The Guardian from London, Greater London, England • 3

3 review THE GUARDIAN Miscellany Monday August 6 1962 Marilyn Monroe An appreciation by V. J. Weather by TELEVISION by Mary Crosier 1IIAVE not seen the thriller Dial for Murder on television, stasc, or screen, but as I belong to this small minority (it might even be a minority of one) it was interesting to see the BBC production last night. It returns to the small screen after 10 years," says the Radio Times." It fills the small screen with a complicated murder story that seems at times almost too complicated there is so much business with the key, and so many entrances and exits, so many hints and suppositions. Perhaps murder has moved on in that time and this play has what seems now a rather old-fashioned lushness of plot.

But it is certainly a great suspense weaver; although half the time you don't quite know what the suspense is centred on. It is a remarkable play for giving an uncomfortable feeling, principally because you expect the murderer to give himself away at every turn but it is a long while before he does. There was an extremely good performance by Richard Pasco as the scheming Tony Wendice whose plot rebounds upon himself. Quite a different kind of suspense was engineered by Friday's BBC play The Cruel Necessity," a dramatisation of the trial of Charles I. bv David Lytton.

This began rather badly with a wishy-washy looking Charles (David William) with a tiresome stammer, which fortunately he forgot as the play gathered impetus. Then in the most extraordinary way the tragedy and the fierceness of the events took charge, the measured dead-pan acting was full of suppressed force, and the execution scene, still and silent on the balconv in Whitehall, with a cold scattering of snow, was superb television. This was a Peter Dews scene, unforgettable in its clarity, like the best scenes from An Age of Kings." MARILYN" MONROE'S death at 38 is a real Hollywood tragedy, unlike most of those the film studios try to fabricate. It seems now to have the same inevitability as Hemingway's a year earlier and just as death by shot-gun gave his life a classical finish, so an overdose of sleeping tablets seems now the onlv ending we might have expected to this tragedy. The heartrending fait is that many of the friends of this doomed film actress have been afraid for over a year that something like this might happen and nobodv seemed able to help.

At least the gossip columnists who had begun to ask What will Marilyn do when she's middle-aged have their answer now. It is questions like that which help to explain the tragedv of Marilyn Monroe, for it is much more than an unhappy young actress who has died. News of her death will probably reach more people than that of anyone for years because she was an international symbol, and as such had to bear an appalling burden. This was worthwhile in the early-days of her career for it was only as a sexual figure, everyone's dream blonde, the world's cover girl, that she could reach stardom in Hollywood. But when she had got there and then had a chance to act rather than pose, she found herself still trapped as a symbol.

To understand what this meant you had to go out in public with her. Even a casual drink meant being under the spotlight to go to a theatre could cause a riot. It was as though she had to help to pay for every sexual frustration in our kind of society, every neurotic that clutches at such symbols and has helped to create the Hollywood dream factory. In that sense many people had a hand in her death. Many a Hollywood actress would have revelled in this role but it was the elusiveness of Monroe a quality that reflected the shy, sensitive side of her that helped to make her into this sex symbol probably the most famous ever created by Hollywood with the possible exception of Valentino (and in the last year or two of his short life he felt the pressures on him to be unbearable).

But she was a Hollywood symbol in a much deeper sense than that for she was born in Los Angeles in the Hollywood shadow, her mother worked as a negative cutter in one of the film studios, and she grew up brainwashed as it were into the belief that the dream of every girl should be to become another Mary Pickford. And she had plenty of outside incentives to escape into such a dream world. Her parents were not married and she never knew her father when she was a child her mother had to go into a mental hospital, and she had to go the round of foster parents. It is hardly surprising that she got married as soon as she could at 16 though she was divorced by the time she was 20. By that time she had seen more of the grey side of life than most people ever do.

What an escape to a Technicolor view Hollywood must have seemed She had committed herself to it long before she ever learnt the price she would have to pay. Model, hit player, larger roles, fledgling star it was a fairly conventional route to Hollywood fame. But she had a quality that made her stand out in the crowds of equally pretty girls competing for attention and this gave her the advantage she needed though it was years before anyone ever suggested that quality might be talent. Those years when she was a star but not credited with anything but symbolism were the critical ones. By the time she had a chance -to make use of the acting lessons she took so earnestly, it was as if her experiences had split her personality too much for her ever to feel secure.

