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Arts and Entertainment KEEPING UP

By D Magazine |

Books

The Cities’ Most Valuable Critic

Now that it’s chic (or maybe just camp) to be country, I should probably regret my long love for cities, especially since I started out country. I was 20 before I saw New York, but its effect was exhilarating. Since then, I have had a whole range of aesthetic moments in cities, amazing highs no different in character and intensity from the great moments I have had in concert halls, at the opera, in museums or theaters. Give me a choice, in fact, between sitting through a Mahler symphony and driving across the George Washington bridge on a fine winter day, and I’ll choose the latter. And is it only an accident that two of the world’s finest city -scapes-Trafalgar Square and the Place de la Concorde – are just outside two of the world’s great museums? New York, London, and Paris, for all their faults, may be the greatest works of art of all time.

Of course, hardly anyone treats cities as works of art. That’s why I was gratified when the Dallas Public Library invited Ada Louise Huxtable to speak at its symposium on “The Arts – Who Pays?” Mrs. Huxtable is one of my three favorite critics; like the other two – Pauline Kael and Arlene Croce – she is tough-minded but unashamed to admit that she has enthusiasms, she has high standards but also a tolerance for charming junk, and she has the invaluable skill of being able to recreate in the reader’s imagination the work she’s criticizing. But unlike Kael’s and Croce’s work, Huxtable’s criticism is informed by a genuine sense of urgency. We could, after all, live without movies or ballet. We can no longer live without well-built, well-planned cities.

“We cannot escape art,” Huxtable told her Dallas audience. “It shapes the world we live in; it’s as unavoidable as breathing.” Taken coldly from context, that sounds like the usual pieties about Art that high-minded people have been mouthing ever since the great democratic revolution split culture into High and Low. A good many of those pieties were proclaimed by the speakers who preceded Huxtable at the Library’s symposium. But when Huxtable rather diffidently took the platform, it was as if a window had been opened to sweep the ? verbal haze from the room. By “Art,” of course, Huxtable doesn’t mean Culture as it’s worshiped in official and formal ways, but the ongoing, vital process of design and execution, no matter what the medium. “Art,” she told us, “is too often used as a Band-Aid,” in attempts to make bad buildings look good by surrounding them with expensive sculpture, for example. (I thought immediately of the ugly, rambling Owen Arts Center at SMU, and the way the magnificent sculpture in its courtyards is trivialized by a trivial building.) “We need intrinsic, not applied art in our cities” – and we can have it only if we have concerned neighborhoods, responsible developers, conscientious planners, informed donors, intelligent critics, and a public willing to keep itself aware of what is going on. That’s the only way to stave off Huxtable’s “four urban horsemen: expediency, obstructionism, stupidity, and greed.”

One of the best ways to get aware of what is going on is to read Ada Louise Huxtable’s new book, Kicked a Building Lately? (Quadrangle/New York Times, $12.50). In this collection of essays mostly from the Times, Huxtable kicks a lot of them, including the Kennedy Center in Washington (“a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried”), the Times Tower in New York (“if the remodeling had set out to be artless, banal, and ordinary, it could not have done a better job”), and Centre Point in London (“cartoon modem … a catalog of contemporary corn”).

But such critical zingers are easy to quote, and they misrepresent Huxtable’s book, which celebrates as often as it deprecates. Who would have thought an architecture critic from the New York Times would become rhapsodic about Houston? Huxtable asserts that its “extraordinary, unlimited vitality … is the distinguishing mark of a great city in any age. And Houston today is the American present and future. It is an exciting and disturbing place.”

There is ambivalence in the rhapsody: “Houston is all process and no plan. Gertrude Stein said of Oakland that there was no there, there. One might say of Houston that one never gets there. It feels as if one is always on the way, always arriving, always looking for the place where everything comes together.’’ Here, too, the quotable passage misrepresents; such generalizations are the stuff on which commonplace journalism thrives. It’s when Huxtable gets down to particulars that her criticism becomes richly convincing. Her account of Houston’s Pennzoil Place is fascinating, both for its eloquent description of the building and its down-to-earth account of the economics of its construction. She demonstrates that “a building of … recognizable quality . . . achieves both immediate status value and long-term investment value. . . The tallest building in a city may have a temporary advantage. But a notable building has a permanent advantage.”

Aside from Houston, Chicago gets high marks, New Orleans and Washington low ones from Huxtable. Dallas gets none at all in this book; Fort Worth only a mention for the Kimbell. We know from her glowing tribute in The New York Times (November 28, 1976) to the new Dallas City Hall that she thinks it will be “one of the most important public buildings in the country,” and that “Dallas should feel nothing but pride” in its achievement. We also know from Janet Kutner’s excellent interview in the Dallas Morning News (November 14,1976) that Huxtable considers Campbell Centre “totally expendable,” that she loved Fair Park as “aquite fabulous concentration of 1936 Art Deco, Art Moderne buildings,” that she “thought The Olla Podrida perfectly dreadful … a phony answer to the search for nostalgia,” and that she found the old Dallas courthouse “marvelous.” She calls Fort Worth’s Water Gardens “one of the best urban environments in the world” and the Kimbell “a superb architectural experience.” We can hope she develops these observations into a longer essay, for Dallas needs this kind of once-over by an informed, incisive critic.

There is, sadly, only one Ada Louise Huxtable. Film critics, book reviewers, writers on rock, pop, jazz, dance, art, and theater come flooding from colleges all the time. But architecture and the environment – art on the most intimate levels of our lives – remain arcane academic subjects. We need more writers like Huxtable to help us shape our cities for the best before our cities shape us for the worst.

– Charles Matthews

Critics’ Notebook



The history of modern photography is largely the history of answers to one question: Can photography be called art when it is done for a client rather than for oneself? Stieglitz and his purist disciples like Edward Weston and Minor White said no, whereas Steichen and the so-called photojournalists found self-expression and commercial photography perfectly compatible. Masters of the Camera (Holt, Rinehart and Winston, $10) documents the superb achievements of both traditions without taking sides. Outstanding reproductions and a solid, informative introduction by Gene Thornton.

Ansel Adams’ Photographs of the Southwest (New York Graphic Society, $32.50) is neither a travelogue nor a glossy album of great photographs, but an evocative visual essay on the spirit and rhythms of a region. As much as anyone, Adams has taught us how to see the West, how to understand the poetry of rock and sky and vastness. In this book, which has the internal harmony of a fugue, both his technical brilliance and his humane vision are magnificently displayed. With a lyrical but ultimately rather aimless essay on “The Land” by Lawrence Clark Powell. – David Dillon



Saul Bellow records his perceptions of Israel and meditates on America’s relationship with that country in his first work of non-fiction – a personal, disturbing account of a trip there last year, To Jerusalem and Back (Viking, $8.95). He talks of people whose first thought is survival, picks the brains of perplexed statesmen, and evaluates all the going theories – most of them contradictory – about the conundrum of the Middle East. – Willem Brans



In John Masters’ The Himalayan Concerto (Doubleday, $8.95), India is the mystery – compounded by the Red Chinese and unassimilated border tribes. The detective is a composer who is trying both figuratively and literally to separate out themes and counterpoint. Well-written action built on a musical conceit. A real find.

