Newsday (Nassau Edition) from Hempstead, New York • 60

ENTERTAINMENT History From the Pockets of Tchaikovsky 1 to Moscow and saw how fragile they were, I realized it was best just to do the title pages of some." All of the papers are yellowed and fragile. Where Tchaikovsky made notes or doodles, the ink is faded. Each is related in some way to his visit, during which he observed his 5lBt birthday (on May 7, 1891). There are the books he carried with him, scores he conducted at Carnegie Hall, compositions he worked on while here. Usually they are kept in archives of the Tchaikovsky House Museum in Klin, outside Moscow, or of the Glinka Museum of Musical Culture, but they are not displayed.

"If I had them, I wouldn't display them either," Francesconi said. "That's By Joseph C. Koenenn STAFF WRITER I ETER Dyich Tchaikovsky's I JW notebook and diary, his I jatfT Bible and conducting I I scores are back in New York, 100 years after they accompanied him on his historic visit to open Andrew Carnegie's new musk hall. The first time, they came as everyday objects, tucked away in the composer's pockets or luggage. For this visit, they were personally carried by two Soviet museum executives who put them in plastic shopping bags so no one would realize they were now priceless treasures.

Although the documents, which Above, a postcard sent to Tchaikovsky In car of Carnegie Hall (the New Music Hall) on May 8, 1 891 At right Is his calling card, Inscribed To my friend Walter Dam roach, in remembrance, P. go on exhibit today in the new Carnegie Hall Museum, are insured for $1.5 million, they could never be replaced. Most of the material has not been outside Russia since Tchaikovsky died in 1893, and, even in the Soviet Union, only serious scholars are usually allowed to see these papers. About half of the museum's 2,200 square-foot space is devoted to the visiting exhibit from the Soviet Union. The other half holds a permanent installation of photographs, programs, scores and other papers from the hall's archives, beginning with a program for the opening festival, May 5 to 9, 1891.

There are also batons used by Arturo Toscanini, Eugene Or-mandy and Herbert Von Karajan, and Benny Goodman's clarinet. James Stewart Polshek, whose architectural firm was in charge of the recent restoration of Carnegie Hall and the design of the museum, said the detailing for this new space was inspired by the hall itself and by traditions that came out of turn-of-the-century Vienna. Uauna Belan-ovich and Natalia Tartakovs-kaya decided that the beet se CARNEGIE HALL CENTENNIAL why they're in such relatively good shape." He recalled that when he opened Tchaikovsky's Bible at the Glinka Museum, dried flowers fell out. Everyone assumes they were picked by the composer during a visit to Niagara Falls and lay pressed between the pages for the next 100 years. Asking Francesconi what his favorite item in the exhibit is, is like asking a boy which sweet in the candy store he likes best.

He points to one, then another, then another. He settled on the little personal notebook, where Tchaikovsky wrote reminders to himself and jotted down musical ideas as they came to him. "Here we have these works of this genius who composed all these masterpieces," Francesconi said, sweeping across the exhibit with his hand, "and here he is worrying about where to do his laundry and can you drink the water in New York." Those are but two of the questions Tchaikovsky reminded himself to ask his hosts at Carnegie's music hall. The museum is open to the public from 11 a.m. to 4 p.m.

Tuesday through Sunday, and to audiences attending concerts. The Tchaikovsky exhibit will be on view through June 30. No one was willing to say how the materials will he transported back to the Soviet Union. II OTH THE museum and the Tchaikovsky exhibit were financed largely by a grant of more than a million dollars from the Susan and Elihu Rose Foundation. Initially, Francesconi said.

Soviet au curity for transporting the collection to New York was the simplest. They packed the materials carefully in boxes and then put the boxes in shopping bags, along with umbrellas, spare shoes and the like. "You know," said Gino Francesconi, Carnegie Hall archivist and curator of the exhibit, "they think a lot the way I do. It was so neat. We were walking up Seventh Avenue with the Tchaikovsky documents in the bags.

