The Boston Globe from Boston, Massachusetts • 78

ar ea i "W1 The Boston Globe Wednesday, May 4, 1966 Matisse Preview Today cling gesture indicating MTS 1 a By EDGAR J. DRISCOLL, JR Globe Crltle "0u est Matisse?" asked an early-bird visitor from La Belle France. "Ici, monsieur," replied a museum guard with a cir- opments from school days before the turn of the century to gay, singing cut-outs done while bed-ridden in the last years of his life. He died, age 84, a dozen years ago. On hand to greet ticket holders at a black-tie champagne reception tonight, fol lowing more tweedy previews Theater Talk No Pulitzer for Drama A Perceptive Decision everywhere.

The big Henri Matisse retrospective opens to the public at the Boston Museum of Fine Arts Thursday. Members' previews will be held today and tonight. This is the largest loan showing ever staged by the museum in its long, distinguished history. Originally it was planned to launch the museum's development fund drive. The drive is now scheduled to start next January, On view through July 3 will be 354 major paintings, sculptures, drawings, prints and collages by France's grand old master of modern art.

Loaned from public and private collections on both sides of the Atlantic, they will fill 18 special exhibition galleries with Matisse's brand of distilled sunshine. There are portraits, figure studies, odalisques, nudes, interiors and still-lifes in dazzling array. In them one can trace his interests and devel- lor members today, will be the artists son, Pierre Matisse of New York city and Mrs. Matisse. They will be joined by his son.

Paul Matisse of Cambridge, an engineer, and his wife. Paul's step-father is famed artist Marcel Duchamp. Other special guests will include Mrs. John W. Winter-steen, president of the Philadelphia Museum of Art; publisher Joseph Pulitzer of St.

Louis, artist Pierre Soul-ages; and Mrs. Edward M. Kennedy. Due to a last-minute hitch in plans, France's Ambassador to the U.S., Charles Lucet, who was to be guest of honor, will not be able to attend. Boston will have the only East Coast showing of the retrospective.

It comes here from Los Angeles and Chicago Art Institute showings where it attracted huge crowds. In anticipation of record-breaking crowds here during the eight-week run, the museum will remain open Tuesday through Friday until 10 p.m. DON'T STJi BLINK NEW ENGLAND'S MOVE OUT- LINE OLDEST AND LARGEST 1 I MOVE UP! l( ''T''yx-' WE CAN INSTALL A STARLINE p'f ti DORMER VLi 2 Perweek Uwl 7 YEARS TO PAY 1 been 'completed on faLi HO MONET DOWN First FiTnent Up to June vour Ranch Home. CmaliM Arrntti 4 1 a i FUNIS lg at BOSTON BALLROOM because there are NO Contracts to sign NO HIGH Pressure-Sales Sa 7 as. $0 'saSs- ANY STYLE DORMER ON ANY STYLE HOUSE.

THIS IS NOT A "prefob" unit. Your dormer will be orchitedurally styled to your home. A complete new roof. WE DO NOT LIFT YOUR OLD ROOF) nothing more than a good melodrama. It is not, I think, a Prize play, and to so honor it merely would draw attention to the desperate choices before the committee.

The reverse of this argument, however, is that the Pulitzer often has been given to far inferior work than Alfred's play. During the 1920-21 season Zona Gale won it for "Miss Lulu during 1952-53 William Inge for "Picnic." And, purely as examples, if either of these plays is remembered, it is remembered not for its merit but because of the imprimatur of the Pulitzer upon its ordinariness. Between its lapses of judgment, the committee has distinguished some deserving dramatists, most notably Eugene O'Neill (a four-time winner), Thornton Wilder, Tennessee Williams and Arthur Miller. But the record is spotted with incredible interruptions, particularly during the 1962-63 season when the committee overlooked Albee's "Who's Afraid of Virginia Woolf," which had been favored by advisers John Mason Brown and John Gassner. Brown and Gassner promptly resigned from the board when the award was withheld.

The drama award, incidentally, has been omitted nine times since the Pulitzer first appeared in 1917. The level of judgment was raised considerably last year when the Pulitzer went to Frank D. Gilroy's "The Subject Was Roses," a superb play. And, to repeat my premise, the level continues to be raised by the committee's refusal to cheapen the prize this season by parceling it out to just anything. Bleak as the lack of an award may seem to the theater (and symptomatic as it is to the sad decline of genuine creativity in American drama, it does at least brighten the lustre of what should continue to be a significant, rather than a casual, award.

If I may borrow a line from D. H. Lawrence, there is "a voice of education" in the committee's silence. By KEVIN KELLY Glebe Critic The Pulitzer Prize committee often has been guilty of lack of discrimination in its annual awards, or absence thereof, in the field of drama. Erratic in its choice of excellence, the committee frequently has diminished the value of its prize by giving it out as though it were a tin cousin to the Hollywood Oscar.

