The Berkshire Eagle from Pittsfield, Massachusetts • 6

6 Thc Berkshire Eagle. Tuesday. Aug. 16. 1977 Movies Theatre Music TV Art Art review Play review Tivo Stockbridge shows A spacedrout 'Tempest' edh5s lively world ly Milton R.

Bass By Winifred Bell YOU JUST can't argue with success and Robert Daley's present exhibition at the Red Lion Inn in Stockbridge has enjoyed the kind of success many artists dream about. It's practically sold out. There are empty spaces on the walls between his lovely traditional water-colors which indicate that some buyers were so anxious that they couldn't even wait for the show to come down to claim their purchases. Daley's popular paintings in this display are as familiar and American as apple pie. It's all New England: intimate woodland scenes in late winter with the snow melting, crumbling old barns and fresh ilowers.

In one small work a tender young birch tree is juxtaposed against a large old one like a mother and child I particularly liked a crisply painted ruined barn with doors askew and, missing window panes, through which one can see right through a big door opening to the landscape beyond. There are still some watercolors left on view but you had better hurry. They may all be gone 4 THE TEMPEST. A play by William Shakespeare. Presented by the Sunshine Stage.

Directed by? Frank Bessell. Production designed by Bruce Baldwin. Costumes and make-up by Stephen Ernngton. Choreography by Amy Cotler. Music synthesized by Joseph Mascioli.

Performances through Sept. 3. Alonso George Bergen Sebastian Otis Gustafson Prospero Glenn Barrett Antonio Frank Askin Ferdinand Bernard Lunnon Gonzalo Tom Head Adrian Charles Wright Caliban Bruce MacDonaid Trinculo Linda-Anne Strite Stephano Thomas Towne Miranda Amy Judd Ariel Baldwin Ins Gloria Olson Ceres Jessie Marie By Sue Halpem SHAKESPEARE in space is awfully flighty stuff. But that is where the Sunshine Stage Company has launched their current production of "The Tempest," which has landed at Holliston Junior College in Lenox. Actually, "The Tempest" on the moon is not, in itself, an absurd construction.

The play, written (circa) 1611 is a product of an age greatly moved by the discovery, exploration and colonization of the New World. Thus, in an era in which sophisticated rocketry has made it possible to consider outerspace our next uncharted frontier, it is not unreasonable that the Sunshine Stage would transport their production to a new moon. and, more importantly, to some energetic acting. Most notable are Judith Baldwin as Ariel, whose mystical songs, sung a cappella, are a lithe extension of her fluid gymnastics; Bruce T. McDonald, whose lopsided antics, superbly controlled monotone and green webbing make him a delightful, albeit scary, Caliban; and Linda-Anne Strite as the irresponsible and irrepressible Trinculo.

Glenn Barrett puts in a fine performance as the noble Prospero, despite the fact that he does not look venerable enough to be the sagacious father of Miranda and former Duke of Milan. And Otis Gustafson as Sebastian and Frank Askin as Antonio wield their evil sharply. All of this overcomes a rather bland performance by Bernard Lunnon as Ferdinand, who looks and sounds as if he is reading his lines from cue cards placed strategically off-stage, and his love-mate Miranda (Amy Judd), whose supersonic delivery prohibits any sane comprehension of her lines. "The Tempest" at the Sunshine Stage is, finally, an uneven production. If you are seduced by visions of intergalactic fantasy, romance and intrigue, invest your time and money in "Star Wars." But if you are in the market for a decent rendering of Shakespeare, visit the Sunshine Stage.

The play, itself, is, as ever, a dream. Performances will be given Aug. 17-20, 24-27 and Aug. 31 to Sept. 3.

All curtains at 8 p.m. century poet extraordinaire. Is it possible, by some fantasiic leap of the imagination, to hear geographic referents such as Milan, Naples and Tunis, or such mortal concepts as king, war or, even, love, and still be sent to another time, another place, another space? And, can this same leap overcome inculcated notions of 17th century dress so that we can envision these astronauts sailing through their heavy robes trailing behind them? Perhaps to propel our weighty imaginations, the Sunshine Stage has employed a series of special effects to lend credence" to their concept: moog music, smoke screens, planetary projections and an interspace scanner to aid Prospero's magical contortions. But the special effects, which by themselves are quite fantastic, hinder the ensemble. Aside from their general incompatibility with the tenor of Shakespeare's song, they are constant impediments to the verbal activity transpiring on stage.

The point to be made here is not that the sanctity of Shakespeare is defiled by these innovations, but that they should not be the raison d'etre of the production. Moreover, they are gimmicks which the Sunshine Stage does not need: they muster up a gale-full tempest without them. This is due, in part, to an extremely versatile set that looks like a geometric playground slightly shocking because of the otherwise normalcy of the situation. Naturally a comparison with Manet's "Dejeunier Sur L'herbe" comes to mind. In still another of Neel's penetrating portraits an old woman in a vivid blue dress looks at us with affection and interest.

