The Boston Globe from Boston, Massachusetts • 39

W'y-T" wo 1 Monday, Nov. 1,1975 Boston Evening Globe Tan.sht it 8 p.a. Ends Kit. 13 Tca'w Night At 8 P.M. "SPARKLING" Hf.

Am. MARQUEE HELLUVA SK0W1' -f ran Wtl, Htr. An. BroivsjSogar Tht Him Smisa Hit Musical Remit COLONIAL THEATRE lOtaoriMon SirMl. 6-9366 easy charge Teie: 426-4346 -A merman Express Maslet Charge Cambridge troupe to be ousted? finale Day Thi Department of Music md Fromra Music Focndatlon it Harvard present A CONCERT OF CONTEMPORARY MUSIC Leslie Bassett Sextet Jacob Druckman Animus II Andrew Imbrie String Quartet No, 4 JOHN GRIMES, percussion RICHARD KOGAN, piano BEVERLY MORGAN, soprano -THE PRO ARTE STRING QUARTET Exclusive Engagement' NOW SHOWING 2:30.4:20.

cExett.cIhe2tre Copley Square, Boston 536-7067 Richard Blum, viola Lowell Creitz, cello SANDERS THEATRE. CAMBRIDGE Fret i opsBts tlit ptiLiic CUOIAICI 4:00 8:00 PM "LJ $4.00 $5.00 $6.00 $7.00 in wr 1 I Norman Paulu, violin Martha Francis, violin MONDAY. NOVEMBER 1 8:30 p.m. I ACT UTODAY All Seats Reserved Tax Inel. 3 HII in BOX-OFFICE OPEN THE MOST SENSATIONAL MUSICAL IN THE COUNTRY! TOMORROW "VOTE" WED.

8 PM "COPE" mm CHARLES PLAYHOUSE: 76 Warrenton Boston- 426-6912 QU1K-CHARGE-426-6210' cAmirlam I Starring MaivoWbsclMstar E3m fllrw Inttrtialrsnil, (ne protfuetKl Ik fey AIMS MCVCR CIMEUA 47 1' 200 Stuart near Park Sq. 482-1222 MIDNIGHT SHOWS FRI. UT. Daltoa opp Sheraton Bos 536 2870 V7 BARGAIN MATINEE $1.50 'til 2 p.m. at Starred Theatres MBeethofeit 276 Friend -A I Bamaous, VT I SA VE $1.00 ON CHILDREN UNDER 12 TODAY at 4:00 PM 8:00 PM IHL By George McKinnon Globe Staff The Cambridge Ensemble, one of the most adventurous of local stage troupes, is deeply entangled in municipal zon-.

ing red-tape and may be ousted from its playing area in the Old Cambridge Baptist Church, 1151 Massachusetts av. The Ensemble, considered one of the most expert of the area's Off-Broadway-type groups, has been in residence at the church (located between a gasoline station and an Elks Lodge) in the Harvard Square environs for the past four years. But last Thursday, after months of hearings and conferences with the bureaucrats, the Cambridge zoning board voted 3-2 against the theater's continuing in the church something about residential vs. business zones. Last week when the troupe was performing its feisty production of "Gulliver's Travels" in Denver, the word of the impending shutdown reached them in the Rockies.

During the weekend Joann Green, director, decided two things would have to be done. The company's lawyer will continue to explore legal means to keep the theater doors open, and the company will go right ahead rehearsing their season-opener, "Sideshow," three one-act modern social comedies. But the mood at the theater was downbeat. If the city remains adamant, the company will somehow keep afloat playing dates wherever and whenever they can pick them up. "We'll just be adrift after all those years of work," said a spokesperson.

Among the plays scheduled for the fourth season are an adaptation of Aeschylus' "Oresteia" and a new play by local playwright Jon Lipsky. Still hoping for a reprieve, the company is going ahead With plans to have the American premiere of "Sideshow" on Nov. 24. But right now the feeling is, who knows? This is the second theater-in-a-church in the Boston area to be hit by municipal regulations. Last spring, The Mime troupe was shut down by the Boston Fire Department because of violations in the Church of the Covenant Home.

