The Boston Globe from Boston, Massachusetts • 45

THE BOSTON C.I.OnE WEDNESDAY, AUGUST A. )QRf 45 LIVES IN THE ARTS Davis' satisfying 'Magic Flute' Olive Jar filled with fantastic animation 0 7 1 By Jay Carr Globe Stuff One of the offerings in the Second Animation Celebration, opening a three-week run Friday at the Coolldge Corner Movlehouse, Is an eight-minute, compilation known simply as the Olive Jar reel. On it are an MTV spot featuring a guillotine, a made-up creature known as a furry snow frog, two black blobs that gracefully turn into a panda, a clay Frankenstein, a French-language Ziploc commercial and a mini-lampoon of supermaket tabloids with headlines like "Psychic Triplets Wed TV in Hindu Love Feast." The reel Is a sampler of the work that has for the last five years been pouring out of the Olive Jar Animation Studtos, a warren of rooms tucked inconspicuously Into a Brookline side street. Olive Jar, which has become New England's largest animation studio, employing 10-15 full-time artists and up to 35 when the work load warrants adding freelancers, takes its name from its founders, Brookline residents Mark D'Oli-velra, 32, and Bill Jarcho. 31.

Soon after they met while attending Emerson College, they collaborated on a nine-minute animated film, "The Taming." It won a student Oscar in By Richard Dyer Globe Staff LONDON It has been more than five years since Sir Colin Davis' last appearance as principal guest conductor MUSIC of the Boston REVIEW Symphony, and people In the orchestra and In the audience are still talking about how much they miss him. Sir Colin closed the current Co-vent Garden season with a revival of "The Magic Flute." The cast didn't look promising, but Sir Col-in's recording of the opera is the best there is, and it therefore seemed important to try to hear the last performance. It was a wonderful evening you never emerge from a performance of this work in a bad mood, but Sir Colin's way with the score is something very special because he appreciates both its sublime and its earthy qualities and holds them in balance. The production by August Everding is now eight years old, and it probably wasn't much good when It was new. It Is all very literal minded, and when Papageno and Papagena sing about the children they will have in their happy household, clusters of feathered children run to their side.

Because Sarastro and his cult of priests represent the enlightenment, they appear in 18th century dress in the middle of a fairy-tale world; the male chorus looks as If it were about to sign the Declaration of Independence. Mechanically speaking, the production doesn't move very smoothly any more curtains snagged and lurched; the vehicle carrying the three boys across the top of the proscenium swung like a pendulum. The cast was the kind that is regularly praised in the British magazines out of nostalgia for the days of a distinguished resident ensemble at Covent Garden. Well, most of this ensemble was resident THE MAGIC FLUTE Opera by Mozart, presented by the Royal; Opera, Covent Garden, tn London last week. all right, but It wasn't disttn-; guished, and It was not what one expects to hear at the highest ticket prices west of the Salzburg Festival, (over $100 for an orchestra seatL The only first-class artist was' the bass Robert Lloyd whose Sar- astro had not only dignity but force and urgency as well.

Francois' le Roux was a competent but slugg-llsh-voiced Papageno in the odious male soubrette tradition and Keith Lewis was a Tamlno who crooned and bleated. The Finnish soprano Karlta Ma-tllla was the Pamlria. She has a good strong voice that sounds as If it could already encompass parts' like Wagner's Elsa, but her tech-; nlque is still crude, clumsy and erratic, and it is clear that her man-': agers and Philips Records are pushing her prematurely into a big career (she comes to the Met to sing Donna Elvira next season). And al-. though she is a very attractive woman, she is singularly graceless on the stage at one point, she missed the log she had Intended to sit on, arousing the mirth of the au-; dience and of Sir Colin.