Peter Dickinson’s King and Joker (Pantheon, $6.95) is a mystery set in an imaginary present, involving the British royal family as it might have been if Edward VII’s oldest son, Albert Victor, hadn’t died in 1892. The blend of historical fantasy and murder-mystery sometimes seems uneasy, but the real mystery that finally captures the reader is the eternal human one of adolescence, in the portrayal of Princess Louise. Highly recommended. – Susan Matthews

In Marry Me (Knopf, $7.95) more of John Updike’s couples uncouple and recouple. The prose is pellucid and some of the observations so keen as to seem hallucinatory. But sometimes everyone sounds alike, so that you have to count back to the beginning of stretches of dialogue to figure out who is saying what to whom. A failure, but occasionally a fascinating one.

Alex Haley’s Roots (Doubleday, $12.50) is this year’s blockbuster, soon to be a big TV movie. It’s a moving account of a man’s search for his lost heritage, and a harrowing portrayal of the intolerable pain suffered by the first Black Americans. Haley’s blend of fiction and non-fiction is not always successful, especially when he has his characters allude to the off-stage events of American history (“I hear tell while back whole lotta impo’tant white folks had a big meetin’ in dat Philadelphia. Dey call it de First Continental Congress.”), but most of the book is absorbing reading.– Charles Matthews



Ron Kovic had an unquestioning belief in God, Country, the Marine Corps and the New York Yankees until that shattering day in Viet Nam when he was paralyzed for life. In Born on the Fourth of July (McGraw-Hill, $7.95) he recounts the nightmarish horror of the hospitals and the indignities heaped on him when he joins the anti-war movement. The book is simply written and enormously powerful. – Gene Mitchell

The new Muriel Spark novel, The Takeover (Viking, $8.95), surprises with an independent insight into the world of the very rich that Spark often writes about. As witty, controlled, and polished as you’d expect from this author, The Takeover also has something to say about the possession of money. Read it for pleasure and, you should pardon the expression, for profit.

Don’t bother with May Sarton’s A World of Light (Norton, $8.95). It sounds promising – portraits of Elizabeth Bowen, Louise Bogan, Jean Dominique, among others – but is not to be tolerated unless you have a taste for saccharine. Sarton manages to make all these highly original people sound just alike, and icky. – Jo Brans

Movies

TV or not TV?

If a satire isn’t dead on target it winds up being merely eccentric. Network misses the mark. It has a good bite, but some of its teeth are loose.

Network could have been a definitive film about the venality and opportunism of the Home Entertainment Industry (their comfy term). It has a scathing script by Paddy Chayefsky, and doesn’t pull its punches. You won’t see this film on TV any time soon.

But it doesn’t work because the director, Sidney Lumet, apparently didn’t know what kind of film he wanted it to be. The title makes it sound like a sleazy sex-and-intrigue Harold Robbins/ Arthur Hailey bestseller. There’s some of that in the film, aimed toward but not quite achieving absurdity, so that you’re not sure whether the banalities in the dialogue and situations are meant to be taken as parody or not. Lumet has never known how to establish tone in a film. Murder on the Orient Express got off the tracks with a technically flashy expressionistic opening sequence, then tried to slip into something like the style of the Thirties movies with its all star cast. The pieces didn’t match and the film bogged down. Dog Day Afternoon was held together by Al Pacino rather than consistency of direction.

Lumet’s great failing is that he loves actors too much. He’s not willing to make them work as an ensemble. In Network, he’s working with some of the best in the business – Faye Dunaway, Peter Finch, Robert Duvall, and William Holden. Unfortunately, most of them are miscast, and try to give three-dimensional performances in two-dimensional roles. The actors look rather self-conscious, as if they’re striving to create characterizations that aren’t in the screenplay.

Peter Finch appears to have joined that company of fine British actors – Burton, O’Toole, Guinness, and so on – who make 10 bad films for every good one. In Network Finch plays a network newscaster who wigs out, develops a Messiah complex, and becomes a sort of cross between Ted Baxter and Kathryn Kuhlman. When he’s delivering his long bleary harangues, he’s often fun to watch, but also totally unconvincing. In fact, the film’s worst fault – and an astonishing one, considering that both its writer and its director got their starts in television – is that it totally misunderstands the way television affects people. The broadcaster played by Finch sends his ratings sky-high by exhorting people to go open their windows and shout about their rage and frustration. But if we know anything about what succeeeds in network news, we know that what people want more than anything is to be reassured by the newscaster rather than aroused by the atrocities he’s reporting. The stable personality – avuncular Walter Cronkite, wry David Brinkley, folksy Harry Reasoner – is what the audience homes to. Nothing makes them switch channels faster than the wacko who wants to lift them from their Barcaloungers.

There is, however, some wit in thefilm. There is a very funny romantic interlude between Holden and Dunaway.All of the set-ups – on the beach, in thebar, even in bed – are conventionalHollywood purple passion passages withsoft focus and mushy music, but the dialogue consists entirely of Dunawayrambling on and on and on, even post-coitally, about ratings and audienceshares. But though Dunaway has hermoments, the part should have beenplayed broadly – Paula Prentiss wouldhave been perfect – rather than deeply.There’s also a marvelous cameo bit byNed Beatty as a corporation executivewho harangues Finch into preachingthe gospel of the Conglomerate as Divinity.

-Charles Matthews

Coming Attractions



UT/Dallas Films, Founders North Auditorium, Floyd & Lookout/Richardson/690-2281.

Tobacco Road (USA 1941). Directed by John Ford, with Charley Grapewin, Gene Tierney, Elizabeth Patterson, Dana Andrews. January 11, 7:30 & 9:30 p.m.

I Am a Camera (Great Britain 1955). Directed by Henry Cornelius, with Julie Harris, Laurence Harvey, and Shelley Winters. January 12, 7:30 & 9 30 p.m.

Broken Blossoms (USA 1919). Directed by D W. Griffith, with Lillian Gish and Richard Bar-thelmes With Barney Oldfield’s Race lor Ufa (USA 1916) Directed by Mack Sennet, with Mabel Normand and Ford Sterling January 14, 7:30 & 9:30 p.m.

The Lost Patrol (USA 1934). Directed by John Ford, with Victor McLaglen and Boris Karlotf. January 18, 7:30 & 9:30 p.m.

Weekend (France 1967). Directed by Jean-Luc Godard. January 19, 7:30 & 9:30 p.m.

The French Connection (USA 1971) Directed by William Friedkin, with Gene Hackman, Fernando Rey, and Roy Scheider. January 21, 7:30 & 9:30 p.m

How Green Wat My Valley (USA 1941). Directed by John Ford, with Walter Pidgeon, Maureen O’Hara, Donald Crisp, Roddy McDowall, and Barry Fitzgerald January 25, 7:30 & 9:30 p.m.

Vampyr (Denmark 1932) Directed by Carl Drey-er January 26, 730 & 9:30 p.m

The Three Musketeers (Great Britain 1974) Directed by Richard Lester, with Michael York, Raquel Welch, Faye Dunaway, Oliver Reed, Richard Chamberlain, Frank Finlay, and Charl-ton Heston January 28, 7:30 & 9:30 p.m.



The Edison Theatre, 2420 N. Fitzhugh/823-9610 McCabe and Mr*. Miller (USA 1971). Directed by Robert Altman, with Julie Christie and Warren Beatty. January 1 & 2, 2:20, 4:40, 7 & 9:20 p.m.

