A Play About Shakespeare
“It’s a language for giants. Who wrote it?” asks a small-town character in William Gibson’s A Cry of Players when he hears part of a performance by a troupe of visiting actors. It’s no ordinary bumpkin asking the question; though Gibson simply calls him Will, he is obviously William Shakespeare, and the play he hears is evidently by Christopher Marlowe, the greatest of Shakespeare’s immediate predecessors. A Cry of Players, which Theatre SMU will stage this month, shows how such encounters fired the imagination of the young Shakespeare and determined him (against some opposition) to join the theater.
Gibson’s account is almost entirely fictitious, but it could hardly have been otherwise; nobody knows just how Shakespeare left his Stratford birthplace and entered the London theatrical world. And Gibson isn’t concerned with filling in plausible historical details anyway. His play is more about an artist’s struggle to escape the bonds of everyday life. Will protests early in the play that “this round of sacred duties uses so little of me”; but the rest of him is being used mainly in dissipation when the players arrive, with their exotic but unstable alternative.
A number of contemporary cliches about self-fulfillment and so forth are lurking about this theme, and Gibson seems to have aimed directly at one of them. The play was first produced in 1968, and you get the impression that he would have been glad for it to have been interpreted as a parable about revolutionary commitment. However, the play works well as a story about artistic commitment, and lest Gibson be accused of tipping the scales in an obvious direction, he has stressed the cost of young Will’s breaking free. Will is (in Gibson’s view, which isn’t shared by some writers) in love with his wife and his children, all of whom he will have to leave behind; the pained lyricism of Will’s scenes with Anne nearly overshadow the rest of the play.
The production, which will be performed in SMU’s Bob Hope Theatre, will be directed by Dale A. J. Rose. Rose staged the rather bizarre Hamlet Collage at SMU last season and gave a splendidly manic performance as the Mayor in Gogol’s Government Inspector last fall. The play opens March 1; for ticket information, call 692-2573.
– John Branch
Dallas Collections at SMU’s Gallery
The current show at SMU’s University Gallery, “Drawings: Matisse to Lichtenstein” (Feb 20-Apr 8), was assembled mainly from private collections in Dallas and Fort Worth. Last fall, SMU hosted exhibitions of the Meadows and Nasher collections, both of which were well-attended and gave the gallery more exposure than it had had in several years. Clearly, things are improving on the hilltop, thanks to the support of the new Arts School dean, Eugene Bonelli, and the work of director William Jordan, who also put together the DMFA’s “Dallas Collects” show.
The drawing show grew out of Jordan’s course “Museums and Collecting,” which is designed to acquaint students with the handling, cataloguing, and conservation of works of art. While the show has no specific theme, it does offer a superb introduction to the diversity of twentieth-century drawing, as well as a glimpse of the richness of local private collections. Picasso, Calder, Miró, Kandinsky, and Oldenburg are all represented, along with less famous artists such as Francis Picabia and George Grosz. There are also several collages that challenge conventional definitions of what drawings are. As important as anything else, “Drawings: Matisse to Lichtenstein” is another sign of renewed vigor in a gallery that until recently was only marking time.
– David Dillon
The Sound of the King of Instruments
It may come as a surprise to many that Dallas has a fair number of superlative church organs. Not only that, but aside from the able local organists who play for Sunday services, just about every international organ master has been here at one time or another to perform in a recital series that’s been running continuously since before the Second World War. These programs are sponsored by the Dallas chapter of the American Guild of Organists, a group of volunteers dedicated to bringing Dallas the glorious music of the king of instruments.
This month the AGO brings in Cherry Rhodes, whose artistic and technical mastery of the instrument and formidable accomplishments make her a leading concert organist in America and Europe. When she plays her recital at St. Thomas Aquinas Church, the new organ there will assuredly get a good workout under the hands of an exciting performer. Along with music by Bach, her program will include Scarlatti’s Toccata XI, a sparkling work in four movements, and selections from several of Olivier Messiaen’s longer compositions (“The Angels” from the Nativity Suite, “The Combat Between Life and Death” from Le Corps Glorieux, and “Sortie” from the Mass for Pentecost).
$5. St. Thomas Aquinas Catholic Church, 3717 Abrams Rd. Call Richard DeLong for ticket information. 824-8185, ex 25.
– Willem Brans
St. Matthew at St. Michael’s
1979 is the 250th anniversary of the first performance of the St. Matthew Passion, an event which might go unmarked in Dallas but for an ambitious production of Bach’s magnificent musical drama at St. Michael and All Angels Episcopal Church. This enormous work is usually performed as an oratorio, with choir and soloists singing their parts in a straightforward recital. The performance will be fully staged and costumed, so if up to now you’ve known the St.
Matthew Passion only through recordings, this may be your only chance in the next twenty years of seeing as well as hearing one of the musical masterpieces of Western civilization.
The Passion of Our Lord According to St. Matthew is not the first, though it may be the largest music drama that the St. Michael’s Music Drama Guild has produced. The Guild has previously presented Benjamin
Britten’s Noye’s Fludde, the first staged performances in the U. S. of Handel’s Saul and Athalie, and the premiere of Samuel Adler’s The Wrestler. All of these were expertly directed by Paul Lindley Thomas, Music Director of St. Michael and All Angels. Lindley astonishes with the variety of his accomplishments and talents in every sphere of sacred music. He is the organist at St.
Michael’s (in 1958 he won first place in a nationwide competition held by the American Guild of Organists), plays organ recitals all over the country, and has published sacred music for organ ana choir. Lind-ley has been at St. Michael’s for 19 years, and although he’s just turned 50, this spring he will finish his doctorate in music at North Texas State. If all that weren’t enough, aside from his regular duties as choir director he is the moving force behind St. Michael’s music dramas. Drawing on the creative talent of St. Michael’s congregation, the Music Drama Guild puts on one of its productions every other year. They’ve spared no effort in the past, and the results have been both musically rewarding and emotionally moving. For the St. Matthew Passion the Guild is bringing together the St. Michael Oratorio Choir, the Choir of Highland Park Presbyterian Church, the boys’ choirs of both churches, professional soloists, and 38 members of the Dallas Symphony Orchestra. Edward Baird, professor of music and voice teacher at North Texas State University and veteran of over 50 operatic parts, will sing the role of Christ; Carl Dent, an NTSU graduate student in voice, that of the Evangelist. Paul Lindley Thomas will direct performances on March 22 and 23 at 8 pm; Roger McMurrin, Music Director at Highland Park Presbyterian Church, conducts March 24 at 3 pm. Performances will be at St. Michael and All Angels Church, 8011 Douglas at Colgate. 363-5471.
– Willem Brans
Dance Activity Springs Forth
It’s been a long, cold winter for dance lovers, but spring is due to bust out with a shower of dance activity this month.
The two most important events will be the offerings of the Dallas and Fort Worth Ballets. Dallas Ballet is having its first go at a repertory season, nine performances (three different programs) at McFarlin Auditorium from the 16th of March through the first of April. For the first lime, the Ballet, larger than in the past (16 paid dancers, plus three on a city grant, and apprentices), will try to develop sustained audience enthusiasm by keeping, itself before the public eye for more than its usual two or three shows. And, for the first time as well, the Ballet will perform with an orchestra instead of taped music. The three programs offer food for varied tastes. First, George Skibine’s new production of Coppelia, which will feature Tanju Tuzer and Christy Dunham in the lead roles (another sign of the Ballet’s new strong spirit is its refusal to hire outside soloists to add glamour to the casting of large works). Second, an all-Stravinsky feast with Brian MacDonald’s Rite of Spring and Skibine’s Firebird of three years ago, now with Donna Rochee in the title role. Last, a smorgasbord of mixed repertory, with Arthur Mitchell’s Rhythmetron (Dance Theater of Harlem has performed the work in Dallas, but Mitchell himself will be with the company from March 5 to 11); the Orosco pas de deux; Balanchine’s Valse Fantasie; and a world première of John Clifford’s Kleine Mahagonny, danced to a score from Kurt Weill’s opera (Clifford, too, will be with the company, from February 19 to March 5).
More exciting, from a choreographic point of view, is the arrival of the Eliot Feld Company in Fort Worth for two performances on March 24 and 25. The Wunderkind of American ballet, and the only possible successor to Balanchine and Robbins in this country, Feld had a small company from 1969 to 1971, which was disbanded for financial reasons; he opened another in 1973 under the sponsorship of the Public Theater (which also brings us Joseph Papp’s New York Shakespeare Festival). Now the company has regular runs at City Center and on Broadway. In 1977, Feld choreographed Variations “America” for Christine Sarry, his finest dancer, and Mikhail Baryshnikov. Performances at the Tarrant County Convention Center will be Saturday, March 24 at 8:15 and Sunday, March 25 at 2:15. Call (817) 731-0879 for ticket information. The Manhattan Clearing House will hold a Spring Dance Festival at 3420 Main Street, weekends from March 15 to April 8. Evening performances will begin at 8:15, Sunday matinees at 2:15. The Clearing House serves as an umbrella for numerous small, experimental dance groups; with the excep-tion of the New York choreographer Sally Bowden, who will conduct workshops and stage some of her works, the participants in the spring program are still unknown. Call 651-1153 for program and ticket information. And now for something completely different: Les Ballets Trockadero de Monte Carlo, on the heels of their triumphal visit last year, will return on pointe for two shows at the Music Hall on Sunday, March 4.