Mariella Devia was the kind of Queen of the" Night who makes the high F's sound easy and makes a mess of everything else, and the three ladies and the the various solo priests were frightful. David son as the Speaker of the Temple' nevertheless displayed an eloquent sense of text. Sir Colin took this unsatisfac-; tory raw material and made it into something beautiful, high-spirited and deeply satisfying. Since leaving Boston, he has made a few isolated American appearances as guest conductor; it is time that someone urges him to make some of them here. if r- Globe staff photoJoanne Rathe Mark D'Oliveira and Bill Jarcho run New England's largest animation studio.

1981, and impressed MTV enough to land them the commission for a series of station spots including the one with the guillotine that launched their studio. They began by sleeping in rooms that now are offices. Since then. Olive Jar has been sending Its work to animation festivals, and winning awards, balancing commercial work and independent projects, the latest being a animation called "Fran-pis Bob's Neighborhood," for which the finished scenery sits on a table backed by an orange sun on a string. "We're pretty hand-cranked here," says Jarcho.

leading a visitor through the complex of shooting It's neat to be your own little entity. "Going to animation festivals around the globe you realize that animation is an adult entertainment, that it's an art form in which you can express yourself in a lot of ways weird, funny, horrific. In this country, it's still Just cartoons to a lot of people, Smurfs and Disney characters. It's fun to feel yourself in on a time when that perception is changing. In Zagreb, the whole town turns into animation land during the festival.

TVs everywhere in bars, in shop windows show animations all day. It's an amazing thing, walking down the street and suddenly seeing your own animation. Working in animation to me is like suddenly getting permission to get kicked out of class. A guillotine is legitimate all of a sudden." day, we'd like to produce live action features. We'd like to do a film based on the five years we spent doing valet parking at Jason's.

Maybe a horror movie, too." "Not just your typical gore," Jarcho amplifies. "More like plunging into your brain." "Mostly these days we Just send our reel around. We don't do that much selling ourselves anymore. We have a few sales representatives in big cities," D'Oliveira says. Adds Jarcho, in their naturally contrapuntal style of talk: "We definitely want to continue to produce animated stuff.

And we intend to stay here. We like Boston. It's the right tone. Also, it's got a big talent pool. The pace in New York and Los Angeles is too crazy.

In New York, we'd be closer to the big money, but we don't feel like being burnt out at 33. stages, drawing tables and work areas where sculptors work on clay models. We do our own story-boarding, eels and model-making, BARGAIN MATINEE FIRST SHOW ONLY AT STARRED FEATURES sets. Now Bill's more like a creative director and I'm more like an executive producer, organizing the business end of things." After graduation. Jarcho taught at the Museum School before Olive Jar's increasingly heavy schedule scotched that activity.

His first animation student, Sean Burns, now is the studio's animation director. Other key Olive Jar personnel include head designer Michael Manning and studio manager Sean Brennan. Brennan, who Just directed a McDonald's spot, came from a student internship program Olive Jar established with the Massachusetts College of Art. the Museum School, Emerson and Boston University. "We're always looking," Jarcho says.

"A lot of our people aren't animators. They're artists and sculptors who learned to adapt." Ask them the proportion of commercial to Independent projects and you get two different answers. D'Oliveira says 60-40, Jarcho says 80-20. Both laugh at the discrepancy. "We became friends out of Just goofing around together and discovering we had the same sense of humor," D'Oliveira says.

"Our name is starting to get known in the advertising community, but we don't ever want to turn into a factory," Jarcho says. "The commercial stuff for people like Kodak and Miller pays most of the bills. But in addition to our animations, we'd like to set up a short film department." Says "Some just about everything but computer animation. Luckily, it doesn't matter if things get noisy, since we add the sound in post-production. We bought and adapted 35 Mitchell cameras, all made between 1924 and 1935, and they get pretty noisy." Although the studio has grown, it hasn't grown too big to nUnn rln fit.

