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Lethbridge Herald, The (Newspaper) - December 10, 1974, Lethbridge, Alberta Publicity lack irks young Broadway star Tuesday, December 10, 1974 THE LETMBRIDGE HERALD 7 NEW YORK (NEA) Lewis J. Stadlen is the most anonymous star on Broadway. He doesn't want it that way, but his hands are pretty well tied. Stadlen, the black haired, slight, 27 year old actor starring in Hal Prince's successful revival of the musical explains. "They've been playing down individual participation in the he says referring to the press agent's strategy and his own absence from the usual publicity rounds. "They feel that 'Hair' worked with a certain amount of anonymity and they've told me if I want any public relations, I have to do it on my own. "But I don't want to pay somebody to write a lot of lies and a lot of things I don't care he continues. "I don't have a press agent because they've muddied and polluted what it is to be an actor. For instance, I think going on a telethon that you don't care about because you're getting exposure is nonsense. "I don't want to turn myself inside out because of my need to succeed and he shrugs, "I want publicity." For almost two hours at each performance, Stadlen does everything but turn NIGHTLY ENTERTAINMENT at the COALBANKS INN 312-5th St. S. LARRY BRANSEN itf THE ALLIED ARTS COUNCIL AND THE A LETHBRIDGE PUBLIC LIBRARY Presents... THE JAZZ SCENE" IN CONCERT WEDNESDAY, DECEMBER 11th Theatre Public Library NO ADMISSION CHARGE SOUTHERN ALBERTA THEATRES. Theatre "SUPER FLY T.N T." starring Ron O'Neal in color. Tues- day, Wednesday, December 10, 11. Tuesday show at p m. ADULT NOT SUITABLE FOR CHILDREN PINCHER Theatre "CRAZY JOE" starring Peter Boyle, Paula Prentiss, Fred Williamson and Eli Wallach. Tuesday, Wed- nesday. December 10, 11 Tuesday show at p.m. RESTRICTED ADULT Theatre "THUMB TRIPPING" Tuesday, Wednesday, December 10, and 11 Tuesday shows at and p.m. RESTRICTED ADULT. (Warning: language may be offensive to himself inside out. He sings and dances and juggles three roles expertly in full view ot the audience, in a setting that takes him over ramps and drawbridges and up and down the equivalent, he says, of 30 flights of stairs. Clive Barnes said of him, he "seemed everywhere at once, and everywhere he was he was brilliant." Stadlen got similar notices for his first Broadway role in 1969, when he was 23. "I auditioned at an open call against others for the role of Groucho in the musical, 'Minnie's Boys.' My father, an actor who specializes in voice over commercials, taught me that in order to win an audition, you have to do something to wake people up. "I thought, the thing that made me love Groucho was 'that he made fun of everything. So I took an old song, 'It's Only a Shanty in Old Shanty and started writing Groucho like puns for it. I had a terrific accom- panist and I played against him. I began by saying, (in perfect imita- tion of and he started to play. Then I said, 'you may not play like Beethoven, but you sure have his ear.' It became almost a nightclub act." Despite great personal reviews (the show itself failed) and interviews in Sar- di's "every single Stadlen was worried. "The thing that would plague me was that people thought, maybe this is all this kid can do. I thought maybe this is all I can do. And what would be next? he says, "I felt for the first time in my life I had done something tangible, mix- ing with the dream. So much of my fantasies about being in the theatre were just that all I had was a feeling and a drive which at one moment would say, I am capable of be- ing the greatest actor that ever lived, and a second later, how do I know A native New Yorker who, as a rebellious child "walked through 12 grades of school like a Stadlen was captivated by his father's theatrical life. "I was even turned on by thoughts of failure in the he laughs "It was romantic to me to meet a cab driver who was an actor "There's something expan- sive and personal and beautiful about the theatre but it's truer about the movies. On stage, you become expert on how to simulate emotions. You soon realize that you can't do it as best as you would like every night, so you develop a way of making peo- ple believe you're going through a gut reaction when you're not On film, you can't get away with that. You must give them real, spontaneous feelings GET TICKETS NOWI J5ODDO.' IN PRIZES ADAGAMES LOTTERY NEXT EARLY BIRD DRAW Is DEC. 16 PRIZES ARE: Automobile (valued at Sun Seekers Trip to Hawaii (valued at CASH PRIZE of available at: SERVICE CLU8S LOCAL ORGANIZATIONS BANKS TRUST COMPANIES CREDIT UNiONS TREASURY BRANCHES illinium 1975 PHYLLIS DILLER Veteran pianist says practise can be overdone NEW YORK (AP) "I'm an old said Vladimir Horowitz, the classical pianist usually described in far more reverent phrases. "I know the more you practise, sometimes, the worse you get. "Those people who think they should repeat the same passage 105 times, when they're on the stage, they repeat it the !06th time. You have to take a chance sometimes; you may hit wrong notes but we're