Sunday Telegraph from London, Greater London, England • 16

to to 01. one one Page 16, THE SUNDAY TELEGRAPH APRIL 17, 1983 THEATRE FRANCIS KING GREAT BATH NIGHT CITYLE, as distinct from a style, is so rare in the modern theatre that, when one encounters it, as in Peter tion Rivals Wood's enchanting, produc(Olivier), it deserves a loud hurrah. After some undistinguished period sets on this stageTanya Moiseiwitch's for The Double Dealer 99 was a notable exception the National Theatre has found in John Gunter a designer who is able not merely exploit its dimensions but to tan so with dazzling virtuosity. The two words the programme 66 Scene: Bath say it all. Here, whether in grand perspectives of streets or elegant interiors of houses and shops, is Bath as Sheridan knew it.

One marvels at its charm; and one also marvels, inevitably, at the absurdity, in a so modern, of men, not machines, moving houses forward and turning them round to reveal their contents. There are two performances as good as any I have ever seen in this masterwork. One is the Malaprop of Geraldine McEwan, comedienne who can raise a laugh with an angry pursing of the lips, a discomforted glare or a fretful twitch of a shoulder. She produces each "nice derangement of epitaphs as though it were involuntary nervous tic and not, like many actresses, as though from studied eccentricity. Her only disadvantage is that, even with unflattering make-up, she is not much less attractive than the marmoreal Lydia (Anne Louise Lambert) and the mature Julia (Fiona Shaw).

The other outstanding is a Sir Anthony Absolute to whose testy selfwill Michael Hordern brings the autumnal philanderer's melancholy of the onewould if I could Just as, in The Importance of Being Earnest," we should feel that Cecily will grow into another Lady Bracknell, so we should feel, that Jack will grow into another Sir Anthony. Patrick Ryecart adroitly suggests this. Faulkland, with; this pathological jealousy, seems to belong to another, far more serious drama-who can ever suppose he will be happy with his antis, except Edward in his Petherbridge, unhappimaking the character into a bony Scot, gives a performance of a subtlety that would be more effective in a smaller auditorium. There is a hilariously bucolic Acres from who seems to have fattened himself up for the part like a well-stuffed goose. THE STORY of siblings brought up in ignorance of each other and accidentally coming together is familiar from fairy tale and melodrama.

Appropriately, therefore, it is an amalgam of these two genres that Willy Russell has concocted in his Liverpool musical Blood Brothers (Lyric). Deserted by her husband, Mrs Johnstone finds herself so poor when she gives birth to twins--clearly she has never heard family allowancesthat she persuaded to give one of them away to rich, childless, neurotic Mrs Lyons, for whom she chars. The pact between, inevitably, them should they stipulates never do meet; that sO, swearing blood brotherhood without realising that there is already a tie of blood between them. When, subsequently, their boyhood friendship degenerates Calm over the Nile does, one a tackle 1 the almost insuperable difficulties Shakespeare presents in Antony and Cleopatra? Is it better to try it fancy with golden barges, or plain, relying on the obsessive torments of the piece without trimmings? Plain is. what the Royal Shakehey speare Company offers in Adrian Noble's transfer from its Stratford studio to the Barbican Pit.

Blackness and gloom, a high raised platform and an occasional bench is all--the rest must come from the acting and the words. At least we have here 'a Cleopatra with plenty of attraction. Helen Mirren is agile and. tempestuous, her crimped blond hair-do flying charter FORTUNE RUSSELL ST. DENIS 6 3 4 00 ME 51 101 "A TIMES Music by VIVIAN ELLIS PREVIEWS FROM TUESDAY.

Mon-Thurs at 8.00. Sat at CC HOTLINE: 01-930 9232 around as 'she suspects her Antony of double-dealing. If this lively interpretation is more effective than many of her less nubile predecessors in the role, she does not catch the heart as she should. Nor, indeed, does her lover Antony (Michael Gambon), over whose calm features no shadow of expression passes as he learns of his wife's death, of his downfall as third-part ruler of the Roman World and the end of his passionate attendant dance on his serpent of old Nile." Only -and it is a big only--Bob Peck as Enobarbus gave us the full value of this mighty tragedy seen through his eyes. R.S.