yii I ti ii I I (HI MUSIC TEACHER 1230,245,515,730,10 V0UNC EINSTEIN 1030,1245,3,515,730,945 BATMAN 115,4,7,945 (Kill MOT1 (l THE ENTERTAINER 1215,240,5,720,950 THE ABYSS 11,145,430,715,10 (KID mi INDIANA THE LAST CRUSADE 10,1240,320,6,650 ff1l MURMUR OF THE HEART 12,230,5,730,10 PARENTHOOD 12,230,5,730,10 (Kill NNUU TURNER AND HOOCH 1045,1,310,520,745,10 1015,1230,250,510,730,950 DO THE RIGHT THING 12,225,455,720,945 vsmm LOCKUP 1230,245,5,715,930 KHEH HARRY MET SALLY 10,1215,230,445,7,915 11,110,320,530,740,10 aucuiuuu uit luoiuui ui tvtijruvujr having have lunch together in the same room each day. An oven in the corner of one room, however, isn't for cooking; it's for clay, Jarcho says. "About half our work is clay animation, and nothing is completely clay it's clay and wood, clay and other materials. We're also HEATHERS 115,315,515,715,915 SCEHES FROM THE CLASS STRUGGLE IN BEVERLY HIUS 1210,230,515,735,945 WHEH HARRY MET SALLY in 12,215,430,7,915 l) PETER PAN 10,12,2,4,6 (Kl CHOSTBUSTERSII 1,315,530,740,950 WEEKEND AT BERNIE'S 740,950 DO THE RIGHT THING 1245,3,515,740,1010 (Will (K) III. starting more to get into eel SHAG 1015,1230,245,5,715,930 (K) KARATE KID III 1,310,520,730,940 BATMAN 115,4,7,945 (I) (Kill (Will WOMEN ON VERGE OF NERVOUS BREAKDOWN 345,550,8,10 FRIDAY THE 13th, PART 8 130,330,530,730,930 LETHAL WEAPON 12,230,5,730,10 jPG-1312' (MUM ft Mi "At first, we both did everything," D'Oliveira says, "although Bill did more of the animation and I concentrated more on lighting and 1M4 tM( BABAR 1015,12,2 STAR TREK oa THE FINAL FRONTIER 115.315.515.715.915 INDIANA JONES I THE LAST CRUSADE 1230,430,730,1015 CHERI I 1 1 CHESTKUJHlll 1 1 SOMER VILLE 1 1 m( RE VCfltE 1 1 1 1 I 1 1 DANVERS FIELD OF DREAMS 10,1215,240,5,730,945 tTTT (Kill IK) (K) HONET I SHRUNK THE KIDS Kith TUMMT TROUBLE 10,1230,250,510,735,950 DEAD POETS SOCIETY 1.4,7,10 3 (HI 3 BARGAIN MATINEES EVERY DAY FIRST MATINEE SHOW ONLY DEAD POETS SOCIETY 1,4,7,10 fl STEREO SOUND DOLBY KINTEK (Kill FIELD OF DREAMS 1220,230,440,7,930 LICENCE TO KILL 115,4,7,945 (II I RU, 128 EXIT 32B 272-4410 I RU 9 at HAMMOND ST 277-2500 FRIDAY THE 13th, PART 8 1230,3,530,750,1005 i ill (ftll) (II YOUNG EINSTEIN 1:003:10 5:15 7:30 9:40 PG FRIDAY THE 13TH VIII 12:30 2:45 5:00 7:15 9:30 HONEY.