She had a distressing habit of discarding people after a few years as if she could never count on loyalty or trust. It seems true to say that she was by then a schizophrenic part of her still the innocent girl next door in her Hollywood dreamland and part of her the career woman, the woman who had decided to accept life as a jungle and live in it on those terms. This was revealed in her attitude towards her position as a sex symbol. There were times when she seemed to enjoy it, to make the most use of it she could, and then suddenly you would see the other side of her which had to pay for it the very attractive mixed up girl clinging to her pills and her psychoanalysis. There was of course a history of mental disorder on her mother's side both maternal grandparents were committed to mental institutions and an uncle killed himself.

Some will try to explain away her problems in terms of heredity. But the influence of this on Marilyn Monroe was rather a fear that she might have inherited something rather than any sign that she had. But an unbalanced personality like that should never have had to endure the pressures first of her rootless early years, an introduction to sex as a child that amounted to rape. and then the Hollywood symbolism. She must in fact have been an extraordinary strong person to have pulled herself up from such beginnings and to have endured so long and to have continued to grow as an actress.

It was Sybil Thorndike who made the shrewdest remark about her talent when they worked together (with Sir Laurence Olivier as fellow star) in The Prince and the Showgirl." You watch her do it in the studio and it doesn't seem much too vague and underplayed," said Jliss Thorndike. But when you see it on the screen, her performance seems perfect. She really opens out. It is as if she were made for the cinema." The same elusive quality that made her such an extraordinary sex symbol also gave her a unique comic style. By The Seven Year Itch and Some Like It Hot," she had developed a style of her own, a style of wit and charm that was laced together with a very effective off-beat timing that could sometimes madden directors in rehearsals.

In her last film, "The Misfits," written by her third husband, Arthur Miller, she tried to adapt this technique to serious drama and though not wholly successful, gave a performance in much greater depth than ever before. She had hoped it would Vistify all her claims to being a serious actress not a symbol and so she took: the poorish reviews very much to heart. Heart is the word that comes to mind in trying to describe her as a person she perhaps responded and felt too much for her own good. When she was truly herself, she could have an afternoon spoilt by seeing a passing cruelty such as a fish caught and dangling that the rest of us would hardly notice. Her marriages reflected her.

Not for her those inbred Hollywood marriages. She married Joe Di Maggio, the baseball star and American hero, and then going to the opposite extreme of American heroes from sport to the intellectuals she married Arthur Miller. This seemed to be the perfect complementary marriage the marriage of beauty and brains. It bewildered those who thouglA of her as a sex symbol. It delighted those who knew the real Marilyn Monroe as it saddened them when the marriage broke up over a year ago.

Norma Jean Baker (her mother's name was Baker and her father's Mortenson and so she took her mother's) then seemed alone in the crowd the crowd of Hollywood symbols (and symbols of our society bearing down on her. DAME MARIE AND THE BALLET RAMBERT by our Ballet Critic TN" case the title of Mary Clarke's book. "Dancers of Mercury" (A. and C. Black, 40s), seems mysterious lo the uninitiated, it should be explained that this Mercury Is little Mercury Theatre where Dame Marie Rambert's Ballet Company was born and bred.

It is a significant title since it indicates that Miss Clarke has set herself to write not a biography of Dame Marie hut a history of the Ballet Humbert. She has undertaken to do for Dame Marie's company what she did very competently some years ago for the company of that other distinguished Dame of ballet. Ninette de Valois. But there is a difference. Dame Ninette's company, Britain's first national ballet, is as fascinating a subject as Dame Ninette herself but for all the aiTection and loyalty aroused by the estimable and valuable Ballet Rambert, our interest is claimed primarily not by it but by its founder.

So Miss Clarke, this time, faced an awkward Job one which must have tended to split into two parts of unequal stimulation. In the first part was the story of Dame Marie's early life, her Polish girlhood, her time as a dance student in Paris, her adventure in the eurhythmies of Dalcroze. her experiences (before the First World War) with the Diaghilcv Ballet, her very happy marriage to Ashley Dukes, and then her flights into British ballet (in the twenties) after which she eventually alighted at the Mercury Theatre and the firm and final shape of her main work began to be manifest. This first part could not but be full of Dame Marie's bright. unquenchable personality.