THEATRE WC2 01-8362 2238 LAWSON in A MUSICAL COMEDY "IS PURE JOY" into adult hostility and they cause each other's deaths, the author draws the moral that class has been to blame. This would more convincing if the two had fallen out, not over a woman, but over some such difference as a productivity bonus or whether to say toilet or loo. The scenes between the boy from the posh end of the town and the one from its slums have a warm, homespun charm; but as the drama becomes increasingly hectic and homiletic, so it slackens its hold. Mr Russell's lyrics are neat and sharp. As a ladler-out of musical molasses, he made me feel as if I were about to succumb to cultural diabetes.

The best of the performers is Barbara Dickson as the working big-boned mum. She handsomeness has and the strong, accurate voice of a modern Gracie Fields. Whether she also has Gracie Fields's robust, self mocking gaiety, a role So uniformly sombre does not allow her to demonstrate. INWARD LOOKING, the English theatre rarely spares a glance for dramatists at work abroad. The foundation of Theatre International at the Polish Cultural Centre in Hammersmith is therefore to be welcomed.

The first production (in Eng- RALPH RICHARDSON is on stage again on June 16 in Inner Voices," new mystery comedy" by Edwardo Filippo. Set in post-war Naples, has more serious political undertones than the usual domestic exuberance of his characters in Saturday, Sunday, Monday," Filumena Ralph' Ducking Out." Sir and Michael Bryant play brothers who own a run-down warehouse and carry on their own explained the director Mike Ockrent. N. F. Simpson has translated it into suburban English, which might seem highly inappropriate.

Not at all," says Mr. Ockrent, accompanied Sir Ralph to Naples to discuss the play with the author and the two octagenarians sipped champagne and enjoyed themselves OH DEAR, oh dear, the names of the theatrically-gifted Cusack family get no easier as they all grow up, Dad's all right. He's half-Cockney and is called Cyril. But what about his offspring, Sinead, Sorcha, Niamh and Padraig? Sinead, who opens her Stratford performance of Kate in Taming of the Shrew at Barbican on May 13, "The thinks it a huge joke now that they are, all working around the RSC. Think of Sinead as Shinaird, Sorcha as Soha, Niamh as Neeav and Padraig as lish licensing laws, which are usually enough to drive you to drink, unintentionally operate in favour of the music-loving classes.

I cannot imagine the subtle legal thinking that lies behind the species of licence that puts a limit of two on the number of musicians who may entertain the drinkers and diners on certain types of premises. Some formula based on the cubic capacity of the room divided by the specific gravity of the customers, perhaps. What know is that when the musicians come in two by two it occasionally results in some wonderful sounds which we might not otherwise have heard. Tenor saxophonist Warne Marsh and pianist Lou Levy appeared for most of last week at the Pizza Express in Dean Street, Soho, with the customary support of bass and drums. But for the first two nights of the in a while the Eng- Photograph: Morris Newcombe Geraldine McEwan as Mrs Malaprop and Michael Sir Anthony Absolute in The Rivals Hordern as at the National.

lish), On Foot by Slawomir Mrozek, a well-known Polish writer at present in exile in France, is on one level an account of people waiting in war-devastated Poland for a train which never comes and on another an allegory of dreams neither realised nor abandoned in that tragic country. A complex, ambitious work is courageously, if sometimes imperfectly, presented under Helena KautHowson's direction, with a particularly moving performance from Woytek Piekarski as the young boy who represents Mrozek's hopes for the future. Show talk SAY ROSEMARY Porrick," she chortled. "When the loudspeaker simply calls Miss Cusack there is a concerted rush." Let's hope the RSC theatre announcer reads this guide note. BREAKFAST television may be having teething problems, but breakfast theatre is going down a treat.

Michael Barnett tried it out one Saturday morning some weeks ago at the Man in the Moon Theatre at 392 Kings Road. "People were waiting to get in at 9 am," he told me, SO I'm having another go on April 30 and hope to make it a regular occasion." He provides comedy shows upstairs and musical acts in the foyer, which means that mums bring in the children. Last time, I'm told, it was difficult to clear the theatre by 12 noon. NOT MUCH chance of taking on those glamorous female roles when you're a vet's wife with a bunch of children and animals to keep. out of the sitting room.

Julia Foster wisely admitted defeat for a while. But, fortunately, she. is now back again in J. B. Priestley's Time and the Conways," the second production of the season at the Chichester Festival Theatre, May just couldn't resist this she told me.

