Arts and Entertainment KEEPING UP


Rauschenberg Mixes the Media

For years Robert Rauschenberg has wanted to collaborate with choreographer Viola Farber and avant-garde composers David Tudor and Alvin Lu-cier, but it took the Fort Worth Art Museum and Channel 13 to bring them together at last. Their joint project, described as “a work of art specifically for television,” combines original music and dance scores with a simple black set and spectacular dyed leotards designed by Rauschenberg. Watching the dancers perform in such a compact yet seemingly infinite space is like watching fireworks exploding in a tunnel.

“There was so much energy in Viola’s dance to begin with,” Rauschenberg remarked, “that I wanted to avoid creating any static images. The company will make five complete costume changes during the program so as to present a kind of living color spectrum for a viewer.”

At one time Viola hoped to do the dance at D/FW Airport, but those plans fell through. (Too much competition for the boutiques and mylar hot dog stands, perhaps?) She had to settle for the intimacy of one of KERA’s studios.

“Too bad in a way,” Rauschenberg added, “because that airport is really space city. It would be ideal for live performances. I’m particularly fond of that little train that never seems to know where it is.”

We exchanged Airtrans horror stories as images flashed across a rank of monitors and technicians, consultants, reporters, and curious visitors streamed in and out of KERA’s yet unfinished control booth. Even for someone like Rau-schenberg, who’s made a career out of collaborating, this could have been too much of a good thing. But throughout the morning he sat calmly on his stool, sipping coffee, chatting with the dancers and the production crew after each take, and in general helping to sustain everyone’s morale after a week of 16-hour work days.

“What I could use right now is a lot less of everything,” he gasped, “but that’s not possible. I have my own dance piece to finish, plus the catalogue for the retrospective, plus half a dozen other projects all over the country. A few weeks ago I bought a book on how to manage your time efficiently and so far I’ve read three pages. Skimmed them at that.”

Even though Rauschenberg is the most brilliantly eclectic contemporary artist, and has opened whole new fields of imagery, this is his first video project. He admitted that keeping the whole thing in focus while working only on small segments was an exciting challenge, but he added that all the retakes and waiting around drained his energy. For Viola Farber the major problem was choreographing a dance for the camera instead of a live audience. Add to this the fact that a new dance floor had to be built practically overnight by volunteers and you have some idea of the pressures involved.

“Every dancer should have this experience,” a member of the company told me, “but maybe only once.”

Plans call for Rauschenberg to edit the approximately six hours of tape into a one-hour show, after which David Tudor and Alvin Lucier will provide musical accompaniment in tune with the color and movement of the dance sequences. KERA hopes to air the finished product locally in February or March and then negotiate with PBS for national distribution later in the year.

“I can be very objective about the editing,” Rauschenberg said, “because I don’t know the first thing about it.”

Skeptical laughter from the crowd in the control booth.

– David Dillon


One of the saddest events of ’the old year was the closing, because of lease problems, of the Texas Center for Photographic Studies. One of the bright spots of the new year is that the University of Texas at Dallas has agreed to house some of the Center’s exhibitions and activities for the time being. In February, the great documentary photographer W. Eugene Smith will give a lecture and exhibition that the Center had scheduled earlier. On February 4, Smith will lecture at 7 p.m. in the Jonsson Building on the UTD campus, and on February 5 will hold a workshop – limited to 20 students – also on the campus. From February 4 through 27, a small collection of Smith’s photographs will be on exhibit in the UTD library. For more information on the Smith show, call David or Nancy Pond-Smith at 522-2241, or UTD, 690-2111.


Dallas Museum of Fin* Arts. Through February, Berlin Hanover, the 1920’s, and woodcuts by Titian. Tue-Sat 10-5. Sun 1-5. Fair Park/421-4187.

Amon Carter Museum of Western Art, Fort Worth Navaho pictorial weaving in the main gallery continues through February 13. Tue-Sat 10-5. Sun 1-5:30. 3501 Camp Bowie Blvd/(817)738-1933.

Klmbell Art Museum, Fort Worth. Feb 3, 7:30 p.m. Lecture “The Art of Collecting” by the Hon. James Dugdale, English owner of Vuillard paintings now showing at Kimbell. Beginning Feb 6, The Last Empire, a photographic panorama of India. Organized by the Asia House Gallery and cosponsored by The American Federation of Arts. Feb 26 begins European Drawings from the Fitzwilliam, a collection of master drawings, including Michelangelo, da Vinci, Rembrandt, and others. Tue-Sat 10-5, Sun 1-5, 1101 Will Rogers Rd/(817)332-8451.

Fort Worth Art Museum. Through Feb 13, The American Abstract Expressionist Collection of the Sarah Campbell Blatter Foundation. Tue-Sat 10-5, Sun 1-5. 1309 Montgomery/(817)738-9215.

Eastfield College. Through Feb 11, paintings by Jeanie Hamel, Feb 14-25, David Wallins paintings. Feb 28 begins works by Tommy Carrol. Mon, Tue, Fri 9-5; Wed and Thur 9-7. 3737 Motley Dr, Mes-quite/746-3132.

University of Dallas. Images from the Big Thicket, photographs by Lynn Lennon. University Gallery, in Haggar Center, Feb 1-15. Tue-Fri 11 -3. Sat & Sun noon-4. Closed Monday.


Afterimage. Paul Caponigro’s view camera natural photography display will show through Feb 19. Neal Slavin’s humorous group portraits, in color, will be exhibited, opening Feb 22 Mon-Sat 10-5:30. Quadrangle/748-2521.

Allen Street Photography Gallery. Third Sunday shows at the gallery feature work by local photographers – anyone is welcome to exhibit his work. Feb 5-18, Motel Art. Tue-Sun 11-6. 2817 Allen/742-5207.

Arthello’s Gallery. Jerry Nabors’ sculpture, macrame, and paintings will be on display during February. By appointment weekdays; 1-6 p.m. Sat & Sun. 1922 S Beckley/941-2276.

Atelier Chapman Kelley. Work by Noel Mahaffey, a new realist working in oils, acrylics, and drawings, on view in February. Mon-Sat 10:30-5, Sun 1-5. 2526 Fairmount/747-9971.

Carlin Gallery, Fort Worth. February will feature a one-man show of paintings by John Guerin. Mon-Fri 10-5. Sun 2-5:30. Montgomery at W 7th/(817)738-6921.

Chisholm Trail Gallery, Fort Worth. The regular gallery artists will be exhibited. Mon-Sat 10-5. Montgomery at W 71h/(817)731-2781.