I SHRUNK THE KIDS 12:30 2:40 4:50 7:00 9:10 PG 'TERROFDC! From big laughs to breathtaking action. FUN! FUN! FUN!" Joel Siegel, GOOD MORNING AMERICA, ABC-TV DO THE RIGHT THING 1250,3,510,730,950 LETHAL WEAPON II nnu, 130,430,730,10 mmm YOUNG EINSTEIN 1 3:00 5:00 7:30 9:45 P6 PARENTHOOD YOUNG EINSTEIN 12,240,510,730,940 TURNER HOOCH 1:00 3:155:257:35 10:00 PG LETHAL WEAPON 2 12:45 3:30 7:15 9:50 11:30 2:00 4:35 7:30 10:00 PGI3 WHEN HARRY MET SALLY 1220,250,520,740,950 (K) (II (Kill (N) BATMAN no passes 1:00 3:45 7:15 10:00 PGI3 IK) TURNER AND HOOCH 120,330,530,735,940 LOCKUP mi 1245,310,525,8,1020 SOUTH SHORE PLAZA 848-1070 LICENCE TO KILL 1150,220,450,720,10 HONEY, I SHRUNK THE KIDS 1 2:30 3:15 5:15 7:35 9:50 PG DEAD POETS SOCIETY 1:30 DEAD POETS SOCIETY PARENTHOOD 1230,3,520,750,1015 Y0UNC EINSTEIN 455,715,920 (Kll) It HIM 1:30 4:05 7:10 9:50 PG INDIANA JONES III IK) (Kill (II LETHAL HONEY I SHRUNK THE KIDS with TUMMY TROUBLE 1210,230,5,710,930 (Kll) THE ABYSS 12,235,510,740,1010 AND THE LAST CRUSADE NO PASSES THE ABYSS musti 1135,210,445,720,10 1:15 4:00 7:20 10:10 PGI3 WESTGATE MALL 963-8833 THE ABYSS 12:00 1:00 3:00 4:00 7:00 7:20 9:50 10:00 PGI3 NO PASSES or V.I.P. TICKETS ACCEPTED FOR SHOWINGS AFTER P.M. TURNER HOOCH 12:45 3:00 5:00 7:45 10:00 PG PETER PAN 12:30 2:15 DEAD POETS SOCIETY 4:15 7:00 9:35 PG LOCKUP 1240,310,540,6,1015 PETER PAN 1240,215 PETER PAN 12,140,320 WEAPBN (I) 3' 8U 9 al SHOPPERS WORLD 23S-8Q201 DEAD POETS SOCIETY 430,740,1010 PARENTHOOD 1150,220,450,730,1005 mm mum THE ABYSS LOCKUP LOCKUP 1,315,530,745,1005 TURNER AND HOOCH 1150,210,705,930 120,330,535,735,10 WHEN HARRY MET SALLY 1,315,520,720,935 FRIDAY THE 13th, PARTS 1230,240,450,720,930 IRTE3-EXIT FtTE 53 337-53531 HI (II irtu) (Will 9F" ly.5.v.v. I LETHAL WEAPON II in 1235,255,510,725.950 WHEN HARRY MET SALLY it) 110,315,515,730,930 THE ABYSS 1:00 4:00 7:00 9:50 PGI3 NO PASSES or V.I.P.

TICKETS ACCEPTED EOR SHOWINGS AFTER 6 P.M. PETER PAN 1:00 3:00 6 YOUNG EINSTEIN 5:10 7:15 9:30 PG PARENTHOOD 1 1 :30 2:00 4:10 7:10 9:50 PG13 TURNER HOOCH 12:45 3:00 5:15 7:30 9:45 PG LETHAL WEAPON 2 1:30 4:00 7:00 9:30 BATMAN no passes 1:154:157:109:50 PGI3 HONEY. I SHRUNK THE KIDS 12:00 2:30 4:45 7:00 9:30 PG IK) (I) (I) mm id LICENCE TO KILL 115,415,715,945 WHEN HARRY MET SALLY 1245,3,510,735,955 1:00 4:00 7:00 9:50 PG13Q HO PASSES or V.I. P. TICKETS ACCEPTED EOR SHOWINGS AFTER 6 P.M.