It has lost prestige by bestowing laurels on what is clearly no more than seasonal trash and, on recent occasion, by refusing to honor an eminent play by Edward Albee which had been nominated by two of its advisers. But this year the Pulitzer board, in its refusal to distinguish the theater with an award, has set a standard that is, I think, completely defensible. While playwrights, producers and press agents may grumble, the cold truth is that there was not a single American work produced this season that deserved honor. The pitch of the Pulitzer is aimed strictly at what is designated an "American play." The definition is national, specific and reads as follows: "A distinguished play by an American author, preferably original in its source and dealing with American life." A quick checklist of the plays produced, within the framework of the category, indicates the dearth of possibilities. The committee has mentioned it gave consideration to two works, the musical "Man from La Mancha" and the drama "Hogan's Goat." "La Mancha," a current Broadway hit, is a second-rate song-and-dancer about the 17th century Spanish writer Cervantes and, forgetting the matter of its utter mediocrity, simply doesn't fit the definition.

"Hogan's Goat," by Harvard Prof. William Alfred, comes closer. It deals with a political skirmish between Irish-Americans in Brooklyn in the 1890s, but it is really gS mm. ill sy iiirit ir cim it fir i chat lOSTONIiUIOOMIUtetSTVUI 1IIMUS I0STW. wmtmium stirm After a STARLINE UP-A-LEVELS hat been completed on your Split-Level Home.

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STAGE, MUSIC TODAY V3 a aaa? figured STARLINE STRUCTURES. INC. WE ARE NOW LOCATED AT OUR NEW AND LARGER QUARTERS AT THE LAN-MARC BUILDING, U.S. RTE. 1, WALPOLE MAME" Shubert Theater at and 8:30 p.m.

New musical about Auntie Mame and her adventures; with Angela Lansbury in the title role. Beatrice Arthur ai her bosorn buddy, Jane Connell as her secretary, and Frankle Michaels as her young nephew. Pre-Broadway try-out, through May 14. 'THE TIPISTS" and "THE TIGEE" FRAMINGHAM 173-3300 WEYMOUTH ED 5-1898 LOWELL GL 2-7811 PROVIDENCE DE 1-4222 MANCHESTER 625-66S1 WALTHAM TW 3-7000 LYNN 598-9544 NASHUA 889-4471 Egyptian March; Addlnsell. "Warsaw" Concerto and Gershwin.

"Rhapsody in Blue" (Leo Litwin, piano soloist); appearance by the Bradford Junior College Glee Club. Charles W. Ludington, director; Bernstein, "West Side Story" medley; Anderson, "The Weill, "Mack the Knife." DOVBLE BILL Hotel Touralne at 8:30 p.m. Theater Company of Boston productions of John Hawkea' "The Wax Museum" and Rosalind Drexler's "The Investigation." Through Sunday. TIME FOR SINGING" Colonial Theater at and 8:30 p.m.

New musical, based on "How Green Was My Valley" and tellinf about the lively Morgan elan'i lovea and union problems; with Ivor Emmanuel, Tessie O'Shea and Shant Wallis. Pre-Broadway tryout. through Saturday. BOSTON POPS Symphony Hall at 8:30 p.m. Arthur Fiedler "Lea Toreadors" from Strauss.

"Talea from the Vienna Woods" waltzes; Massenet, Meditation from Suppe. "Light Cavalry" Overture; Strauss, See Da Vinci's "Last Supper PT 109 The Beatles James Bond AND MANY OTHERS HOURS DAILY 10 A.M. T0 10 P.M., SUNDAT 1 P.M. T0 10 P.M. BOSTON 361-8680 WALPOLE VICINITY 668-6800 Charles Playhouse at 8:30 p.m.

Two WE GO ANYWHERE CALL COLLECT OPERATORS ON DUTY 24 HOURS INCL. SUNDAY" two-character comedies by Murray Schisgal; with Lynn Milfrim. Lawrence Pressman and Edward Zing, Through May 15. Admission: Adults $1.40 Children (undtr 12) lit A SUBURBAN THEATERS SUBURBAN THEATERS SUBURBAN THEATERS Back Bay, Cambridge, Canton, Chtlmtford Mtdford BACK BAY (Cont.) WEST NEWTON Cleveland Circle, Lawrence, Dedham, Revere, Nepontet, Suffolk, VFW Parkway and Natick Bach Bay, Braintrtt, Brockton, Cambridge, Framingham, Ipiwich, Norwood, Ptabody and Saugut MCVVTON LA 7-3540 Mat. 1 JO Itt.

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TUES. THURS. Ap, i. ACADEMY AWARDS: BEST ACTRESS LA 7:259:35 sTS l.l. 'OUR MAN FLINT" 920 Ine Citire Lm I.

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