Those famous demoiselles of international scandale and dubious origin – Olga Tchikaboumskaya, Ida Neversaynyeva, Dame Margot Low-Octane, and others too dizzy to mention – will once again thrill and titillate audiences with their versions of Petipa, Graham, Balanchine, et al. The fact that this is a drag ballet is only its most obvious virtue: Peter Anastos and his troupe expertly mimic the gestures and steps of different masters and schools, and their dances are among the most brilliant parodies in any contemporary art form. Tickets on sale at Theatre Three (263-0644).
– Willard Spiegelman
The Photographer as Social Critic
The course of documentary photography changed dramatically with the 1958 publication of Robert Frank’s book The Americans. As the first European to receive a Guggenheim Fellowship, Frank traveled around the country photographing gas stations, lunch counters, elevators, bus depots, and other aspects of our daily life that we either took for granted or never noticed. His America is a cold and melancholy place where people are more preoccupied with their sports cars and television sets than with one another. We see little tenderness or compassion; only what is hidden and threatening, the sinister message underneath the neon and chrome. To anyone who believed in Cartier-Bresson’s idea of the “decisive moment” and the underlying harmony and rationality of human experience, Frank’s work was shocking. Publishers refused to print his book, critics labeled him a communist. The whole idea of a photographer as a social critic was just too much to take.
Frank’s reception among fellow photographers was considerably warmer. He is now widely regarded as one of the seminal forces in contemporary photography, even though he virtually abandoned still photography for films in the early Sixties. The influence of his kaleidoscopic, seemingly haphazard technique is apparent in the work of Friedlander, Winogrand, and dozens of other photographers. Because he captures events at random moments, when the action is not at its height, his prints at first seem crude, amateurish. We know we could do better. Then we realize that this apparent carelessness only intensifies the impression of loneliness and isolation that is Frank’s real message. By seeming to distort, he gives us a truer picture of what we’re like. The current exhibition of Frank’s photo-graphs, which includes examples of both old and more recent work, will run through March 24. At the Afterimage Gallery, The Quadrangle.
– David Dillon
Academic Fireworks at U of D
The life of the mind does not usually provide material for drama. We associate burning the midnight oil and scribbling away at philosophical problems with cloistered intellectuals, otherworldly and abstracted. Just such stereotypes are likely to be destroyed by the fireworks generated by the University of Dallas’ colloquium on “The Necessity of Liberal Education,” March 2 and 3 on the Irving campus. The colloquium is an extension of the Eugene McDermott Lectureship, established five years ago to introduce to the local community some of the world’s foremost thinkers. Previously, single speakers have come to the campus; this year, the first five lecturers will be joined by a sixth for a series of public debates and panels.
Mortimer Adler, best known for his association with Robert Hutchins at the University of Chicago from 1930 to 1950, will deliver three public lectures on .February 20, 22, and 28. He will be met in March by his predecessors in the Lectureship: Jacques Barzun, Hans-Georg Gadamer, Marshall McLuhan, Malcolm Muggeridge, and Christian Norberg-Schulz. The six will consider the values that a liberal education creates and affirms; their meeting in a public forum might also generate the kind of intellectual sparks that can energize and excite an audience.
Barzun, the historian and art critic, was one of the teachers at Columbia who developed the famous Humanities sequence followed by generations of undergraduates. Gadamer is one of the major figures in contemporary philosophy, a student of Heidegger, and successor of Jaspers as professor at Heidelberg. McLuhan, one of the most controversial critics of contemporaty culture, generated the most important debate of the Sixties about television and the media in general. Malcolm Muggeridge can be relied on to say the outrageous and make it convincing. A household word in England because of his crusty commentaries on the BBC and his editorship of Punch, he has become of late a staunch defender of orthodox.Christianity, after years as a puckish social satirist. Norberg-Schulz, head of the University of Oslo’s School of Architecture, has written about the relationship of architecture to social structures and attitudes. He will join the UD faculty for the 1979-80 academic year. For a complete schedule of activities and topics during the conference, call 438-1123, ex 264.
– Willard Spiegelman
Some of these films haven’t opened in Dallas yet, but they should sometime in March. Commentary and ratings are by Charles Schreger.
★ ★ ★ Must see.
★ ★ Good entertainment.
★ Not a total waste of lime.
No stars – don V bother.
The Brink’s Job. The story of a group of small-time Boston hoods who pulled off one of the biggest heists in history is worth retelling, but film is the wrong medium. William Fried-kin’s movie lacks punch; its core-the execution of the theft-is undramatic. The result is a dull film about an interesting event. Peter Falk stars as one of the crooks although it seems as if somebody forgot to tell him he wasn’t playing Detective Columbo. ★
California Suite. Neil Simon, Alan Alda, Jane Fonda, Bill Cosby, Richard Pryor, Michael Caine, Maggie Smith, Walter Mat-thau, Elaine May, and director Herb Ross (Turning Point, The Goodbye Girl). Can that mixture possibly miss? Credit this movie for consistency if nothing else because Simon’s episodic story of four couples who come to the Beverly Hills Hotel strikes out four times. The slapstick isn’t funny, the drama isn’t wise, and the humor isn’t witty. ★
Caravans. The only thing dumber than this film’s premise-about a United States Senator’s daughter who runs away with a tribe of desert nomads-is its dialogue. Anthony Quinn leads the nomads, who are also gun runners for the Russians. Jennifer O’Neill, who looks like she bought her desert clothes at Bon-wit Teller, is the daughter being pursued by Michael Sarrazin. Lawrence of Arabia, where are you when we need you?
The Deer Hunter. One of the most ambitious and brutal war films ever made is at the same time touching and sensitive. Robert De Niro, John Cazale, Meryl Streep, and Christopher Walken are breathtaking in this three-hour epic which moves from a town in Pennsylvania to Vietnam and back again to the small town. The central metaphor is the game of Russian roulette, played by POWs for the amusement of the Vietcong and as a parlor game in Saigon. At limes the film is dense, almost to the point of preciousness. Overall, however, a demanding and devastating experience. ★ ★ ★ Every Which Way But Loose. Here’s everything you need to know about this movie: It stars Clint Eastwood. And a monkey. Lots of people get pummeled. Mostly by Clint. There’s country music, car crashes, and a subplot about Ruth Gordon trying to get a driver’s license. ★
Force Ten from Navarone. A sequel to The Guns of Navarone, but it really isn’t a sequel, just an old-fashioned war movie about a team of soldiers on an impossible mission. Robert Shaw, Edward Fox, Harrison Ford, and Carl Weathers have to blow up a bridge to save the Allies from certain defeat. Except for Fox, the cast members appear to be walking through their parts. The film’s excitement comes from Guy Hamilton’s taut direction and Robin Chapman’s clever screenplay. ★ ★
The Great Train Robbery. Sean Connery is a con man, Donald Sutherland is a locksmith and pickpocket, and Lesley-Anne Down is the buxom diversion in Michael Crichton’s film about the theft of a gold shipment from a train bound from London to the Crimea. There is some wit, the acting has style, and Crichton handsomely recreates the Europe of the late 19th century. But this is a thriller of convenience. Whenever the plot needs a quick twist, Crichton simply twists it without much regard for logic.★
Hardcore. A puritanical father searches for his daughter, who is caught up in the pornographic film industry. George C. Scott gives another of his incomparable performances, helped in his search by a seedy private eye (Peter Boyle) and a “parlor girl” (Season Hubley). Paul Schrader, one of the country’s most promising young filmmakers, wrote and directed this moody and disturbing work. ★ ★ ★
Ice Castles. All things considered, this film is nothing more than “Rocky” on ice. But the story of a small-town girl whose shot at the Olympics is dashed by a freak accident is so charming and schmaltzy you’ll forget it’s not particularly original. Lynn-Holly Johnson, a real-life skater with the Ice Capades, makes a refreshing screen debut in the starring role. Robby Benson, Colleen Dewhurst, and Tom Skerrit add strong supporting performances. As a plus, there are some beautifully staged skating sequences. ★ ★