The- second part, however, starting in. say, the middle thirties' and continuing till the present time, as likely to become much more impersonal a record of the fortunes, often chequered, and the achievements, sometimes heartening, sometimes discouraging, of her ballet company and here the authur was bound to feel the difli-culty of avoiding an anti-climax, for compared with (for instance) the account of Dame Marie's collaboration with Nijinsky, in producing Lc Sacre du Printcmps in 1913. a record or the ballets prepared and the tours undertaken by the Ballet Rambert in the forties and fifties was likely to seem humdrum. Miss Clarke has coped well with this intractable problem she has done (I guess) full justice to the eariv, relatively unfamiliar and most exhilarating years and, in the book's second part, she has neither shirked her duty as chronicler of the Ballet Rambert nor allowed the personality of her heroine to be submerged in lists of dancers, choreographers, ballets, and voyages. Dame Marie may not quite dominate the second part but she twinkles through it a firefly who is also a gadfly.

This, in short, is a book of which half would make good reading for everyone and the whole it is compulsory for anyone who is concerned in. or cares about, ballet. It is informative, thorough, lucidly and unfussily written. The illustrations, mostly photographs, are abundant and pertinent. Marilyn Monroe photographed on a visit to a London theatre in 1956 art in the north a Bank Holiday story by Colin Watson Salford annual exhibition by Ned Ovens.

Dorothy Bradford exhibition, by If. E. Johnson JTHE popular image of Salford, created largely by film and play but originally established by painting and drawing, is a likeness not perhaps wholly approved by some Salfordians but it is the image one looks for in the Annual Exhibition of Painting at the City Art Gallery In Peel Park. These exhibitions for many years depicted the Lancashire scene and there was at one time some sign that a school oi younger painters (perhaps inspired by Lowry rather than by their environment) was evolving. This year the theme has been dropped.

The Image that distinguished the Salford exhibition from other regional exhibitions is blurred by oversized canvases in fashionable idioms and the blossoming of badly painted roses. This is perhaps not entirely due to the change of theme. Young painters and students are always eager for recognition and the large canvas with its tricky textured paint has much the same appeal as the competitive poster to advertiser of bottled beer. The lesson of the master displayed in an adjoining gallery in what must be the finest collection of Lowry's work, is ignored pointed though the lesson is by the small collection of their contemporary Harold Riley who makes his mark by sound draughtsmanship and personal vision. However, the image does survive in at least a few of the hundred or so works shown, although better known painters of the Lancashire Scene are absent or showing less vital work a garishly coloured harbour scene or a sketchily painted panel of decorative birds.

Less familiar names carry on the tradition and in these one fancies one sees a higher quality of painting than in the past. Let us hope that next year we will see a return to the backstreets and smoking chimneys of the Lancashire Scene." young Hugh is missing, partly, perhaps, because, as a self-assured young man, exerting his rights, he retains his independence by preferring not to mix socially with, as lie terms them, the horrids." These, however Interesting, ore merely asides, and. in spite of the inclusion of a Paul Nash tree stump and a Reclining Nude that makes one think instinctively of the Rokcby Venus, the major part of the show is devoted to musicians, seen either singly or in groups, which she paints with a vivacity that reflects her own personality as much as theirs. Although preferring groups of players she is equally adept as transcribing and encompassing the solo cellist, pianist, or viola player. Colin Horsley (in red-and-blue horizontal striations) at the piano is as important a work as the Amadcus String Quartet playing Bartok in York Minster.

The latter's symbolism is all the more readily apparent, the faceted foreground re-creating both the mood of (he music as well as suggesting the coloured lights," and the movement of the figures in outline suggesting the leading of the Minster's stained glass. The show, which marks the first anniversary of the Manor House's reopeninu in its new function as an art gallery, continues (except on Mondays) until August 18. T.N" much the same way that Colonel J. B. Pennyman's widow recently combined eighteenth-century chamber music and light refreshment in two candle-lit concerts in her Tees-side home at Ormesby Hall, when a local evening paper billed the event as Beer, buns, and Beethoven." Ilklcy's new art gallery in the solar room of the Elizabethan Manor House is combining chamber music and art in a group of Dorothy Bradford's recent paintings.