PARENTHOOD 11:302:004:30 7:15 10:00 P6I3 TURNER HOOCH 12:30 2:45 5:00 7:30 9:50 PG PETER PAN 1:00 3:00 5:00 LETHAL WEAPON 2 1 :30 4:00 7:00 9:45 BATMAN no passes 1:00 4:15 7:15 10:00 PG13 THE ABYSS 1:00 4:00 7:009:50 PG13 NO PASSES or V.I.P. TICKETS ACCEPTED FOR SHOWINGS AFTER 6 P.M. WEEKEND AT BERNIE'S 1235,3.510,745,950 LICENCE TO KILL 130,430,720,10 BATMAN (feu) 1,4,715,945 DO THE RIGHT THING 1145,220,5,725,950 TURNER HOOCH 1:15 3:20 5:15 7:309:35 PG BATMAN no passes 1:20 4:25 7:10 10:00 PG13 DEAD POETS SOCIETY 1:10 4:15 7:20 9:45 PG ts. 1 4 iCA 70MM 0018Y DOLBY OOlBT I LOEWS LOEWS SHOWCASE CINEMAS LOEWS 1 CINEMA 57 HARVARD SQ. CIRCLE SOMERVILLE ISTUMti' NIAtlMMiO 1Q(HU0CH11 CAMIIlOd Cll A NO I RC gi ASSlMiir SO T( I 462172? B64-4S80 1 566-4040 628-7000 i DOLBY i DOLBY DOLBY i (SHOWCASE CINEMAS I SHOWCASE CINEMAS GENERAL CINEMA GENERAL CINEMA LOEWS 1 DEDHAM REVERE BURLINGTON Mill FRAMINGHAM DANVERS I TI I i Jr IS I fl tl I SOUIUI ID (10011 US IHIlJiB til SiO'PIl! WOUC IK 1J0-IHI174 I 1 326-4055 )1 286 1660 277-4410 235-K10 872-4400 Jl 777-2SSI NO PASSES (W BATMAN 1,4,710,950 (Kill MIUHI STAR TREK THE FINAL FRONTIER 110,310,515,730,945 DEAD POETS SOCIETY INDIANA lONESt THE LAST CRUSADE 7:10 9:55 PG (K HONEY I SHRUNK THE KIDS ith TUMMY TROUBLE 1250,310,525,8,1015 CHOSTBUSTERSII 1255,3,510,720,935 UHF (Kl PETER PAN (MI) FIELD OF DREAMS 1245,250,5,715,920 LETHAL WEAPON II mil 1230,250,510,750,1020 III KWHt TURNER AND HOOCH BARGAIN SHOW FIRST MATINEE DAILY NO PASSES FOR THE ABYSS' 'LICENCE TO KILL BATMAN' BE? THE ABYSS LOCK UP 1145 210 435 730 1000 LOCK UP 145 430 720 955 100 400 710 1000 YOUNG EINSTEIN 100 305 510 740 1010 "Two Thumbs Up STKVK MARTIN ES TURNER A HOOCH 1230 240 450 750 1010 IT'S TIME TO SEE WHAT EVERYONE IS RAVING ABOUT! IPST51 PARENTHOOD 1130 205 440 735 1015 LH DO THE RIGHT THING 130 415 710 940 urmmu LICENCE TO KILL 1130 205 440 730 1015 BABAR.