Invasion of the Body Snatchers. Those who remember Don Siegel’s classic will delight in this marvelously perverse remake. And those who have never seen the first can still enjoy a superb-if overlong-science fiction thriller about an invasion of pods from outer space threatening to overtake the earth by duplicating the human population. It all begins in San Francisco with Donald Sutherland, Brooke Adams, Leonard Nimoy, Veronica Cart-wright, and Jeff Goldblum. ★ ★ ★
King of the Gypsies. Further evidence that Hollywood likes nothing better than to remake itself. As if there haven’t already been enough Rocky and Godfather clones, here’s a cross between the two. This Dino De Laurentiis production, written and directed by Frank Pierson (A Star Is Born), follows a New York gypsy clan through three generations. Eric Roberts makes a promising debut as the reluctant heir to the throne. Shelley Winters sets a new standard for ugliness as queen of the tribe. Also features Sterling Hayden, Susan Sarandon, Judd Hirsch, and Brooke Shields. ★
Magic. Anthony Hopkins is a magician-ventriloquist who splits from the pressures of New York City to visit his high school girlfriend (Ann-Margret) and proceeds to crack up, talk to his dummy, and kill a few people. Joseph Levine produced this adaptation of William Goldman’s thriller, which means it’s supposed to be a big deal. But it’s nothing more than an extended “Twilight Zone” episode, although not nearly as spooky, witty, or well-acted. Also stars Ed Lauter and Burgess Meredith. ★
Midnight Express. If ever a true story qualified as a nightmare, it is the story of Billy Hayes, a 20-year-old American busted in Turkey for smuggling hash and sentenced to life imprisonment. As directed by Alan Parker from Oliver Stone’s screenplay, the picture is tough, gruesome, and unrelenting. Impressive performances by Brad Davis, John Hurt, and Randy Quaid. ★ ★
Movie, Movie. A double dose of nostalgia that both salutes and satirizes the films of the Forties. A pair of features crowded into two hours directed with good-natured self-consciousness by Stanley Donen: The first half follows a delivery boy who turns boxer to earn enough money for his sister’s operation; part two sends up the Hollywood musicals, as a dying producer picks a chorus girl out of the lineup and makes her a star. Not particularly weighty, but witty and unusual. Stars the always excellent George C. Scott. ★ ★
The North Avenue Irregulars. The premise of this comedy is pure Disney contrivance-a naive priest takes over a small parish, discovers his adopted city is filled with corruption, and challenges the mob with a band of well meaning bubblebrains. However, thanks to some energetic direction by Bruce Bilson and lively characterizations by Edward Herrmann, Barbara Harris, and Cloris Leachman, this is one of the best live-action Disney comedies in years. ★ ★
Same Time, Next Year. One of the best acted and directed films of the year. Also one of the most successful and refreshing screen adaptations of a stage play ever. Ellen Burstyn and Alan Alda are enchanting as a couple happily married to other people who meet once a year for an adulterous weekend at a northern California resort. The story’s premise is artificial, but Bernard Slade’s characters are so richly drawn and the performances are so strong you’ll want to believe it. ★ ★ ★
Superman. At long last, a Big Event movie that lives up to its hype. You know the story, so just enjoy the retelling. Richard Donner (The Omen) has succeeded handily by adhering to the myth and maintaining a comic book ap-proach. He’s also opened up the story with a prologue from the planet Krypton and created a realistic, sexy love story between Lois Lane and the Man of Steel. Christopher Reeve makes a fine Superman and an endearing Clark Kent. Lots of fun. ★ ★ ★ Take Down. Once commercially taboo as a topic for feature films, sports now fill the big screen. It’s wrestling this time, although the makers of this picture appear to have been pinned down by an under-developed plot. Ed-ward Herrmann is a bookish high school English teacher drafted by the principal to coach a team of misfits. He learns that brains and muscles make a nice duo. And, wonder of wonders, he turns the misfits into champs. It’s not much to work with, so, predictably-an important word when describing this film-it doesn’t amount to much. ★ The Wiz. Unleash the superlatives. Here is one big, lush, expensive, talent-packed Wow. This screen version of the long-running Broadway musical is perfect from start to finish. Just when you think the picture can’t possibly hit another peak, Lena Home as the good witch comes on to sing “Believe” and blows thewhole film apart. Tony Walton’s costumes, Oswald Morris’ photography, Charlie Smalls’ music, Albert Whitlock’s special effects, Sidney Lumet’s direction, and the performances by Diana Ross, Michael Jackson, and Nipsey Russell can’t be praised enough. ★ ★ ★
Granada Theatre. $2.50, $2.25 students and over 65, $1.50 under 12. 3524 Greenville Ave. 823-9610.
Mar 1-3: Chac and Valerie and Her Week of Wonder.
2&3: Interiors and The Front.
4&5: The Duellists and The Serpent’s Egg
6: The Best of the 2nd New York Erotic Film Festival
7&8: The Birds, Psycho, and Family Plot
9&10: Brewster McCloud and A Thousand Clowns
11&12: Cousin, Cousine
13: Loves of Isadora
14&15: Last Tango in Paris and Inserts
16&17: Take the Money and Run and Sleeper
18&19: Women in Love and The Romantic Englishwoman
20: Nashville and Handle With Care
21&22: The Wind and The Lion and Gunga Din
23&24: A Clockwork Orange and Performance
25&26: Alfredo Alfredo and Bread and Chocolate
27: Flesh Gordon and Barbarella
28&29: Death on the Nile and Murder on the Orient Express
30&31: The Turning Point and The Red Shoes
Lakewood Theater. Double features for $1.50. 1825 Abrams. 821-5706.
USA Film Festival. March 31-Apr 1: Sidney Lumet Retrospective. The director will discuss his films after the showings. Mar 30: Twelve Angry Men (1957) and The Fugitive Kind (1960); Mar 31: The Hill (1965) and The Seagull (1968); Apr 1: Murder on the Orient Express (1974) and Network (1976). Apr 2-8: The Festival’s 1979 panel of critics (Judith Crist of TV Guide, Roger Ebert of The Chicago Sun-Times, and Charles Champlin of The L.A. Times) will present twelve new feature films. $7.50 single tickets ($4 students and over 62), $20 Sidney Lumet Retrospective, $65 ten-day master ticket. Screenings at 7. Bob Hope Theatre, SMU. For tickets write USA Film Festival, P.O. Box 3105, Dallas, TX 75275, or call 692-2979.
Richland College. $1. 12800 Abrams, Room B142. 746-4430. Mar 2: The Loneliness of the Long Distance Runner at 7:30, The L Shaped Room at 9:30
9: Potion at 7:30
23: Virgin Spring at 7:30, Through a Glass Darkly at 9:30
30: O’ Lucky Man at 7:30
University of Texas at Dallas. $1 general public, 50￠under 17 and over 65. 7:30 and 9:30. Founders North Auditorium, Floyd & Campbell Roads, Richardson. 690-2945.
Mar 2: Nicholas and Alexandra
7: Fist in the Pocket
9: The Sailor Who Fell From Grace With the Sea
21: Hail to the Chief
23: Enter the Dragon
28: The Magic Flute
30: Topper and Topper Returns
Because of our early deadlines, our recommendations are based on what we know of the plays and the track records of the companies presenting them. Commentary is by John Branch.
Antimoso and the Bear. From Mar 8. A musical show in commedia dell’arte style, with script by Johnny Simons and music by Douglas Ballantine (the team behind many of the Hip Pocket’s best projects). Whatever it turns out to be (the script wasn’t completed at press time), it probably shouldn’t be missed; this minuscule theater has created its own distinctive niche, and fills it admirably. $3 general public, $2.50 12 and under. Thurs-Sat at 9. A children’s play, as yet unchosen, will also be performed here Saturday mornings beginning March 10. Hip Pocket Theater, 9524 Hwy 80 West, Fort Worth. (817) 244-9994.
As You Like It. March 13-Apr 21. This is the “other” Shakespeare in the Theater Center’s 20th anniversary season; the first one was a musical version of A Midsummer Night’s Dream, so this will presumably be done straight. Shakespeare’s Arden forest, populated by Rosalind, Orlando, Touchstone, and Jacques, usually resounds to a few songs in the text anyway. $5-7.50. Tues-Fri at 8, Sat at 8:30; matinees Wed at 1:30, Sat at 5. Kalita Humphreys Theater, Dallas Theater Center, 3636 Turtle Creek. 528-8857.
Blithe Spirit. Mar 14-Apr 28. This may be Noel Coward’s best play-the one in which his comedy of cultivated bad manners stays delightfully on target throughout, with no tackiness or sentimentality. The plot concerns a man with two wives (one of them spectral); the development can only be termed farce-fantasy. Whipping up Noel Coward plays to a high degree of frothiness has been a house specialty at the New Arts since it opened two years ago with Private Lives. $5 Wed, Thurs, Sun, $6.50 Fri & Sat. Wed-Sat at 8; Sun at 2:30. New Arts Theatre Company, European Crossroads, 2829 W Northwest Hwy. 350-6979.