Contemporary Gallery. Oil paintings by Fort Worth’s Van Hammersfeld will be displayed throughout February. Mon-Sat 10:30-5 and by appointment. 2425 Cedar Springs/747-0141

Cuthing Galleries. February will feature European paintings and silkscreens by Bruno Zupan. Mon-Sat 10:30-4:30. 2723 Fairmount/747-0497.

Delahunty Gallery. Through Feb 23, James Surls’ new sculpture and Alex Katz’s prints. Works by Donald Lipski will open Feb 25. Tue-Sat 10-6 and by appointment. 2611 Cedar Springs/744-1346.

D.W. Co-op. The sculpture of Gisela-Heidi Strunck will show through Feb 10. Works by Linnea Glatt and Molly Terrill will go on display Feb 12. Tue-Sat 11-6. 3305 McKinney #7/526-3240.

The Frontroom Gallery. Ceramics by Michael Obra-novich and woven tapestry by Lois Isenberg featured in February. Mon-Sat 10-5. In the Craft Compound/6617 Snider Plaza/369-8338.

Gallery One, Fort Worth. Opening Feb 18, an American poster show. Mon-Sat 10-5. 4717 Camp Bow817)737-9566.

Hall Gallery, Fort Worth. Constantin Cherkas paintings continue through Feb 5. Works by David Ad-ickes go on display the last week in February Mon-Sat 11-5:30. 4719 Camp Bow-ie/(817)738-5041.

The Kleine Gallery at the Artists Courtyard. February features the works of Buddy Curtsinger and graphics by Randolph Lee. Tue-Sun 10-7. 12610 Coit/233-9472.

Macy Galleries. Oils and other works by Zolita Sverdlove are the featured display. Tue-Sat 11-6, 2605 Routh/742-4587.

Mlchele Herling. A continuing show of Pre-Columbian and African art with a new shipment of Oceanic art and Santos from the Philippines. Tue-Sat 12-5:30. Quadrangle Suite 260/748-2924.

Phillips Galleries. Exhibition of gallery artists, including Florence Arven, Elizabeth Charleston, Manes Lichtenberg, Carlantonio Longi, and Constantin Kluge. Mon-Sat 10-5. 2517 Fair-mount/748-7888.

Stewart Gallery. Robert Nidy’s new technique of realistic landscapes done with tempera on various metals on display in February. Tue-Sat 10-7 and by appointment. 12610 Coit/661-0213.

Tuthill Gallery. Watercolors by Amado Pena, Jr.. etchings by Myrna Price, and paintings by Michael Roberts. Mon-Sat 10-5:30, till 9 on Thur, Olla Po-drida, 12215 Coit/661-1204.

Valley House Gallery. Feb 1 -22 an old master drawing and print exhibition. Mon-Fri 10-5. Weekends by appointment. 6616 Spring Valley Rd/239-2441.

Williamson Gallery. February will feature watercolors by Claire Frindell. Mon-Sat 11:30-6. 3408 Milton/369-1270.


Concert Preview: Mata Returns, Kord and Masur Debut

In January and February the DSO will be playing some imposing orchestral masterpieces under three different conductors, one, Kazimierz Kord, a visitor, and the others, Eduardo Mata and Kurt Masur, the two men who’ll be leading the orchestra all next year and, we hope, long thereafter. With several exceptions, the music on the schedule is nineteenth century Romantic, which Dallas audiences seem to respond to eagerly and which should be familiar though great enough to breed delight.

The young Polish conductor Kord has selected a program that dramatizes contrasts. He’s opening with Liszt’s “Tasso, Lamento e Trionfo,” Symphonic Poem No. 2, and then, with this year’s Dealey Award winner Michael Caldwell, he’ll play Liszt’s Second Piano Concerto. Both works come from the composer’s most productive period, the late 1840’s and ’50’s. The symphonic poem and the concerto represent Liszt’s contrary impulses toward “program music” and “absolute music.” Artist and showman, culture hero and Bohemian, revolutionary conservative, secular priest, Liszt of course had it both ways. “Lam-ento e Trionfo” contrasts two halves of the poet’s life, in this case that of Tasso, the Italian Renaissance epic poet who died in prison but was belatedly honored after death. Contemplation and triumph are its predominant moods. The Concerto, likewise one movement, is also halved, with a lyrical opening statement of theme moving to a rich (and technically demanding) piano and orchestral fantasy. Through innovation and convention, both pieces display Liszt’s contribution to nineteenth century aesthetics: the progression, rather than the development, of effects in a single movement creating an organic relation between theme and form. “Tas-so” was written as a prelude to a play about a poet’s life; the Concerto “quotes” Chopinesque figures and even snatches from the First Concerto. Both works in a sense are about art.

Resisting programmatic interpretation, the only work on the second half of Kord’s program, Tchaikovsky’s Symphony No. 6 (“Pathetique”), is nonetheless the final expression of the composer’s sense of his own life. It wrenches conventional symphonic form out of joint and makes its statement, for in the second movement an Allegro con grazia replaces the usual Andante and in the third movement a March substitutes for the conventional Scherzo and Trio. This work is a difficult but standard entry in any major conductor’s repertoire. Listen especially for how Kord handles the tempo in the third movement: some conductors hold back to prepare more dramatically for the triumphant climax and release, but Kord could take the “molto vivace” literally and make this section a brisk and angular prelude to the hopeless pathos of the conclusion.

In the next concert, Eduardo Mata, the newly appointed music director, Eliot Chapo, concertmaster, and Marion Davies, principal cellist, will team up for the Brahms Double Concerto. Its minor key and massive orchestral parts are reminiscent of the First Symphony, which Kurt Masur will conduct two weeks later. The violinist and cellist who can match their respective instruments intimately enough can make this piece into a powerful and profound experience.

The Stravinsky piece the DSO is playing this month is the one everybody’s been waiting for: Mata conducting Le Sacre du Printemps. Tempos, intonation, orchestral cohesion, detailed section work, crucial solo passages – nothing in this twentieth century masterpiece must escape a conductor’s most minute attention, and the orchestra as much as Mata will stand vulnerable on every inch of the score. The shift from the super-civilized Brahms Double ’oncerto to Stravinsky’s primitive sounds and rhythms will take Mata out of his metier, the Austro-German school, and his performance should demonstrate unequivocally the range he’s capable of reaching. I hope his Sacre is a knockout.

Late in the month Kurt Masur, chief conductor at the Leipzig Gewandhaus and the DSO’s new principal guest conductor, will take the podium two weeks in a row, to perform disparate works that span a century. From Mendelssohn’s buoyant, festive Fourth Symphony (“Italian”) he’ll modulate to an austere modern departure from symphonic form, Hindemith’s Concert Music for String Orchestra and Brass Instruments. As in the earlier concerts we’ll be able to hear immediate contrasts. For the first composer the symphonic form is full of possibilities; for the second, it is only a memory. Even the instrumentation changes: Mendelssohn uses basically the same kind of group Haydn, Mozart, and Beethoven used. Hindemith scales the orchestra down to string section, horns, trumpets, trombones and tuba, an ensemble small enough for the emergence of diverse yet precisely controlled tone colors.