She dominates the work by virtue of her barely sketched chair and little background. Her crumpled face looks as though years have walked across it. but she graciously accepts her condition. This body of work indicates to me that Alice Neel is perceptive and deeply empathetic toward her fellow creatures. Bessie Boris's pastel portraits are certainly as strong as Neel's, but less involved.

Her subjects look away and avoid eye with us. They are sad and resigned, having withdrawn from feeling too intensely, less they feel pain. This group of young people (perhaps aged 10 to 20 years) displays a child-like vulnerability while thev assume attitudes of adult self -evidence. Boris uses dark values of stunningly bright colors so that one thinks of dimly lit jewels. Composition and coi-or arrangement are as important as insight into her subjects (perhaps more so).

Color areas are distinct from one another even though there is much blending on a single patch of dark background paper. In only three works is there anything other than the subject itself. Two boys are seen against windows (nothing in sight through them) and one little girl is accompanied by a few toys on a round table. The very reticence of these children draws the viewer toward them. I was amazed to see tourists wander in and out of the gallery in two minutes.

This show is worthy of quiet contemplation and concentration. Both women are fine professional artists. Robert Daley's show at the Red Lion Inn will remain on view through August 24. The portraits at Image Gallery will continue until September 17. Surely you'll be in Stockbridge sometime soon.

I Unfortunately, it barely escapes gravitational pull. The play is, firstly, encumbered by the earthy sensibilities of a 17th UPI Dana Andrews The return of Mrs. McQueen The antithesis of Daley's exhibition, contemporary portraits by two women artists, is being shown next door at Image Gallery. Alice Neel outlines her subjects in strong blue line. They stare directly out of the canvas at the viewer as if trying to communicate mutely.

In one work a startled mother clutches her baby and the child itself looks at us tensely and with suspicion. Although their clothing and surroundings give no indication of violence one wonders what the world has done to them. In another painting a nude man and woman sit on a sofa and converse with us. He holds, one of her hands and embraces her waist casually with the other. He seems relaxed and easy while she leans forward intently to hear what is being said.

There is nothing suggestive or erotic about the scene; no conspicuous display of genital organs; yet their nudity seems DANA ANDREWS has the most incredible willpower I have ever witnessed. Not because he refuses to drink alcoholic beverages. Everybody knows that he was an out-and-out alcoholic for many years and that he hasn't taken a single drink for the past eight. Big deal. But what I saw him do at lunch at the Red Lion Inn was incredible.

He ordered the chopped sirloin platter and it came with steak fries, those chunky, golden, deep-fried potatoes that just beg you to pick them up in your fingers and let your teeth crunch them in half, the warm flavor spreading through your entire system, dulling the senses to outside pressures, making everything seem rosy and somewhat distant, troubles gone, things a bit hazy Dana Andrews casually shoved them off his plate onto a side dish and forgot about them. To me, that's real willpower. That isn't the only thing that makes Dana Andrews a remarkable man. First of all, at the age of 684 he is still a most handsome individual with erect carriage (all those years of war movies) and those granite-chiseled features only somewhat chiseled by time. There is also a vibrant zest for life and all it contains, plus that incredible lik-ability that made his presence so important in the 80 films he made over the course of nearly 40 years.

He limits himself to only one movie a year now and the roles are limited by natural limitations, but when the Berkshire Theatre Festival wanted a star name for "Come Back Little Sheba," which opens in Stock-bridge tomorrow night, it sent word across the nation to see if Dana Andrews might like to do it. Dana Andrews was and is delighted. Although he limits his movie jobs to one a year I'm going to be 70 pretty Dana still enjoys doing three plays a year on the road, especially when he can co-star with his wife, actress Mary Todd, to whom he has been married for 38 years. "We usually do dinner theatre." he said, "so this is a little different for me." How come Mary wasn't co-starring with him in the Berk-shires? "They wanted star names," he said simply. "They had Es-telle Parsons to begin with, but she got that Broadway thing." After his two-week stint here, he heads back to Los Angeles where his real estate holdings could be considered a full-time job for the ordinary rich man.

Dana Andrews doesn't dabble in real estate; he and his partners put deals together like the rest of us play Monopoly. "I have one hotel that brings me in $200,000 a year," he said offhandedly. The gift for numbers did not come from heaven. Andrews was an accountant before he was an actor, and if it hadn't been for a few lucky breaks, he might be one today. With who knows how many hotels to his name.

