The Daily Telegraph from London, Greater London, England • 10

10 THE DAILY TELEGRAPH, SATURDAY, NOVEMBER 22, 1986 THE ARTS TELEVISION Dali's dream image SALVADOR DALI is one of those poeple who needs subtitles even when he is speaking English. Either too wayward or too impatient to attempt an English pronunciation, he adds further confusion by spouting a kind of verbal soup with French, Spanish and English ingredients. One of his rich and slavish American patrons, Mr A. Reynolds Morse, had even written "A Dali Primer" showing that meant "suddenly" and "les teats" meant, yes, Someone putting together the first in new Arena series 'BBC2) had found a hilarious television interview with Dali from the 1950s conducted by Malcolm Muggeridge. The two verbal dandies slogged it out with strange and fantastical weapons.

The nuclear age, burbled Dali, meant that he was now painting objects which were and roomping in a completely extra-ord-inary rhythmic feeling. "Yeash," said Muggeridge in tone of mannered incredulity, "I shee what he obviously didn't. How much of all this should be taken seriously or respectfully was al question which Low's largely serious and respectful programme left in the air. In the last television interview since he was released from hospital in Barcelona after setting fire to himself in 1982, Dali was seen in a wheelchair looking half dead and spouting for no apparent reason "Long live the king, long live Spain, long live Catalonia. It is madmen who make history, as Max Ernst pointed out.

Dali's extraordinary proximity to madness is what his reputation, with the extraordinary images of "Un Chien Andalou, the soft watch, "Premonition Civil War" and so on. Hitchcock explained that the reason he chose Dali to do the dream sequences in was because Dali's images were solid and sharp, with long perspectives and black shadows. Dreams in movies were always blurred, said Hitchcock, but Dali's were how dreams should 1 be. If madness was a mask that Dali took off, he never seen to do so in any the archive footage assembled here, unlike his friend, the quietly sane Luis Bunuel, profiled in a couple of weeks time. But perhaps Dali, dubbed bitterly by Andre Breton "Avida was not so mad after all.

He made a fortune, and unlike most artists, was able to do what he liked. It was tricky getting used to Pamela Stephenson in a straight role, as the beautiful and sinister singer Lily in Lost Empires (ITV). There was a twitch to her mouth which might have been a stifled laugh as she wafted her long blonde hair Ophelia-like for the hero Richard Herncastle to: sketch. She somehow became more believable when her character turned out to be a hysteric who sets erotic traps for young men. Despite her help, find this lavish adaptation of Priestley still refuses to take light.

Charles Clover BRIDGE THE Lederer Memorial Trophy organised by the London County Association and sponsored by Young Chelsea Club is the most prestigious invitation team event in the British calendar. This year's event was won by "England" with 321 V.P. (A. R. Forrester, J.

F. Pottage, Mrs S. Horton, S. J. Lodge).

Since the event became invitational in 1978, Sally Horton is the first woman to be in the winning team and John Pottage probably the youngest. Runners up with 268 V.P. were the Professionals (D. Edwin, R. Sampson, N.

Selway, R. J. Rowlands, H. Bethe). This was one the most interesting hands from the week-end.

Portrait Gallery has honoured the St James's dealer in Old Master and Mr Hugh Leggatt, by commissioning a likeness from John Ward RA (seen above) and making him the first member of the London art trade to be walls of the Gallery. Mr Leggatt has been a dealer for 40 years; he has for the NPG, the Tate and for other museums for three decades, without he is also secretary of Heritage in Danger and has been foremost in the rescue of many British-owned art treasures from loss abroad. ART THEATRE Painful pursuit AS A bleak and despairing account of the human condition, David Rudkin's Ashes remains in a dismally grotesque category of its own. The theme of this play, first produced some 12 years ago, is well known: the agony of childlessness. But the author pursues the pain that arises from the plight of the couple with an almost searing vengeance.