The Romantic symphony reaches back to the splendor of musical ideas in Mozart and Beethoven in the next part of Masur’s first concert: Brahms’ Symphony No. 1 in C Minor. Though the material is Brahms’ own, structurally this work is as transparent as the “Jupiter,” and in the noble last movement the strings play a song as stirring as the conclusion of Beethoven’s Ninth. In a century that released the symphony from static forms, brought it to maturity, made it the vehicle for the Romantic sensibility, and finally exhausted its possibilities, Brahms in this masterpiece indisputably carries the symphony to its peak.

For the second set of concerts the following week, Masur will conduct Beethoven’s Third Symphony, the “Er-oica,” whose opening movement will be a test of string section intonation. The most apparent quality in the style of any conductor is his pacing of a work. Masur’s choice of tempos for the first movements of the Brahms and Beethoven symphonies – brisk, sluggish, or moderate – should key us in to his temperament. Mozart’s Piano Concerto in C Minor, performed by Lily Kraus, will also be on the program, as will Prokofiev’s harsh and gloomy “Scythian Suite,” a mad piece inspired by Le Sacre, thus providing yet another reverberation in a busy orchestral schedule. Recommended recordings for February DSO concerts:

Liszt, “Tasso”: Haitink, London (Philips); Liszt, Second Piano Concerto in A Major: Richter, Kondrashin, London (Philips); Tchaikovsky, Symphony No. 6 in B Minor: Karajan, Berlin (DG); Brahms, Concerto for Violin, Cello and Orchestra: Francescatti, Fournier, Walter, Columbia (Columbia); Stravinsky, Le Sacre du Printemps: Boulez, Cleveland (Columbia); Mendelssohn, Symphony No. 4: Szell, Cleveland (Columbia); Hindemith, Concert Music for String Orchestra and Brass Instruments: Hindemith, Philadelphia Orchestra (Seraphim); Brahms, Symphony No. 1: Walter, Columbia (Odyssey); Beethoven, Symphony No. 3: Jochum, Con-certgebouw (Philips); Mozart, Piano Concerto in C Minor, K. 491: Brendel, Marriner (Philips); Prokofiev, “Scythian Suite”: Bernstein, New York Philharmonic (Columbia).

– Willem Brans


Dallas Symphony Orchestra presents conductor Eduardo Mata, violinist Eliot Chapo. and cellist Marion Davies Feb 4 and 5 at 8:15 p.m. Cellist Mstislav Rostropovich will be featured at 8:15 p.m. on Feb 11. Dave Brubeck plays Feb 13. Kurt Ma-sur conducts the DSO Feb 17, 19, 24, and 26 at 8:15 p.m. and Feb 18 at 10:30 a.m. Pianist Lily Kraus is featured Feb 24 and 26. Fair Park Music Hall/692-0203.

Dallas Civic Music Association presents Metropolitan Opera soprano Shirley Verrett at SMU’s Mc-Farlin Auditorium at 8:15 p.m. Feb 25/369-2210.

Dallas Museum of Fine Arts. Feb 6 at 2 p.m., tenor Weldon Moody will be featured; at 3:15 p.m., cellist Nelta Owen performs. On Feb 20, the voice students of Anne Weeks Jackson perform at 2 p. m.; at 3:15 the Dallas Baroque Ensemble plays. Free/528-1312.

Musica Dominica. Organist Charles Brown performs at 4 p.m. Feb 6; organist Keith Shafer at 4 p.m. Feb 27. Free. Christ Episcopal Church. 534 W Tenth St, Dallas/941-0339.

Organ Recital Series presents Marilyn Keiser Feb 21 at 8:15 p.m. Caruth Auditorium, SMU. $3 adults; $1.50 students/821-4157.

SMU Division of Music, concerts in Caruth Auditorium. Feb 11 – guitar recital by Robert Guthrie, 8:15 p.m., tree. Feb 13 – Devere Moore, oboe recital, 3 p.m., free. Feb 24 – SMU Choir concert conducted by Dr. Lloyd Pfautsch, 8:15 p.m., tree. Feb 26 – SMU Chamber Orchestra, conducted by James Rives Jones, 8:15 p.m., free.

Fort Worth Symphony Orchestra features saxophonist Francois Daneels Feb 15 at 8:15 p.m. $3,$4.$6,$7 with student and teacher discounts. Tarrant County Convention Center Theatre. The orchestra, in cooperation with the Fort Worth Ballet, presents An Event, with composer John Cage at 3 p.m. Feb 20. $2.50; $1.50 students. Kimbell Art Museum Auditorium/(817)926-8831.

Region III Texas Music Educators Association presents its All-Region Choir Jan 29 at 8 p.m. Free J.J. Pearce High School, 1600 N Coit Rd, Richardson.

St. Nicolas, by Benjamin Britten. Austin C. Lovelace directs adult and children’s choirs and orchestra, with tenor Hoyt Neal. Feb 20, 5 p.m. Free. Lovers Lane United Methodist Church, Northwest Hwy and Inwood Rd/691-4721.

Shirley MacLaine brings her one-woman show, with orchestra and five singer-dancers, to the State Fair Music Hall tor evening performances Feb 7, 8, and 9. Tickets through Box Office, 6031 Berkshire Lane in Preston Center.

University of Texas/Dallas presents a Gala Pops Concert Feb 24 at 8 p.m. Performers will be the UTD Jazz Ensemble under Peter Vollmers, Civic Chorale and Chamber Singers, directed by William Allen Graham, and voice students, taught by Mary Ella Antahades. $2 non-student, $1 student/690-2982.

The Van Cliburn Lecture/Performance Series features Dallas Community College District artist-in-residence Gary Towlen in a piano program of “American Regionalists.” Feb 8, 8 p.m. Scott Theatre, Fort Worth. For subscription information, write Van Cliburn Foundation, Inc., 3505 W Lancaster, Fort Worth 76107, or call (817)738-6509.

Temple Emanu-EI presents pianist Gary Towlen inan illustrated lecture: “Gottschalk to Gershwin.”Feb 6, 7:30 p.m. Free. Child care provided. TobianAuditorium. 8500 HilIcrest Rd/368-3613.