The Bicycle Thief (Italy 1949). Directed by Vitto-riodeSica January 3 & 4.6:15, 8 8. 9:45 p.m.

Where’s Poppa? (USA 1970). Directed by Carl Reiner, with George Segal and Ruth Gordon. With Smile (USA 1974). Directed by Michael Ritchie, with Bruce Dern and Barbara Feldon January 5 & 6, 610 (Poppa). 8 (Smile), & 9:15 (Poppa)

Woman In Love (Great Britain 1970) Directed by Ken Russell, with Glenda Jackson, Alan Bates, Oliver Reed, and Jennie Linden January 7 & 8, 2, 4:30 (Saturday only). 7 & 9:30 p.m.

Scenes from a Marriage (Sweden 1974). Directed by Ingmar Bergman, with Liv Ullmann and Erland Josephson. January 9 & 10, 3:40 (Sunday only), 6:50 & 10 p.m.

It Came from Outer Space (USA 1953). Directed by Jack Arnold, with Richard Carlson and Barbara Rush With The Creature from the Black Lagoon (USA 1954). Directed by Jack Arnold, with Richard Carlson, Julia Adams, and Richard Denning. January 11 & 12, 6:20 (Space). 8 (Lagoon), 9:40 (Space).

Brewster McCloud (USA 1970) Directed by Robert Altman, with Bud Cort and Sally Keller-man With A Thousand Clowns (USA 1965). Directed by Fred Coe, with Jason Robards, Barry Gordon. Barbara Harris, and William Daniels January 13 & 14. 7 (Brewster) & 9:05 (Clowns).

My Little Chickadee (USA 1940) Directed by Edward Cline, with W C Fields and Mae West. With Never Give a Sucker an Even Break (USA 1941). Directed by Edward Cline, with W. C. Fields, Gloria Jean, Leon Errol, Franklin Pangborn, and Margaret Dumont January 15 & 16. 2:40 (Sucker), 4:05 (Chickadee), 6, 7:25 & 9:20 (alternately)

The Boys In the Band (USA 1970) Directed by William Friedkin. With A Very Natural Thing(USA 1975). January 17 & 18, 6 (Boys), 8:20 (Thing), & 10 (Boys).

The Apprenticeship of Duddy Kravitz (Canada 1974). Directed by Ted Kotcheff, with Richard Dreyfuss. With Wedding In White (Canada 1974), with Carol Kane. January 19 & 20, 7 (Duddy) & 9:20 (Wedding).

Next Stop, Greenwich Village (USA 1976). With Little Murders (USA 1971). Directed by Alan Arkin, with Elliott Gould. January 21 & 22, 2:40 (Stop), 4:50 (Murders) (Saturday only), 7 (Stop)& 9:30 (Murders).

Texas Fllmgroup, a collection of short films by independent Texas filmmakers. January 23 & 24, 4:15 (Sunday only), 7 & 9:45 p.m.

Rancho Deluxe (USA 1975), with Jeff Bridges and Sam Waterston. With Stay Hungry (USA 1976). Directed by Bob Rafelson, with Jeff Bridges. January 25 & 26, 6 (Rancho), 8 (Hungry) & 10 (Rancho).

Taking OH (USA 1971). Directed by Milos For-man, with Lynn Carlin and Buck Henry. With The Fireman’s Ball (Czechoslovakia 1968). Directed by Milos Forman. January 27 & 28, 6 (Off), 8:10 (Ball) & 9:45 (Off).

The Tenant (USA 1976). Directed by Roman Po-lanski. with Roman Polanski. With Chinatown(USA 1974). Directed by Roman Polanski, withJack Nicholson and Faye Dunaway, January29 & 30, 2:05 (Tenant), 4:30 (Chinatown), 7 &9:25 (alternately).

D RECOMMENDS

Bless the Edison Theatre. Not only are they giving us a consistently fine run of old and not-so-old films, but now they’re also serving as a showcase for local talent. The Texas Filmgroup is a consortium of young filmmakers who work independently but have got together to try to market their works. The Edison is giving them a screening on January 23 and 24 at 4:15 (Sunday only), 7 and 9:45 p.m. If the screening is successful, the theater hopes to make its facilities available for more such exhibitions of talent. The filmmakers include Philip Lamb, whose Train to Orlando satirizes the “coming attractions” trailers of the Forties and Fifties; Ken Harrison, whose Mr. Horse is a poetic drama; Doug Smith, whose Let’s Visit the World of the Future is a serious but occasionally comic view of the future; G. Thomas McDonald, whose A Case of Rapture is described as a “surrealistic farce of slapstick terrorism”; John Walker, whose cinema vérité film Clown White follows a children’s show on tour; and Mark Weakley, who has made a tribute to blues guitarist Charlie Poole, a scene from which appears above.

Music

The Sound of Contemporary Music

Very few groups of professional musicians play contemporary music; one of them is Voices of Change right here in Dallas. Founded ten years ago, Voices of Change is composed of local players whose bread and butter is the traditional music of the symphony and opera, but who feel that more recent stuff also deserves a chance to take hold. At a recent concert in SMU’s Caruth Auditorium the group performed music which in fact ranged from 1918 to 1976 (in the past they’ve played Brahms, too). To my ears, the earliest of those works, the “Suite” from Stravinsky’s “L’Histoire du Soldat” was clearly the most enjoyable. Stravinsky is hardly avant-garde, of course, and this post-World War I composition was the only piece on the program that’s been played in Dallas before. The clarinet, violin, and piano combination produces the characteristically reedy Stravinsky tone colors, and the percussive piano insistently shifts rhythms from march, tango, waltz, and rag, to a short and furious “Danse du Diable” conclusion.

The other works on the program were linked, in a pitch for programmatic unity, by the themes of bells and the sea. The group opened with a composition that demonstrates some unorthodox ways of using the human voice (in a concert hall, at any rate), “Full Fathom Five” (1976), by SMU music professor Harold Oliver. As each player modulated from the higher to the lower members of his instrument family, soprano Linda Anderson Baer sang perhaps the most unusual musical setting any song by Shakespeare has ever had; some sounds she produced by singing while she partially covered her mouth. Her voice and ear were equal to Oliver’s intricate score. At the risk of taking the program suggested by the text too liter-ally, I would say that “Full Fathom Five” successfully evokes the murky seabottom but leaves high and dry the “something rich and strange” of Shakespeare’s song.

Ives’ “A Sea Dirge” (1925) got its premiere by, again, Linda Anderson Baer and piano accompanist (and husband) Melvin Baer. Full, rich chords began and ended this appealing work, a kind of miniature “La Mer,” which exploits the full range of the soprano. Lukas Foss’s “Time Cycle” (1937), first performed and later recorded by Leonard Bernstein, also got its first playing in Dallas. Its four parts are based on twoEnglish poems and two passages of German prose, each dealing with time. I thought the first and fourth sections (the texts by Auden and Nietzsche) the most exciting musical treatments in this highly various composition.