"I've had some tempting offers but this is such a smashing play." MILES ANDERSON, who played Peter Pan Royal Shakespeare Company's Christmas season, has swapped his Never Never Land something equally unreal. He's become Orsino, Duke of Illyria, in a new Stratford production Twelfth Night" opening Wednesday. Lesley wife, is currently in Stratford playing, which Calpurnia in there "Julius opened weeks ago. But I've a feeling Mr Anderson will be back again at the Barbican in that awfully big adventure by the end the year. DAVID, KERNAN makes bones about his latest entertainment, "This Thing Called Love," due at the Ambassadors Tuesday.

"It's sheer he told me cheerfully. "We've chosen the usual mixture songs and sketches based Betjeman, McGough, Sondheim and Coward, etc." It's all meant to show an amiable journeying through life. There are some new songs by Alan Jay Lerner, I believe, and the women wear Bill Gibb clothes for his first stage production. Sit back and forget your troubles. OFFBEAT PETER CLAYTON NOISE ARK week they were at the Pizza on the Park in Knightsbridge, where the two's-company-three'san-embarrassment rule applies.

We were therefore treated to a couple of evenings of musical dialogue by two of the wittiest, most articulate musical debaters available to us. Warne Marsh's tone on the tenor saxophone is pale and extremely interesting. Pale, incidentally, does not mean weak--imagine the light green peridot as opposed to the forest-green of the emerald. He thinks long connected sentences, with wealth: of dependent clauses, without ever losing the thread of the music. While Warne Marsh tends to confine himself to the upper DRECISION TIMED to arrive in the week of Meryl Streep's foregone conclusion of an Oscar, Sophie's Choice (15: Empire) is Alan J.

Pakula's exemplary film of the William Styron bestseller. It is the story of at friendship in the Brooklyn between Stingo, the budding young Southern author; Nathan, the Jewish intellectual of unstable temperament; and Sophie, Polishghosts of her Catholic emisschwit-with the eyes. Sitingo (the diminutive but powerful Peter MacNicol) travels north age of 22, 66 unacquainted love and a stranger to death," on a voyage of discovery. Hungrily seeking experience life that will feed his novelist's instincts, he falls romantically in love with the images of love and death that Sophie and Nathan reflect. Not only is Pakula, as writerdirector of the film, reverential what some have perhaps over hailed as a great American novel, he also ensures that it is itself a film (to Thomas Wolfe, dense with literary preferences rence, Walt Whitman, the poems of Emily Dickinson).

He uses the instrument of American fiction as a filter for an essentially European experience. In the telling it becomes a story about stories. To Stingo, Nathan seems the dashing and quixotic lover, utterly and fatally glamorous; Sophie the pale wraith, haunted and marked by a tragedy depths pithed. young writer cannot Always seeing them as. potential material and envious of their stories, Stingo finds the touchstones of their mercurial moods.

Nathan is not really the researoh chemist he purports to be, paranoid schizophrenic, kept teetering on the brink of madness by drugs and the unseen care of an elder brother. Similarly the truth about Sophie lies wrapped in a translucent onion skin of lies. Her father was not the pro-Semite academic she claims, but one of the Polish architects of Hitler's Final Solution: On her own ironic incarceration within Auschwitz (for theft of a ham), has used devious and shaming wiles to protect herself. Now, wracked with guilt about having survived those she loved- parents, husband, childread is that Nathan, too, will predecease And so is set the final, inexorable act that, even as it unfolds, we know already part of the novel that Stingo will write about it. It is premonition of it that marks his maturity as a writer.

Most of the action takes place was in London a dozen years ago as accompanist to Peggy Lee. In a long career has acted in that capacity 'for Ella Fitzgerald and Sarah Vaughan also, but stayed longest with Peggy. 66 On a good. day the greatest white singer of them all," he said, with a deeper understanding of Billie Holiday than anybody you care to mention. When Peggy set out, in private, to imitate Billie, it was so uncanny it used to make my hair stand on end." Back in Los Angeles he teaches young pianists the delicate art of accompaniment.

A lot of famous jazz musicians know the chord structures of tunes and their melodies--more or less -but not the words. But it's only by knowing the lyric, like Lester Young did, that you ever come to play the song. you accompany singers you simply absorb the words as you along. It makes you a better musician." Lou Levy knows a lot of songs. EN ENTERTAINMENTS When dialling from outside London prefix OPERA AND BALLET COLISEUM.