A One-Man Keats Revival

Ever since Hal Holbrook revived Mark Twain for audiences some years ago, there has been a small but important movement among actors to impersonate the dead through their own words. The list of the reborn is instructive – Will Rogers, Harry Truman, Clarence Darrow, and Emily Dickinson are the most memorable of recently reincarnated folks. It is precisely as folks, quirky, wise, eccentric, and American, that they have been brought to the stage, chatting amiably with us while chewing tobacco, sharing recipes, spinning yarns.

Mark Stevenson, a 27-year-old Dallas-based actor, has mounted a solo production, “This Living Hand,” based on the life and work of the English Romantic poet John Keats. Although he seems to lack the immediate popular appeal of the characters above, Keats is a natural subject for a show. The most likeable of any major English poet, Keats had the misfortune of dying at 25 (no other poet, even Shakespeare, would today be remembered had he died so young). The fact of his early death has helped create the legend of a noble, misunderstood soul tragically cut off in his prime.

Such is the image that Stevenson perpetuates, paying less attention to the feisty, Cockney side of this pugnacious man whose exuberance and high spirits complicate the image of the High Artist solemnized unflaggingly by high school teachers. But though Stevenson’s view of the poet is lopsided at times, on the whole it is authentic and judicious. Stevenson has done his homework: he paces the show effectively, taking the bulk of the material from Keats’s letters, which are both formidable and passionate. Keats tells us about his life, his work, his friendships, and run-ins with the great and near-great, his personal and professional plans for a future which, he became increasingly aware, he was never to have. An actor could not ask for a more congenial subject, with a life more artistically shaped.

Stevenson’s show is a moving and entertaining testimony to the spirit of the poet, and to Stevenson’s apparently ongoing relationship with him (he was, he says, first moved by Keats four years ago when he visited the poet’s death-room and gravesite in Rome). The flaws in the performance which I saw at SMU were those of zealousness. Stevenson has the understandable, but not unavoidable, tendency to wax “poetic” when he recites from Keats’s verse, virtually stepping forward and declaiming, dramatically ana feelingly;wnere he might have as well remained calm and let the poetry speak for itself (“If poetry come not as naturally as the leaves to the tree,” wrote Keats, “it had better not come at all” – the same may be said of its performance). But the show is under constant revision, and future performances will accommodate whatever ideas and emphases Stevenson has.

The show has played at the DMFA, several branches of the public library, and has spring bookings in Austin and Houston. It is booked for three February performances at Theatre Three, February 14, 15, and 16. (Call the Theatre Three box office, 748-5191, for ticket information.) It would be a shame to have Stevenson leave town permanently in search of bigger bookings; he is worth having around. Information about bookings of “This Living Hand” can be had from Stevenson at 3914? Travis, or at 522-3665.

– Willard Spiegelman


Dallas Theater Center. Kalita Humphreys Theater: Three Sisters runs through Feb 12. The musical Something’s Afoot opens Feb 22. Down Center Stage: Get Happy, a 1930’s musical revue, shows through Feb 19 Tickets $3.50 Tue-Fri 8 p.m.. Sat 8:30 p.m. Tickets $5 75. $6 50 on weekends. 3636 Turtle Creek/526-8857.

Theatre Three. Larry O’Dwyer stars in Tartulle through Feb 27. Wed-Sat 8:30. Sun 2:30 p.m. and 7 p.m. on alternate Sundays. Tickets $3-$6 with student and group discounts. Quadrangle/748-5191.

Theatre SMU. Kurt Vonnegut. Jr.’s Happy Birthday, Wanda June, Feb 18-20. Da, by Hugh Leonard, plays the Margo Jones Theatre Feb 1-5 and 8-12 at 8:15 p.m. and Feb 6 at 2:15 p.m. Tickets $3.50. 692-2573.

Scott Theatre, Fort Worth Feb 15-20, Theatre Festival by various colleges Includes To Kill a Mockingbird, The Taming of the Shrew, Dr Faustus Lights the Lights, Historias Para Ser Cortadas, Who’s Happy Now?, The Effect of Gamma Rays on Man-in-the-Moon Marigolds. Story Theatre. and Panhandle Feb 25, 26, Verdi’s opera, A Masked Ball, will be presented For more information call (817)738-1938. 3505 W Lancaster.

Mountain View College presents The Miracle Work-erFeb 21-26. 8:15 pm Arena Theater Free 746-4132.

Dallas Repertory Theatre presents Godspell, beginning Feb 17 Fridays and Saturdays. 8:15 p.m.; Sundays 3 p.m. $4.50. NorthPark Mall/369-8966.

University of Texas/Dallas. The Night of the Iguana. Feb 11-13 and 18-20. Fridays and Saturdays at 8 p.m.; Sundays at 5 p.m. in the University Theatre. $2 general admission. 2601 N Floyd Rd, Richardson/690-2982.

Casa Manana, Fort Worth. Sherlock Holmes Feb 11 and 18 at 7:30pm; Feb 12, 19. 26 at 2 p.m .3101 W Lancaster (817)332-6221.


Country Dinner Playhouse. Richard Egan appears in Hanky Panky through Feb 6. Tickets $7.50-$10.95. 11829 Abrams at LBJ/231 -9457.

Gran’ Crystal Palace. A cabaret-style comedy musical revue is performed every evening except Thursday. Dinner 8 p.m., show 9:30. Saturdays there are two shows with seatings at 630 and 9:30 p.m. $12.50. 2424 Swiss/824-1263.

Granny’s Dinner Playhouse. Broadway ana Holly-wood impersonations in the Frisco Follies. Jan 25-Mar 20 Tue-Sat dinner shows, Sunday matinees. Tickets $6,85-510 75. 12205 Coit/239-0153.

Duncanvllle Dinner Theatre presents A Thousand Clowns. 6:30 p.m Feb 10-12. $7,50. Duncanville Holiday Inn, 711 E Camp Wisdom Rd/(817)298-8911


Casa Manana, Fort Worth Our Town presented Feb 22-24 at 10 a.m. and Feb 25 at 7:30 p.m. For information and reservations call (817)332-6221. 3101 W Lancaster

Haymarket Theatre. A new entertainment complex with live performances, movies and marionette shows. Marionette performances: Thur & Fri 9:30, 10:30, and 11 30 a.m. and 4 p.m., Sat 10 & 11 a.m., and noon Saturday afternoon Heyday lor Kids, a combination of clowns, marionettes, movies and live entertainment. Movies are shown Mon-Wed, a double feature, and Thur-Sat there is a vaudeville and movie combination at 7:30 and 9:45 p.m. Fri & Sat there are midnight movies. Silent movies, with live piano accompaniment, most weekends. Tickets $1. Olla Podrida, 12215 Coit/387-0807.