At one point distraught wife, still barren after enduring all the indignities demanded by medical science, gives true expression to her deeper misgivings about what she sees as a distinctly unjust world. Is the world's will, as she calls it, simply wild, without mercy? At the heart of things, what if there is no purpose, no logic, no love at all? Thus the woman who goes on to declare that she is not altogether sure that she wants to suspend all her hang-ups, so to speak, about the necks of the unborn. Gruelling stuff, but, it any. thing, the revival at the Bush of this important yet deeply disturbing play only serves to pile on the agony. Rob Walker's production is meticulous to a fault, everConvincing: fastidious in its attention to personal and medical detail.

In short, the director spares us nothing. David Rudkin's verbal dexterity can never be in doubt and he is one author whose words do not need to be over-elaborated. There is in this production a superb, pair from of Richard perfor- Kane. One is that of a Scottish Seminologist, warbling, at 40 gns a time, aimlessly about man "evolving out of his mythic mire" and promising the wife that she will have a bun in the oven for Hogmanay. But Rudkin's, play veers unconvincingly centre with his attempt to draw a contrast between the couple's desperate efforts to create life and the ghastly destruction of life in Ulster.

It is greatly to the credit of Sheila Gish, painfully convincing as the wife, and Denis Lawson as her younger husband, that they emerge from this punishingly honest play with the sort of warm humanity that commands respect. Keith Nurse meticulous to a fault, everConvincing: Denis Lawson and Sheila Gish G. C. H. FOX als bid and against the Woolwich "Building Society Spring Foursomes winners.

At the other table South opened 24 and all passed, scoring 110 for a total gain of 240-61MPs. In the match between Ireland and "England, with A. R. Forrester and J. Pottage against N.

Fitzgibbon Mesbur (Ireland) the bidding was South West North East 14 24 2NT South led won with East played and 39: unblocking dummy's cards so as to leave a fourth round entry to his hand. He made nine tricks. At the other table with Mrs S. Horton and S. J.

Lodge, NorthSouth, for "England" against P. Walshe and G. McKenzie (Ireland) the bidding was South West North East 24 24 34 3NT It looked as though Ireland would gain, having reached game, but Lodge found the good lead of K. This has a devastating effect on declarer's communications. Assume declarer wins with A at either trick one or two, unblocks and plays, ace must and duck another and diamond.

North must discard a heart. If East cashes 4A he sets up five tricks for the defenders. If he doesn't South can win the third diamond, clear the spades and there is no way of scoring both dummy's clubs and the long diamonds. At the table Walshe led hoping that North would cover with 10 or 4Q. 10 x.

This hope was not realised and the contract was four down. The eventual winners this scored 150 200 350 (8 IMPs). Report on the Lederer is an opportune time to mention the Bridge Players' Acol Diary, compiled by Mrs Rhoda Lederer. The cost is £2.25 al and £2.35 with pencil. Obtainable from Mrs Lederer, 5 Ellis Avenue, Chalfont St Peter, Bucks SL9 9UA.

CONCERT Waving a magic Wand CONDUCTING is the most mysterious of arts. How is it that some need to expend furries of nervous energy, to bring into play a vast repertoire of movement and gesture, whereas others are able as convincing, and sometimes even far satisfying results with apparently the barest minimum of physical effort? Watching Wand conluct the BBC Symphony Orchestra in symphonies by Beethoven and Bruckner, at the Royal Festival Hall on Thursday, frequently left one wondering just what it was in so restrained and laconic a manner on the rostrum that enabled him to secure performances of such an arresting musical presence. Often, like a Monteux or Klemperer before him, he seemed to be doing little more than simply beating time, with an occasional, but instantly telling, flick of the wrist, a slow raising of the upturned palm or spaciously arching curve of the left hand. Yet, by some strange, and probably inexplicable alchemy, such undemonstrative economy prodsiced and not finely playing grained as as any that is heard from the BBC Orchestra these days, but accounts of both works of a rivetingly vital stature, authenticity and interpretative command. Decades of experience may have gone into their making.