Voices of Change will be conductedby Leonard Slatkin the weekend of his visit to the Symphony. They’ll be play-ing another Dallas debut, this time Schoenberg’s first major twelve-tone work, “Pierrot Lunaire,” Sunday, Janu-ary 16, in Caruth Auditorium. Slatkin will give a pre-concert lecture about this work, one of whose features is “Sprech-stimme,” or “melodic speech.” Voices of Change also plans a festival of compositions by women, and they hope to bring several women composers to Dallas, probably in April.

-Willem Brans



Recordings

L.A. Sessions, Brenda Lee (MCA)



If you’re looking for raunchy, low-life female country singing, I think Brenda Lee’s your lady. She can growl, bump and grind with the roughest of them. And L.A. Sessions is a particularly effective enterprise. It’s Brenda playing the part of the wayward woman, a sort of country-and-western La Traviata. Singing about all those seedy motel rooms and sordid one-night affairs, Brenda is most convincing. Decadence is always fun. And when she walks the path from sin to salvation, seeking out the Lord in a tune called “Saved,” she still sounds sincere and mighty sweet to me.

– David Ritz



Naked & Warm, Bill Withers (CBS)

Heard one Bill Withers record and you’ve heard ’em all. This may be the best, but it’s also no different from the rest. Nice down-home feel, nasty little beat, Bill getting down as best he can. The rhythm is right, but almost everything else here depends on Withers’ voice, which, he would like you to believe, is just like the title, naked and warm. Well, I’m a believer, I think Bill has an open and a genuine style, but I’m also convinced that he doesn’t have much time left to come up with something other than slightly disguised variations of “Someone to Lean On” and “Grandma’s Hands.”

– D.R.

Sky High, Tavares (Capitol)



If you want to buy a disco record and have money enough for just one, Tavares is a safe bet. Right now they have the hottest, most inspired dance sound, and this Sky High really sizzles. I’m a fool for “Heaven Must Be Missing an Angel,” whose lyrics are a throwback to the Fifties. The other can’t-stop-danc-ing number is “Bein’ with You,” which will tear the most stubborn wallflowers from the wall and fling them onto the dance floor.

Disco is simple and infectious music; there is nothing serious about it. Like good exercise, it just makes you feel good about your body. Tavares understands that its role is to get you moving,and if they fail I suspect that it’s yourfault, not theirs.

-D.R.



Concerts



Dallas Symphony Orchestra presents pianist Rudolf Firkusny Jan 6-8. an orchestral concert conducted by Leonard Slatkin Jan 14-15, and Dealey Award Winner pianist Michael Caldwell with the orchestra conducted by Kazimierz Kord Jan 27-29 at Music Hall in Fair Park. For times and ticket prices call 826-7000.

Dallas Chamber Music Society, Inc. presents The Warsaw Quintet Jan 31 at 8:15 in Caruth Auditorium. SMU Call 526-7301 or 521-3831 for ticket information

Dallas Civic Music will present pianist Emanuel Ax Jan 25 at 8 15 in McFarlin Auditorium For information call 369-2210.

Fort Worth Opera Association will present the Gilbert and Sullivan operetta The Mikado Jan 21-23 Leads sung by Annette Parker and James Billings. For tickets and more information call 738-6291 or write Fort Worth Opera Office, 3505 W. Lancaster, Fort Worth 76107

Fort Worth Symphony Orchestra. James Miller, new assistant conductor, makes his debut conducting an ensemble of the orchestra Jan 30 at the Fort Worth Art Museum at 3 p.m. Call 921-2676 for ticket information

Texas Chamber Orchestra will perform Jan 29 at 8 p.m at University of Texas at Arlington with winners of the school’s first annual Piano Concerto Competition. John Giordano will conduct. Free admission

Van Cllburn Lecture/Performance Series. Duo pianists Arthur Gold and Robert Fizdale will present the first show of the series, a study of the Romantic Era featuring Brahms, Schumann, Weber and Bizet, with slides, Jan 25 at 8 p.m. in Scott Theater. Series tickets $20 for adults and $10 for students. Price includes reception after performance Tickets may be ordered by mail from the Van Cli-burn Foundation, Inc., 3505 W Lancaster, Fort Worth 76107 or by calling the Scott Theater Box Office/(817)738-6509.

Musica Dominica at Christ Church presents harpsichordist Larry Palmer Jan 16 at 4 p.m., tree, at Christ Episcopal Church. 534 W. Tenth St/941-0339

Organ Recital Series. George Baker will present a recital Jan 10 at 8:15 in the East Dallas Christian Church at Peak and Junius. Tickets are $3 adult and $1 50 student. For further information call Me-lanie Mosely. 821-4157.

Sunday Concert Series will present Stacy Blair from Hardin Simmons University on the trumpet Jan 2 at 2 p.m. Pianist Jeff Campbell Jan 2 at 3:15. Flutist Eulah Matthews Jan 16 at 2 p.m., and University of Texas at Dallas Music Faculty Concert. Robert Rodriguez compositions. Jan 16 at 3:15 in the Dallas Museum of Fine Arts Auditorium; free Call 528-1312 for more information.

Mountain View College. The 7th annual jazz festival with competition by more than 30 area high school stage bands will take place Jan 28-30 Performances Jan 28 3-9 p.m. and Jan 29 9-5 p.m. 4849 W. Illinois.

Downstairs at the Registry features Floyd Dakil through Jan 22. Nightly except Sun. Cover varies Bar by membership. Registry Hotel. Mockingbird at Stemmons/630-7000

The Rail Head. Jan 1 -16 the Upper Dallas Jazz Band led by Tommy Loy will be featured Tue-Sat with shows from 8:45 to 11 p.m. Park Lane and Green-ville/369-8700.

Venetian Room. Ben Vereen appears Dec 31-Jan 8Ann Murray will be featured Jan 17-29. and Marilyn McCoo and Billy Davis, Jr., formerly of FifthDimension, will appear beginning Jan 31 Mon-Thur shows at 8:30 and 11 Fri and Sat shows at 9and 11:30. Cover varies. Reservations. FairmontHotel, Ross and Akard/748-5454.

Concert Preview: The DSO in January

We’ll be hearing from a couple of visiting musicians in January: pianist Rudolph Firkusny will play Stravinsky and Rachmaninoff with the DSO (Jan. 6, 7, and 8), and the following weekend the up-and-coming Leonard Slatkin will guest-conduct. The Czech-born Firkusny can be expected to perform an authoritative “Capriccio for Piano and Orchestra,” a composition by Stravinsky dating from 1929 that owes some of its graces to Tchaikovsky. It also juxtaposes Spanish rhythms and melodies with the upbeat syncopation of ragtime, which Stravinsky had gotten to be fond of during the war. The second work, Rachmaninoff’s “Rhapsody on a Theme by Paganini,” should give Firkusny plenty of range. In the hands of a master this is one piece you never get tired of hearing. It demands by turns a powerful and a light-as-a-feather technique, and if he plays the Rhapsody’s famous “Eighteenth Variation” for all the tenderness Rachmaninoff wrote into it, Firkusny will undoubtedly, and deservedly, win the audience over to him. Few pianists perform together with orchestras better than Firkusny, and he should be a treat.