Although she herself freely admits that she cannot play a note, chamber music has meant as much in her life as painting. She was a war-time student at St Martin's School of Art. Apart from its sensual and cerebral appreciation, which she endeavours to translate into an overlying abstract pattern of colour, she is equally fascinated by the interrelationship of the four distinct and recognisable personalities of, for instance, the Janacek String Quartet. This same inter-relationship of personalities, a sculptor's as much as a painter's problem, is to be found in the "figures in their setting" paintings of her own immediate family circle. Judy, who has just sat her GCE, playing the piano, while Rachel, also seated, looks on and Rachel, again, this time alone, as an engrossed book-worm curiously curled up on a sofa.

Only glistening white spars garnished with scraps of bunting. Through the cool, light-laden air came skimming the shouts of children down by the water. His first exposure to these and the other sharp, unconfined seaside sounds the yells of rock vendors the squawks of floppy-limbed, head-rolling girls, colliding like puppets with entangled strings the hideous proclamation by strayed infants of suddenly realised abandonment and always the gulls' murderous commentary had left Arthur feeling misplaced and vaguely unwell. As he moved slowly forward, however, their impact seemed to diminish and he began to go over again in his mind the practical implications of his mission. The casket containing Uncle Richard's irreducible minimum was within the plain cardboard box clasped under his left arm and partly draped by a raincoat.

This he had thought advisable to bring for two reasons the notorious unreliability of Bank Holiday weather, and the possibility acknowledged by Arthur with a tinge of shame that he would lack nerve to perform the operation otherwise than surreptitiously. THEATRES into cut-away Wellingtons, and a black cloth cap, as round, flat, and greasy as a dinner plate. Wodder you want Arthur flinched at the challenge of the red spiders that the captain used for eyes. "Well, I. The fact is, I've just lost an uncle of mine.

He. Gordormitey The captain threw back his head and leered lop-sidedly at the fanlight, as though it were an old confidante, long accustomed to his tribulations. 'E's lorst 'is bloody uncle He swung his gaze back to Arthur, after first fitting it with a knuckleduster of a scowl. I suppose you're going to tell me 'e's gorn overboard "No, you don't understand. The captain gave his head a tiny, menacing jerk.

His Oppit was only just audible. Sea-louse said Arthur, surprising himself so vastly that he had some difficulty finding the door. The Mersey Meg had barely reached mid-channel when the bars opened. In a few moments, more than half the passengers had drained below like released bath water. I Arthur watched their departure gratefully.

He unfolded the flaps of the cardboard box in readiness for lifting the casket lid. He strolled over to the rail. Then he realised why that half of the deck was deserted. A cold wind was sweeping inboard at half gale force. The odds against any part of Uncle Bernard making sea-fall on that side were astronomical.

Arthur crossed to starboard. The throng was as thick as it had been before. And in the bows the rapt bingoists were still in possession, deaf to the call of liquor. Arthur picked his way aft. The stern section appeared to be empty, but as he got nearer he saw a prohibitory railing beside whose only breach stood a member of the crew.

Arthur, feeling near despair, went up to him. Look," he said urgently, I've a box of of ashes here that I have to empty into the sea. I can't get near the rail anywhere else and I thought. The seaman stiffened and took a pace back, staring at Arthur's burden. Here, just you hold hard a bit, mate.

Oh, no, thanks very much, you'll have to see the Old Man about that. He raised sharply apprehensive eyes. You from Harwell, or something. Arthur gaped indignantly. Then a sense of all the forlorn effort of true explanation fell upon him like a heavy net.

He sighed and turned away. OLDHAM OLDIIAM COMSEUM- lUIn 2820. (Membership 76. Junior 26 per year) Eveninrs 7.30. Maia.

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Box Office now open 10 to C. SEA FEVER "AND I further desire and request that my body shall be committed to the fire and the ashes scattered upon the broad bosom of the ocean from the pleasure steamer Mersey Meg, on whose deck I spent so many happy hours in life." The members of the family of the late Bernard Henry Harrap, who materialised at the the funeral as a stringy coagulation of ageing strangers, were individually and privately sceptical of the romanticism flaunted in his will. None of his three quiet, grey sisters had seen him for twenty years, but in what they did remember of him nothing chimed with this curious protestation of nautical nostalgia. The elder brother, a heavy brooding man who spoke with his chin tucked tightly to his chest as if in permanent apprehension of breaking wind, and a cousin known hitherto only by his sub-title of the Norwich Tom, who was gassed in the war," each considered the request to be a piece of impudent affectation. But neither said so.