Every detail had obviously been deeply pondered, thoroughly sifted, weighed and balanced over many years. But while possessing the formidable authority of all this accumulated knowledge and experience, Beethoven's, First Symphony freshness a rare and immediacy, and a lithe spring in the rhythm. It also had the advantage of being approached not in retrowe know Beethoven that spect, as though, through what was to come, but as if newly minted, holding in a single, unified vision both its more radical features and what it had inherited from Haydn and Mozart. enlightened, and enlightening, was the instinctive, unmannered grandeur of his monumental performance of the Ninth Symphony of Bruckner. Supremely confident in the naturally evolving, exactingly detailed breadth of its convictions, the composer's idiomatic voice was here revealed in all its eloquently imaginative nobility, with massive reach and simplicity that seemed to take in the entire symphony in one, epic glance.

Robert Henderson Delius A work by Frederick Delius, his "American will receive world at the Festival Hall on Dec. 10, played by the London Philharmonic Orchestra. Composed 90 years ago, it was never published and Mr Philip Jones has prepared working score from the original manuscript. Edward Downes will conduct it. Nigel Kennedy will be the soloist in Elgar's Violin Concerto and Vaughan Williams's Ninth Symphony will be played.

BRAIN TWISTER Are you penny wise? BT455: EVER wondered what to do with those virtually worthless coppers out. your purse or At my "pocket? local pub we have a small bar club. The idea is that throughout the week we all throw into a tin any pennies we happen to get in our change. Each Saturday night we share out the contents of the tin equally between us as far as is possible, any odd pennies left over go into a charity box. The club has now been going for three weeks.

In the first week the kitty collected 59 pennies, in the second week 85, and in the third week 150. The funny thing is that, after the share-out the charity box got exactly the same number of pennies each week. How much have put into the charity box to date? Warning: I do not advise you to run such a scheme yourself. It is a fiddlesome business. Far better that you should drop the spare coppers from your change into some worthy charity box straight away.

SOLUTION to BT454: to is 10 miles. The only other way of balancing equation (3) is to assume that Then So (the bus speed) must equal 30mph. The 5 miles from to would therefore take 10 minutes and, since we were told that the whole trip by bus would take 30 minutes, the. remaining 20 minutes from to would cover 10 miles We could have avoided the danger of illegal division by 0 if, at step (2) we had collected the denominators (30 and b) instead of the numerators (x and 5). D.

St P. BARNARD CRITICS' CHOICE A SELECTIVE GUIDE BY THE DAILY TELEGRAPH'S ARTS SPECIALISTS HELP YOU PLAN YOUR WEEK'S ENTERTAINMENT Theatre RECOMMENDED The Archbishop's Ceiling: Arthur Miller takes us behind the Iron Curtain to meet a handful of nervous free-thinkers and writers. Whether the authorities are listening in, we are all ears. The Pit, Barbican Theatre, London, EC2 (01 628 8795). A Chorus of Disapproval: or how to succeed in amateur dramatics without really trying, with Colin Blakely as the director of Alan Ayckbourn's wrily comic ceremonies.

Lyric Theatre, Shaftesbury Avenue, London, W1 (01 437 3686). PREVIEWS AND OPENINGS The Women: Clare Booth Luce's comedy with a host of fine actresses gets its first London airing since 1939, directed by Keith Hack. Old Vic, Waterloo Road, London, SEI (01 928 7616). Opens (afters previews) Tuesday. A Mouthful of Birds: "'The Bacchae" in terms of a British slum with text by Caryl Churchill and David Lan arrives after a provincial tour at the Royal Square, Court London, Theatre, SW1 Sloanso 2554).

Previews from Tuesday. Opens Thursday. Woundings: Jeff Noon's Mobil prizewinner, directed by Greg Hersov at Royal Exchange Theatre, St Anns Square, Manchester. (061 833 9833). Opens (after preview) Thursday.