Boesman and Lena. Mar 2 & 3 at 8:15. A simple but outstanding play by the black South African playwright Athol Fugard, about a man and woman, both scavenger types, who put up a shack beside a river and are later joined by an old man. Stanley Kaufmann wrote in The New Republic that the play operates like late O’Neill: “drama not by the encounter of obstacle but by the stripping naked of lives.” Performed by the Dallas Minority Repertory Theatre at Manhattan Clearing House, 3420 Main. 528-4084 or 651-1153.
A Cry of Players. Mar 1-11. A play ostensibly about the turbulent early years of William Shakespeare, before he joined the theater; it has some contemporary resonances. Written by William Gibson, who also wrote Two for the Seesaw and The Miracle Worker. Directed by Dale A. J. Rose, who staged Hamlet Collage last year. For more information, see page 25. $4. Tues-Sat at 8:15; Sun at 2:15. Bob Hope Theatre, Meadows School of the Arts, SMU. 692-2573.
Dear Liar. Mar 30 at 8. A comedy in which Anthony Zerbe and Valerie Harper enact the correspondence between George Bernard Shaw and Mrs. Patrick Campbell (the interest here is that, along with discussing theatrical matters, the letters served as the medium for a love affair of sorts). $12.50. Fine Arts Theatre, UTA, Arlington. (817) 273-2163.
The Devil’s General. Through Mar 3. The most impressive production yet in the DTC’s current season, primarily owing to the work of guest director Harry Buckwitz and guest actor Alan Scarfe. Carl Zuckmayer’s script is about the awakening of a sense of responsibility in a Luftwaffe general. $5-7.50. Tues-Fri at 8, Sat at 8:30; matinees Wed at 1:30, Sat at 5. Kalita Humphreys Theater, Dallas Theater Center, 3636 Turtle Creek. 526-8857.
Diaghilev. Through Mar 3. This one-man show features Julian Gamble in something of a tour-de-force representation of the founder of the Ballets Russes. It is, perhaps, a bit like a soap opera in places, but the strength of Gamble’s acting overrules the objection. $5 & $6.50. Thurs-Sat at 8. New Arts Theatre Company, European Crossroads, 2829 W Northwest Hwy. 350-6979.
The Fantasticks. Mar 22-24, 29-31 at 8:15. Book and lyrics by Tom Jones, music by Harvey Schmidt. $2.50 general public, $1.50 students and children. University Theater, NTSU, Demon. (817) 273-2163.
Fiddler on the Roof. Mar 20-May 6. The book is by Joseph Stein, with lyrics by Sheldon Harnick and music by Jerry Bock. The director will be Buff Shurr, the Country Dinner Playhouse’s resident magician at staging musicals. The cast will include Mel Dacus, formerly of Casa Manana. This show has been around for 14 years now, and while it’s been proved strong enough to withstand even high school productions, it is a bit familiar. $8.95-11.95. Tues-Sun at 6. Country Dinner Playhouse, 11829 Abrams. 231-9457.
Glad Tidings. Through Mar 18. Dorothy Collins stars in this comedy about a man who returns home from a long sojourn abroad to find he has a daughter. $8.95-11.95. Tues-Sun at 6. Country Dinner Playhouse, 11829 Abrams. 231-9457,
Harvey. Through Mar 3 at 8:15. Mary Chase’s lovable old comedy about Elwood P. Dowd and his rabbit friend. Performed by the Arlington Community Theatre, which staged an impressive Who’s Afraid of Virginia Woolf? last fall. $3, $2 for students and over 65. Arlington Community Center, 2800 S Center, Arlington. 261-8295.
The Mikado. Through Mar 3 at 8. One of the great Gilbert and Sullivan operettas. Free. Irons Recital Hall, Fine Arts Complex, UTA, Arlington. 273-3471.
The Miser. Through Mar 10. It’s hard to lose with Moliere’s plays; some kind of fun emerges from them no matter what’s done by the cast and director; and Theatre Three does Moliere better than almost anyone. $5.50 & $6.50. Tues-Thurs at 8, Fri & Sat at 8:30, Sun at 2:30 & 7. Theatre Three, The Quadrangle, 2800 Routh. 748-5191.
Plaza Suite. Through Mar 4. Not bad, for Neil Simon. The first act (the play is essentially three one-acts) is surprisingly well-written. $4, $3.50 students and over 65. Thurs-Sat at 8; Sun at 2. Theatre Onstage, 2120 McKinney. 651-9766.
Remember. Mar 20-Apr 14. A new play by Preston Jones, author of A Texas Trilogy and (most recently) Santa Fe Sunshine. In this play Jones takes a comic look at a has-been dinner theater actor. $4.50. Tues-Fri at 8, Sat at 8:30. Down Center Stage, Dallas Theater Center, 3636 Turtle Creek. 528-8857.
Separate Tables. Mar 30-Apr 21. Written by Terence Rattigan, a British playwright who turned out mostly competent work for a long time (and a few truly delightful pieces, like the script for the Olivier-Monroe film The Prince and the Showgirl). This one, about the residents of a hotel in England, leaves a little to be desired. Fri & Sat at 8:15; Sun at 2:15. $3.50 adults, $2 students, $1 over 62. Garland Civic Theater, Central Park (Garland Rd at Ave F). 272-9122.
Shenandoah. Through Mar 4. Based on a James Stewart movie of the same name, this musical (book by James Lee Barrett, lyrics by Peter Udell, music by Gary Geld) is about a Virginia family that resists entering the Civil War. When a touring company performed it here a few years ago, the dancing and singing were the selling points; they’re likely to be at this theater also. $4.75 general public, $3.75 students and over 65. Thurs-Sat at 8:15, Sun at 3. Dallas Repertory Theatre, NorthPark. 369-8966.
Small Craft Warnings. Mar 20-Apr 14. Set in a seaside bar, and tilled with an assortment of down-and-out characters, this 1972 play is mainly a rehash of Tennessee Williams’ earlier material (he’s been doing a lot of that lately). $5.50 & $6.50. Tues-Thurs at 8, Fri & Sat at 8:30, Sun at 2:30 & 7. Theatre Three, The Quadrangle, 2800 Routh. 748-5191.
The Taming of the Shrew. Mar 7-10 at 8:15. $2.50 general public, $1.50 students and children. University Theater, NTSU, Denton. (817)273-2163.
Thieves’ Carnival. Mar 29-Apr 15. This 1932 Jean Anouilh play is almost pure comedy; it has little of the somberness (but then, not so much of the depth) that some of his plays display. It’s about three ladies of various ages, and a gang of thieves who are masters of disguise. $4, $3.50 students and over 65; $5 opening night. Thurs-Sat at 8, Sun at 2. Theatre Onstage, 2120 McKinney. 651-9766.
Trouble in Mind. Mar 1-4. Alice Childress’ idea of saying something through the play-within-a-play device of black actors rehearsing a script with a white author and director may sound corny, but a review of a recent New York production credited the play with a good deal of power and insight. SI. Thurs-Sat at 8, Sun at 2. Arena Theater, El Centro College, Main and Lamar. 746-2152.
Granny’s Dinner Playhouse. Dinner shows nightly; late shows Fri & Sat; Sun cocktail matinee. Through Mar 25: “Never Get Smart With An Angel,” starring Caesar Romero. March 27-Apr 15: “Dial M For Murder,” starring Joan Fontaine. Dinner shows: Wed, Thurs, Sun $12.50, Fri & Sat $14.50, Sun matinee $9.50. 12205 Coit. 239-0153.
Dallas Symphony Orchestra. March 9 & 10: Walter Weller, conductor of the Royal Liverpool Philharmonic, guest-conducts the DSO in Mozart’s Symphony No. 36 (“Linz”), a work showing traces of Haydn’s influence, and one of Mozart’s last and best creative efforts in this form. If the DSO can equal its January performance of Schubert’s Symphony No. 5 for Weller when he conducts the great Symphony No. 9, the program should be memorable. Also on hand will be Stephanie Chase and Nina Bodnar-Horton, who tied for first in violin in the 1978 Dealey Contest (the latter on her seventeenth birthday); they’ll play one of Vivaldi’s concertos for two violins. Mar 15 & 17: With Eduardo Mata conducting, the orchestra performs Redes, a piece by Silvestre Revueltas, one of the Mexican composers Mata is importing to Dallas; this work is a 1935 film score the composer turned into a programmatic suite for small orchestra. De Falla’s ballet El Amor Bru-jo (“Wedded by Witchcraft”) is next on the program, sung by the Spanish mezzo-soprano, Nati Mistral (“Spain’s Streisand,” as The Boston Globe called her). Alexis Weissenberg plays Rachmaninoff’s soaring masterpiece, Piano Concerto No. 3, to which the Bulgarian pianist, a Leventritt winner and a brilliant interpreter, should easily be equal. Mar 30-Apr 1: Violinist Pinchas Zukerman conducts DSO principal players in Bach’s Concerto for Two Violins, Haydn’s Sinfonia Concertante for Violin, Oboe, Cello, and Bassoon in B Flat, and shubert’s Overture in Italian Style (the first one, in D) and Symphony No. 3 in D minor. $3.50-12. Music Hall, Fair Park. Tickets at Symphony Box office and Joske’s NorthPark. 692-0203.