The mimes are now renovating and hope to reopen at the church after the first of the year. Wonder if anyone remembers that modern Western theater had its origin in "mystery" plays performed on church steps during the Middle Ages? There's a new girl in town that everyone's falling in love with. Last weekend they were lining up at the Exeter Street Theater to catch Marie-Chistriane Barrault, the star 1 of the smash movie; "Cousin, Cousine." In New York the 'movie, is breaking records set 10 years ago by another 'French love story, "A Man and a Woman." the Exeter should get Mile. Barrault up to Boston so we can get a good look. She's visiting the Big Apple right now to savor her American triumph, Yes, she's related to the great actor Jean-Louis.

A niece, however, not a cousine. Best place in town to hear high-class fiddling these days isn't at Symphony or Jordan Hall, but in the Merry-Go-Round of the Copley Plaza. Joe Venuti, a young 83, is jazzing away on the violin as if rock had never been invented. Between sets the other night he said he had discovered, to his amazement, that he's become an idol for hillybilly fiddlers. "When I was playing in Chicago a lot of them would come up from Kentucky and Tennessee.

Of course they're all tempo-keepers, they only keep time. I'd talk to them but it's like someone who knows long division and then wants to do calculus or quantum theory," he said, thus putting down all you country fiddlers. So much for rosin-on-the-bow-and-away-we-go music. TICKETS ON SALE at BOSTON GARDEN BOX OFFICE FOR TICKET INFORMATION CALL 227 3200 I 1 I 1 I -i NOW THRU NOV. 7 ONLY! I Talented Star of TV's "Kopy Kats" JWarilyn piehaels to Music ISCAf WORLD MUSIC DAYS -Collage Contemporary "Ensemble and the.

New York' String Quartet in a program bf music by Donald Sur, Jacques-Louis Monod, Jacob Druckman, Ellenr Zwilkh and Ezra Laderman; and The New England Conservatory Sym- phonf Orchestra, conducted -by Gunther Schuller, in a program of music by Helmut 'Lachenmann, David Stock, Jorge M. JL Peixinho, Tristan Keuris and Bo-guslaw Schaeffer, at Jordan Hall Saturday afternoon and evening. By Richard Dyer Globe Well, you can't say that Gunther Schuller isn't a good sport When it came time to assign the World Music Days orchestera pieces among the Boston Symphony Orchestra, the University ot Iowa Orchestra and the New England Con- i servatory Orchestra, Schuller's own host group from the Conservatory got the short end of the stick. But Schuller and his excellent students went about their work as if they really did have something meaningful to There was only one really attractive piece on the very long program "Inner Space" by American composer David Stock, a strong, tense, concentrated music of decisive gesture. The rest, well, it was awful and an unfortunate conclusion to the World Music Days.

Helmut Lachenmann's "Fassade" is without any question the ugliest piece of -music I have ever heard. it's not so much music as music-theater: It's music about a piece, a music that is struggling to- make itself heard. You actually hear only isolated whooshes and rasps and belches and worse, straining through the extended silences. There's a German radio broadcast in the middle of it too per-; haps that's the trio. I The Dutch composer Tristan Keuris's "Sinfpnia" is a piece of Mahlerian dimensions but not of Mahlerian quality.

The workmanship is competent, but the materials are, commonplace; listening to it was a udgy experience. The Polish Bo-guslaw Schaeffer's "Jazz Concerto" is a third-stream" work, written supposedly in the confluence of the streams of jazz and classical music. In this instance it meant there was a chancy and improvisational and ugly first movement. The second movement was "composed jazz" of movie-soundtrack quality. The whole thing left the suggestion the third stream is dried up but; there is evidence in Boston to the contrary; 1 The silliest piece of the festival was Jorge M.

R. Peixinho'sVoix." Amid orchestral events of little interest, the soloist, Mezzo' Beverly Morgan, kept sing--ing the -word "vpix" (voice) over and over again, occasionally flapping her hand to her' mouth to alter and color1 her tone just the way Rock Hudson did in "Taza, Son of Cochise." The piece was endless. All during the second half, an assis- FILM TIMES muddled mi 1 Lew Eici'iiarfl Boston's Own Comic! UVE! ON STAGE! Tfi TO LIFE! Last 8 Perfs. For Croup S)K 0hr Cat I Fret: 800 SHUBERT THEATRE 265TtemonSt. Boston.