Eric Shorter Concerts Nash Ensemble: two early pieces by Benjamin Britten, a song "'The Poisoned Tree" of 1935 and an Introduction and and Allegro for piano trio of 1932, receive their first ever performances in an enticing compiled by the Nash Ensemble, and with Henry Herford as the baritone soloist. Wigmore Hall, London, W1 (01 935 2141). Today. on only his second, eagerly awaited visit to London since winning the 1978 Tchaikovsky Competition, the Russian virtuoso Mikhail Pletnev replaces the now over-priced Ashkenazy in Rachmaninov's "Paganini" Variations. Coupled with it is a work of which Haitink is one of the most renowned interpreters, the 4th Symphony of Bruckner.

Royal Festival Hall, London, SE1 (01 928 3191). Monday. Later in the week Pletnev can again be heard playing his own transcription of the "Nutcracker" and music by Beethoven, Brahms and Rachmaninov, in what solo recital. Wigmore Hall, promises to a be an outstanding W1 (01 935 2141). Wednesday.

War Requiem: on St Cecilia's what would have been Britten's 73rd birthday, Richard Armstrong conducts the Liverpool Philharmonic Orchestra and Choir in "'War Jo Ann Pickens, Philip Langridge and Peter Savidge as soloists. Philharmonic Hall, Liverpool (051 709 3789). Tonight. Leipzig visitors: Kurt Masur conducts the Leipzig Gewandhaus Orchestra in their Salzburg Festival programme of Brahms's Double Concerto and Bruckner's 7th Symphony. Different soloists, though: Christian Funke and Jurnjacob Timm.

Town Hall, Leeds (0532 463000). Tonight. New Simpson: Robert Simpson's "Variations on a Theme by Nielsen" has its first performance conducted by Richard Hickox at a Royal Philharmonic Concert. Philharmonic Hall (051 709 3789). Wednesday.

Sanderling's Mahler: Kurt Sanderling has Carolyn Watkinson and Kenneth Woollam as mezzo and tenor soloists in Mahler's "Das Lied von der Erde" with the Scottish National Orchestra. City Hall, Glasgow (041 552 5961), Thursday and Usher Hall, Edinburgh (031 228 1155), Friday. Robert Henderson Michael Kennedy Jazz Ray Brown: can anyone doubt the seniority of perhaps the most accomplished bass player in jazz who will be playing with his trio at Ronnie Scott's Club? The bass player is of course Ray Brown and his men are Gene Harris on piano and the superb Mickey Roker on drums. Ronnie Scott's Club, Frith Street, W1 (01 439 0747). From Monday.

Paul Motion: first UK tour by an influential drummer, Paul Motion, whose percussive track record includes stints with: Bill Evans, Keith Jarrett and Carla Bley. His trio on this trip will be Bill Frisell on guitar and saxophonist, Joe Lovano. Bass Clef, Square, Islington (01 729 2476) tomorrow. Returning Thursday. I Anthony Hopkins and Bette Midler in the best comedy of the year.

He wants murder her, she is fortuitously kidnapped but the kidnappers are not ruthless enough to do the murdering for him. Robust, vulgar stuff from the team that gave us Airplane! Victoria Mather END Rock Elvis Costello: brilliant, caustic songwriter who is consistently intelligent but not, at the moment, consistently good. Two of these shows will be solo, two with the Attractions playing newer material, and two with the Attractions playing Royalty Theatre, London, whatever the audience asks tore WC2. (01 831 0660) tomorrow to Tuesday and Thursday to Sunday. NOW BOOKING Iggy Pop: a second show at The National British pictures, painting him, seen on the bid at auction commission; RECITAL Beaux Arts Trio MORE THAN 20 years have elapsed since the American composer George Rochberg scandalised many compositional circles by making an abrupt break with his previous toughly argued post-Schoenbergian style, launching a series of works which quite openly reasserted old tonal values, and it was fascinating to hear one of his most recent pieces in the Beaux Arts Trio recital at the Wigmore A Hall on Thursday.