Magic Turtle Series. The Tale of the Mouse. Feb 5-Mar 19, Every Saturday at 10:30 am Tickets $1.75. Dallas Theater Center/3636 Turtle Creek/526-8920.

Junior Players QuIld. Alice Willey and the Dallas Ballet Theatre, in conjunction with the Junior Players Guild, perform Hansel and Grelel at the Ewell D. Walker Middle School Feb 6 at 3 pm $1.50. 12532 Nuestra Dr/351-4962.


Sylvester Superstar

The last thing the movies need is another hot new male star. The studios are falling all over one another to bid for Pacino, Nicholson, Redford, Hoffman, Hackman, Kristofferson, Newman, Bronson, Eastwood, Reynolds, O’Neal, and the two Bridgeses. Meanwhile, women are getting the “don’t call us” routine. An attractive personality like Lindsay Wagner is stuck with being bionic and a fine actress like Blythe Danner gets maybe one second-rate role a year.

But, need him or not, now we’ve got Sylvester Stallone, who has talent, intelligence, and charisma, the young Brando’s physique and a face with the sensual sweetness of Paul McCartney. And his vehicle, Rocky, is probably going to be a big hit.

Actually, two-thirds of the way into the film, I was sure it would be a flop. I found its sweaty, life-is-a-toilet-won’t-somebody-pull-the-chain realism boring and derivative. Warmed-over Scorsese, I said to myself. How many more times do we have to go down those mean streets? And if there’s any genre lower on my don’t-want-to-see list than movies about horses and/or dogs, it’s movies about boxing.

But I was completely taken in by the last third of the film, and I think audiences will be too. There’s nothing new here – how often have we seen the underdog hero prepare for the fight of his life and emerge bloodied but unbowed as his girl fights her way through the crowd to join him in the ring? But we haven’t seen it for about 20 years, and never in the context of the New Realism. When we reach the final frame – the last words in the film, incredibly, are “I love you” – we’re cheering, and the upbeat music behind the credits leaves us aglow as we leave the theater. Only when we’re nosing into the reality of after – theater traffic do we realize we’ve been had.

Rocky is a masterfully naive film, which is to say that it’s willing to try anything, whether it works or not. When it’s not borrowing from Scorsese, it’s borrowing from On the Waterfront, and sometimes from less distinguished sources. There’s even a version of the old scene in which the hero removes the heroine’s glasses and discovers she’s beautiful. Rooky’s naiveté is finally its saving grace – you wind up liking the film in spite of itself.

As for Stallone, he’s a great camerasubject and a good performer. He alsowrote the script (badly) and choreographed the fight scenes (well) forRocky, making it very much his film,though John G. Avildsen’s direction ispowerful, and the supporting cast -mostly composed of familiar faces withunknown names – is flawless. BurgessMeredith gives the kind of performancethat wins supporting Oscars, and TaliaShire almost makes us believe in her incredible character – the mousy girlfriend who is transformed by One Nightof Love into an attractive, assertivewoman. – Charles Matthews

Coming Attractions

UT/Dallas Films, 7:30 and 9:30, Founders North Auditorium, Floyd & Lookout, Richardson/690-2281.

Lost Horizon (USA 1937). Directed by Frank Ca-pra, with Ronald Coleman, H.B. Warner, and Sam Jaffe. Feb 1.

The Passenger (Great Britain 1975) Directed by Michelangelo Antonioni, with Jack Nicholson and Maria Schneider. Feb 2.

Vlridlana (Spain 1961) Directed by Luis Bunuel. Feb 4.

Mr. Smith Goes to Washington (USA 1939) Directed by Frank Capra, with James Stewart and Claude Rains. Feb 8.

Great Expectations (Great Britain 1946) Directed by David Lean, with John Mills and Alec Guinness. Feb 9.

Otley (USA 1969). Directed by Dick Clement, with Tom Courtenay and Romy Schneider Feb 11.

Dead Reckoning (USA 1947). Directed by John Cromwell, with Humphrey Bogart and Lizabeth Scott. Feb 15.

La Samourai (France 1967) Directed by Jean-Pierre Melville, with Alain Delon. Feb 16.

Catch-22 (USA 1970). Directed by Mike Nichols, with Alan Arkin. Martin Balsam, and Richard Benjamin. Feb 18.

Strangers on a Train (USA 1951). Directed by Alfred Hitchcock, with Robert Walker, Farley Granger, and Ruth Roman Feb 22

WR – Mytteries of The Organism (Yugoslavia 1971). Directed by Dusan Makavejev. Feb 23.

The Effect of Gamma Rays on Man-in-the-Moon Marigolds (USA 1972). Directed by Paul Newman, with Joanne Woodward and Nell Potts Feb 25.

The Edlton Theatre, 2420 N. Fitzhugh/823-9610.

Juliet of the Spirits (Italy 1965). Directed by Federico Fellini, with Qiulietta Masina Feb 1 9:35 p.m.

8 1/2 (Italy 1963). Directed by Fellini, with Marcello Mastroianni. Feb 1. 7 p.m.

The Music Lovers (Great Britain 1972). Directed by Ken Russell, with Richard Chamberlain. Feb 2-3, 6 & 10 p.m.

Savage Messiah (Great Britain 1973). Directed by Ken Russell. Feb 2-3. 8 p.m.

The Magus (Great Britain 1968). Directed by Guy Green, with Anthony Ouinn and Michael Caine Feb 4, 9:15 p.m.; Feb 5, 4:45 & 9:15 p.m.

Marat/Sade (Great Britain 1967). Directed by Peter Brook, with Patrick Magee and Glenda Jackson. Feb 4, 7 p.m.; Feb 5, 2:30 & 7 p.m.

Lies My Father Told Me (Canada 1975). Directed by Jan Kadar Feb 6 & 7, 4 & 7:50 p.m.

Hester Street. (USA 1975). With Carol Kane. Feb 6 & 7. 2:10, 6 8. 9:50 p.m.

The Discreet Charm of the Bourgeoisie (France 1972) Directed by Luis Bunuel, with Fernando Rey and Delphine Seyrig. Feb 8 & 9, 6 & 10 p.m..

The Phantom of Liberté (France 1974). Directed by Luis Bunuel. Feb 8 & 9, 8 p.m.

Lord of the Flies (Great Britain 1963). Directed by Peter Brook, with James Aubrey, Tom Cha-pin, and Hugh Edwards. Feb 10 & 11, 8:05 p. m.

The Sailor Who Fell from Grace with the Sea (USA 1976). Directed by Lewis John Carlino, with Sarah Miles and Kris Kristofferson Feb 10 & 11, 6 & 9:50 p.m.