The Barber of Seville. Mar 2 at 8, Mar 4 at 2. In her last appearance with a Southwestern company, Beverly Sills will sing Rosina in Rossini’s bel canto masterpiece. Accompanying her are David Holloway as Figaro, Spiro Malas as Bartolo, and Rockwell Blake as Al-maviva. The director is Bliss Hebert. Both performances are already sold out, we’re told, but Sills returns in the spring for the Met’s Don Pasquale. $4-11. Fort Worth Opera Association, 3505 W. Lancaster, Fort Worth. (817) 731-0833.
Donald Gramm. Mar 7 at 8:15. A busy and versatile bass-baritone at the Met, the New York City Opera, and Glyndebourne Festival, a star on public television, a guest performer with all the major American opera companies, and an artist of refined sensitivity, Donald Gramm seems to be at the peak of his career. He sang an appealing Leporello here in the Met’s Don Giovanni last year, and will return to play the title role in this spring’s Don Pasquale, but now he makes his recital debut with Dallas Civic Music. Arias from operas by Tchaikovsky, Berlioz, and Handel, as well as songs by Schubert, Brahms, Strauss, John Duke, and Ives are on the program. Not to be missed. $2.50-10. McFarlin Auditorium, SMU. 369-2210.
Dallas Chapter of the American Guild of Organists. Mar 20 at 8:15. Cherry Rhodes, member of the faculty at the University of Southern California. For more information see page 26. $5. St. Thomas Aquinas Catholic Church, 3717 Abrams Rd. Call Richard De-Long for ticket information. 824-8185, ex 25.
Eileen Farrell. Mar 2 at 8. In her long career, Eileen Farrell has belted out pop classics and sung the subtlest operatic roles. The super-soprano brings her still-powerful voice to Dallas for what is sure to be a thrilling, full-throated mixed bag of a concert in the DSO’s Eight O’clock Pops series. $3.50-9.50. Music Hall, Fair Park. Tickets at Symphony Box Office, Joske’s NorthPark. 692-0203.
Highlander Concert Series. Mar 4 at 7:30. Vienna Boy’s Choir. Mar 22-24: Bach’s St. Matthew Passion will be performed at St. Michael and All Angels Episcopal Church. Members of the Dallas Symphony Orchestra and the combined choirs of St. Michael’s and Highland Park Presbyterian Church will participate. For more information see page 26. Free. St. Michael and All Angels Church, 8011 Douglas at Colgate. 363-5471.
Intercollegiate Music Festival. March 22-24. Student soloists and ensemble groups from Dallas community colleges and UTD. Free. University Theater and Jonsson Performance Hall, University of Texas at Dallas. Floyd Rd, Richardson. 690-2982.
St. Mark’s Choir. Mar 4 at 7:30. This increasingly active and prominent local ensemble sings Haydn’s Missa Sancti Nicolai; it’s a gentle and joyous work intended as a Christmas mass. Scored for chorus, soloists, and orchestra, the work will be conducted by James Li-vengood. $1 students, $2 adults. Chapel, St. Mark’s School of Texas. 10600 Preston Rd. 363-6491.
San Antonio Early Music Ensemble. Mar 30 at 10 am & 8 pm. This group of singers and instrumentalists consists of alumni of San Antonio College, who play medieval and Renaissance music on reconstructions of instruments of the period. They’re thoroughly accomplished and delightful entertainers. Directed by George Gregory, a college faculty member and himself a talented cellist, the Ensemble performs music by Dowland, Josquin, and Ockeghem, who are rarely heard in Dallas. Free. Morning: Performance Hall, Mountain View College, 4849 W. Illinois Ave. 746-4132. Evening: Jonsson Performance Hall, University of Texas at Dallas, Floyd Rd, Richardson. 690-2982. The same program will be performed both times.
Doc Severinsen. Mar 31 at 8. Fort Worth Symphony’s Pop Concert Series. $4-10. Tar-rant County Convention Center Theatre. Tickets at Symphony Box Office, 4401 Trail Lake Drive, Fort Worth. (817) 921-2676.
Gianni Schicchi. Mar 27 & 29 at 8 pm. SMU’s Opera Theater will present Puccini’s one-act opera, performed by SMU students, completely staged with sets and costumes, Michael Pollock, with full orchestra conducted by James Rives Jones. In past years this group has put on stylish and competent stagings of La Traviata, The Marriage of Figaro, Susannah, and Die Fledermaus. $3, $1.50 students. Caruth Auditorium, Owen Fine Arts Center, SMU. 692-2573.
Dallas Ballet. Mar I6-Apr I. The Dallas Ballet will open its season with three different programs. For more information see page 31. Wed-Sat at 8:15; Wed & Sun matinee at 2:15. McFarlin Auditorium, SMU. 526-3692.Fort Worth Ballet. Mar 24 & 25. The Eliot Feld ballet company will perform. For more information see page 31. $2-14. Sat at 8:15; Sun matinee at 2:15. Tarrant County Convention Center Theater. (817) 731-0879.
Les Ballet Trockadero de Monte Carlo. Mar 12. The all-male satirical dance troupe will give a benefit performance for Theatre Three. For more information see page 31. Music Hall, Fair Park. 263-0644.
Manhattan Clearing House. Mar 15-Apr 8. Spring Dance Festival. For more informationsee page 31. Thurs-Sat at 8:15; Sun matinee at2:15. 3420 Main Street. 651-1153.
Andrew’s. One of Dallas’ belter bars, impeccably crafted with paneled walls, hardwood floors, and antique furniture. Best features are the outdoor courtyard and the bargain drinks, its worst the occasional folk music. Happy Hour, daily until 7. Mon-Fri 11-2; Sat & Sun noon-2. AE, MC, V. 3301 McKinney. 526-9501.
Bagatelle. One of the best places for jazz listening, it’s also a comfortable, dimly-lighted bar with low couches and music that doesn’t prevent conversation. Entertainment Thurs, 9-1; Fri & Sat 9-1:30; Sun & Mon 8:30-11:30; Tues & Wed 8:30-12:30. Bar hours: Thurs noon-1; Fri & Sat noon-2; Sun-Wed noon-midnight. All credit cards. Reservations Fri and Sat. 4925 Greenville. 692-8224.
Cardinal Puff’s. A favorite of the quieter SMU set, it’s a bright, friendly place with no pretensions. In warm weather, enjoy the decked beer garden; in colder months, the greenhouse with fireplace. Excellent sandwiches and munchies; beer and wine only. Daily 4-2. V, MC. 4615 Greenville. 369-1969.
Chelsea Corner. A little over-ferned and antiqued, but well-designed enough to permit you to find a quiet corner and escape from both the collegiate clientele and the folk singers, if you wish. Excellent drinks – they serve Johnny Walker Red off the bar. Happy Hour, daily 11:30-8. Mon-Fri 11:30-2; Sat 12-2; Sun 1-2. AE, MC, V, 4830 McKinney. 526-9327.
The Embers Lounge. Forget that the bar is slocked like your Uncle Ed’s, that it’s only a wailing place for tables for the Southern Kitchen restaurant which houses it: On Saturday nights, the Embers becomes one of the best jazz bars in Dallas; pianist/vocalist Al Duprce could give lessons to Bobby Short. Sal 7:30-10:30. All credit cards. Southern Kitchen East, 6615 E. Northwest Hwy. 368-1063.
The Enclave. Attracting mainly an over-30, well-heeled crowd, the Enclave tries to be a class joint, and it succeeds in terms of drinks, attentive service, and low lighting, It and pianist-vocalist Gene Albert suffer, however, from the over-size sound system that makes the live music sound just like Muzak. Albert performs solo during Happy Hour, 6-8:30 Mon-Sat; two sidemen join him from 8:30-12:30 on weeknights and until 1:30 on weekends. Mon-Thurs 11:30-2:30 & 5-12:30 ; Fri & Sat till 1:30. All credit cards. 8325 Walnut Hill. 363-7487.
Faces. Dallas’ showcase club for “progressive country,” the “Austin sound,” or whatever you want to call it. Lois of Austin-based regulars mixed with an occasional national name that’s not in the country mold (like Elvis Costello). some rock, and a few blues and jazz performers, a beer-drinking, good-time crowd in a mock-rustic, nouveau honky-tonk setting. Dancing. Daily 8-2. No credit cards. 4001 Cedar Springs. 522-7430.
Greenville Bar & Grill. Billed as Dallas’ oldest bar, brought back to life as a neighborhood gathering spot for Lakewood/East Dallas. A comfortable place to drink, talk, and munch burgers. Daily 11-2. Thurs & Sun: Hal Baker and the Gloom Chasers play Dixieland. Food served 11 am-1. $2 cover Thurs, $1 Sun. 2821 Greenville. 823-6691.