The music of many younger generation composers has somehow strengthened what originally might have seemed simplicity or romanticism of position, indeed the a new Rochberg's rather quixotic some of them was made the possible by his commitment to a stylistic position which seemed to flout ideas of composerly integrity, but which can now be seen as an interest in ideas beyond ego as proclaimed by "personal" style development. What is more, as the Beaux Arts Trio's splendid performance proclaimed, a new simplicity of style does not infer simplistic ideas, and the new trio in its clearly tonal, translucently textured manner posed an artistic vision of rich complexity, essentially lyrical in manner, concentrated in its rethinking of sonata form. The work, was receiving its British was placed in the context of two of the grandest masterpieces of the established repertory, Beethoven's astonishingly major Op 1 No 2 and Brahms's major, both of which elicited the kind of flexibility in conversational interplay and expressive intensity for which this renowned ensemble is known. Their exquisitely played encore from Dvorak's "Dumky" trio set the seal on an outstanding evening. Anthony Payne Dealer- -South.

Love All. PK10974 OK J10764 8 J5 70862 4AQ832 OK KJ10932 PA3 00106 495 In the match between London and 1 the Journalists the bidding with A. M. Hiron and D. Bird North-South for the Journalists was South West North East INT 20 South made nine tricks scoring the other table, with I.

N. Rose and R. M. Sheehan NorthSouth for London, the bidding was South West North East 24 24 34 The opening bid was our dear old friend the usually showing a weak two bid in a major suit, which might more effectively be shown by opening 24. North's 24 implied a willingness to play in 30 if that were South's suit.

West now made an imprudent protection with 34 which went down three for 150. If West were to use 34 as indicating an interest in the minor suits over a weak two a good diamond contract would be reached. In fact Rowlands and Selway for the Profession- CHESS B. H. WOOD BLACK made one move in each of these positions, and White resigned.

Fairly easy: a good player should certainly not need more than five minutes for any position. Solutions (don't look!) below. The solutions: 1. 2 PxB, 0xPch soon mating. If 2 R-N2, BxPch 3 RxB R-K7ch winning the queen.

On 2 RxB, R-K7ch, similarly. R-Q6! White is mated next move, whatever he plays. Q-N1. If 2 N-02. Or 2 (04)-B3 BxN (B3).

1. B-B7! The threat of 2. 0-B8ch is deadly because White's pieces are congested. Fun person: Bette Midler Opera ORECOMMENED Jenufa Ashley Putnam sings title role, Bernard Haitink in the pit in Lyubimov's drama. staging of Covent Garden, London, WC2 (01 240 1066).

WNO on tour: Welsh National Opera presents its "Ring" cycle at the Birmingham Hippodrome (021- 622 7486) from Friday. Also in repertory, "Lucia di "Un ballo in maschera" and "the Magic DOPENINGS Carmen (Bizet): David Pountney's new production, conducted by Mark Elder, with Sally Burgess in the title role. ENO at the Coliseum, London, WC2 (01 836 3161). Thursday. The Magic Flute (Mozart): Siegfried Jerusalem sings Tamino for the first time at the Royal Opera in revival conducted by Bayreuth's Peter Schneider.

Covent Garden, London, WC2 (01 240 1066). Wednesday. Alan Blyth Dance Royal Ballet: last chance to see "The Sleeping Beauty" during current run, with Bryony Brind and Mark Silver. Royal Opera House, Covent Garden, London, WC2 (01 240 1066). Tonight.

OPENINGS London Contemporary Dance Theatre: season continues with Programine 2, including world of new work by Siobhan Davies. Sadler's Wells Theatre, London, EC1 (01 278 8916). Tuesday to Saturday. Joel Hall Dancers: Programme 2 with world by this Chicagobased jazz-dance company of "Uhuru" and London of "'Transcarnates" Bloomsbury, London, WC1 (01 387 9629). Monday to Sadler's Wells Royal Ballet: "The Snow Queen" and "Swan Congress Theatre, Eastbourne (0323 36363).

Monday for one week. London Festival Ballet: "Coppelia" with Rudolph Nureyev dancing on Monday only. Marlowe Theatre, Canterbury (0227 67246). Monday for one week. Fernau Hall In charge: Bernard Haitink Films The Film Sacrifice Theatre 1 (15) (01 National, tonight at 8.30pm only.