The first break came at a time when Dana had just about decided to give up acting and return to Texas in some more prosaic line, like accounting. He had been in Hollywood for nine years and had received excellent reviews for his performances at the Pasadena Playhouse and other area theatres, but he had not been able to get an agent to sign him on, let alone a role in a movie. Then he received a note from an agent who turned out to be an older man who had recently arrived in Hollywood from New York and didn't have one client yet. But there was something Citizens Hall, Stockbridge (Interlaken) Mats. 01262 UPI NEW MUSIC -TX ATI! AUGUST 16-20 "irtlrm VIVA REVIVA SZZfJHZ I CURLY HEADED Ali McGraw and Kris Kristoffer-son take a break from filming "Convoy" on location in Mexico.

Mrs. Steve McQueen in private life, the actress had three box office hits to her credit when she quit four years ago to "avoid a scrambled life, bring up my children and give us a feeling of family solidarity. IT EVE MERRIAM For Information and Reservations 413-2v-946 By Vernon Scott HOLLYWOOD (UPI) Ali MacGraw stopped her career cold four years ago "to avoid a scrambled life, to bring up my children to give us a feeling of family solidarity." In private life Ali is Mrs. Steve McQueen. Three hit movies When she quit, Ali had made only three movies but their collective impact on audiences and the box office probably were greater than any actress ever made in so brief a span.

The pictures, "Goodbye, Columbus," "Love Story" and "The Getaway" have earned more than $200 million so far. It took courage to stop. But it was a matter of priorities. There were more important things in her life than a career. The decision was made after she completed "The Getaway" in which she costarred and fell in love with McQueen.

Thereafter both stars divorced their spouses, married and settled down above Malibu beach -with Steve's son, Chad, now 16, and Ali's son. Joshua, now 6. "I knew we had to make a family and provide security for ourselves and the boys," Ali said. "Yes. it was a gutsy decision.

There was a lot at stake in view of the three successful pictures in a row. That's scary." "However, there was no choice but to quit. It was a simple matter of the family being more important to me than work at that time." Ali sipped an evening cocktail in a quiet corner of a Beverly Hills restaurant. At 38 she is as stunningly beautiful as she was in 1969 when she made her film debut in "Goodbye. Columbus." Ali is back at work now.

costarring with Kris Kristoffer-son for EMI in "Convoy." The change of pace from domesticity clearly agrees with her. The dark brown hair was curly and cut to within an inch of her classically chiseled head. The huge brown eyes crackled something that seemed right and Dana signed with him. Twenty minutes later he was in Sam Goldwyn's office. It turned out that the agent was an old friend of Goldwyn's right-hand man, and the Goldwyn aide arranged for a screen test with all top people.

Goldwyn took a look at the test, and Andrews was immediately signed for the long career ahead of him. Lucky break No. 1. Dana's first movie, "The Westerner," in 1940, starred Gary Cooper and a young starlet named Doris Davenport, for whom Goldwyn had great expectations. Dana Andrews had exactly four lines in the film.

But when the billboards came out for "The Westerner," they all proclaimed "Starring Gary Cooper and Dana Andrews." Whoever in the publicity department was responsible for billboards had been caught on the horns of a dilemma. Gary Cooper he knew. But who were these two females Doris Davenport and Dana Andrews? He went for the prettier first name Dana. Doris Davenport made one more movie and then disappeared from films. The other girl, Dana, she did all right.

"Just think," mused Dana, "suppose I had used my real first name. Carver, instead of my middle name, Dana, when I went into acting?" That was break No. 2. The third big break came in 1944 with the release of a picture called "The Purple Heart." Dana was in Philadelphia with a host of stars and studio bosses to promote a film called "Wood-row Wilson." There was this big affair to which the public was invited, and each actor was introduced by master of ceremonies Georgie Jessel. All of the actors received nice welcomes from the crowd, but when Dana Andrews was introduced, the place went berserk to the point where Jessel had trouble calming them down again.

Both Darryl Zanuck and the late Spyros Skouras, who was then head of the studio, later told Dana that this was when he assumed superstar status in their eyes. They put his name above the title in his next two movies. What none of them knew at the timewas that most of the women in the audience were there for a meeting of the wives of Air Force pilots and the week before thev had seen "The Purple Heart," with which they all identified. That kind of break can break your heart in more ways than one. The best break, of course, is talent, and a man who has appeared in films like "The Ox Bow "Laura," "A Walk in the Sun," "The Best Years of Our Lives" and "Boomerang" doesn't have to thank the stars for advancing his career.

The stars are within himself. When Dana Andrews isn't acting or playing with his blocks, he gives a good deal of time to the National Council on Alcoholism. "There are nine million alcoholics in this country," he said, "and they need help. It's tough to fight because the government gets $30 billion a year in taxes from alcohol. But the money lost because of alcoholism is appalling.