For them, as for everyone else present, not speaking ill of the departed was an accepted, if arid, discipline. So there was none in that assembly of cold-nosed, knuckly relatives to encourage in young Arthur Harrap an incipient revolt against having been singled out as executor of the dead man's whim. Arthur thought it more than a bit off. It was true that bis uncle had left him 35 (oh, and a greenhouse, of all things what on earth was he supposed to do with but the old man's testamentary description of him as "my dear nephew, who has ever shown himself attentive to my needs" was a blatant fiction. He dimly recalled a florid, friendly face bobbing above the salmon and slab cake at the end of one of those long and queer-smelling tram journeys that childhood's communion with relations involved, but that was all.

He was sure he had not met Uncle Bernard, even fleetingly, since the age of 7. Arthur voiced his bewilderment to the only mourner who did not seem irremediably pursed up by contemplation of mortality. Aunt May was glad to hear him. The sense of duty that had brought her to the funeral did not preclude innocent expectation of being taken out of herself" and in this she had been disappointed so far. Arthur's predicament revived her spirits.

I do see what you mean, dear," she said to him, but I'm not sure that we ought to question poor Bernie's sincerity. What people imagine is often absolutely real to them even though they don't seem to have any good cause to think as they do. You probably became a sort of ideal in your uncle's mind. He had no children of his own you know. As for this sea business well; I suppose he might have taken a trip on that boat at some time or other." Yes." Arthur said.

And it wouldn't be kind, would it, to refuse a perfectly harmless little favour to someone who's apparently thought well of you all these years No, it's just. It was that broad bosom of the ocean which stood in the way of Arthur's acceptance of Aunt May's logic. There was a boozy pretentiousness about the phrase that repelled him. I think it's rather a nice idea, really, being scattered lightly over the waves." Aunt May's pale violet eyes glazed momentarily. She touched her amber beads, then traced with fluttering white lingers an undulatory pattern in the air.

The cradle of the deep. The queue to the little ticket shed on the landing stage was at least fifty yards long. Arthur tagged himself to the end of it. AH he could see of the Mersey Meg was a funnel top and some FORSYTH BROS. Est.

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A happy rollickine hnw vnu can uw mn ihe family to ppie It was now nearly two hours since he had left home and his consciousness of the parcel had deepened with every minute, with every jostling contact that threatened to knock it down among the feet of his fellow excursionists. The box had sprouted a personality more than once had Arthur almost fancied that an avuncular arm was crooked in his and that he was being hastened coast-wards by an eager old habitue of the saloons of the Mersey Meg. Yep The inquiry was expelled like a pip by the big, sweat-glazed man who had been loaded into the booking kiosk. Arthur started, then delved for the pound note he had put ready in his jacket pocket. Two, please no no, I'm sorry one.

Just one." The fat man glared at him suspiciously, snatched back one of the tickets he had torn from his roll, and expertly slid out the change along the sill so that it would have to be picked up coin by coin. The decks of the Mersey Meg were already crowded when Arthur stepped down from the gangway. Most of the trippers had clotted into parties, each exclusively colonising one of the long slatted benches round the perimeter. Transistor radios and record players spread pools of warring sound. Lovers, mournfully grafted, swayed like seaweed in the depths of their abstraction.

In the bows, a congregation of bingo pilgrims bent to the chanting of its priest. Children, dashing aimlessly like pigs in a strange pen. earned the indulgent smiles of big immovable women who guarded shoppine bags dronsical with knitting and bottles of stout. Arthur made a slow, exploratory tour of the main deck. Before leaving home, he had decided that his proper course would be immediately to seek out the captain of the Mersey Meg (he assumed that pleasure steamprs did not run to chaplains) and put the whole thing on an official footing.

lie pictured the captain as a grave rock of a man, braided cap pulled low and straight over cool, authoritative eyes in which sympathy twinkled, his fingers poised lightly upon a binnacle-supported Bible. A deckhand reluctantly directed Arthur to the bridge. Excuse me. but are you the captain Arthur's voice creaked with disbelief. The man making desultory gear changes on the ship's telegraph with one hand while ardently scratching himself with the i other was dressed in a torn cycling jacket, grey flannel trousers tucked LONDON CINEMAS ACADEMY.

