been in the Schumann "Arabesque" earlier. But if I were to make choices I would prefer Horowitz in Rachmaninoff. Here is a pianist who not only has the facility and skill to play the rich, intricate harmonies of the Russian master pianist-composer, but who really understands the style and can excel at it. The two contrasting "Moment Musicals" (B Minor and E-flat Minor) on Sunday's program were outstanding.

Here Horowitz's gift for voicing (separating musical lines within a complex texture) and flowing romanticism soared and reached unparalleled heights. Even the piano tone assumed new richness and colors, and the drama of this Russian music reached high peaks. Here too, Horowitz, the pianist who concentrates on romantic, expressive literature for his concerts, could let his large hands and flexible fingers explore vastly more notes of the keyboard than they had for some of the earlier works. If he should specialize in any composers, I would definitely choose Clementi and Rachmaninoff over Chopin. HOROWITZ THE TEACHER is still auditioning for students, according to first-hand reports.

He joined the staff of the Mannes School of Music in New York at the request of the school's president, Rise Stevens, but has not found any qualified students in the five months he has been on the faculty. It seems that the ones who have auditioned have either not been good enough to study with him, or else the ones who are good think they are better than he is! Horowitz will require a contract with any students he does choose, in order to protect his name and reputation. Too many unscrupulous people today claim to have studied with the world's greatest musicians, after perhaps sitting in on one master class or lecture demonstration. This Horowitz understandably wants to avoid. Meanwhile he isn't teaching, despite his surprising offer to teach for no fee.

But reportedly there may be a Russian student coming to audition soon who will qualify. Horowitz returned to Sarasota this season at his own request and the mutual delight of Haug. He had wanted to play here last season, but his manager and doctor restricted him to California bookings for 1976. This year it was Florida's turn again, and judging by Horowitz's amiable personality and tvJo-hour concert (with three encores), plus his audience's warm reception, it wasn't any too soon. warm smile and marvelous rapport with the audience was enough to make it unimportant as he strode to his piano, entering from the left side of the stage another of his eccentricities (At Van Wezel most performers enter from the right.) He again brought his own piano.

Last time it had a noisy pedal, this time it was a somewhat loose, almost tinny tone, which distracted in several of the bombastic passages he played. But as in 1975, this seemed to bother no one. The capacity audience ate up everything he did and kept asking for more. Horowitz is a master of contrasts, particularly musical ones. He takes liberties and goes to great extremes in many ways, some of them effective, some of them not.

His program was a series of interesting contrasts in its styling. The first half consisted of two sonatas, one by Clementi, the other by Chopin. And the second half was five smaller works, some of them quiet, some of them noisy. It was hij use of extremes which caused pleasure in some of the works and disappointment in others. The expressive Clementi "Sonata, Quasi Concerto, Op.

33 in Major for Grand Pianoforte" was the highlight of the first half. Horowitz's dexterity and speed, power and control, were elegant. The first movement was a beautiful exposition of dynamic shadings, phrasing and clarity, and the second a gem of artistry and musicianship. The fireworks of the third movement, which had a little competition from an outbreak of audience coughing, was a highlight with Horowitz's technical facility. BUT THE CHOPIN "Sonata in B-flat Minor," with its familiar and touching Funeral March movement, lacked a richness of tonal quality and depth of meaning despite Horowitz's beautiful interpretation of the descriptive sections of the second and third movements and his superb balance of melody and accompaniment.

And the closing Chopin "Polonaise," that favorite A flat Major work which was once on every serious piano lover's hit parade, was an-.