THE MOVIE 1200 WHEN HARRY MET SALLY 1215 230 445 730 955 FRIOA THE 3th PART VIII 1215 230 445 720 940 THE ABYSS 100 400 710 1000 LETHAL WEAPON 2 1145 205 425 710 945 WHEN HARRY MET SALLY 1215 220 425 725 955 Parenthood LOCK UP 1200 215 425 710 940 "IT'S WONDERFUL! ROMANTIC AND FUNNY!" -Joel Siegel, WABC-TV Hi LETHAL WEAPON 2 1145 145205 400425710745 950 1015 E2 YOUNG EINSTEIN 1230 240 450 735 950 BH3 THE ABYSS 100 400 710 1000 DO THE RIGHT THING 130 415 700 935 ES31 PARENTHOOD 1130 200 430 720 1005 It could happen to you. EE YOUNG EINSTEIN 1230 240 450 735 1000 iPCTTS BATMAN 1130 210 445 735 1010 B2 TURNER A HOOCH 1215 225 440 705 930 K2 HONEY, I SHRUNK THE KIDS Pn-13 IMAGINE A UNIVERSAL RELEASE HI LOCK UP 1200 215 425 715 945 ESS PARENTHOOD 1150 215 440 725 1010 RID Ay THE 13th PART VIII 1200 Z30 435 715 945 1230 245 500 745 1015 When Harry Met WHEN HARRY MET SALLY 1240 255 510 745 1015 TURNERS HOOCH 1215 230 440 705 930 IPG-131 THE ABYSS IE LETHAL WEAPON 2 100 400 710 1000 FRIDAY THE 13lh PART VIII 1250 310 520 800 1025 1215 235 450 730 1000 f' LOEWS If LOEWS LOEWS Nnw Plflvino i cheri somerville danvers WJ, I 534-2870 II 628-7000 1 1 T7M55S IMilM mirxxmsTTO mirxxmsTiSrol- nfllrxxgrsTirol' 1 1 dolhyetehed GENERAL CINEMA II GENERAL CINEMA 1 1 SHOWCASE CINMAS I SHOWCASE CINEMAS I fSHOWCASE CINEMAS FRAMINGHAM CHESTNUT HILL WOBURN DEDHAM REVERE III. 9 al JHOWIi WOI10 Htt. 9 al HAMMOND ST. HI.

Ill 1KIT JJ A Ml. 31 ATI. I IM IXIT ISA RTI. CI A SOUIRI RD. Ili-IOiO lM0 1 1 277-2500 933-5330 326-4955 286-1660 la LOCK UP 1200 215 425 710 840 WHEN HARRY MET SALLY BATMAN 11 1245 300 515 745 1005 1130 200 430 725 1010 YOUNG EINSTEIN 250 500 735 950 CASTLE ROC IwEial LICENCE TO KILL EG HONEY, I SHRUNK THE KIDS 1145 200 420 700 920 E333 1135 205 435 730 1015 PARENTHOOD 1145 215 440 725 1015 S3 PETER PAN 100 300 No Passes at Loews Theaters LETHAL WEAPON 2 BABAR, THE MOVIE 1200 FRIDAY THE 13th PART VIII 100 310 520 750 1020 1145 210 430 500 710 740 950 1015 LOEWS If LOEWS fSHOWCASE CINEMAS LOfW (OPIEY PLACE HARVARD SQ.

CIRCLE SOMERVILLE ItB HHMTINCTH Ht. WITH 10 CHUtCH ST. CAMIftlOGI CUVIIANO CIRCL! ASSIMIIT SO III 93 266-1300 864-4580 566-4040 628-7000 pcrrai BATMAN IPCFT31 LICENCE TO KILL 145 420 710 950 WHEN HARRY MET SALLY 113U zuu JU mi iuiu 1245 255 510 740 1000 IPU-131 INDIANA JONES 3 130 430 715 945 IPS! HONEY, I SHRUNK THE KIDS 1215 225 435 700 925 PG DEAD POETS SOCIETY LOEWS 1 1 LOEWS I SHOWCASE CINEMA fSHOWCASE CINEMASl 8MOWCASI CINEMAS d'Anvebs NATICK DEDHAM REVERE WOBURN lHllltn HI. I 111 III. ISA RTI.

CI SQUIII RD. Ill ,11 llll IS HI. 777-1111 iMtHin H3-H05IIMM0 II 326-4933 286-1660 11 933-5330 EES BATMAN EH DEAD POETS SOCIETY 400 700 930 1130 200 430 720 1010 fflhe Uoion (globe Have you seen The Globe today? Home delivery 929-22. izo 4iu fuu ana 533 ES2 INDIANA JONES 3 U2 iVdt Disney's PETER PAN INDIANA JONES 3 150 430 730 1015 Check directories, or call theaters for show times NO PASSES ACCEPTED FOR THIS ENGAGEMENT i rim zoo 3.