(Ger. 331.) Until Sept. 14 Shakespeare Seasoo. Until Auf 17 OUvler In HAMLET (U). 2 30.

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Evs. ThU Wk. Mats. Dly. 2.45.

3u. 4 30. 6 All bkable.Th. and Acta. CAMEO roly (Lan.

1744 Jeanne aioreavn an TTturiaut ales JUd (X) L2 49.f3.ia. a.43 US CAM LO ROTAL. (WfcJ. C9J5 NUDIMT PAJtADIbK IA Brume BfcTdot AND WOMAN WAS CREATED rXi Both col. and Scope 1045 4o 4.40 740 CARLTON.

(WhL 3711.J THE CARINET tl DR CALtr.Afcl (X. Cinemascope. Glyr.ls Johns. Dan 0 Herbhy Pes 10 3 30. 5 45.

8J0 Last 8.30 CASINO (Cer. 6S77 Cinerama 3 WONDERS OP THE WORLD (U 2 30 6 0, 8.40. Sutu. 4.45, 730. Ends AUX.

18. SOUTH SEAS ADVENTURE Aur. 10-CIst-rDONE lOpp. Selfrldjeesl. (May.

4731.) WrU Without Shame (A), Violent Ecstaay (X). Adults. GOLlttbLM (lem J1C1. 1 8umo Harvard, peter Finch THANK A rooL At. Metrocolor.

rontlnuniu Drocrammes at 2.3f 6 15. and .0 COLUMBIA. (Re. 5414.) I LOVE. TOTJ LOTS (X).

1 50 4 0. J0 8J5. COMPTOS. (Cer. 4553.) Great Double Adult Pro- I rammc open to the public.

WAYWARD GIRL TARIh PLAYG1RLS (X). Coat, from 13 noon. CUIt.O iGru STJl.) a Great Acaorrmy Award Fticns 0LACH ORPI7EUS lA) V1MOLN SPRIMI i A. Prow 1 10 2S '40. and Pt om DOMINION, lott ourt Rd.

(Mus. 217S.) 5th Year. In Todd-AO llodtcrs and Harnmnrtcln's SOUTH PACIFIC (Ui TVr-h Today at 2.30 acd 7.. Sun. GO.

Mats. Wed Th Sal, 2.30. All bookable. JACEY- IN THfc 6TRAND (Tem. d04B I Tor odil Story (A).

In Bionons coknr. Caverns of If X. "rencb dial -Enc stfb lies UjO.i.so 4 ao sq. LEIC. 814.

TH. William a olden. TreTor Howard. Capudne The U). Pn LO.

3.35 5S0 8 to LONDON PAVILION. Pice. Cirxn. (Ger. 2983 Ann Bancroft.

Patty Duke In THE MIRACLE WORKER (X). Showier at 10.45. 1J.0. 3.45. 6.20 8 55 ETRO POLE (Vtc 02089.) Samuel Bronstm, EL C1D (U.

Super Technlrmma-70 and Tech Errs. 7.40. Sun GO Matinees dally 2.30. All bookable. ODLON.

Ilaymartet (Wbl TJS BARABBAb ia Teihamma-TO moa Tech. Dairy at 230 and I. Sun 4 30 8 A siu bookab theatre scents ODMiN tele bo James Uason. John Mills TIARA TUIIT) (Al. Col Prea at 1 30 30.

50 20. ODFON. Arch. Pad 8011. Rock Hudson Burl Ives, Thr Rnlral Raid IA.

Teh Pron 2 sos 1 PICCADILLY. (Cer. 4506.) Mori. nxL the Incomparable MARCEL MAItCEAU Al'OldjO. (CRT.

mi I SL 545 and B3U DaJd Totnljnatju in HOLINti-nOhlNU. CAMBRIDGE. (T-m MM 1 Eves 8 0. Thurs. 2.45.

Sat fi.O and 8 10 Mifiret LocKwood Derek Farr In MC.Nl-osT TO ML-IHH It, "Fantastic whodunit, lull of twists as a corkscrew." People. Special performance! todiy CO and 40. CAM NO. iCcr W.l Cinerama's 7 WONDERS OF 'I HE WOItl (U) 2 JO, 0., S40. SuriA.

4.45. 7.3U Knds Aui; MH 111 sKAi ADVKN'ILKK Aug. 1U. CO.MIJn. iWhi.