all human. If you repeat it too much, it goes mechanical. "I practise in general not more than one hour to IVa hours a day. I don't miss. Those pianists who travel very much, they have no op- portunity to do it. Sometimes they don't have an instrument to use. Then they come back home and play five hours a day." Horowitz, 70, can practise every day and take a daily two-mile walk near his Con- necticut home because he travels so little that when he does each concert is a real "oc- casion." This year, Horowitz played in Cleveland, and smiling- ly said Cleveland thought it was seeing a ghost. He also played at the Metropolitan Opera House, his first New York concern in six years and the first at the Met by a solo classical artist. "I read so much in the paper that the Met is in red said Horowitz. "I think it is our duty to do something for such institutions. I hope other artists will do it too." All proceeds went to the opera. "When I was 18-19 years old and studying at the Kiev Con- servatory, my teacher was giving me lectures because instead of learning a prelude and fugue of Bach, I was learning the (opera) scores of Goetter- daemmerung and Die Meistersinger by Horowitz said. "I was interested in general in good music. Symphony or is good music which brings culture to the country." Horowitz retired from playing in public in 1953 and made a comeback in 1965 at Carnegie Hall. Since 1965 his few appearances have been solo recitals; none as soloist with a symphony. Maybe he'll play with a symphony again in the spring, he said. "The trouble with playing with orchestra is rehearsal and reper- toire. I don't rehearse too early in the day and I don't play at night. It has to be afternoon, when my concentration and strength are at their peak. If it is a special opportunity or special concert, I would do it." Horowitz, unlike most of today's concert pianists, likes to play short pieces as well as long ones. "The long-playing record brought that snobbism to play those long pieces of minutes. They put a long piece on an LP, then they do it in recitals. The piano liter- ature is as great on small pieces as on large pieces. "If you play something only three pages long, you have to have your own fantasy and your own feeling. Believe me, it is easier to play a long piece. It makes a good im- pression; people think: 'He is a good musician.'" Travelling is no fun, Horowitz said. "That's why I sat home five years and don't travel. Frankly, I'm afraid to fly, but I can do it. When it goes up, I have to touch the hand of my wife and hold it. After that, it is fine." Mrs. Horowitz, daughter of Arturo Toscanini, around gen- ius musicians all her life, said: "When we're travelling, it's like old Russia, taking ev- erything but the mattress." Horowitz has left Columbia Records. "If a record comes out, it must not be kept like a military secret. In America you must advertise He is "flir- ting" with a couple of European companies. Horowitz will play two concerts in London next June. He doesn't know yet whether he'll play in other European cities which have re- quested concerts. "And in Japan, you can't believe how much money they are offering me to come. For years I sit at home and I don't make one cent. I am a very strange fellow." Sang arm Show Times Tuesday, December 10 PARAMOUNT THEATRE CASTAWAY COWBOYS 7 00 10 20 GIBSON GUITARS AT PRUEGGERS 'LARGE SELECTION TO CHOOSE FROM" 530 5th Street South Phone 329-3151 ABSENrMINDED PROFESSOR 8'30 LAST COMPLETE SHOW 830 FAMILY ENTERTAINMENT PARAMOUNT CINEMA Short Subjects 7 15 9 15 LONGEST YARD 7 25 9 25 LAST COMPLETE SHOW 9 15 RESTRICTED ADULT COLLEGE CINEMA Short Subjpcts 7 00 9 15 MACON COUNTY LINE 7 35 9 50 Last Complete show 9 15 RESTRICTED ADULT Looks, talks, behaves like teen-ager Diller changes image By DICK KLEINER HOLLYWOOD (NEA) For a lady who is (The World Almanac says) 57 years old, Phyllis Diller acts completely unlike her age. She looks, talks and behaves more like a teen ager. Maybe that's because her second life, that of the com- edienne, is less than 20 years old. She began her career as a funny lady in the late '50s. Before then, as she says, she was just another housewife. Today, as an institution, she is hardly just another anything. And a visit to her home is like sliding down the rabbit hole into Phyllis' ver- sion of Wonderland. There's a huge painting in the hall. You notice something odd about it. Then you realize it is on its side. "Only way I could fit it in the space ha-ha says Phyllis. She leads the way into what she calls her Hope room. It is dominated by a huge chest. Naturally, a Hope chest ha ha HAAAAA. The room the whole house is furnish- ed in immaculate taste, baro- quish, lots of antique fur- niture, plants, flowers, tapestries, brie a brae. The hostess is in soft pink and blue, with a floppy pink hat. "The she says. "It's better than a wig." But the teen-ager in her comes out quickly. You notice she is wearing braces on her teeth, something few 57 year old ladies sport. She explains that she always had a malocclusion and is in her third year of wearing braces to correct