I felt like those jewelers walking around Forty-Seventh Street with diamonds in their pockets." The Tchaikovsky memorabilia celebrates not only the 100th anniversary of Carnegie Hall's debut, but also the opening of its new museum, on the second floor of the 60-story tower that has just been built adjacent to the landmark auditorium. thorities were reluctant to lend the Tchaikovsky material, but when they learned it would be housed in the hall's own museum, they acquiesced. He began negotiations a year and a half ago, he said, "and they refused me nothing." "At first I was greedy. I wanted everything. I wanted whole scores, for instance, but when I got When More Than the Lipstick Was Red By Jan Stuart 8TAFFWRTTER OMETHING VERY interesting is happening to Charles Busch.

A bit of his haute-couture heroines is beginning to rub off on him, and I'm not talking about their eye shadow. For those of you who have not beat a path down wood and flag-waving as a self-promotional tool. The polemics never upstage the parody, however. True to his alter -egos Mary and Gertrude, Charles Busch is still concerned with looking fabulous and putting on a good show. "Red Scare" seduces with the shameless allure of an old movie trailer that trumpets: "Julie Halston stars as Pat Pilford, the slapstick radio queen with a terrible secret ('Girl, there is strange sex going on all over this Andy Halliday is Malcolm, the devoted houseboy living in a bizarre netherworld of half-men CI came from Secaucus, New Jersey as a young cosmotologist with a and Judith Hansen is Maria Towers, the sultry actress with an unsavory method ('She's had more Russians in her than the As ever, Busch is exceedingly generous in tailoring comic turns for his daffy stock company, which also includes Mark Hamilton vaulting through four roles, and Arnie Kalodner oozing his young Jimmy Stewart charm as Mary's Commie-victimized husband.

Busch devotees will miss the extravagant presence of the late and deeply lamented Meghan Robinson, but some of the slack left by her absence is taken. up by Julie Halston's unharnessed field day as a comedienne with the banana-peel instincts of Martha Raye and the slippery soul of Anita Bryant. They are all directed with merry aplomb by Kenneth Elliott, who is to Charles Please see SCARE on Page 75 RED SCARE ON SUNSET. By Charles Busch. Directed by Kenneth ENott.

Setting by B.T. White. Lighting by Vivien Leone. Costumes by Debra Temenbaum. Sound by Aural Fixation.

Wigs by ERzabeth Katherine Carr. With Busch. Andy HaKday, June Halston, Mark Hamilton, Judith Hansen, Amie Kalodner, Ralph Buckley and Roy Cockrum. At the W.P.A. Theater, 519 W.

23rd St, Manhattan. preach to acting is "Learn your lines and don't bump into the furniture." More willfully naive than every Doris Day mannequin rolled into one, Mary is blissfully unaware that her houseboy is trying to seduce her husband, her husband is having an affair, her all-American best friend is a former porno actress, and that all of them are being pulled into the tentacles of the Communist menace sweeping the country. Taking the form of a red-baiting propaganda tract designed to stir the hearts and minds of Hollywood, "Red Scare on Sunset" documents Mary's uproarious conversion from Rodeo Drive robot to McCarthy marauder, naming names (including her husband) before the House Committee on Un-American Activities. Significantly, it also marks the politicization of Charles Busch, whose most subversive act to date has been donning a dress and doing Greer Garson better than Greer Garson. With its benign '50s technicolor veneer, "Red Scare" scores some tart contemporary points about the lemming instincts of the entertainment industry, the ominipresent homophobia of Holly MacDougal Street or Second Avenue in the last seven years, Charles Busch is a kitsch-movie king who has hit theater pay dirt playing kitsch movie queens.

Busch's "Vampire Lesbians of Sodom," "Psycho Beach Party" and "The Lady in Question" lampooned decades of B-movie conventions with a devastating eye for acting and fashion mannerisms that revealed a lifetime of afternoons in darkened dnemas. "The Lady in Question," if not Busch's runniest play, was his most realized, to the extent that it worked equally well as a sendup of a suspense genre and an example of that genre. In that anti-Nazi propaganda "film," Busch played Gertrude Garnet, a narcissistic concert pianist who is swept up in the whirlpool of wartime Europe. With the dawning of patriot consriousness, glamorous Gertrude trades in her makeup kit for a gun and becomes a fearless spy for the Allied cause. Mary Dale, the '50s film star Busch plays in his.

latest romp, "Red Scare on Sunset," is a soul sister to Gertrude. Mary is a radiant embodiment of the old Hollywood star system whose no-nonsense ap-.