LETTERS

Palace Guard Revolts.

Who is/are Frank Schaefer and/or Kerry Newcomb? The journalistic assault (December) of this dynamic (?) duo on
dinner theatres in general and the Crystal Palace in particular invokes no small amount of wonder as to what
credentials other than “playwrights and film producers based in Dallas” are possessed by the Schaefer/ Newcomb
combine.

A built-in refutation of their sophomoric review of Dallas dinner theatres is an offspring of the literary style of
their article. They have, with cutesy-pie, sentence-structured, self-intoxicating exuberance with their own
satirical machinations, totally annihilated any credibility that writing for D might have lent to their
effort.

The Crystal Palace makes no excuses for start-up problems. We do, however, vigorously defend Dallas dinner theatres
which for years have provided high dollar value entertainment as attested to by their success epitomized by survival
sans grants or subsidies or even any real “constructive criticism” from area critics.

Finally, let me say that if by hiring (theater critics) Newcomb/Schaefer your magazine is attempting to inject “wit”
into your publication, you succeeded. In them you have “wit” -at least half of it.

Don Shook

Executive Director



Sew Those Ripped Britches

Mr. Atkinson and fellow cleat-footed citizens, let those (City) Councilpersons hear much more about the (abortion)
ordinance, again and again, until those preying clinics are strictly regulated for protection from the type of
medicine being practiced in them.

Oh, come on Councilpersons, these “clinics” are staffed by doctors who do nothing but abortions and are geared to
make as much money as possible in as short a time as they can. It’s a multi-million-dollar a year business. These
“clinics” can well afford to provide proper facilities, examinations, back-up facilities, registered nurses and
follow-up care for their patients.

Sew up those (ripped) britches and get that ordinance un-tabled!



Sheila Higgins



More on the Symphony

I was a member of the Dallas Symphony Orchestra’s executive committee for four years, from 1969 to 1972, and so am
quite at home with the article in the November issue. While some may find it inaccurate and slanted, I find it quite
accurate, well constructed, and a fair chronicle of what happened to the DSO and far more importantly, why. You are
absolutely right when you ask and ask again, “does the city want an orchestra?” From the response during my years,
the answer is “yes” in the sense of lip service from the downtown crowd, but “no” when it comes to providing the
support, moral as well as financial. Of course there were, and are, exceptions-like (Ralph) Rogers, Cecil Green, the
grand McDermott’s, the Kahn’s, and others, but when it came to the business community, they nodded wisely and did
precious little.

Perhaps we were wrong to agree to a three-year contract; maybe we should have done what Rogers wanted to do; take a
strike that would break the orchestra, but we chose not to do that but rather, to give the city one more chance to
answer the important and fundamental question, “does Dallas want an orchestra?” The answer was clear last spring and
at least the uncertainty is gone, leaving little basis for indecision.

I am pleased to see that Rogers has taken a small dose of the best of old time religion, namely humility. He’s right
when he admits that it was childish and wrong for him to walk away at a time of need and crisis, thus prolonging the
difficulties and making our job with the city much more difficult. I wonder if he told you that he finally did
receive the letter of apology he demanded as a price for his support- and a letter that he probably deserved, if for
no other reason than his many years of devoted and extremely generous support, which was sent to him at the time we
agreed to the three-year contract. It was a price we demanded before we would conclude the contract; 1 know because
I was chairman of the negotiating committee and insisted upon the letter before taking the proposal to the
trustees.

One can only hope that articles like yours will focus attention where it needs to be directed and will awaken public
interest. From what I saw in my six years in Dallas, one can only hope.

Robert B. Gillespie

Lake Forest, I11.



Public Art

The December story about the lack of art in business buildings is quite curious since the author, Ms. Janet Kutner,
evidently needs her vision examined.



In showing a weight scale as the only art in the First National Bank in Dallas, Ms. Kutner’s bias is hanging out,
since the First National Bank in Dallas houses in public banking areas and throughout the specialized banking
sections the largest collection of original art in the area -paintings, watercolors, sculpture, graphics. Having
personally seen their vast collection including over 350 signed, original, limited edition graphics, I wonder if Ms.
Kutner ever bothers to check out her statements.



In ignoring the fine well-rounded collection of paintings, sculpture and original graphics that is a part of the
exterior and interior of Southwestern Life Insurance Company’s home office, (across the street from the Fairmont
Hotel) is also a regrettable oversight.

Instead of berating the business community as she seems to enjoy doing, why not praise them for what has actually
been done without her. She isn’t the only person that likes art in Dallas … or does she? Or is Ms. Kutner saying
she is like a BurgerKing hamburger that wants art “her way” or no way?

Mrs. Clarence G. Troup



Two Points

In view of two inaccuracies I noted in the second issue (November), I think it might be well if you had somebody who
has been around here a while to police your facts, so to speak.

In the piece about the Dallas symphony, your writer, or proofreader, or whomever, allowed the story to credit the
symphony’s recent generous legacy to the estate of “Ida Camp.” The bequest came from Mrs. Alex Camp, nee
Roberta Coke, Dallas native and patron of the arts.

In the piece about Swiss Avenue, the writer referred more than once to “Col-lette” Munger. His name was Collett, as
anybody familiar with the street would know.

Virginia Lloyd

(ED: We stand corrected on both points.)



A Rose is a Rose

At the risk of seeming a crank about orthography, I protest D’s changing the name of Theatre Three to Theater
Three (October). You and the amusements sections of the dailies! I’d think we’d be permitted the courtesy of having
our name appear the way we spell it- but, alas, no! I understand the New York Times began this perverse
practice of telling theatre goers they are theater goers. Perhaps it’s some sort of rear-guard Daughters of the
American Revolution revenge against “centre,” “sabre,” “septre” or something.

Still, all New York theatres (except the Vivian Beaumont Theater in Lincoln Cen-ter) use the “re” ending. ( Under
the same roof, though, is the splendid theatrical research facility called the Theatre Collection). In New York and
across the country and here in Dallas playhouses and movie houses advertise themselves as theatres alongside news
items and reviews referring to the buildings and institutions as theaters. Some few have caved in to the “er” demand
or imposition-Dallas does have the Dallas Theater Center.

On the flip side I much admired the guts and wit of the dinner theatre report. As the kids say – tough!

Jac Alder

Managing Director

Theatre Three, Inc.