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Wed. Fri. Fidelio, SPRING INTO DANCE Phone 01-278 0855 (24 hrs.) for details of amazing cheap ticket offers! THEATRES ADELPHI. S. 836 7611.

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Preview tomor. at 8.0 (tks. £5, £4). Opens Tues. 7.0, sub.

evas. 8.0. Sat. 5.0 8.0. ANNA DAWSON JENNIE LINDEN DAVID KERNAN JOHN MOFFATT THIS THING CALLED LOVE A revue directed by WENDY TOYE APOLLO VICTORIA.

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2.30. LAST 3 WEEKS- MUST END 7th MAY WAYNE SLEEP The most exciting dancer 1a the vorid with his record breaking show DASH Outrageously D. Tel. Save £4 on a family 4-seater package of 2 adults 2 children on Sat. Mats.

(selected seats only). Group Salee 01- 579 6061. Party bkgs. 01-828 6188. TICKETS AVAILABLE AT DOORS Dash to Exp, Mon.

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01-834 0253 TOPOL in FIDDLER ON THE ROOF Opens June 218 for 96 perte. only. 01-834 6177 FILMS DAVID CASTELL Streep tease in the gaudy, pink-painted Brooklyn boarding house in which the trio lodges. But there are in flashbacks to her Sophie's meeting early days America, with Nathan and one long monochrome sequence set in Auschwitz where the prisoner Sophie serves as secretary to Commandant Rudolf Hoess. Here Pakula chooses to distance us from the physical horrors of the camp while allowing the smell of fear intensely to permeate the scene.

He marks the obscenity of extermination by the counterpoint of domestic detail within the Hoess household. The Commandant frets over his his wife bakes Himmler's favourite cake and sulks when he can't stay to dinner and their daughter gives the opinion that Dachau was so nicer Auschwitz because of the heated swimming pool. It is against this background of almost suburban normality that Sophie must bargain desperately for the life of her own child. 46 Sophie's Choice film that thrills, appals, amazes. 'If it doesn't always move the audience quite as much as it should do, I think the responsibility lies with Meryl Streep in the all-but-unplayable role of Sophie.

When I mentioned earlier the foregone conclusion of her Oscar, I meant that this is the actressy kind of performance that other actors admire. In sequences that are conducted in German and in Polish, Miss Streep merges seamlessly with players those nationalities. She is at one moment a rag, a bone and a hank of hair and the next blooms to delicate porcelain beauty. But we never quite the sense of observing tlose, practised pyrotechnics of a technically brilliant actress. We are watching Streep, not Sophie.

Meryl Streep a ANDRZEJ WAJDA'S The Young Ladies of (PG: Camden Plaza) is a chamber work and a necessary respite for the Polish director, coming chronologically between his two great burning social documents, Man of Marble and "Man of Iron." But Wajda loses nothing in cinematic skill in this elegant, elegiac adaptation of Jaroslaw Iwaszkiewicz's novel about longings for a vanished past. A middle-aged man (Daniel Olbrychski) revisits after 15 years the house in which he once flirted with five sisters. Everywhere are intimations of mortality, views of a squandered past that only focus with hindsight. This wise, visually ravishing film deserves to be seen. AN AUSTRALIAN picture with the unpromising theme of venereal disease, The Clinic (18: Classic Haymarket), is something of a find.

Using the day-in-the-life-of format, it de while mystifies a still taboo alternately subject to managing be brisk, funny, poignant and, most important of all, educational. As the of informing without monising, I would have thought it essential viewing for young teenagers rather than deserving of its prohibitive certificate. ROCK TREVOR DANN Old tyme music THERE are few more unedifying sights in rock than that of grown men old enough know better pretending to be brash young pop stars. The Animals are the latest casualties being rushed into the nostalgia wards apparently unaware that their reunion can only diminish their hitherto richly-deserved reputation as one of the leading British r'n'b bands of the '60s. And now the fabled Marquee Club in London's Wardour Street is getting in on the act announcing a veritable epidemic of nostalgia to celebrate its silver jubilee.