And the worst thing of all is that for every alcoholic, the lives of seven other people are affected. They keep cracking down on dope, but alcohol is the most easily accepted dope of all." I looked down at the potatoes on the plate. They had become soggy and cold but my fingers still twitched. Alcohol is a dope, but steak fries are the opium of the people. Stockbridge schedules final concert The final concert of the Stock-bridge Chamber Concerts series will take place on Mondav, Aug.

22 at 7:30 at St. Paul's Episcopal Church in Stockbridge. Charles Kavaloski. principal French horn of the Boston Symphony, soprano Helen Boatwright and her husband, violinist Howard Boatwright. will perform with pianist Elizabeth Hagenah, director of the series.

The evening's program will include Brahms's "Rain Sonata" in for violin and piano. Schubert's Sonatine Opus 137, No. 1 for violin and piano, "Auf dem Strom" by Schubert for soprano, horn and piano, Brahms's Horn Trio in Flat, Opus 40, for horn, violin and piano, and a group of songs by Brahms for soprano and piano. Tickets are available at the Red Lion Inn in Stockbridge, the Curtis Hotel in Lenox, or at the door. fc AIR CONDITIONED BERKSHIRE MUSEUM PITTSFIELD LITTLE CINEMA Last Time Tonight 8:15 Wizardf Sciance-Fiction hitl Starts WEDNESDAY Po'OmoutM Pictures Presents George C.

Scott Islands in the Stream" with vitality and enthusiasm. "During the past four years we bought the beach house and I worked hard at redecorating it entirely." she said. "I drove the boys to school, took care of the house, did some cooking and all the rest. Gossips say Steve insisted I retire. That wasn't the case at all.

I wanted it that way. More than fame "In the last couple of years I felt a growing need to get back to work. It feels wonderful to act again. But I don't want to be just famous. I would like to be a good artist which will take time and effort." Of the hundreds of scripts offered Ali.

"Convoy" was the most appealing. She had worked with director Sam Peckinpah in "The Getaway" and she liked the story. "I was terrified the first day back on the set." she said. "And I'm nervous before everv scene. I wasn't scared at all in my first picture.

'Goodbye, I was so stupid I thought I could do no wrong. "My reactions today are pure insecurity. I've never had formal training as an actress. And I can't take that sort of training now because I haven't the time. So it's up to me to work as hard as I possibly can.

"I know my limitations. I have to play roles close to myself. The woman in 'Convoy' is a succesful photo-journalist. "This picture is important to me because of the strong feelings that exist about the fact that I've enjoyed a certain amount of success without paying the proper dues. There's a sort of prove-it-to-me attitude about it.

"Much as I enjoy the work, I'll never make back-to-back, crank-'em-out pictures. I'd like to do good films with people I respect. And I'm opposed to spending too much time away from Steve and the boys." Also starring David Hemmings Gilbert Roland and Claire Dloom Dosed upon rr Novel Dy Ernest HtNtiingwoy A SPRUCE GROVE to Allan Albert, Artistic Director The Berkshire Playhouse THE BAD KEWS sSm'a LOUNGE 1 1 GRAND OPENING WEDNESDAY THEJOEDOWEN TRAVELING ROAD SHOW OPENS TOMORROW THROUGH AUG. 28 DANA ROSEMARY ANDREWS MURPHY come Back, Uttue sheea William Inge's legendary play about AMERICAN life in the 50's M3 with Present this ad at box office for a $2.00 discount for Thurs. 2 p.m.

Sun. 3 p.m. Matinee performances. Subject to ticket availability. Paul G.

Moore with Kentucky drama Paul G. Moore, a former student at Berkshire Community College, is serving as master technician this summer with the outdoor production of "The Book of Job" at the Pine Mountain State Resort Park in Pine-ville, Ky. At BCC, Moore designed several productions, designed scenery and lighting, and served as technical director and master electrician. He also studied at the University of Rhode Island, where he designed scenery for "Juggling," "The Great MaGoo" and "The Glass Men-agery." Moore will travel with "The Book of Job" company on a national tour beginning in MIKE SACCO RICK WILLIAMS JOHN ZARVIS STEVE WILLETTE A Great Vocal Show Group FIRST AREA APPEARANCE WED. thru SUNDAY Happy Hour Prices Wed.

Thurs. Nights OFF Rte. 8A, JACKSON ROAD, SAVOY NOW The Unicorn Theatre NOW THROUGH AUGUST 2 8 jjo A world premiere of a I HolJ MU new musical. The Proposition Theatre NOW BY POPULAR DEMAND EXPANDED SCHEDULE TUESDAY THROUGH SUNDAY NOW THROUGH AUG. 28 PROPOStnON I EVES.

749PM SUN. MAT 1 743-2200 or 743-5101 it 1.00 this week only STOCKBRIDGE. MASSACHUSETTS 413-298-5536.