Mass Sonny $1.50 AH Day at Starred () Theatres ExeterSt. com so uiNDl COUSIN COUSINE MO, 4:20, 6:10, 1. 8:50 SOLARIS 2415,4:40,7:05,1:30 SILENT MOVIE 3:50, 5. 1:10, :45 FACE TO FACE 2, 40, 7, 1:30 CeitfralSq.l'"-'- SWASHBUCKLER 1:20 HESTER STREET 7:20, 9:05 Academy DeatoaCiam 33? HH IOI AMIH.DADA7:15, CLOCKWORK ORANGE 7, America's Most Unlikely Hero. sack llruFTNUT HIM vneni CINEMA SO 01 TON ST.

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I 5 I fFRAMINGHAM f' ctnima DANVERS 1 13S-K1Q ia wt. nt In RV, rlUNl ID ilConl.fi I0A M. IBS Framingham 965-2200 Rodger's Hammerslein's Saugus 321-5700 Kasim's Harem "Hi-Jinks" Revue Nov. 5,6 7 Only! PUT REVIEW MUSIC tant conductor held up cue numbers on cards, instructing the performers what sections of the music to perform or repeat. After this went on for a some members of the audience be gan to applaud as if the piece were over, and that's all it took.

Schuller left the stage, followed at intervals by Morgan and members of the orchestra, while the music progressively disintegrated. Some of the percussionists came back on wearing Halloween masks. All this might have been hot stuff in Paris 50 years ago but the French would have done it with more wit and style. Much happier memories were left by the afternoon concert, which featured the Collage Contemporary Ensemble and the New York String Quartet. The program began with the three "Catena" by Donald Sur.

The music is quiet and delicately imagined. The title presumably refers to the fine enchainments among the various instruments of the very short phrases. Ezra Laderman' "Echoes and Anticipation" is a chamber-concerto for oboe and seven instruments. The three movements of the piece "Nuances," "Strata" and "Changing Textures" have very little to do with each other. The contrasts are wilder than those among the movements' of the second Chopin piano sonata! But the wry second move-.

ment was unusually attractive, and the other two had movements of structural interest as the seven subsidiary players echoed and anticipated the activities of the solo oboe (in this instance the excellent Peggy Pearson). Jacques-Louis Monod's "Cantus Contra Cantum is a mandarinly elegant duet for Violin and Cello (Linda Quan and Mark Shuman). A startling contrast was the work that followed, Jacob Druckman's "Valentine" for solo string bass. The title is ironic because, as the composer puts it, "the player must attack the instrument with almost De Sade-like intensity." That meant that in additon to a bit of "conventional" playing, Lawrence Wolfe had to sing counterpoint, drum on the instrument with tympanic sticks, and perform prodigies of rhythmic complexity. The color, invention, energy and drama of the writing were remarkable, and for his matching efforts Wolfe won the largest personal ovation of the festival.

Amost as much ajbplause went to Ellen "Taaffe Zwil-ich for her String Quartet and to the New York String Quartet that played it so well. Her piece is original structually, full of imaginative sonorities and contrasts of sonority, worked out in a most craftsmanlike way, gracefully written for the instruments. It has the striking qualities of the new, and the solidity of something that has been there all along. It was, in short, music. CIRCLE II "Marathon Man," 2, 4:30, 7:25, 10.

EXETER "Cousin Couilne," 2:30, 4:20, 6:10.8,9:50 OALERIA "Solaria." 2:15. 4:40. 7:05, 9:30 GARY "Car Wash," 1:30, 3:15, 5, 6:45, 8:30,10:15 KENMORE "Wizard ot Oz," "Slngln' In The Rain," 6, 10 ORSON WELLE! I "The Cloekmakar," 4, 6. 8. 10.

ORSON WELLES II "La Chlenne," 4:10, 8:15: "Madame Bovary," 6:15, 10:15. 1 ORSON WELLES HI "The California Reich," plui a short; "Kudiu," 4, 6, 7:30, 9, 10:30. PARK SO. -i "Notorioue," "Rebecca," 9. 10 PI ALLEY "Car Waah," 1, 2:45.4:30, 8:15, PUSSYCAT 10, 11:15, 12:30, 1:45, 3, 4:15, 8:30, 1:45, 9:16, 10:45 IAV0V "Norman la That You?" 11:15, 1:30.