Such longevity is a notable achievement for any venue, and by helping to launch the careers many from the to the Dire Straits, the Marquee has won itself a special place in the of more than just the capital's rock fans. But over the next few weeks they are offering such, extraordinary spectacles fred Mann reunion, a specially assembled 11-piece Alexis Korner Band and gigs by Long John Baldry, the Pirates and Man. Anyone mourning the loss of TV's Old Days may be there, Sards surely selection of today's up-and-coming bands would have been a more fitting monument to the Marquee's influence. Words like 66 reunion" betray the inherent lack of adventure which makes such events so irrelevant. It has nothing to do with the ages of the participants--after all there are numerous middle-aged rockers whose forthcoming albums or gigs are looked forward to as keenly as their earliest-but it PALACE.

437 6834. c. C. 437 8327. Now booking through 1983.

Andrew Lloyd Webber's latest triumph. D. Exp. SONG DANCE Eves. 8.0.

Fri. Sat. 5.45 8.30. PRINCE EDWARD. Tel.

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3.00 Sat. 5.15 ANOTHER COUNTRY By Julian Mitchell ROYAL SHAKESPEARE COMPANY BARBICAN THEATRE. From Thurs. April) reduced price previews THE ROARING GIRL by Middleton Dekker, eves 7.60, Sat. mat.

2.00. Next pert's. THE TAMING OF THE SHREW 27-28 April. 5 May MUCH ADO ABOUT NOTHING. THE PIT.

From Fri. 22-26 April THE BODY new play by Nick Darke. SAVOY. 01-836 8888. Credit Cards only 01-836 0641.

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at 7.0. Eves. 8.0. Mats. Sat.

5.0 (Wed. 3.0 p.m. from April 27.) has everything to do with attitude. David Bowie for example is unlikely to waste any time celebrating his 15 years in show business during 1983. In all his work-stage, screen and' music -he remains a restless creative artist, continually searching for new things to say and new ways to express them.

His new album Let's Dance (EMI 3029) finds him collaboratng with ex-Chic guitarist and producer Nile Rodgers on a title track which has given him yet another No 1 single seven other strong songs. Bowie's gift is the actor'sthat of translation and interpretation rather than innovationand there is nothing unprecedented on Let's Dance." But from the Ziggy-esque Modern Love 99 through the menacing version of Metro's. Criminal World to the stylish disco of Shake It he approaches a variety of familiar musical textures with great panache, always adding something uniquely Bowie in a certain phrase or nuance of timing. He does not ignore his history and his formidably diverse repertoire. The new album features, confident workings Cat the film theme written with Giorgio Moroder in 1982, and "China Girl," his collaboration with Iggy Pop from 1977.

However as he will doubtless prove again during his British concerts in June and July, his past work is not sacrosant. It is a series of remarks in a conversation with his audience, in which both parties are looking for something fresh and stimulating, not merely indulging in tiresome reminiscence. end of the tenor, often giving it an alto sound, Lou Levy comments and quotes expounds his arguments from every part of the keyboard within reach. They play those fleet, scampering Lennie Tristano and Lee Konitz tunes that you would expect, but Lou Levy has a particular fondness for slowing down old standards (unlike human beings, tunes tend to get faster with age). A particular joy on Tuesday was a version of Limehouse Blues 19 done with all the strut and swagger of a vaudeville number.

Late that night, when the customers had gone, the conversation became verbal. I found myself sitting next to Lou Levy, to whom I'd not spoken since he NO AST OPENS 27 APRIL 5.30 8.45. Thurs GROUP SALES: A in revue Only eighteen UK liveshows in 1983 BOX OFFICES OPEN NOW GLASGOW Theatre Roval 041 331 1234 Mon 27th June Sat. 2nd July STOKE ON TRENT Theatre Rival. Hanley 0782 266301 Mon 4th July Weds 6th Juhy BRISTOL Hippodrome 0272 293444 Thurs 7th Jute Sat 9th July LEEDS The Grand Theatre Opera House 0332 451351 Men.

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ASTORIA, Charing Rd. 01-437 6565. c.c, 930 9232. Group Sales 379 6061. YAKETY YAK! Starring THE DARTS The McGANN Brothers 8.0.

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BLOOMSBURY Gordon WC1. S. c.c. 387 9629. April 11-23 MARIO MAYA Gypsy Flamenco Th.