The Hop. This small but friendly pub has the best munchies in Fort Worth – fried okra and eggplant, for example; pitchers are $1 every Wednesday after 2. The crowd is a happy amalgamation of college students and families. Mon-Sat 11-2; Sun 4-1. MC, V. 2905 W. Berry, Fort Worth. (817) 923-7281.
Ichabod’s. The best of the Greenville Avenue bar/disco/restaurants, a long, elliptical place with tiered seating all around. Good drinks and service; always crowded. Daily 5-2. All credit cards. Old Town in the Village. 691-2646.
Joe Miller’s. The media people bar, and probably not much fun for non-regulars. The smallness and plainness of the bar are offset by Miller’s personality as well as by his two-ounce, well-iced drinks. Mon-Fri noon-2 am. AE, MC, V. 3531 McKinney. 521-2261.
Knox Street Pub. An apparent favorite of young professionals, the nostalgic pub features excellent food and a jukebox that rivals the Stoneleigh P’s. Daily 11-2. No credit cards. 3230 Knox. 526-9476.
Lakewood Yacht Club. In East Dallas’ latest, scores of press photos decorate the walls from eye level all the way up to the incredibly high ceiling; there’s also (inexplicably but interestingly) a UPI teletype machine. Home-cooked potato chips, really comfortable chairs, a well-stocked jukebox, and an interesting neighborhood clientele serve to offset the skimpy mixed drinks. Daily 11-2. AE, MC, V. 2009 Abrams. 824-1390.
The Library. This new bar/restaurant in the spruced-up old Melrose Hotel achieves the understated tastefulness for which most motif bars strive. The small bar area is richly appointed in brass, leather, and, of course, books; it’s comfortable, blessedly quiet; the drinks are excellent, and the service is unobtrusive. Daily noon-l am. All credit cards. 3015 Oak Lawn. 521-5151.
Old Plantation. A predominantly gay disco, but also a place where straights can mingle unhassled. The sound system is incredible; the music, non-stop mainline disco. No credit cards. $2 cover Fri & Sat, $1 Sun-Thurs. Sun-Thurs 8-2; Fri & Sat 8-4. 1807 N Harwood. 651-1988.
Overtake Bellringer. The best straight disco in town, usually jammed with serious dancers and hustlers in their late 20s and early 30s. The help is a little surly, liable to make up dress restrictions on the spot when the place is too crowded; there’s usually not much seating, so go only if you just want to boogie. The Beggar, across the street, attracts Saturday Night Fever types, but it’s often less crowded. Daily 11-2. AE, MC, V. 9525 Overlake. 350-5541.
Papillon. An over-rated restaurant with an under-rated bar, an attractive place raised slightly above the dance floor. Big enough to let you ignore the Beautiful People if you wish; usually quiet; with touch-dancing music late in the evening. Mon-Fri 11:30-2; Sat & Sun 6-2. All credit cards. 7940 N Central. 691-7455.
The Quiet Man. One of the few surviving Sixties quiet places, the small beer garden is a great place to talk over a beer – except during rush hour on Knox.Street when the nearby Highland Park Cafeteria opens its serving line. Lacking some but not much of the place’s charm is the other Quiet Man at 5629 Yale. Sun-Thurs noon-midnight; Fri & Sat until 2. No credit cards. 3120 Knox. 526-6180.
Recovery Room. Tucked away in a seedy shopping center, this club makes up for its lack of atmosphere with the jazz of Marchel Ivery and Robert Sanders. A place for serious listening and technique-observing by both would-be and accomplished musicians. The likes of Buddy Rich and Woody Herman’s band have been known to drop in when in town. 4036 Cedar Springs. 526-1601.
San Francisco Rose. A bright, laid-back place, adorned with a lot of greenery, a few couches, and wingback chairs. Salads, sandwiches, and soups are all pretty ordinary, but as a bar, it’s an appealing place, particularly on a dreary day. Mon-Sat 11:30-2; Sun noon-2. AE, MC, V. 3024 Greenville. 826-2020.
Stoneleigh P. A made-over drugstore with terrific burgers, featuring dark rye buns and provolone. There’s a jukebox with everything from classical to country, and a browsing-encouraged magazine rack. Mon-Thurs 11:15 am-midnight; Fri & Sat until I am; Sun noon-midnight. No credit cards. 2926 Maple. 741-0824.
Strictly Ta-Bu. The Forties are alive and well in this neighborhood bar and restaurant, from the pink flamingo mural to Benny Goodman on the tape system. A comfortable, dimly-lighted club with separate dining and listening areas, it attracts an eclectic clientele of all garbs and predilections to hear mainstream jazz standards. No cover. MC, V. Mon-Thurs 5-1; Fri 5-2; Sat & Sun 6-2. 4111 Lomo Alto. 526-9325.
Texas Tea House. A get-down country place, with dancing in the beer garden outside. Cover varies. They serve only Longnecks, Spanada, and Old Milwaukee on tap. No credit cards. Tues-Sat 8-2. 3042 Kings Rd. 526-9171.
Top of the Dome. The only bar in town with several views of the Dallas skyline. Daily 11-2. All credit cards. $1.50 for the trip up. Reunion Tower, 301 Reunion. 651-1234.
Vagabond Club. Surely the only bar in Dallas with a swimming pool. Service is friendly, and general amicability extends to closing hours as well. A must for all with a sense of humor or an interest in sociology. Daily 10-2 (usually). All credit cards. 3619 Greenville. 824-4390.
Venetian Room. A fancy and expensive mock-up of the Doge’s Palace, this supper club attracts those couples who appreciate the semi-formal dress requirements and who like to foxtrot to an orchestra before the show. The cover is usually $10 and up a head, and worth it only when you know the performer gives a dynamite show. The service reminds one of Bren-nan’s – friendly and attentive at its best, lackadaisical and downright surly at its worst. 2 shows nightly except Sunday; $6-18. AE, DC, MC, V. Fairmont Hotel, Ross & Akard. 748-5454.
The White Elephant. Located in the recently revived Stockyards District in Fort Worth, this place looks like what all non-Texans think real Texas bars should be – lots of rough wood, a long bar, and a clientele occasionally decked out in western attire. Entertainment provided by singer-guitarist Don Edwards. Mon-Sat 11-2; closed Sun. MC. 106 E. Exchange, Fort Worth. (817)624-0271.
Whiskey River. Decorated in rustic western style and resembling a corral, it usually features – what else? – progressive country acts. Cover varies. Daily 8-2. AE, MC, V. 5421 Greenville. 369-9221.
Dallas Museum of Fine Arts. Through Mar 18. Pompeii AD 79. Pick up free tickets and park at the Fair Park Coliseum. No cameras allowed. At the conclusion of the Pompeii exhibition, the gallery areas will be closed until early April. Tues-Sun 11-6. Fair Park. 426-2553.
Amon Carter Museum. Through Mar 14: Western oil paintings by E. W. Gollings. Mar 15-Apr 22: American folk paintings. Selections from the permanent collection, with gallery tours available daily. Tues-Sat 10-5, Sun 1-5:30. 3501 Camp Bowie, Fort Worth. (817) 738-1933.
Fort Worth Art Museum. Through Apr 1. New paintings by Sam Gummelt. Tues-Sat 10-5, Sun 1-5. 1309 Montgomery, Fort Worth. (817) 738-9215.
Kimbell Art Museum. Through Mar. Selections from the permanent collection. Tues-Sat 10-5, Sun 1-5. Will Rogers Rd. West, Fort Worth. (817) 332-8451.
Irving Center for the Arts. Mar 18-30. Juried showing of watercolors and oils by members of the Irving Art Association. Mon-Fri 9-5, Sat & Sun 2-4. Bradford at Airport Freeway, Irving. 253-2488.
Student Center Gallery. Mar 19-31. Exhibit of paintings by Richard Shaffer. Mon-Fri 8:30-5, Sat & Sun noon-4. Texas Christian University, Fort Worth. (817) 921-7810.
The Gallery. Mar 6-9, 19-23. Works by fashion, advertising, and interior design students. Mon-Fri noon-5. Free. NTSU Art Building, North Texas State University. (817) 788-2398.
University Gallery. Through Mar. “Drawings: Matisse to Lichtenstein.” For more information, see page 25. Mon-Fri 8:30-5, Sat 10-5, Sun 1-5. Owen Fine Arts Center, SMU. 692-2516.
Adelle M. Fine Art. Through Mar. Small works by Ken Havis. Paintings and weavings by gallery artists. Mon-Fri 9-5, Sun 1-5. 3317 McKinney Ave. 526-0800.
Afterimage. Through Mar 24. Photographs by Robert Frank. For more information see page 32. Mon-Sat 10-5:30. The Quadrangle, 2800 Routh, No. 151. 748-2521.