The jewel in the London Film Festival, Andrei Tarkovski's film won the Grand Prix Special at Cannes. Marooned on a Swedish island after a missile attack, a man makes a pact with God that if the world returns to normal he will renounce family, self and possessions. Quality, power and imagination. It comes out in London in January but you cannot see it soon enough. Extremities (18) Warner West End (01 439 0791) and all over London.

A psychological drama about rape in which the victim strikes back. Farrah Fawcett gives a convincing, brave performance as the woman who turns the tables on her aggressor with insect repellent. Taut, enthralling thriller that trips into melodrama but doesn't carry its social conscience like a wet blanket. Ruthless People (18) Odeon Leicester Square (01 930 6111) and all over London. It can only do you good to laugh as much as this.

Danny Devito the Academy, London SW9 (01 326 1022) Dec. 18. Spandau Ballet: Wembley Arena, London (01 902 1234) sold out for Dec. 22-23; some tickets left for Dec. 24, 26-27.

Tim de Lisle Art Douglas Stannus Gray: a forgotten artist, who lived 1890- 1959, proves well worth reviving both for the richness of his brushwork and because he conjures the graces of what now seems a vanished age. Spink and Son, London, SW1. (01 930 7888). Until Nov. 28.

As An Fhearann the an exhibition bringing together images by artists, photographers, cartoonists and film makers organised to celebrate the centenary of the Crofting Act. Third Eye Centre, Glasgow (041 322 4). Until Nov. 30 Terence Mullaly and Wednesday 10 am to 05 pm. Radio Carrott's Crash Course on the Car Comics: first of two shows on the new wave of San Francisco comedians presented by Jasper Carrott whose own style altered forever after contact with our Alexei Sayle.

Radio 4, 11.30 pm. Today. Vintage American Bandstand: great stuff from '76, The Doobie Brothers. Listen out for the still great voice of '86, Michael McDonald. Radio 1, 2.30 pm.

Tomorrow. Action Special: allout two, network campaign to help the jobless find work, claim benefits, trace the maze of new tests. Radio 1 and Radio 2, Monday Friday. Windows: Doris Walker Bagg is a widow with a one-woman window cleaning business in Golders Green. Piers Plowright, prizewinning alchemist of the ordinary, produces.

Radio 4, 8.30 pm. Tuesday. London Belongs to Me: first of four episodes in dramatisation of Norman Collins' 1938 classic. Radio 4, 3 pm. Wednesday, A Man with Connections: Russian season play by Alexander Gelman starring Bill Paterson and Phyllis Logan in drama of work home, success ethics.

Radio 3, 7.30 pm. Friday. Gillian Reynolds Television The Trial of Lee Harvey Oswald: like the trial of Richard III, previously staged by London Weekend, this is one that never took place. Oswald, alleged assassin of President Kennedy, was himself gunned down by Jack Ruby before a stunned TV audience while in police custody. He died protesting his innocence.

LWT's five-andhalf hour programme, enacted in a mock-up Dallas courtroom, brings together a trio of American legal luminaries and real-life witnesses from the events of 1963. C-4, 7.15 pm. Tomorrow. The Visit: Desmond Wilcox's series commemorates the maiden voyage of the Queen Mary, 50 years ago. Among the cast, the Queen Mother, and Larry Adler, who sailed on that historic crossing.

BBC1, 9.40 pm. Wednesday. Richard Last also daily TV guide. Events Gymnastics: Gymnastics International, Errey's Printers. Wembley (01 902 1234).

Today 2 pm. Run for Survival: Battersea Park, London, SW11 346 8159 or 01 235 5191). Charity event to raise money for development and conservation projects in the third world. Tomorrow from 10 am. Flower Show: November Flower Show, Royal Horticultural Society's Halls.

Greycoat Street and Vincent Square, London, SW1 (01 834 4333). Tuesday, 11 am to 7 pm 0141 at 10 180. ME 41144 It B0 Art Galleries advertisements appear on Page 8 today..