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STEPHEN SONDHEIM'S THE FROGS New comedy musical CRITERION. S. 930 3216. c.c. 379 6565.

Groupe 836 3962. Mon. -Thurs. 7.30. Sat.

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Prices (Not suitable for children.) STEAMING By Nell Dunn DONMAR WAREHOUSE. S. c.c. 836 Previews from April 25. STEVEN BERKOFF'S new play WEST Directed by.

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Sats. 5.30 and 8.45. DENIS LAWSON in MR. CINDERS by Vivian Ellis. Pure joy Punch.

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Mat. 3.00. Sat. 5.00, 8.00 12th HYSTERICAL YEAR. LONGEST RUNNING COMEDY IN THE WORLD NO SEX, PLEASEWE'RE BRITISH 2 HOURS OF NON-STOP LAUGHTER Directed by Allan Davis Group Sales Box Office 01-379 6061 Credit Card Hotline 01-930 9262 OVER 4,750 PERFS.

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c.c. MAJESTY'S price 930 THEATRE. 16. Opens 930 BUGSY ON Advance Box Office Open Group Sales 01-379 6061 LONDON PALLADIUM. 01-437 7373.

OPENING JUNE 30. FIRST EVER STAGE PRODUCTION TOMMY STEELE in SINGIN' IN THE RAIN Box Office now open at Theatre and all agents. For, Instant confirmed credit card bookings ring 01-437 7373 or 01-437 2055. CONCERT APOLLO VICTORIA THEATRE Mon 16 May for 19 perf (No perf. 23 30 May) Nightly at 8-Tkts from £10.00 Telephone Today on the LIZA LINE 01-828 8665 (3 lines) 10am to 8pm See classifieds for further details LONDON PALLADIUM.

01-437 7373. Evgs. 7.30. Matinee Sat. only 2.45.

THE TWO RONNIES SPECIAL NOTICE Due to Mr2 Ronnie Corbett's illness there will be no perfs. of The Two Ronnies revue until Tuesday, April 26, on which day the show will recommence its run and continue as announced to May 21. SEATS ON SALE NOW FOR ALL PERFS. APRIL 26-MAY 21 AT THEATRE AND ALL AGENTS. Patrons holding tickets for Perts.

up to and Including April 25. are requested to apply at place of purchase for refund For transter to dates on and after April 26. LYRIC THEATRE. 437 3686 c.C. Group Sales 379 6061.

Eves. 7.30. Mats. Weds. 3.0.

Sats. 5.0 8.15. BARBARA DICKSON in BLOOD BROTHERS The WILLY RUSSELL Musical. LYRIC HAMMERSMITH. S.

c.c. 741 2311. BEN KINGSLEY in EDMUND KEAN by Raymond FitzSimmons. Evgs. 7.30.

Sat. 8.15. LYRIC STUDIO. Prevs. from Thurs.

8.0. Sat. 4.15. Opens April 25 at 7.0. Sub.

evgs. 8.0. THE WHITE GLOVE by Richard Maher and Roger Michell. MAYFAIR. $.

c.C. 629 3036. Mon.Thurs. 8.0. Fri.

Sat. 6.0 8.30. THE BUSINESS OF MURDER The best thriller for S. Mir. MERMAID THEATRE.

S. 01-236 5568. c.c. 01-236 5324. Grp.

Sales 379 6061. Mon. to Thurs. 8. Sat.

6.45 9.15. TOYAH WILLCOX in TRAFFORD TANZI By. Claire Luckham 6.45 shows Julia North plays Tanzi. Buy your seats at any Keith Prowse at same price 88 theatre box office. NATIONAL THEATRE.

923 2252. OLIVIER (open stage). Tomor. 7.15 LORENZACCIO by de Musset. Tues.

7.15, Wed. 2.00 (low price mat.) THE RIVALS by Sheridan. Fri. 7.15, Sat. 2.00 7.15 GUYS AND DOLLS.

LYTTELTON (proscenium stage). Tues. 7.45. Last 2 peris. of WAY UPSTREAM by Alan Fri.

7.45, Thurs. 3.00 (low price Sat. 3.00 7.45 MIDSUMMER NGHT'S DREAM by Shakespeare (Thurs. 7.45 A MIDSUMMER NIGHT'S DREAM- -Bargain Night all tkts. £2 cash over counter from 8.30 a.m.

on day. 2 tkts. per person.) COTTESLOR (small auditorium--low price Tomor. Tues. 7.30 THE BEGGAR'S OPERA by Gay.