Allen Street. Mar 4-17. Photography by Paul Greenberg, Chris Regas, and Ron Evans. “Third Sunday Photography.” Tues-Sat 10-6, Sun 1-5. 2817 Allen Street. 742-5207.
Altermann. Mar 9-31. Group showing of oils, watercolors, and western bronze sculpture. Mon-Fri 9-5, Sat by appointment. 2504 Cedar Springs. 745-1266.
Arthello. Through Mar. Watercolor prints by James Kemp. Sat & Sun 1-6. 1922 S Beckley. 941-2276.
Brentano’s. Through Mar 24. Lithographs by Kaiko Moti, Christine McGinnis, Ronald Searle, Robert Sargent, and Richard Volpe. Mon-Sat 1-9. 451 NorthPark. 369-8904.
Clifford. Through Mar 24. Invitational exhibit of masks by southwestern artists. Mon-Sat 10-5:30. 6610 Snider Plaza. 363-8223.
Compound Artists Co-Op. Through Mar. Group show of paintings, drawings, sculpture. Mon-Sat 10-5. 6615 Snider Plaza, No. 209. 363-0275.
Contemporary. Through Mar. Silkscreens, lithographs, and drawings by Helen Franken-thaler. Mon-Sat 10:30-5. 10808 Snow White. 352-7432.
Cushing. Through Mar. Gallery group show. Mon-Sat 10:30-4:30. 2723 Fairmount. 747-0497.
D.W. Co-op. Mar 3-Apr 5. Watercolors and embroideries by Susie Phillips, ceramic sculpture by Sharon Smith. Tues-Sat 11-5. 3305 Mc-Kinney at Hall. 526-3240.
Five Hundred Exposition. Through Mar II: Large color acrylic transparencies by Bill Hall. Mar 17-Apr 15: New group exhibition. Wed & Thur 11-2, Fri & Sat 10-4, Sun 1-4. 500 Exposition. 828-1111.
The Fringe Element. Through Mar. A new gallery, largely devoted to holographic art, with some Balinese fabric art and contemporary photography. Mon-Sat 10-6, Sun by appointment. 2727-D Routh St. 741-5219.
The Frontroom. Mar 10-31. Ceramic sculpture by Evelyn Anderson. Mon-Sat 10-5. Craft Compound, 6617 Snider Plaza. 369-8338.
Gentry. Through Mar. Photographs reproduced on large canvases. Mon-Sat 10-5. The Quadrangle, 2800 Routh, No. 182. 741-5798.
KERA’s Gallery 13. Through Mar. Paintings, drawings, and soft sculpture by Cecelia Feld. Mon-Fri 8-5. Channel 13, 3000 Harry Hines. 744-1300.
Phillips. Through Mar. Major exhibition of oils by primitives. Mon-Sat 10-5. 2517 Fair-mount. 748-7888.
Quadrangle. Mar 23-Apr 14. Oils and water-colors by Bogomir Bogdanovic. Mon-Sat 10-5:30. The Quadrangle, 2800 Routh, No. 136. 748-9488.
Savage. Mar 29-Apr 12. Recent oils by Roy Lee Ward. American and Southwestern art. Mon-Fri 10-4, Sat by appointment. Mercantile State Bank Bldg (Ross & Henderson), Suite 105. 823-8322.
Stewart. Mar 24-Apr 24. 19th-century European paintings. Tues-Sat 10-5. 12610 Coit. 661-0213.
2719. Mar 4-31. Sculptured menorahs by Gun-ther Aron, new paintings by Jason Williamson, prints by gallery group. Tues-Sat 11-5, Sun 2-5. 2719 Routh. 748-2094.
Dallas Flower and Garden Show. Mar 14-18. The theme of the show is “The Glory that was Pompeii.” $2 adults, $1 students, 25￠ children 5-12. 11-7. Tower Building, Fair Park. 428-7476.
Nora Ephron. Mar 7 at 10:30 am. The author will discuss her latest book, Scribble, Scribble. Free. Temple Emanu-El Sisterhood, 8500 Hill-crest Rd. 368-3613.
Garden Festival ’79. Mar 16-18. Annual show sponsored by the Fort Worth Garden Club and Park and Recreation Department. $2. Mar 16 1-8; Mar 17 10-8; Mar 18 1-6. Will Rogers Bldg, 3301 Lancaster, Fort Worth. For more information call Mrs. Hiser at (817) 923-0669.
Spring Blossom Festival. Mar 31. A Japanese musical program and tea ceremony will be presented. $1 12 and over. 1-4. Fort Worth Garden Center, 3220 Botanic Garden Drive. (817) 870-7686.
Bel Kaufman. Mar 28 at noon. The author of Up the Down Staircase will lecture. Free. Performance Hall, El Centro College, Main and Lamar. 746-2152.
Kiwanis Antiques and Collectibles Show & Sale. Mar 29-Apr 1. A benefit fund raiser for the Kiwanis Wesley Dental Clinic for underprivileged children. Sponsored by the North Dallas-Park Cities Kiwanis. $2, $3 four day pass. Thur-Sat noon-9, Sun noon-6. Fair Park, Women’s Building. 348-6329.
Tri Delta Charity Antiques Show. Mar 15-18. $3 lectures, $4 gallery tour. Thurs-Sat 11-9:30; Sun 12-6. Dallas Convention Center, Grand Ballroom. For tickets write P. O. Box 8070, Dallas TX 75205, or call 521-8828.
Mothers and Daughters. Mar 20 & 27. Workshop will emphasize the importance of open communication between parent and child. Donna Clack, Director of Girl’s Clubs of America, Dallas Chapter, will lead the discussion. $20. 7-10pm. Women’s Center of Dallas, 2001 McKinney, Suite 300. 651-9795.
Needlework at Northpark. Through Mar 4. Local needleworkers will display their work in the mall between Lord & Taylor and Neiman’s. Mall open daily 9-9. For more information call Jan Deering at 436-1742.
Old City Park. Through Mar 15. “Classical Influences on Texas Architecture.” $1 adults, 50c children. Mon-Fri 1-4, Sat & Sun 1:30-4:30. Renner School, 1717 Gano Street. 421-5141.
Physiological Effects of Stress. Mar 17. A workshop presenting the concept of stress, its effects on the body, and ways to combat it. $10. 9-noon. Women’s Center of Dallas, 2001 McKinney, Suite 300. 651-9795.
Richland College. Mar 20 at 12:15. Dr. Rex G. Stanford, of the Center for Para-psychological Research, will speak. Free. 12800 Abrams, Room B142. 746-4494.
Age of Steam. Several retired trains and a Dallas streetcar are parked on a siding at Fair Park for a walk-through trip into a sadly departed era of transportation. SI. Tours offered Sun only, 11-5. Fair Park. 823-9931.
Dallas Zoo. Literally for the birds. Although the mammals are the usual restless zoo creatures in cages that seem too small for them, the bird collection is one of the country’s best and certainly the most colorful attraction at this pleasantly laid-out zoo. The reptile house is not for people who get squeamish at the sight of a garter snake, but it’s one of the most interesting sections of the zoo. 75￠; children under 12 free if accompanied by adult. 9-6 daily. 621 E Clarendon. 946-5154.
Fair Park Aquarium. This Fair Park institution is showing its age badly, but the kids will probably be captivated by the variety of underwater creatures on show. Mar 14 at 8. Les Hommes de Mer (skin diving club). Free. Mon-Sat 8-5; Sun & holidays 1-5. Fair Park. 428-3587.
Fort Worth Museum of Science and History. Planetarium: Sat at 11, 2:30, 3:30; Sun at 2:30 & 3:30. Museum: Mon-Sat 9-5; Sun 2-5. 150 Montgomery, Fort Worth. (817) 732-3587.
Fort Worth Nature Center and Refuge. 3,300 acres, great place for families. Free tours. Mon-Fri 8-5: Sat & Sun 9-5. Lake Worth. (817) 237-1111.
Fort Worth Zoological Park. Mammal collection, aquarium, herpetarium, and tropical bird house. Through Mar: “A Place for Life,” six-screen multi-media production, 1 & 3:30 weekdays, every half hour. 1-4:30 weekends. Zoo hours: 9-5:30 daily. 2727 Zoological Park, Fort Worth. (817) 870-7050.
Garden Center. The attractive solarium is one of Dallas’s most interesting places for a retreat on either a very hot or very cold day, when you can think green thoughts in the green shade of tropical flora. Mar 14-18: Dallas Flower and Garden Show. $2 adults, $1 students, 25￠ children 5-12. 11-7. Tower Building. Fair Park. Regular Garden Center hours Mon-Fri 10-5; Sal & Sun 2-5. 428-7476.
Health and Science Museum. Through Apr 15. “Pompeii Revisited.” A family oriented exhibit in conjunction with the DMFA exhibit. Multi-media show on the science and technology of Pompeii, planetarium show, simulated volcanic eruptions, clothing and jewelry of the period, architectural exhibit with watercolors of floor plans, rooms and furnishings, and a National Geographic photo show. On weekends, a workshop for children. Mon-Sat 9-5; Sun 1-5. Workshops Sat 9-11:30, 1-3:30; Sun 1-3:30. Fair Park. 428-8351.