ViS 1 Jives 40. Wid and Sat and 10. IIIL I'KLMIsL. Tlu- most uiimls D. Mail otiflerlul lirlllium scinUHattnie.

willy." Daily -jkucli Dill III LINK. (Teni KJb. Charles stai'i-y Tonia James Hnyur. MY rAIR LA1H wnh vna liare. 7 30 Kir.

2 30 Now in ith artai year. Ot 1IE i Itrn 6213 I HU. S. a 13, Tn. 2 4j Hfcud GOODNK.UT MRS PUFMN.

Fun for Ui family." Now ita 2nd year. London kil.si runntnj: comedy blt- DI'KL WUtK (Tern 512a I Evfis O. 111. 2-45, Sat. 5 IF 8 Donald WotfU In a crackling cood nlny er) witb laugh, about a newspaper takeover tii.i.

MT in PRINT FasL witty and ntithmttc." Fxp FORTUNE. (Tem 21S 1 40. Th. nnrj Sai 0 0. 8 40.

The Rpviip ur.VOND THE FRINGI. PRINCE OF IV ILLS. IWhi hf-SI Kvgs. at 8 45. Wed Thur Sat.

0.10. 8 45 Bod Monkhousc. David Ko.vm1I In lyindon's blosi laughter hit I (OME ULOU l(t HORN Tlif audli ikl lovod It k-t-nlii Nevis. Absolutely sure to run Dally Telegraph. Extra performance today at 6 10.

TALK OP THE TOWN Ci-d tonlrht only for Install tiro ot NEW o-pc IXi nee Floor. Reopens tomorrow as usual. RLG 5-f51 ART EXHIBITIONS OROSYLNOIt GALLERY. (Scvenaru. Ltd 13 Davies Street.

W. L. Mayfalr Z7M. WLAilLVUlC r'AVOHSKY Fifty years of ha Graphic Art Weekdays 10-6 Saturdyi -o-- LLIEVKfc GALLERY, 30 Bniton SUevL London 1 A aelecUun of contemporary British and Prench uainttnxs od view Dallv 10-S Sals LO-L MARLUUIKH CI) TJ Old Rood St. W.I 0195 nJ KLUOROl OH NEW LONDON (jLLKtU, Old llond Street.

iGRO W35 i ASPEC1 Oh TWENT1E PH CENTURY ART including vulpture by HENRY MOORS, ana import aj it (tainting drawings and new linocuta by PICASSO Altt works by BRAQUE CHAGALL. KLEi: I'OLLOCK. R.OUALT SOUTTNE, Etc. Dally 10-5 tU3. 10-12.

Adm Free From iuiy lfl RE Ml QALLFRY. 23 Cork Street W.l. 1BTH and arm century French ana English drawings Watercolours and Pastelt on view. Also Drawtnsa and Paintings by contemporary irtlsta Dally 9.30-5 30 Sals 0 30-1 0.. ROItt.RT FRASER UALLER.

69 Dure Street. Grosvenor Square. London 1. SUMMER GROUP SHOW: Contemporary European and American Paintings and Sculpture Dally 10-5 Sas 10-L ROVAL ACADEMY SUMMER EXHIBITION 30-7. Sundays 2-S Admission 3- QULKN i tte hWj.j Eva o.u.

Sat a.ia ana oju. The Leslie Brlcusae-Anthony Newley Muilcal STOP THE ORLD I WANT TO GET OFF. tiftely'n muilrol Is oost-war besrt." Mall ROYAL COURT. (Slo. 1745.) EvKs.

8.0. Sat. 5 8 15, Th. 2 30. Osborne's FLAYS FOR "Osborne has done It ayjaln." II.

Hobson. S. Tim. Half a dozen stratagems were born in Arthur's brain during the remaining hours of his unwanted cruise. They ranged from the impractical to the wildly bizarre.

Of one the irreverent dispatch of Uncle Bernard to his bourne via the Gents at the entrance to the lower deck saloon Arthur tried never to think again. But the hateful voyage came to an end at last. Still clutching his box, Arthur disembarked and made his way to the station. As soon as he reached home he went upstairs and stowed the casket at the very back of the top shelf of the wardrobe in his bedroom. He was beginnning to pack in front of it the collection of odd, outworn articles that would complete the secret interment of his failure, when he paused, stepped down from the chair, and pulled open a drawer.