Fri. 2.30 7.30 KICK FOR TOUCH by Peter Gill. (Thurs. 7.30 tkts. KICK FOR TOUCH- Bargain Night.

All £2 cash over counter from 8.30 a.m. on day. 2 tkte. per person.) Excellent cheap seats day of perf. all 3 theatres.

Also standby from 10 a.m. 011 day of perf. Car park. Restaurant 928 2033. Credit card bkgs.

928 5933. NEW LONDON, Dirury Lane, w.C.2. c.c. 0 01-405 0072, or 404 4079. Evas.

7.45. Tues, Sat. 3.0 7.45. CATS Group. bookings 01-405 1567 or 379 6061 Apply daily to box office for returns.

Bars open 6.45 p.m. NOW BOOKING TO JAN. 1984, WYNDHAMS. S. 836 3028.

0.0. 379 9232. Grps. 836 3962. Ev9s.

8.15. Wed. Mate. 3.00. Sats.

5.30 8.30. A PLAY THE WHOLE WORLD SHOULD SEE. D. Tel, CRYSTAL CLEAR Devised and directed by Phil Young STUNNING NEW F.T. BEAUTIFUL AND Some seats available most perfe.

YOUNG VIC (Waterloo). 928 6565. ANTONY AND CLEOPATRA From Tues. evas. 7.30..

Seats. 22 50. A BOOKING CREDIT CARD SERVICE NO INSTANT SURCHARGE. THEATRE NO BOOKING FEE. TICKET POSTAGE TOURING COMPANY Rep.

Season- -Donmar Warehouse. ANOTHER COUNTRY Queens. CALL ME MADAM- Victoria Palace. CAN'T PAY? WON'T PAY Criterion. CHILDREN OF LESSER CONCERT SEASON- -Wiamore Hell.

CRYSTAL CLEARTWO- Vaudeville: MARILYN CINDERS Adelphi. Fortune, From April 19. NO SEX PLEASE, WE'RE BRITISHGarrick. ROMANTIC COMEDY--Apollo. RUN FOR YOUR THE PIRATES OF PENZANCE Druy Lane.

THE MOUSETRAP- St. Martin'. YAKETY YAK- Astoria. HOTLINES: 01-930 9232 (8 14060). 9.30-6.30.

Sats. 9.30-5.30. PROVINCIAL THEATRES WITHERS AND THE CONYOU LIKE OMAR SHARIF WAYS. PATRICIA, HODGE In THE SLEEPING PRINCE STRATFORD UPON. AVON.

Roval Shakespeare Theatre. (0789) 295623. ROYAL SHAKESPEARE COMPANY in TWELFTH NIGHT. Red. price perfo.

Tomor. Tue. 7.30. Wed. 7.0.

Normal price Fries Sat. MAL. Sat. 1.50. JULIUS CAESAR returns Apl.

26. For special deals and hotel stopover ring 0789 67262. CINEMAS ACADEMY 437 2981. KUHLE WAMPE (PG) and. Godard' IT'S MY LIFE (18).

Proge. 2.00 (not 5.00. 8.00. ACADEMY 2. 437 5129.

ASPERN (PG) Proge. 6.0. 8.30 Sun. Also 3.30). ACADEMY 3.

437 8819. Tomall Mere chant' THE COURTESANS OF BAY (PG) and James Ivory AUTOBIOGRAPHY OF A PRINCESS (PG). Props. 3.30 only), 6.00. 8.50 CANNON CLASSIC CINEMAS.

Reduced Prices Under 166. and PO films. MONDAY ALL SEATS £2:00. CLASSIC 1, 2, 3. Haymarket (Piccadilly Circus Tube).

859 10 TO MIDNIGHT 0160. 9.45, 4.45. 6.50 8.55. THE CLINIC (16). 9.55, 4.50.

6.45. 8.40. THE (15). Props. 5.20.

7,10. 9.00. (Continued on next page) CHICHESTER FESTIVAL THEATRE. Box Office 10243) 781012. SUMMER SEASON.

Sponsored by Martini Rossi Ltd. May 11-Oct, 1. ALAN BATES In PATRIOT FOR ME. GOOGIE.