Mountain View College. Film festival, featuring James Dickey critiquing Deliverance and Call of the Wild on Feb 4 at 1:30 and 730 pm. Twenty-three films with theme: Cinema for the 70’s Political New Wave, including Manson, Modern Times, Grapes of Wrath.

University of Dallas Art Department Film Series, all at 8 p m in Lynch Auditorium. $2.

Double Suicide, directed by Shinoda. Feb 2

Blood of a Poet, directed by Cocteau Feb 10.

Kamaradschaft, directed by G.W. Pabst Feb 17.

L’Atalante, directed by Jean Vigo. Feb 24. Free films at 7 30 p.m. in Lynch Auditorium include:

Lolita (USA 1962). Directed by Stanley Kubrick, with James Mason and Shelley Winters. Feb 4 & 6.

Psycho (USA 1960) Directed by Alfred Hitchcock, with Anthony Perkins and Janet Leigh. Feb 4 & 6.

The Wind and the Lion (USA 1976). Directed by John Milius, with Sean Connery and Candice Bergen. Feb 11 & 13.

Patton (USA 1970). Directed by Franklin Shaff-ner, with George C. Scott and Karl Maiden Feb 25 & 27.

Dr. Strangelove (USA 1964) Directed by Stanley Kubrick, with Peter Sellers, George C. Scott, and Slim Pickens. Feb 25 & 27.

SMU Cinematheque. All shows in the Bob Hope Theatre, SMU/692-2979

Zazie dans le Metro (France 1966) Directed byLouis Malle. with Philippe Noiret and CatherineDemongeot English subtitles Feb 4 & 5. 7 & 9p.m. Tickets $1.50.


The Dance Season Gets Its Second Wind

Each year, it seems that the dance “season” which nominally begins in the fall doesn’t really start until the December Christmas program. Then there are almost more events than one can handle. Fortunately for balletomanes, this year no two shows fell on the same day. Herewith, a survey of everything that took place – with the exception of the Dallas Ballet’s Nutcracker, which came after our deadline.

SMU’s Dance Division displayed not only the dancing of its students but also the choreography of its faculty members in the two programs it presented in cooperation with the Music Division.Two works had their premieres last year. A Ceremony of Carols, by Bob Beard to the music of Benjamin Britten, underwent some changes, and the larger variety of movement in this year’s version added vitality. The same cannot be said for Nikita Talin’s Befa-na, which had lost the magic of its premiere year and seemed labored in pace, despite the nice contrast between Gary Rochelle’s cool articulation as Melchior and Eddie Burgess’ warm athleticism as Gaspar. The piece still merits a regular place in SMU’s Christmas repertoire, but it needs tightening and, among the dancers, more awareness of the concept as a whole rather than as a showcase for individuals.

This year’s premieres were A Wreath of Carols, a modern piece by Toni Beck, and Liebeslieder Waltzes, a ballet by Robert Scevers. Beck’s piece – from the moment when the dancers took off suddenly like a flock of blackbirds in the semi-darkness to the high-energy finale rocking to a rhythmic West Indian carol – was particularly successful in design, enhanced by John Bos’ consistently effective lighting and Jane Quetin’s costumes, voluminous capes used in a number of inventive ways. Scevers’ Waltzes, on the other hand, tantalized us with the threads of a romantic story that comes to no conclusion. The characters dance off with the secret of the outcome, leaving the audience asking “Is it over?”

In both modern pieces, the soundness of the technique of SMU’s dancers was impressive. Cheryl Craddick did an especially nice job with her solos and Eddie Burgess warmed the audience with both his personality and his talent.

A week or so later, the Dallas Metropolitan Ballet performed Cinderella, Act II of Coppélia, and Peter and the Wolf, in a program aimed at children. I suspect that the DMB Cinderella left the children cold, as it did me. The Prokofiev score is so spare that it is difficult to get involved with the fairy tale, and the guests at Cinderella’s ball were identically attired in a rather sober gray, dispelling the color, spectacle, and magic we usually associate with the story. These elements were all present in Coppélia, however, and the children seemed to respond to them, especially the lavishly costumed dolls, the grisly old toy-maker, and the gaggle of giggling girls. Unfortunately, there isn’t much real dancing in this act of the ballet. This is the point in the program where balletomanes nod out.

The final number on the DMB program kept both young and old awake. The production design was bold and bright, with the costumes and set limited to a few basic, rather loud colors, with little specific detail. Richard and Cristina Munro’s choreography was full of humor and free from antiquated mime – an overall modern approach which made a hit with the kids. My favorite moment was the appearance of the duck’s ghost (the duck, you remember, is swallowed by the wolf) draped, a la Giselle, in a single layer of tulle. The evening’s standout performer was probably Trudi Perrin, who displayed a flair for acting and comedy as both Swanilda in Coppélia and the bird in Peter and the Wolf.

– Victoria Lowe

Watching the Fort Worth Ballet’s production of The Nutcracker two weeks before Christmas, it occurred to me that some choreographer ought to exploit the great potential of the Tchaikovsky score and the Hoffman story for teaching new audiences exactly what ballet is about. The whole first act gives us dance either as pantomime or as social ritual. It is only after the children have fallen asleep and wake in the Enchanted Forest that we see true ballet, the stuff that dreams are made of. Great choreography ought to point out the clear relationships between the vocabularies of social and balletic dance. More important, it should show the growth of a child into a ballerina.

The children who are the big drawing card of most Nutcracker productions are seen, in both acts, in a variety of acrobatic, dramatic, or just plain energetic physical movements. Clara, the girl who receives the mysterious nutcracker and wakes in the land of dreams, is a nymphet, not quite on toe shoes, but beginning to stretch her legs and do mock-fouettes and pirouettes. It should come as breath-taking to see the real ballerina in the second act perfect the steps which the children, and then Clara, have been imitating.

In the Fort Worth production it was not breathtaking. Or rather, I should say, for the audience everything was equally breathtaking, from the rather fluffy sets to the tours en l’air of the Cavalier. The audience was enthusiastic, an encouraging sign: they are open to the excitement of dance, generated both by their pre-teen daughters and by stars from the American Ballet Theatre. Everything was applauded – in fact, after the opening color guard, presentation of the flag, and singing of the National Anthem, I expected someone to yell “Play ballet!”

Although the choreography was pitched to the grandstand, it had its own appeal and moments. Director and ballet-master Fernando Schaffenburg (marvellous himself as the mysterious Drosselmeyer) did good things with the “Tea” variation, especially for the nimble Francisco Martinez, and in the duet of “Waltz of the Flowers” for Sheila Postlethwaite and Mark Schneider.