After a brief search, he remounted the chair and carefully pushed between the casket and the side of the wardrobe the hoarded childhood memento that he had taken from the drawer. It was a twist of dried seaweed. BRUSH WITH A BODY CAR RICK (Tem. 4501.1 EK.i S. 3 30.

SaL Blfi "Tnvor sup- rt Tim- John Mor'imeT'i TWO STARS FOR COMFORT Bo! o(rw play oi Hie ear Daily Tleraph SA VILLI' (TfcltJ 4011. 1 Eva bU I.SHARP) Maia Wed anil at i.O Peter Dtena Wynyard Paul Rocers In Peter Uitlnov't THOTO FINISH PLAZA. William Solden and L11U Parmer In THR ur i r.itrtii i. iswinusb i aj. lecnnicoior.

ep. -fa. Mon. to Frl. 2.90 and 7 30 m.

Today and COUNTERFEIT TRAITOR A) Technicolor. Sep. mun. lu m. aw uiu -J ui.

jLDuay ana SEVEN ARTS GALLERY. 30 Crd Bond Street. W.l. Hyde Part 079. Flrit isindon Exhibition of Pamtlugs by the Cft '1 orolan ar tit CHAK.LES rABJt.

Weekdays 10 -ft Saturdays, 10-1. SAIL AWAY GLOIIK. (Ger. 1M2.) 8 0. Wed 2.30.

SaL 6 30, 8.30. Krnneih Williams. MngRle Smith. THE PRIVATE FAR AND TlIK FU1U.IC EVE. by Peter Shaffer.

II A YM A iik LT iWhi tfSJJ.) ETcntnxa at t.Sj Wed Sal 2 30 It Richardson. Rutherford. A M.i5.scy D. Mawey M. Forbes, L.

NniMrtiLb E.i.ttoil. SCHOOL rOIt SCANDAL Ilt-K MAJFSrS. (WIU taiUf, I Com AUtf 16 7.30, Mibs evk's in Frl arid Kzit HO ond 8.40. MX II' YIPI It MtivH.nl LYRIC nhr Shi I 4: 5 30. 8 TU 2 SO rnoit iiioil; WJtllfc Mh A MI ItDMl." nn- colnt ut njrj and nin and nin lian sk-ich Mr ItMAlIi tCIl 7tVjt 1 I-ast Ixirk Up Your and -IO OCm" Purjiln DuU, Aur 13 for 3 lu Dk.

noA- (Lock Up Your Daughters tranjfen to -Majesty's Aux- 16.) Sua. tj U.15. 3.45. 7.30. Suns 4 30 and 7.45.

All teats bookable, box office. Whl 8944. RITZ. LHc Hq. Harold Lloyd's WORLD OP COMEDY (U) Prornmmei at 1-0 3.15.

5 45 8 30 Sat U.15 STUDIO ONE. Vincent Winter and Sean Scully nth th? Vienna Rots' Choir In BORN To SIN'O fU). Tech Prors 13 45. IIS 45 120 Dr 17 30 m. W4RNER (Ger 3433 1 THR HUKIC MKS (UK Tech Robert P-ttrm Shirley J'Ur PrnrTamm 30 50 Sun 430 and LONDON CONCERTS ROYAL ALBERT II ALL HENRY WOOD PROMENADE CONCERTS.

HlxhUy a.t 130 (SunAaya excerjtftd). Ttdwu at Ball (Em. KXL2, Ajtau. THE AFFAIR A hlfjl-ly diverting thriller D. Mall WADDINf.TOS OA1LPR1KS.

a Cork Street, umuon W. 3 HOUSE EXHIBITION rv Elltchena Yeati. Hilton Hayrt-D f-Tr. Avery. Heron.

Zack. WvnttT Fr nk ftals Mc William Graea OPERA AND BALLET ROl PLSTIVAL II I.L (WAT 319H. London'4 Feitlral Today at 5 8: Coppella. 7-0 Aa Swan Lake (Act Til. Witch Boy.

B.ilani'h'.ne's IVaurree Fantuqtta. Evts. S. SADLER'S WELLi). (TeT.

1673-1 THEATRE CLOSLD. CHIPS WITH EVERYTHING Critlcy Award: Best Play at tlu Year.".