Also on the program are the familiar “Carnival Overture,” by Firkusny’s countryman Dvorak, and Schumann’s Fourth Symphony. The first is full of Czech musical lore infused with dollops of Liszt and Wagner. Lively and lyrical without being sentimental, the piece is carried along on its folksong and dance rhythms; it’s critical that the tempo never drag. The fun of the Schumann work is that it’s supremely listenable. Schumann’s technique is repetition and accretion, as opposed to “normal” symphonic development. Watch for sudden changes of mood characteristic of Romantic music, which is represented at its apex in this Symphony.

Thirty-year-old Leonard Slatkin will be bringing us an earlier, more astringent Stravinsky in “Symphonies of Wind Instruments.” Written in 1920 in belated homage to Debussy, the piece is pure Stravinsky despite its references to Debussy’s tonalities and instrument combinations. With little real melodic development, it succeeds or fails to the degree both conductor and individual players exploit the unusual effects (piercingly high clarinet and closely-scored brass parts, especially). After an excursion through some abrasive, unforgiving dissonances, interlaced with some lovely tonal woodwind choirs, “Symphonies” comes to rest on a set of unexpectedly lyrical chords.

One of Tchaikovsky’s most appealing, and toughest, works is the “Serenade for Strings in C Major,” an elegant and melancholy synthesis of French, German, and Russian styles. Acoustics in the Music Hall being what they are, Slatkin will have his hands full projecting all the Orchestra’s strings into the house at the resonant volume the work asks for. Sibelius’s Symphony No. 5 contains less self-assured romanticism. It is fashioned from much contradictory thematic material that’s pulled together to a constantly increasing tension. Opportunities for lyricism are turned away almost ironically in this resolutely somber work, which nonetheless can build sudden heroic climaxes. We should listen for Slatkin’s control over the detail work: the balance in the flute duet with horns and trumpets in the third movement, the pizzicato strings, the simultaneous assertion and blending of the repeated trumpet figure in the last movement. It should all prove an arresting challenge to a brilliant visitor to Dallas.

Recommended recordings for upcoming DSO concerts:

Stravinsky, “Symphonies of Wind Instruments”: Ansermet, Orchestre de la Suisse Romande (London, 6225); Tchaikovsky, “Serenade in C Major for Strings,” Op. 48: Karajan, Berlin Philharmonic (DG 139030); Sibelius, Symphony No. 5 in E Major, Op. 82: Karajan, Berlin Philharmonic (DG 138973).

Stravinsky, “Capriccio for Piano and Orchestra”: Ogdon, Marriner, Academy of St. Martin’s-in-the-Fields (Argo ZRG-674); Rachmaninoff, “Rhapsody on a Theme of Paganini”: Rubinstein, Reiner (RCA LSC-3338); Dvorak, Carnival Overture: Szell, Cleveland Orchestra (Odyssey Y2-33524); Schumann, Symphony No. 4 in D Minor: Solti, Vienna Philharmonic (London 6582).

– Willem Brans

Theater

Classic Instances: Molière at DTC, Shakespeare at SMU

The thing to do with Molière these days, it seems, is to adapt him, lace his scripts with songs and dances or turn them into nightclub sketches. Fortunately, this is not so risky an undertaking as tampering with the Masters usually proves to be. In the past two or three years I have seen as many musicals and modernizations as straightforward treatments of Molière, and the proper ebullient roguishness has shone as often through the former as the latter. But what is required in pulling off one of these plays, adaptation or otherwise, is after all not a slavish reverence for the text but an affinity with the raucous spirit behind it. This is just what the Theater Center came up with in its staging of Scapino!, a slightly modernized version of Les Fourberies de Sca-pin.

The most delightful thing about this production was its great success in approaching the source of this farcical spirit: the commedia dell’arte style. Though the adaptation by Frank Dun-lop and Jim Dale altered a few matters here and there, Scapino! is still primarily Molière’s creation, and it was the commedia performance style that the play was written for. The Theater Center cast, under the direction of Robyn Flatt, marvelously captured the energetic, improvisatory vitality and the broad physical humor of this style; there was much running and bouncing about, sometimes in an almost acrobatic manner, much improvising of jokes and bits of business, often on such topical matters as Hǎagen-Dazs ice cream and Cedar Springs hookers, and much application of slapstick cleverness. There were, not surprisingly, a few miscalculated moments, for with this sort of spree it is always difficult to judge in rehearsal just what will work in front of a full house; thus, an attempt at audience participation during the second act very nearly fell flat on opening night, as did one of the extended chases around the auditorium. But for the most part the production moved swiftly and surely, carried by the well-balanced ensemble efforts of the performers. The most impressive of these was Robert A. Smith’s virtuoso rendition of the cunning servant Scapino; Smith seemed at every moment to be somewhere or another on the stage, bamboozling the nasty, miserly old men or plotting gleefully with their hopelessly love-stricken young sons, but always maintaining an infectious, all-in-good-fun air.

Scapino! runs through New Year’s Eve, so you may still have time to catch it.

A much more coldly aesthetic exercise was Shakespeare’s The Winter’s Tale in the Bob Hope Theatre at SMU. It was, to be sure, a more provocative production, for Jack Clay, who directed it, inevitably impresses upon every play his distinct personal style. He can always be counted on, for example, to pay careful attention both to such details as diction and movement of his actors, and to such larger matters as the design of the overall stage picture. But he also has a tendency to latch onto a certain aspect of a play, to adopt a particular angle of approach and pursue it relentlessly, and the result of all this is that, while it is always easy to see what he is up to, there may remain some question as to why.

The problems began with the text of the play, which was rather heavily cut. This kind of editing can be accomplished easily enough in many of Shakespeare’s earlier plays, in which the dramatic structure is more conventional and straightforward, but in The winter’s Tale, which is divided into three relatively distinct sections, there are more difficult questions of balance to be considered. Clay, never entirely careless in such matters, came up with a truncated version that was more or less coherent on its own terms but that left significant portions of the play crossed lout in the prompt book. The most no-ticeable effect of this was that Leontes, lwho is quite properly the focus of atten-tion in the first section of the play, seems to be the only central character throughout; Perdita, to whose blissful existence in the Bohemian countryside 1 is devoted an equal portion of the text, was reduced nearly to the level of playing just another sweet Shakespearian ingenue.

There were problems, too, with Clay’s staging. The entire first half of the production, the Sicilian section of the play, was cast in a tone of dreary stolidity the only compensation for which was the beautiful scenic effects created by William Eckart’s sets, D. Edmund Thomas’s lighting, and Giva McBride’s costumes. This part of the play seems to have been conceived merely as a series of frozen tableaux; the point, of course, was to underline the contrast between the dreadful artifice of Leontes’s court and the natural vitality of Perdita’s pastoral world, but the effect was only picturesquely boring. Clay also chose to treat the play as though it encompassed all four seasons, rather than following Shakespeare’s quite satisfactory scheme of winter and summer; to this end, he occasionally introduced onto the stage Apollo (admittedly important in the play’s imagery), an unsettling, gold-painted, nearly-nude figure who summoned forth the appropriate scenic devices and the characters themselves.



On the other hand, Clay created a number of admirable impressions in the latter half of the show. Most of the pastoral section was delightfully colorful and exuberant and, with the exception of an irrelevantly elaborate Rite of Spring interlude, unburdened by the excess decorations of the first half. The final scene of the play, the transcendent statue scene, was treated with a simplicity and clarity that was entrancing. And all of the best performances were to be found in this latter section; Channing Walker as Leontes was particularly distinguished in the closing scene by his high-pitched fervent spirit, and Jose Cantu as Autolycus verged on stealing the show a number of times. However, such moments accounted for far too little of the show’s three-hour-plus running time; this Winter’s Tale was, more than anything else, mystifying.