Museum of Natural History. Although the displays are unimaginative for the most part, and the dioramas of animals of this region are in need of refurbishing, the fossilized remains of prehistoric creatures continue to awe the crowds. Through Mar 18: “Volcano!” Special winter exhibit with slides, film, volcanic specimens and descriptive panels to explain how volcanoes are formed and why they erupt. Coincides with the Pompeii AD 79 exhibit at the Dallas Museum of Fine Arts. Free. Mon-Sat 8-5; Sun 1-5. Fair Park. 421-2169.
Audubon Sanctuary, Mountain Creek Lake. A favorite of local herpetologists, fossil hunters, bird watchers, and botanists. On the south end of Mountain Creek Lake.
Bachman Lake Park. Woodland and grassland area with many bird species. Bounded by Lemmon, Cochran Chapel, and Northwest Highway.
Dallas County Historical Plaza. A landscaped, open city block, the focal point of which is the John Neely Bryan house, built in 1841, the first in Dallas. Main, Market, and Elm.
Farmer’s Market. The municipal market, selling Texas-grown and some out-of-state produce. On Sunday mornings, everybody in town seems to be here; the only drawbacks are the scanty parking and people who insist on driving into the barns; just ignore the carbon monoxide fumes and concentrate on the plentiful pickings, usually available at considerable savings. Daily 7 am-8 pm. 1010 S Pearl. 748-2082 or 670-4433.
Greenhills. An 800-acre nature preserve offering tours of the nature trails, experimental stations in the morning and swimming after lunch (bring your own). Owned by Fox & Jacobs. On Danieldale near Cedar Hill. Call ahead. 295-1955.
John Fitzgerald Kennedy Plaza. A sacred place with a simple cenotaph surrounded by open green space. Designed by Philip Johnson, architect of the Fort Worth Water Gardens and Dallas’s Thanks-Giving Square. Commerce, Market, and Main.
Kiest Park. Area abounding with fossils and a wide variety of wildlife. Kiest and South Hampton.
L. B. Houston Park and Nature Area. Inhabited by beavers, opossum, gray foxes, and other wildlife. On Tom Braniff off Route 144 near Texas Stadium.
Old City Park. Restored 19th-century buildings, including a mansion, museum, church, and store. Lunch is available Tues-Fri 11:30-1:30. Open Tues-Fri 10-4; Sat & Sun 1:30-4:30. Adults $1; under 12 and over 65 50C. 1717 Gano. 421-5141.
Reunion Tower. Dallas’s newest landmark provides a spectacular view of the city from the revolving observation deck. Open daily 11 am-2 am. The elevator ride costs $1.50. Reunion Plaza.
Samuell East Park. Virgin prairie land populated by a large variety of prairie birds; it also contains a farm museum. 1-20 south to Belt Line, 1/2 mile north on the service road.
Six Flags Over Texas. Entertainment park with rides and attractions, including a double-loop roller coaster. In March, open Sat & Sun 10-10. One-price admission $8.50 per person, children under 3 free. Parking $1. 3 1/2 miles northeast of SR 360, just south of 1-30. 461-1200.
Swiss Avenue. Dallas’s first historic district, a tree-lined boulevard of residences built in the early to mid-1900s, representing 16 architectural styles, including Prairie Style, Italian Renaissance, and Georgian Revival.
Thanks-Giving Square. A purposely sacred space in the middle of downtown, framed by three brass bells at one entrance and a spiralling chapel at another. Its genius loci derives from architect Philip Johnson’s sensitivity to the sights and sounds of water, from the quiet trickle of the reflecting pools to the roar of the “Great Fountain.” Mon-Fri 10-5; Sat, Sun, & holidays 1-5. Bryan, Ervay, and Akard.
Hockey – Dallas Black Hawks. Fair Park Coliseum. 7:30 pm. Tickets $3-6. 823-6362.
Mar 2 vs. Fort Worth
Mar 4 vs. Kansas City
Mar 9 vs. Oklahoma City
Mar 10 vs. Fort Worth
Mar 17 vs. Salt Lake City
Mar 18 vs. Oklahoma City
Mar 29 vs. Tulsa
Mar 31 vs. Kansas City
Hockey – Fort Worth Texans. Will Rogers Coliseum. 7:30 pm. Tickets $3.50-5.50. (817) 332-1585.
Mar 3 vs. Dallas
Mar 14 vs. Oklahoma City
Mar 16 vs. Salt Lake City
Mar 17 vs. Kansas City
Mar 21 vs. Tulsa
Mar 23 vs. Dallas
Mar 29 vs. Salt Lake City
Mar 30 vs. Kansas City
Skiing – Mountain People Ski Club. Mar 1-4: Taos II (air) $195. Mar 2-4: Taos II (bus) $109. Mar 21-25: Lake Tahoe. $265. P.O. Box 51, Dallas, TX 75221. 692-7693.
Skiing – United Skiers Association. Mar 1-5: Red River. $89. Mar 3-10: Banff. Price to be announced. Mar 7-12: Winter Park. $129. Mar 15-19: Red River, Taos. $99. Mar 17-21: Summit County. $219. Mar 21-26: Crested Butte. $139. Mar 30-Apr 1: Taos. $89. Mar 31-Apr 7: Alta, Snowbird, Park Cities. Price to be announced. Box 61166 DFW, TX 75261. 221-1000 or (817)461-4000.
Tennis – Avon Championships of Dallas. Feb 26-Mar 4. Moody Coliseum, SMU. One of the year’s biggest women’s tennis events; $200,000 in prize money. Evert, Navratilova, Wade, Goolagong, Austin, Shriver, et al. Reserved seats: $5-10; general admission: $3-6. For ticket information, call 750-8362.
Thoroughbred Horse Racing – Hot Springs, Arkansas. Feb 9-Apr 7. Post time Mon-Fri 1 pm; Sat 1:30 pm; closed Sun. Admission $1. Reserved seats $1.50 weekdays, $3 Saturdays. For information, call toll free 1-800-643-5426.
Alice in Wonderland. Mar 29-31, Apr 5-7 at 8. Free, reserve tickets through box office. Performance Hall, Richland College, 12800 Abrams. 746-4638.
Cinderella. Mar 29-31 at 7:30. The Spring Valley Players present Rodgers and Hammer-stein’s musical. $2 adults, $1 students. Spring Valley United Methodist Church, 7700 Spring Valley Road. 233-7611.
Hans Christian Andersen’s Birthday Party. Mar 31 at 3. Movies: Ugly Duckling, Emperor’s New Clothes, and Steadfast Tin Soldier. Free. Fores,t Green Branch, Dallas Public Library, 9015 Forest Lane. 231-0991.
Hansel & Gretel. Mar 20 at 8. Performed by the Texas Opera Theater. $3 UTA students, $4 general public. Texas Hall, University of Texas at Arlington. 273-2963.
International Children’s Festival. Mar 18 at 3. The Camp Fire Girls and Lone Star Council will celebrate the Camp Fire’s 69th birthday and The International Year of the Child. The clubs will demonstrate children’s songs, dances, and games from other countries. Braniff Building, Love Field. 638-2240.
Peter Rabbit at the Wishing Well. Mar I5-Apr 28. Kathy Burks Marionettes. Thurs-Sat at 10:30, 1 & 4. $1.25. Haymarket Theatre in the Olla Podrida, 12215 Coit. 233-1958.
Pupils of Pompeii. Through April. Dallas Health and Science Museum workshop for children. The “hands on” classes include craft work, a scientific demonstration of a volcanic eruption, a slide presentation, and a special planetarium show designed as a preliminary to the “adult oriented” DMFA exhibit. Workshops will continue through April. Reservations advised. $3 museum members, $4 non-members. 428-8351.
Raggedy Ann and Andy. Through Mar, Sats at 10:30. $2.50. Magic Turtle Plays for children. Dallas Theater Center, 3636 Turtle Creek. 526-8857.
Shari Lewis and Her Puppets. Mar 18 at 3. Fort Worth Symphony Family Series. $5.40-13.50. Tarrant Country Convention Center Theatre. Tickets at Symphony Box Office, 4401 Trail Lake Dr., Fort Worth. (817)921-2676.
The Golden Grotto (or Bracko, the Prince Frog). Mar 9&16 at 7; Mar 10&17 at 2. $2 children, $3 adults. Casa Manana Playhouse, 3101 W Lancaster, Fort Worth. For tickets write P.O. Box 9054, Fort Worth, TX 76107, or call (817) 332-6221.
The Royal Enchantment. Through Mar 10. Kathy Burks Marionettes. Thurs-Sat at 10:30, 1 & 4. $1.25. Haymarket Theatre in the Olla Podrida, 12215 Coil. 233-1958.