Newsday from New York, New York on January 3, 1987 · 45
Get access to this page with a Free Trial

A Publisher Extra Newspaper

Newsday from New York, New York · 45

New York, New York
Issue Date:
Saturday, January 3, 1987
Start Free Trial

ENTlEKTAINMlEN'ir Weill Recital Hall to Open With Festival By Joseph C. Koenenn WH7 EILL RECITAL HALL, refurbished as part W of the Carnegie Hall renovation and renamed for a principal donor to that $50-million-project, will reopen Monday with a week-long festival of 20 concerts. The festival will include a range of music, classical and popular, traditional and modern, that was typical in what was formerly called Caniegie Recital Hall. That same range will continue through the rest of this abbreviated season, but plans are well advanced to make significant changes in programing for the recital hall . During the 1987-88 season, Carnegie Hall will limit its sponsorship to 16 Friday night chamber music programs in Weill Hall, except for some special concerts that may develop later. "We want to do something specific to establish an identity, so that people will know that on Friday nights there are concerts here with Carnegie Halls stamp on them, Kristin Kuhr, director of Weill Hall, said. The aim, she said, is to have "an incredible chamber hall in the true meaning of chamber music. The chamber concerts will be performed by some young groups, and more established ones that are willing to appear for less than their normal fees because of the intimacy of the hall. Kuhr said programing would include a generous portion of contemporary music. Carnegie Hall has nonsored as many as 96 concerts in the recital hall in recent seasons. In contrast to next seasons series of 16 Friday night programs, there will be a total of 63 Carnegie-sponsored concerts between todays reopening and May 21. Weill Hall will also be rented out for almost 200 concerts between now and June 30, many of them by artists making their New York debuts. As in years past, Carnegies programing for the remainder of this season is divided into series, such as popular songs on Saturday nights, new jam on Fridays, contemporary music on various nights, and chamber music on Thursdays. Although the emphasis will h n chamber mn- sic in future seasons at Weill Hall, Kuhr said that jazz, folk or popular music may return in special festival settings. She also intends to devote much of the programing to "educational projects for kids during file daytime and more concerts for senior citizens in the afternoon. She said that evening programing might be expanded in later seasons by offering more Friday night chamber concerts. Mondays first concert in the 268 seat hall will be a mid-morning program for emotionally- and learning-disabled children. The opening for the general public will be a program of songs by baritone William Parker, winner of the Caniegie Hall International American Music Competition, at 12:30 p.m. Violist Toby Hoffman and violinist Liba Shacht will give an informal performance 1 and conversation with the audience at 3 p.m. and the Juilliard String Quartet will perform at 8 p.m. The same general schedule, with other performers, will continue through Friday. Daytime ticket prices are $5, evenings $20. The current phase of the recital halls renovation cost an estimated $1 million, and earlier work on the lobby and adjacent areas brought the total cost to $2.5-$2.75 million. The hall was renamed for Joan and Sanford L Weill, who contributed $2.5 million to the overall Carnegie Hall renovation project. The facelift includes restoration of a Palladian column and arch design at the back of the stage, installation of three large chandeliers and other new lighting fixtures including discreet spots on the stage area, a new paint job in two shades of cream to match the larger hall, restoration of plaster decorative work and replacement of the floor, carpets and seats. Unlike the restoration of Carnegie Hall, which was intended to retain the familiar, excellent acoustics, work on the recital hall has been aimed at improving the sound. The new chandeliers, reduced carpeting and changes in the shape of the stage are expected to enhance its acoustics. Nothing has been done, however, to change the intimate feeling of the hall. "Its sort of like someones extended living room, said Betty Allen, director of the Harlem School for the Arts and a Carnegie Hall board member who has sung many times in the smaller hall. "The people are always dose to you. You can see all the feces. Soprano Martina Arroyo, another Carnegie board member, remembers not only