3:40, 9:50, 10 1 IAV0Y I "Challenge ol the Dragon, 11:15, 2:46, 6:18, 10; "Flits ot Double 1,4 30,6 IAXON "The Rogue," 1:30, 4:45, "Up Your Alley." 3:18, 6:30, 9:45 SYMPHONY I "Death With," 1, 4:30, 2:40. 6:10. 9:40 YMPHCNY 2:30, 6:10, 10; "lipstick," 1, 4:40, 8:20 WEIT END PUSSYCAT "Reunion 10, 11:25. 2:18, 3.40, 6:05, 1:30, 7:58, 9:20, ,,10:45,12:50 AT 8 P.M.- "MUST IE SEESTY EVERY flNE NORTON, HER. AM.

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lZ.MHIUl ALEX THE GYPSY aaaMM 1 I CNKZIM'S P(; THE FRONT THE S0K8 HEKA1NS THE SAKE THE RITZ Rl CIMCMaJ7 "I 1 SB MARATHON MAN Sorry! Ha Fassas a RUSS MEYER'S UP i ii i I Ca2T I i)isina wioia PG inn I riaULEY I niini'ticiiissn CARWASH lp ii 'Timt I l.VOTM I NORMAN IS THAT YOU? i PLUSI AU-H0RT0N HIGHLIGHTS CHALLENGE OF THE DRAGON plus! FISTS OF THE DOUBLE KrJ I t.IOH I 1 ROGUE UP YOUR ALLEY VaaBBBMMaiaiiaBaaaiaaaaamr HYKaH I naVonStini 171 El THE RITZ 1 30 3 30 30 30 J8 IF YOU OON'T STOP IT YOU'LL 00 BLIND A MATTER OF TIMEpj; 1 30-3 30 THE FRONT pBIJ I 9aMYC2 I 1 Will! MARATHON MAN Jil tarry! Wa 'astaa HA1ICI I I til tow SHapaoKtoal CAR WASH gPG ALEX THE SYPSY 7 30 I 30 "'A '-A A 'A VA A 5A A 'A lA 'A A A JA '-A A a a a MA( Al 'A' Si A A A A A A1 A1 A A A A A A A A A A 'A A an full li Surietiilii fciftBii lull tirij lmliisijitiililirjij ALISTON I "Silent Movie," 2, 3:30, 6:35, 8:10,9:45 ALUTON "Fact to Face," 2, 4:30, 7, ART I Headmaster" and "Behind the Greek Door," Continuous trom 10 a.m. ART II "The Joy ot Letting Go," 10, 11:35, 1:10, 2:45, 4:20, 5:55, 7:30, 9:05 ACTOR "High Velocity," 11, 2:25, 5:50, "'The Chinese Mechanic," 1230,4:15, 7:40. ACK tAY -Cher Victor," 4, 7:40, 9:30, 10:20. CACON HILL "Ala end The Gypsy," 1:00. 2:45, 4:30, 9:45 CHAhLM "Mce In Wondtmand," 2:30, 4, 8:37.8:30,10 CHARLII IA8T "Return ol the Pink Panther," 2, 8:50, 9.45; "The Bunihlne Boye," 3:55, 7:50 if- CHARLII WIIT 2:15, 7i "Cabaret," 4:50, 9:40.

CHERI Rltl." 1. 2:45, 4:30, 8H5, 1, 10 CHERI "The Front," 1, 2:45, 430, 6:15, 8, 10. CHERI "The Song Remains the Same," 1:18,4:18,7:18,9:45. CHESTNUT HILL "The Front," 1, 8 20. 7:29, "Solaria," 1, 4, 7, 9:30 CINEMA 87-1 "Marathon Man," 2, 4:30.

7:10. 9:35,11:00 CINEMA 87-1 MP." 1, :30, 4, 8:30, 7. 8.30, 10 CRtCU I "AHot In Wonderland," 1:45, J5, 8:80. 730, 11:00 a. I' 1 November 25-28, 1976 Hynes Auditorium 'Prudential Center, Boston A four day musical extravaganza.

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