Where the ballet fell flat, however, was in what should have been its grand climax. The Sugarplum Fairy and her Cavalier were not given much to do, nor did they do it especially brilliantly. Part of the problem was the last-minute substitution of Eleanor D’Antuono, from ABT, for the injured Veronica Tennant. She and Fernando Bujones obviously had little rehearsal time. Moreover, Bujones’ dancing lacked the flamboyance for which he’s famous: his technique (he can do tours jetes and pas de ciseaux forever) was reduced to a low flicker, his landings were off the beat, his phrasing occasionally sloppy.

But the audience loved him, and to quibble with Nutcrackers is to offend the season. D’Antuono received, along with her flowers at the curtain call, a Stetson, and we all shouted approval. Surely, now, Fort Worth Ballet will be able to match its hospitality with its art, to grow from holiday cheer to something to cheer about.

– Willard Spiegelman


Fort Worth Ballet presents the Texas debut of the Merce Cunningham Company Feb 19 at 815 p. m. Tarrant County Convention Center Theatre For tickets and information write F.W.B., 3505 W Lancaster, Fort Worth 76107 or call (817)731-0879.


In Search of the Novel

Does the novel really matter? D.H. Lawrence thought so 40 years ago when he called it the “bright book of life,” and asserted that only in the novel – not in poetry or drama – could we really see the totality of human existence. (Lawrence, to be sure, stretched his concept of the novel a wee bit – to include Homer and Shakespeare and the Bible.)

But more and more novelists seem to be writing fewer and fewer good novels. Writers like Mailer and Capote have shown steadier hands and keener eyes when writing non-fiction than in most of their novels. I found C.D.B. Bryan’s Friendly Fire one of the past year’s most exciting books – and a far more readable work than any of his novels. And there’s a kind of fine irony that the book that appeared just as Saul Bellow was given the Nobel Prize for Literature is his first work of non-fiction.

There is a point to be made on the other side, of course. Armies of the Night, In Cold Blood, Friendly Fire, and To Jerusalem and Back may be stronger works – freer in form, more keenly felt, more imaginatively reported, truer to the sights and sounds and experience of the people written about – because their authors had practiced the craft of fiction before they turned to the art of journalism.

I think the novel matters very much. In its classic form, it is a great liberator, for novelists from Defoe to Bellow have taught us what it is like to be other than our sole selves. But if Tom Wolfe is right – annoyingly, he frequently is – this is “the Me Decade,” one of the most narcissistic eras in our history, when people are trying everything from rolfing to est, from Christianity to group sex, from plastic surgery to divorce, in attempts to “get in touch with themselves.” In such a climate, Wolfe says, many people are “beyond irony.” And it’s irony – the keen perception of incongruity, the acceptance of human limitations – on which fiction has long depended.

Obviously, the egocentricity of the era should itself be fuel for novelists. And contemporary narcissism is in fact the stuff of a novel briefly noted here last month, John Updike’s Marry Me (Knopf, $7.95).

But realist fiction has been dead – or at least passé – for decades. And if the novel is flourishing at all these days – that is, if it is being given new life and new directions, the impetus is coming from authors whose vision is tuned to the epic or the mythic rather than the everyday. Two recent books – of disparate achievement – show the power of the novel to alter and expand the imaginative life.

Robert Nye’s Falstaff (Little, Brown, $8.95) is nothing if not daring – an attempt to give fuller life to one of Shakespeare’s liveliest characters. Miraculously, the heavy hand of literary-historical scholarship has not lain on the book, though Nye’s narrative is liveliest when it fills the gaps in Shakespeare’s story – not when actual phrases and speeches from the Falstaff plays are being woven into the story. Nye, sadly, can’t resist anachronistic literary allusions – phrases from Eliot and Joyce turn up here and there, but their appearance has the effect of pre-ciousness rather than wit.

Above all else, Nye’s Falstaff is raunchy – far removed from the bibulous Santa Claus figure that the Victorians made of him. The sexual adventures with partners who have the names of Shakespeare’s demurest heroines – Miranda, Perdita – as well as the ones with Mesdames Ford, Quickly and Tearsheet, are graphic and hilarious. The fourteenth and fifteenth century milieu – the plague, the politics, the wars and intrigues – is colorfully evoked, and the complex figure of Henry V, seen through Falstaff’s eyes, is brought to enigmatic life. On the whole, an exciting achievement that might have been judiciously edited into a major one.

Gabriel Garcia Marquez’s The Autumn of the Patriarch (Harper & Row, $10) is a major achievement. Like that of many of his Latin American contemporaries, Garcia Márquez’s imagination is baroque – expressive of the cultural extremes, the violent excesses of his region. The novel is a carnival of rage and beauty and fecundity and decay, a flood of prose that coruscates and swirls. And though the prose as we read it is Gregory Rabassa’s, it’s an absolutely convincing translation. If Garcia Marquez is this good in his own language, he’s one of the master writers of our time.

At the core of the novel is the story of a Latin American dictator, a man of absolute and soul-killing power. But to go further in recounting details would be to rob the reader of the excitement of losing himself in the Faulknerian prose of the novel. Like Faulkner’s Absalom, Absalom!, The Autumn of the Patriarch is a novel of what might have been as well as of what was. The legend of the patriarch – like the legend of Sutpen – is at least as real as, and far more important than, the so-called reality. And Garcia Marquez’s novel is more complicated than Faulkner’s novel – narrator and protagonist are sometimes one and the same, sometimes distinct, and often both within a single sentence, and the sentences go on for pages.

But don’t let me scare you away fromit. The Autumn of the Patriarch is difficult reading, but it’s disturbing and exhilarating reading, too, and far more rewarding than the novels you can slipinto and out of during the TV commercials. – Charles Matthews


Games and Matches

Basketball /SMU Mustangs Moody Coliseum. All games start at 7:30 p.m. Tickets $3. 692-2883.

Jan 29 vs. Houston

Feb 5 vs. TCU

Feb 12 vs Texas A & M

Feb 19 vs. Oklahoma City

Feb 22 vs Texas Tech

Basketball / TCU Horned Frogs, Daniel Meyer Coliseum. All games begin at 7:30 p.m. Adults $3/ children under 17 $2. (817)926-1778.

Feb 1 vs. Texas A&M

Feb 8 vs Texas Tech

Feb 10 vs. Texas

Feb 15 vs. Arkansas

Dallas Decathlon presented by the Dallas Tornado in benefit of the Symphony. Tornado, Cowboy, Ranger and other local sports stars will compete in a variety of athletic events Celebrity guests include Bruce Jenner, Tennessee Ernie Ford, Lou Rawls, Bob Mathias, and Tony Bennett. Feb 27 Ownby Stadium, SMU For information call Tornado ticket office/750-0900

Hockey/ Dallas Blackhawks. State Fair Coliseum. All games start at 7:30 p.m Tickets $2 50-$5 50 823-6362.