singing concerts in the hall but auditioning there for appearances in much bigger spaces. "It holds a very special place in my heart, she said, n 'The Mission Bestows Unexpected Recognition Ray McAnaKy, left, and Ronald Pickup appear In The Mission. The fHm'a laat acene may make him a mors famWar face. By Charles Champlin Los Angeles Times HOLLYWOOD THE MEMORABLE last images of "The Mission, the more startling because they suddenly appear after the long dosing credits, are of Ray McAnally as Cardinal Altamirano, the Vaticans emissary to the Jesuit missions in South America, staring into the camera. "Its a way of saying, 'Its not just entertainment, is it T" McAnally said during an interview. "An interviewer in England, McAnally added, "asked me what I was actually thinking during that shot. Well now, its not the kind of thing you can put into words, is it? I mean, your thoughts dont necessarily taka the form of words. Theyre nods landing to a proposition, possi- consent. Umm, youre saying to yourself, Timm. "Surely the look is enough. But I had to answer something, so I said I was beaming out to the audience my agents nama and number. Although he has done more than 200 film and television shows and worked with Gary Cooper ("The Naked Edge), James Cagney ("Shake HandsWith the Devil), Robert Ryan ("Billy Budd) and many other American stars, MicAnally has what one could call the persisting and Bought-for un&miliarity of the true actor who would rather be believed than recognized. A photographer who had seen "The Mission confessed that she did not remember what part McAnally had played, and could he refresh hermemory? It was a compliment, tinged with irony. In truth, the man she was photographing looked little like a He wore a gingery toothbrush mustache and a rumpled suit. McAnally had grown the mustache for his role in a seven-hour mini-series of John le Carres "A Perfect Spy," in which he plays Rick Pym, fee extravagant, domineering con man father of Magnus Pym, the perfect spy who is the books narrator. Two episodes are done; shooting Concludes in Marrh- "I age from 26 to 75; its a grand part, he says. McAnally has also lately finished shooting "The Fourth Protocol with Michael Caine in Finland. In that one, he is the head of the KGB. McAnally was bora in the seaside village of Buncrana (pop. 1,000) in Donegal and says he has been giving performances since he was 6. "Traveling companies would come to team and set up a stage. Td do kids parts for them. Then again, his whole life occa- sionally seems like a performance, and to speak of his gift of gab is like calling Versailles a house. He commenced at St. Eunans College and then spent three years studying for the priesthood before deciding that it was not his vocation. "But I did understand that acting was a vocation, as distinct from a profession, and it needed discipline, work, study, the ability to read. He emerged from St. Patricks College with a degree in literature, language and philosophy and, in 1947 at 21, joined the famous Abbey Theater Company, of which he remains a member. He has appeared in some 250 plays and 200 or so television dramas and feature films. After all of it, he admits, "The Mission is the first of his roles to make the headlines. "And its welcome, he says with a smile bordering on the sly, "to make the headlines with a good part. In 1963, McAnally went on leave as a full-time Abbey player. "They were beginning to say, 'McAnallys competent. He can handle it. I realized it was time I tried being a small fish in a big pond. He went to London, and there was determined to accept anything except Irish parts. He played George in "Who's Afraid of Virginia Woolf?" in London for 18 months. He had re turned to the Abbey intermittently and, in 1980, went back fin- three full-time years of acting and direct- i been in flops, but Ive never been in a show I was ashamed of, McAnally says. "But without getting toffee-nosed about it. The Mission was in a class by itself with anything Ive done. At the end of a day you'd know youd done something worthwhile. But at that I didn't realize how much it had meant to me. Lately I told my son, 'When I die, Irish Television will calL Tell em to put on The Mission. u

Clipped articles people have found on this page

Get access to

  • The largest online newspaper archive
  • 22,200+ newspapers from the 1700s–2000s
  • Millions of additional pages added every month

Publisher Extra® Newspapers

  • Exclusive licensed content from premium publishers like the Newsday
  • Archives through last month
  • Continually updated

Try it free