it. Romping around the place is her dog, a mite of a Llasa Apso named Phearless. A lady in Corsicana, Texas gave Phyllis the puppy. "I'd never been a dog person before." she says, "but now I go to a BUTCHER, an honest to God butcher with knives and BLOOD on the floor like there should be." One of her grandchildren, a toddler named Paul, popped into the room. He was just back from kindergarten. "I think I have SOMETHING for you, said Phyllis. "I already got it." said Paul. She wanted to show me her closet. I went along, figuring I'd humor her because how sensational can a closet be? But Phyllis' closet is a Rows on rows of her peculiar brand of dresses, hats, feathers, shoes. Everything in its place. Temperature controlled. "I'm a hat person, as you can she said. "But if you don't have hair, you tend that way ha ha HAAAAA." Next year, 1975, will be her 20th anniversary in show business. She said that San Francisco, the city where she started, may declare her a national monument. If they don't, somebody should. She says her dream had always been to be a success with music. She studied the piano for 17 years, went to the Sherwood Conservatory of Music in Chicago. "My DREAM was she says. "I never thought of comedy. For years I thought I was NORMAL. I was funny in living rooms and at church af- fairs. "It was my first husband who insisted I become a com- edienne. Was that a GOOD IDEA! About the only good idea he ever had. That and the kids ha ha HAAAAA." Her love of music is still with her and currently she's enjoying herself with what she calls her new concert career. She's done nearly 30 so far. In a turn something like Jack Benny's, she appears with local symphonies. She plays the piano seriously, then recites a prayer she wrote which has been set to music by Alvin Mills. "My Prayer" goes: On this happy day On this happy day we are thankful For our blessings And we pray For renewed belief.. In ourselves And each other And hope This bond of love Will expand.. To envelop The entire un- iverse. When she decided, back in 195E, to give professional com- edy a whirl, she had to start at the bottom. "It was she .says, "for me, a person of innate GOOD TASTE, to have to start at the bottom, with the fags and the dikes and the cheap rooms." But she did and she persevered and now she picks and chooses where she wants to perform. She enjoys her new concerts more than anything but that's not where the big money is. "Clubs are still the she says. "I used to take anything that even MENTIONED money, but no more. Now I take the kind of job that's one show a night, if it's the same audience. If the audience CHANGES as they do in Las Vegas I'll do two or three shows a night. I just do the choice things, but I'm still on the ROAD 10 months a year." She says her goal is to turn into a kind of Woody Allen performer, making her own movies Comedy movies, of course. A BARGAIN' "When I go to the she says, "I only want to see comedy. Porno is COMPLETELY boring. So is violence. Why go to a movie and be UPSET for a week. Same with television. I want to laugh paramount LAST TIMES TONIGHT WWTDISNEf COWBOY STARRS; James GARNER tea MILES PLUS THIS HILARIOUS Absent-minted protest paramount cinema TONIGHT thru THURS. AT AND P.M RESTRICTED ADULT MMMOimr PICTURES FIEHITS BURT REYNOLDS THE LONGEST YARD" OLOPI By t PARAMOUNT PICTURE WASHINGTON U.S. government is financing abortions for up to poor women each year at a cost of million. Dr Louis Hellman. deputy assistant secretary of population- affairs, said the abortions, at an average cost of are a bargain, and that each pregnancy, if brought to full term, would cost taxpayers the first year. The abor- tions are done by states with the federal government providing matching grants. college cinema Tonite thru Thurs. at and p.m. If you enjoyed "BILLY JACK" and "WALKING Then this is your kind of movie! RESTRICTED ADULT Satime! Arkof; presents Mai production Macon County Line color by CFI an Amer.csn Internationa! paramount STARTS TOMORROW __________ AT AND P.M. SPLIT' DEALS WINNING HAND." ADULT NOT SUITABLE FOR CHILDREN -NewYof" "A FASCINATING, VIVID MOVIE, not quite comparable to any other movie that I can immediately think of. Mr. Altman has been quoted as saying that 'California Split is a celebration of gambling, which is, I think, to underrate it." Canby. N.Y. Times "GOULD AND SEGAL MAKE THE MOST SPARKLING ACTING TEAM SINCE- WELL, SINCE REDFORD AND NEWMAN. It is a dazzling, fascinating, entertaining film. Altman orchestrates his scenes is uproarious, another pathetic; the dialogue is rough, then it's wistful." -William Wolf, Cue "YOU WONT BE TAKING ANY CHANCES IF YOU SEE 'CALIFORNIA SPLIT'-it's a safe bet that you'll like it very much. Filled with charm, humor and intelligence, it's an odds-pn favorite to 'win audiences." McLain Stoop, Alter Dark i. 3 w 3 O "ALTMAN HAS TWO ACES UP HIS SLEEVE, GEORGE SEGAL AND ELLIOTT GOULD. 'California Split' is gritty and tough. It's a free and easy exploration of the places where the action is." Carrol. N Y Daily News LANGUAGE THROUGHOUT i SEGAL ELLIOTT GOULD ,n "CALIFORNIA SPLIT" ;