– John Branch

Openings

Dallas Theater Center. Down Center Stage will present Robert Patrick’s Kennedy’s Children Dec 9-Jan 15. A musical revue with 1930’s music. Get Happy, will run Jan 27-Feb 19. In the Kalita Humphreys Theater, Anton Chekhov’s Three Sisters will be presented Jan 11-Feb 12. Tue-Fri 8 p.m., Sat 8:30. Tickets $5.75, $6.50 on weekends. 3636 Turtle Creek/526-8857.

New Arts Theatre. Noel Coward’s Private Lives will be performed in the Haymarket Theatre at Olla Po-drida in Jan. Thur-Sun 8 p.m., and 2:15 matinee on Sun. 12215 Coit Rd/387-0807. Tickets $4.

Theatre Onstage. 6 Rms Riv Vu will be presented Thur-Sat evenings at 8:15 beginning Jan 13. (There may be a Sun show – call to confirm.) Tickets are Thur (and Sun) adults $3 and students $2, Fri-Sat adults $3.75, students $2.75. Group rates are available. Corner of Pearl and McKinney, rear entrance/651-9766.

Theatre Three presents Tom Jones’ and Harvey Schmidt’s The Fantasticks through Jan 9. Jan 19-Feb 27, Cyrano de Bergerac. Wed-Sat 8:30, Sun 2:30 and 7 p.m. Tickets $3-$6 with student and group discounts. Quadrangle/748-5191.

Rlchland College. Humbug will be presented Jan 17-Feb 5 (excluding Jan 21 and Sundays), 8 p.m., free. For tickets call 746-4554 Mon-Fri 3-5 p.m.

TCU will host the Southwest Region IV-American College Theatre Festival Jan 18-22 Colleges from a five-state area will present performances at 2 and 8:15, For more information call (817)926-2461 ext 245.

Dallas Repertory Theatre will present Tennessee Williams’ Summer and Smoke Jan 6-20. Individual tickets are $3 tor children under 12, $3.75 tor students and senior citizens, and $4.50 tor adults. 8:15 p.m. on Fri and Sat. 3 p.m. on Sun at North-Park Hall in NorthPark. For more information call 369-8966.

Casa Manana Playhouse/Fort Worth, will present Shakespeare’s Hamlet Jan 21 at 7:30 p.m. and at 10 a.m. Jan 18-20 and Jan 25-27. Admission is $3 adults. $2 students. For information and reservations call (817) 332-6221. 3101 W Lancaster.



Fort Worth Community Theatre presents Alan Ayckbourn’s comedy Relatively Speaking Jan 6-15. For times and ticket information call (817)738-6509 or 738-6500. 3505 W. Lancaster.



DINNER THEATER



Gran’ Crystal Palace. “Cabaret Capers” will be performed every evening except Thur. Dinner 8 p.m., show 9:30. Saturdays there are two shows, with seatings at 6:30 and 9:30 p.m. $12.50. 2424 Swiss/824-1263.

Granny’s Dinner Playhouse. A Western musical comedy Red Dawg will run through Jan 23. Tue-Sat dinner shows, Sunday matinees. Tickets $6 85-$10.75. 12205 Coit Rd/239-0153.



CHILDREN’S THEATER



Haymarket Theatre. A new entertainment complexwith live performances, movies, and marionette shows. In January the marionette show is Winnie the Pooh. Performances: Tue-Fri 9:30 am., 10:30 am.. 11:30 a.m. and 4 p.m.; Sat 10 a.m., 11 a.m., and noon Saturday afternoon Heyday for 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. Tickets $1. Olla Po-drida/12215 Coit Rd/387-0807



Magic Turtle Series. Cinderella performed by Dallas Theater Center’s Mime Troupe runs through Jan 29. Every Sat at 10:30 a.m. Tickets $1.75. Dallas Theater Center/3636 Turtle Creek/526-8920.

Art

The DMFA Starts the New Year Right

Art in the twentieth century has had so many “movements,” so many shocks and countershocks, that it’s hard to keep track of them. That’s why a show like the Dallas Museum’s Berlin/Hanover, the 1920’s, opening January 26, is so welcome. If we have any sense of Germany in the Twenties it’s of economic crisis, political upheaval, and the cynicism captured in the film Cabaret. But there was a revolution in design as well – clean-lined sans serif type replacing ornate Victorian faces, chrome and steel furniture replacing horsehair and velvet, streamlined buildings replacing Gothic gingerbread – a generation throwing out the taste of its elders along with their politics and morals.

In some movements, individual artists surface and transcend, as Picasso and Braque rose above Cubism and Matisse above Fauvism. But the Dallas Museum wisely chose in this instance to work with period and places rather than with movements or individual artists. For it is the coming together of talents in postwar Germany that seems most important, the fertilization that created styles but made no one’s name. Movements like Constructivism, Dada, De Stijl, and the Bauhaus came and went, but they left their influences – a touch of disturbing nonsense here, an astrin-gency of design there.

In the DMFA’s show, there will be paintings, collages, prints, drawings, and reconstructions of rooms designed by two of the most prominent figures in the period – El Lissitzky’s “Proun Room” and Kurt Schwitters’ “Merz-bau.” The show, the first major museum exhibition on this particular period, was put together by the DMFA, with the help of a grant.

1976 was a good year for the Dallas Museum – the American sculpture show, the display and acquisition of the Wise Collection, the Dallas From the Ground Up project, the American Art Since 1945 exhibition, and the stunning Edvard Munch retrospective reflect the imagination, knowledge, and taste of the Museum’s staff. The Berlin/Hanover show gets 1977 off to a good start. Let’s hope 1977 also sees some action toward the architecturally-distinguished home that this increasingly-distinguished museum deserves. Much as we would hate to see the DMFA leave Fair Park, exhibitions like the ones the museum has been giving us need more space and better light.

– Charles Matthews



Openings

Dallas Museum of Fine Arts. Berlin/Hanover; 1920s, will open Jan 26. Titian Woodcuts, commemorating the 400th anniversary of the artist’sdeath, will also open Jan 26. Tue-Wed, Fri-Sat 10-5. Thur 10-9 (films and lectures relating to the two shows will be presented). Sun 1-5. Fair Park/738-1933.

Amon Carter Museum of Western Art. America, a collection of documents from throughout U.S. history, will be featured in the mezzanine through Jan 30. Downstairs, along with items from the permanent collection, will be Navaho pictorial weavings of 107 textiles dating from the 1880’s. Tue-Sat 10-5, Sun 1-5:30. 3501 Camp Bowie Blvd/(817)738-1933.

Fort Worth Art Museum. The American Artist: A New Decade closes Jan 9. The American Abstract Expressionist Collection of the Sarah Campbell Blatter Foundation opens Jan 9. Tue-Sat 10-5, Sun 1-5. 1309 Montgomery/(817)738-9215.

Kimbell Art Museum, Fort Worth. The permanent collection will be on display in January. Tue-Sat 10-5, Sun 1-5. 1101 Will Rogers Rd/(81 7)332-8451.