Feb 4 vs. Fort Worth

Feb 5 vs. Oklahoma City

Feb 11 vs. Kansas City

Feb 13 vs. Tulsa

Feb 18 vs. Fort Worth

Feb 19 vs. Kansas City

Feb 26 vs. Tulsa

Hockey/Fort Worth Texans Will Rogers Coliseum All games start at 7:30 p.m Tickets $2.50-$4. (817)332-1585

Feb 10 vs. Oklahoma City

Feb 12 vs. Dallas

Feb 23 vs. Salt Lake City

Feb 25 vs. Kansas City

Lacrosse / Dallas Lacrosse Club Village Apartments Athletic Field on Southwestern Blvd All games begin at 1 p.m. Free. For information, call Don New-bury at 823-1310

Feb 12 vs. Texas A&M

Feb 26 vs. SMU

Quarter Horse Racing/Ross Downs Hwy 121, four miles southwest of Grapevine. 481-1071. From 9 to 19 races every Sunday year round, beginning at 1 p.m Adults $2/children $1

Sailing/ White Rock Lake. Competitive sailing every Sat and Sun year round Races begin at 10 am and 2 p.m. Saturdays, at 1:30 p m. Sundays. Various size classifications. Spectators welcome. For racing information call 327-9667

Swimming SMU Mustangs. Perkins Natatorium. Meets begin at 7:30 p.m unless otherwise noted. Adults $2/students $1 692-2883.

Feb 9 vs. TCU

Feb 12 vs. Univ of Kansas

Feb 17 vs. Univ of Arizona

Feb 18-19 SMU Invitational (all day)

Feb 23 vs. UTA (at Arlington campus)

Swimming / TCU Horned Frogs Rickel Building Pool, Bellaire Drive North at Stadium Drive. Meets at 7:30 p.m unless otherwise noted. 335-2107.

Feb 4 vs Rice. Arkansas (4 p.m.)

Feb 10 vs S.W. Miss. St.

Thoroughbred Horse Racing/ Louisiana Downs. Bossier City, Louisiana, on IH-20 (about three hours drive from Dallas) Nine or ten races daily, Wed through Sun, Jan 14-June 5 Post time 12:45 p.m. Grandstand $1, Clubhouse $2.50; plus $1 entrance (parking) fee For further information or reservations, call toll free 1-800-551-8623.

Boxing/ Golden Gloves Boxing Championship. Dallas Convention Center Feb 16-19 and 21. Admission $2-$4 except finals. $2.25-S4.50. 7 p.m every night except finals at 8 p.m. For ticket information, 747-0077.



Gestalt Psychotherapy Workshop. Irv Gadol conducts HARA workshop. Feb 18. 8 p.m to 11 p.m Feb 19 9 a.m. to 5 p.m. 12800 Hillcrest Rd. $20 Pre-register: Hara, Inc., P.O. Box 28177, Dallas 75 228.

Rlchland College. Cosmosynthesis, Richland Cosmic Theatre and Planetarium Sundays at 2, 3, and 4 p.m. Wed 8 p.m. Adults $1. Ages 6-12. 50c. Under six not admitted.

Explore offers eight-week personal growth course for women. Begins Feb 7 at several Dallas locations. $30. Babysitting available at one location/341-4831.

Community Course presents The Freddy Cole Trio Feb 10. Vincent Price’s one-man show, The Man. the Actor, and the Villain, comes Feb 24. 8:15 p. m., in McFarlin Auditorium at SMU. For subscription information, call 692-2261.

University of Dallas. Rune Ryden, of Sweden’s Parliament, lectures on The Economy of Sweden in the Late 1970’s Feb 2 at 5:30 p.m. in Gorman Lecture Center A. On Feb 7, at the same time and place, Hans Monissen of the University of Giessen lectures on Monetary Trends in Germany. James Patrick, Chairman of UD’s Theology Dept.. and William S. Babcock, of Perkins School of Theology at SMU, conduct a seminar on Early Catholic Christianity Feb 17 at 6 p.m. in the Haggar Faculty Lounge.

Dallas Handweavers Guild and Fiber Designers Creative Stitchers, Inc. Fibers ’77 Judges are Wilcke Smith of Albuquerque and Mary Jean Fowler of Houston. Feb 12-20. NorthPark Mall/748-4811 ext. 2239.

Women’s Center of Dallas. Gerontologist Fran Raris lectures: After 35 . . . the choice is yours. Feb 12, 9:30 a.m.-4 p.m. $10. Assertive Training Workshop. Feb 19 and Feb 26, 9:30 a.m.-4:30 p.m. $10. 3107 Routh/651-9795.

Cushing Galleries. Charles McGough of ETSU teaches and demonstrates serigraphs and lithographs. Feb 15, 7-10 p.m. $7.50. 2723 Fair-mount/746-4112.

Olla Podrlda. Through Feb 11, a private collection of bottles from 1850 to 1900, plus material on bottle collecting. 12215 Coit Rd/239-5211.

Dallas Public Library Branches. Several black history programs will be offered. Other special features include a film, Rhythmetron: The Dance Theatre of Harlem with Arthur Mitchell at the Lancaster-Kiest Branch Feb 5 a1 2 p.m., and income tax assistance tor senior citizens at many branches. Call or visit your local branch for information on February events.

Park North YWCA. Questioning treats the problems of divorce. Four-week series begins Feb 8. 4434 W Northwest Hwy/357-6575.

Temple Emanu-EI Significant Book Series. Rabbi Gerald Klein discusses Doris Kearns’ Lyndon Johnson and the American Dream Feb 2, 10:30 a.m. Tickets $5 lor series of four programs. Mail requests to Temple Emanu-EI Significant Book Series, 8500 Hillcrest, Dallas 75225/368-3613.

Mountain View College. Del Mar College Faculty Art Show, through Feb 11. Mon-Fri 8 a.m.-9 p.m. Sat, 8 a.m.-2 p.m. 4849 W Illinois/746-4180.


Junior Players Guild Creative Workshop. The Imaginative You, for ages 8-14. Tuesdays, Feb 1-22. 4:30-6:30 p.m. $35. First Unitarian Church, 4015 Normandy/351-4962 or 363-4278.

Dallas Public Library Branches. Valentine’s Day parlies and craft shows for children. Call branches for information. The Hampton-Illinois branch presents folk and fairy tale films Feb 28 at 4 p.m.

Good Deeds

American Association of University Women’s annual used books and records sale. Feb 18-20 atNorth Town Mall/233-1103.


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