Eastfield College. Drawings and prints by Cynthia Hurt on display Jan 17-28. Paintings by Jeannie Hurt will be on view beginning Jan 31. Mon, Tue, and Fri 9-5; Wed-Thur 9-7 p.m. 3737 Mesquite Dr., Mesquite/746-3132.

Mountain View Collage. An exhibit of various art forms by the faculty of Del Mar College will be displayed Jan 27-Feb 11. 4849 W Illinois.



GALLERIES



Afterimage. Photographs by Paul Caponigro will go on display Jan 11. Mon-Sat 10-5:30. Quadrangle/748-2521.

Allan Street Photography Gallery. Jan 2-14 “Coming Out,” work by 15 Dallas women photographers, will be on display. Third Sunday shows at the gallery feature work by local photographers – anyone is welcome to display his or her work. The exhibit is open 2-6 on the third Sunday of the month and 1-7 p.m. throughout the following week. Gallery space is leased to artists for exhibitions throughout the rest of the month. 2817 Allen/742-5207.

Arthello’s Gallery. Work by Arthello Beck and other local artists on display in January. Sat-Sun 1 -6 and by appointment. 1922 S Beckley/941-2276.

Atelier Chapman Kelley. Paintings by Noel Mahaf-fey on view in January. Mon-Sat 10:30-5, Sun 1-5. 2526 Fairmount/747-9971.

Carlln Galleries, Fort Worth. Jan 4-16, a show by gallery artists and craftsmen. Small paintings by Peter Hurd will be on display Jan 23-31. Mon-Fri 10-5, Sun 2-5:30. Montgomery at W 7th/(817)738-6921.

Chisholm Trail Gallery, Fort Worth. The American Cowboy, paintings and bronzes. Mon-Sat 10-5. Montgomery at W 7th/(817)731 -2781.

Contemporary Gallery. European Painters Today will open Jan 2. Mon-Sat 10:30-5, and by appointment. 2425 Cedar Springs/747-0141.

Cushing Galleries. Little Picture Show will continue through Jan 13. Atelier, a juried show featuring live artists: Beth Hickman, Norma Culp, Mozelle Massey, Kay Wiggins, and Linda Stokes, will run Jan 15-26. Paintings and prints by Bruno Zupan will open Jan 29. Mon-Sat 10:30-4:30. 2723 Fair-mount/747-0497.

Delahunty Gallery. Work by David Gilhooly, a group show, and new paintings by John Alexander will run through Jan 19. Opening Jan 21 are sculptures by James Surls and prints by Alex Katz. Tue-Sat 10-6 and by appointment. 2611 Cedar Springs/744-1346.

D.W. Co-op. Sculpture of wood, rope, and metal by Gisela-Heidi Strunck will be featured Jan 8-Feb 3 along with work by gallery artists. Tue-Sat 11-6. 3305 McKinney #7/526-3240.

Ebell. A group show by Bill Elliott. Carol Collier. Mary Albrecht, Mary Dove, Martha King, M J. H. Dunlap, and E. Bell in January. Weekdays 10-9; Sat 10-6; Sun 2-5. European Crossroads, 2829 W Northwest Hwy/351-3115.

Gallery 13. Paintings by Arthello Beck Jan 11-31. Weekdays 8-5 at KERA-Channel 13/90 FM, 3000 Harry Hines/744-1300.

Gallery One, Fort Worth. Works by Donald Bell. Tony Bass, Brian Halsey, and Debie Zelazny. Mon-Sat 10-5. 4717 Camp Bowie/(817)737-9566.

Hall Gallery, Fort Worth. Paintings by Constantine Cherkas and David Adickes. Mon-Sat 11 -5:30. 4719 Camp Bowie/(817)738-5041.

The Kleine Gallery. Tapestry, weaving, and wall-hanging by Irene Nicolaou in January. Tue-Sun 10-7, 12610 Coil/233-9472.

Macy Galleries. Jewelry by Frida Blumenberg will be featured in January. Tue-Sat 11-6. 2605 Routh/742-4587.

McCulley Gallery. Continuing show of works by Frank McCarthy. Paul Calle, John Scott, David Blossom, Tom Lovell, John Leone, and other Western artists Mon-Fri 9-5, Sat 9-1 and by appointment 2539 Cedar Springs/744-0762

Michele Herling. A bead show from India will be on display in January Tue-Sat 12-530. Quadrangle suite 260/748-2924.

Oura, Inc. Paintings and drawings by David McCul-lough, recent paper works by Dan Murphy, and photo-kinetic works by George Goodenow. Call for appointment. Mon-Sun 9-9. 839? Exposi-tiorv’823-6287 or 363-2631.

Phillips Galleries. A Woman’s World, paintings by Carlantonio Longi, will be shown in January. Mon-Sat 10-5. 2715 Fairmount/748-7888.

Southwest Art Center. A collection of paintings by such artists as J. F. Herring, John Phillip Roth, Sidney Cooper and David Teniers de Junger will be shown. Tue-Sat 9-6. Preston Rd at Forest/233-2702.

Valley House Gallery. Tapestries created by Egyptian children on view through Jan 7. Mon-Fri 10-5, Sat and Sun by appointment. 6616 Spring Valley Rd/239-2441.



Sports

Games and Matches



Basketball/SMU Mustangs Moody Coliseum. All games begin at 7:30 p.m. ah tickets $3. 892-2901.



Jan 4 vs. Rice Jan 12 vs. Texas Jan 18 vs. Baylor Jan 27 vs. Arkansas Jan 29 vs. Houston



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

Jan 6 vs. SMU Jan 10 vs. Baylor Jan 15 vs. Houston Jan 22 vs. Rice



Football/Cotton Bowl Classic. Jan1 kickoff at 1 p. m. (tentative).



Maryland vs. Houston



Hockey/ Dallas Black Hawks. Fair Park Coliseum. All games begin at 7:30 p.m. Tickets $2 50-$5.50. 823-6362.



Jan 7 vs. Fort Worth Jan 8 vs. Salt Lake City Jan 16 vs. Kansas City Jan 19 vs. Oklahoma City Jan 22 vs. Fort Worth Jan 28 vs. Salt Lake City Jan 29 vs. Fort Worth



Hockey/Fort Worth Texans. Will Rogers Coliseum. All games begin at 7:30 p. m. Tickets $2 50-$4. (817)332-1585.

Jan 2 vs. Kansas City

Jan 6 vs. Oklahoma City

Jan 8 vs. Kansas City

Jan 12 vs. Salt Lake City

Jan 14 vs. Dallas

Jan 16 vs. Oklahoma City

Jan 20 vs. Tulsa



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



Rodeo/Cowtown Coliseum, Fort Worth Stockyards. Performances every Saturday in January at 8 p.m. Tickets adults $2.50 and $3/children $1.25 and $1.50. For more information call (817)624-1101.



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



Thoroughbred Horse Racing /Louisiana Downs. Bossier City, Louisiana, on IH-20 (about three hours drive from Dallas). Nine or ten races daily, Wednesday through Sunday, 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.



Dance

Performances



Krassovska Ballet Jeunesse of Dallas will present Aurora’s Wedding – Sleeping Beauty, Act III Jan 22 at 8 p.m. and Jan 23 at 2:30 p.m. in McFarlin Auditorium. The ballet is choreographed by Nicolas Beriozoff, and the leading roles are danced by Soili Arvola and Leo Ahonen of the Houston ballet. KBJ will also perform a new contemporary ballet. Luminesque, staged by Robert Barnett of Atlanta Ballet. Tickets, $3, $5, $7.50, and $10, are on sale at Dallas Symphony Box Office at Titche’s (North-Park), and at the theater before the performance.



Etc.

Enlightenment

John Dean speaks in the Rich land College gym Jan 27 at 7 p.m. 12800 Abrams.

Canter lor Older Texans at Richland College. Swimming, tennis, card games, planetarium shows, dancing, dominoes, lectures, and live entertainment tor citizens 55 or older. Ball dancing and square dancing lessons every Sun 2-5 p.m. Free health counseling. 12800 Abrams/746-4534.

Richland Cosmic Theatre and Planetarium will present Cosmosynthesis Jan 16-Feb 28, Sun at 2, 3, and 4 p.m., and Wed 8 p.m. Adults $1 and children 6-12 50c.

University of Dallas will hold an Archetypal Psychology Conference Jan 7-12. Dr. Vernon J. Bourke will speak in the Aquinas Series of lectures Jan 19-21. (Call 438-1123, ext 359 tor details.) The 18th Annual High School Art Show and Competition will run Jan 23-Feb 5 in Haggerty Center, 9 a.m.-5 p.m. Texas Fine Arts Association Portfolio Exhibition will be Jan 23-Feb 5 in Haggar Center Court, 9 a.m.-5 p.m. Call (214) 235-1123 or D/FW Metro 251-1551, ext 262, 351 for more information.

Olla Podrlda. The Arrowhead Art and Craft Department (division of the Dallas Inter-Tribal Center) will recreate an Indian village in the mall Jan 11-22. Jan 25-Feb 11 a private collection of bottles,1850-1900, will be on display. 12215 Coit Rd.

Mountain View College will offer community service courses in January. Food and Wine Appreciation begins Jan 26 and meets on Wed from 6-8 p.m. Fee $21. Rational Behavior Training beginning Jan 18 meets on Tue 7:10-9:40 p.m. Fee $25. Film and Literature begins Jan 20 and meets Thur 6:30-9:30 p.m. (Also offered tor college credit.) School of Ballet and Modern Dance is a continuing program tor all ages from six years. Call 337-7277 for dance information, and 746-4112 tor service courses. 4849 W Illinois.

Hara will present a lecture and workshop Redefining Intimacy, led by Ben and Rosemary Giovannone, Jan 8-10. A lecture will be given Jan 8 at 8 p.m. Fee $3. The two-day workshop, limited to 20 couples will be $75. For location and registration information, write Hara, Inc./P.O. Box 28177/Dallas 75 228.

Rlchland College will offer a new film class tor spring session, The Hollywood Story taught by Stephen Davis. The class will begin Jan 25 from 7:30-10:30 p.m. and meet each Tue night for seven weeks. Fee is $25. Register at the Community Service Office at Richland or by mail alter Jan 3. For more information call 746-4444.

Dallas Public Libraries. Dog Obedience show Jan 22, 3 p.m., Pleasant Grove, 11255 S Buck-ner/389-6625. “Cooking with Fewer Calories and Less Electricity” presented by Dallas Power and Light, Jan 5, 7 p.m., Fretz Park, 6990 Belt Line/233-8262. “Come Challenge a Chess Master” Jan 8, 2:30, Fretz Park. Film about Martin Luther King, Jr., Jan 15, 2:30, Martin Luther King, Jr. Library/Learning Center, 2922 Forest Ave/421-4171 Exhibit of Chinese antiques at Forest Green. 9015 Forest Ln/231-0991. Fashion illustrations from 1920’s to present from Bergdorf Goodman will be on display in Terrace Room of Central Library, 1954 Commerce, Jan 10-28, 748-9071, ext 280.

17th Annual International Auto-Rama wili be held at Market Hall Jan 7-9 Custom cars, antique hot rods, and exotic foreign cars will be featured Pre-sale tickets at Sears stores.

Mountain View College and Cushing Gallery will sponsor a demonstration in egg tempera by Forrest Harrsberger Jan 18 at Cushing Gallery. 2723 Fairmount 7-10 p.m. Fee $7.50. For information call 746-4112 or 747-0497.

Woman’s Canter of Dallas will conduct winter workshops. Jan 13 is a workshop on Radical Psychiatry Problem Solving tor Practitioners at the Women’s Center. 3107 Routh. Fee $25 Jan 14, a lecture, “Love, Therapy and Politics,” at First Unitarian Church, 4015 Normandy. Fee $2. Jan 15-16, problem solving and body work for women only, at the Women’s Center. Sat 10-5 and Sun 10-4. Fee $45. Jan 29. an introduction to transactional analysis, at the Women’s Center. Fee $10. For more information call 651-9795.

Richland College will offer several community service courses in January. Coin Collecting, Mondays 7-9, will cover the hows and whys of the hobby. Women in Management, a 10-week course beginning Jan 18, is designed for women currently in a management job or who are aspiring toward management responsibilities. Suburban Beekeeping is an introductory course covering all aspects – from bee behavior to the marketing of honey – of beekeeping. Call 746-4444 for information on these courses.

Fort Worth Museum of Science and History will present Symbol of the King in the Noble Planetarium on weekends during January. Shows at 11 a. m.. 2:30 and 3:30 p.m. Saturdays; 2:30. 3:30 and 4:30 p.m. Sundays. Tickets $1 50 adults, 50* children (under 6 not admitted). For information call (817)732-1631 1501 Montgomery.



Kidstuff



Dallas Public Libraries. Film, Free to be … You and Me, Jan 3. 2 p.m. at Jefferson Branch, 542 E. Jetferson/946-8104. Origami demonstration by Fumiyasu Kawamura. Jan 22. 2:30, at Freti Park, 6990 Bell Line/233-8262. Grades 1-8. Puppet show, Three Little Pigs, Jan 15, 3 p.m. Forest Green, 9015 Forest Ln/231-0991. Puppet shows. Jack the Giant Killer and The Little Red Hen, Jan 29, 3:30, Audelia Road Branch, 10045 Aude-lia/348-6160.

Learning About Me – A Child’s Introduction to the Arts is an eight-week drama/art program lor children 3-12. For 3-7 year-olds, on Tue or Thur beginning Jan 27 from 3:30-5 at Park Cities Baptist Church, 3933 Northwest Parkway. For 8-12 year-olds, on Sat from 10-11:30 a.m. at Olla Podn-da, 12215Coit Rd. Fee $45 (Sat $48). Call Pamela Stone Ciaccio, 691-3093, for registration and information.

Fort Worth Symphony Orchestra’s Chamber Ensemble presents a program of contemporary treatments of nursery rhymes and fairy tales conducted by James Simpson Miller Jan 30 at 3 p.m. in the Fort Worth Art Museum For tickets write to 4401 Trail Lake Drive, Fort Worth 76109.



Good Deeds



The Dallas Branch of the American Association of University Women needs used books and records for their annual book sale Feb 18-20 in North Town Mall. Call 233-1103 or 526-3544 for pickup.

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