Chapter 8

UCLA (1975-1988), Los Angeles Theater, Santa Monica Playhouse, Pilot Theater for the Arts, Theater Alliance, Artists &Playwrights

Overview
In mid-to-late 1970s, I was heavily into the excess property program, aiding my own and other campus research projects. I also donated numerous supplies and components to the Santa Monica Playhouse. Through this contact, I eventually became a regular member of their Monday night theater arts classes and joined the cast of their special Christmas performances.

For background concerning the Santa Monica Playhouse, Evelyn Rudie, was co-artistic director. Of her, according to the LA Times, she "may well be the most talented and prolific producer-director-lyricist-composer-musician-actress in theater." Co-artistic director Chris DeCarlo eventually directed, wrote, acted, and taught for over forty years, and brought over 500 productions to the boards. Evelyn comes from a renowned theatrical family. Her father, Emery Bernauer, wrote the famed Nelson anti Hitler Revues at the Tuschinsky Cabaret in Amsterdam during World War II, writing 60 shows and over 600 songs in less than 3 years, a unique accomplishment. He also participated in writing, scoring and designing many SMP productions.

I came to know Emery quite well and encouraged him to translate into English Die Forderungen der reinen Schauspielkunst: ein enkenntnistheoretische Versuch, written by his father, Rudolf. It became, The Pure Art of Acting (Its Essence and Its Laws). The late, great cabaret singer and actress, Agnes Bernelle (1923-1999), was Evelyn's aunt. Ranking highest among the show business luminaries in Evelyn's family is her grandfather, Rudolf Bernauer (1880-1953). Because of his celebrated career and offspring, his background becomes of great interest and is covered extensively.

The Los Angeles Theater Alliance (LATA) was an umbrellar organization offering logistical support for local theaters. All 'small' theaters in the Los Angeles area were urged to join LATA and send representatives. Since the SMP could ill spare anyone in that capacity, I volunteered merely to audit the LATA meetings. But one thing led to another, and I soon became the official representative from the SMP, and also was elected to the LATA Board. In subsequent months I became acquainted with many, even most, of the artistic directors and owners of small theaters in Los Angeles.

Someone on the LATA Board got the well received idea to sponsor an article in which the LA critics, themselves, were critiqued. Being the only member of the Board, not a theater owner, director, or performer, hence immune to possible retaliation by the LA critics, I was the logical person for the task. My article, "Who Shall Review the Reviewers?" appeared in 1978 in Neworld magazine. You can imagine that this project was one of unparalleled interest on the LA Theater scene before, during, and after its appearance! One could even say that it also created a small sensation in the theater world back east. Although Fred Beauford wanted to make the review a yearly affair, I could not undertake it, as more urgent matters at UCLA were occupying my attention.

One day in 1977, a meeting of theater representatives took place at the new Pilot Theater for the Arts in West Hollywood on Santa Monica Blvd. There I met Minsa Craig Burri, a modern ballet choreographer, former American ballerina, also a poetess and founder and owner of the Pilot. On the same occasion I met Fred Sauls, a playwright (avant guard), stage director, and artist (in all media from heroic sculpture to jewelry to drawing and painting). I brought my classes every quarter to Fred's studio for art lectures. I also met Robert Houston at the Pilot. He was well known in Hollywood theater, on the LATA and Vanguard Boards, and much involved in Vanguard productions. In some of the following fifteen years I was much involved socially with one or another of them.

Frederick Sauls obtained a B.A. from Stanford U. in 1951and an M.A. in Arts, and became "Associate in Arts" at UC Berkeley in 1959. He was "Visiting Artist at U. of Kentucky in 1965, Assistant Prof. of Art at U. of Minnesota in 1968. He moved to Southern California in 1970. He had six one-man exhibitions and has his works in at least seven public collections and sixteen private collections (I have three of his works, including a metallic). Production of his plays began in 1974.

Minsa had a colorful and internationally notable past. Born in Chicago, at a date that was her best kept secret, professional events took her to Rome in the early 1950s, where she met Alberto Burri, the soon to be famous, even legendary, Italian Arte Povera ("junk art") artist. She and Alberto were married in Rome in 1955. Among other events of note, in 1970 she produced a folio of poems dedicated to Alberto. After her return to America, and staging "November Steps" for the Chicago Ballet, Minsa was, at first, choreographer for the Improvisation Dance Company at Vanguard Theater in 1975.

Two events stand out among all others from those days. In one instance Fred and I were attending a party at the Pilot, celebrating the opening of a new play. I was seated and Fred was circulating among the attendees and actors. Presently he came toward me accompanied by a young woman who turned out to be an actress in the play. As she approached, she extended her hand to me and spoke my name. I shook hands and replied, "yes," expecting her to introduce herself and continue. To our great surprise, her name, Leigh Cavanaugh, was pronounced the same as mine. She was not greeting me but introducing herself! The odds against that happening are staggering! From then on I had to be careful leaving voice messages at the Pilot.

The other incident was very sad, and painful to recall. A performing group had rented the Pilot to present a production, but had fallen far behind in their rent, creating an adversarial relationship with Minsa, who was not always easy to get along with, even under favorable conditions. To my knowledge, at her wits end to collect the rent, and not the wisest of business managers, Minsa confiscated some of the group's equipment. In return, when they discovered this (and probably had to cancel a performance), apparently in fits of rage, they utterly destroyed the theater, smashing lights, ripping out wiring (some of it my donated excess property), and ripping up every one of 149 cushioned seats. That marked the demise of the Pilot,. Having occurred in 1984 and with my being heavily engaged in my geometry studies and closely observing small parrots in my aviary at the time, I was not privy to the precise circumstances or legal consequences.

Minsa was devastated. In about 1986 she returned to France, where she had resident status. She achieved little peace there either, soon becoming embroiled in a bitter dispute that gained international attention. Her husband, Alberto Burri, was living there at the time in their small cottage in the south near Città di Castello, not far from Nice. Alberto died in 1995. He had written a new will revoking the terms of his earlier (1978) bequest to the Burri Foundation (Fondazione Albizzini), and leaving his entire estate to Minsa. Unfortunately, she subsequently signed legal papers provided by the Foundation, but without full knowledge of their content.

Minsa brought suits to gain legal ownership of the estate, about 39 of the works of which were in her possession in their cottage. She fell and badly injured an arm in 2003. She died while being treated in the same hospital where Alberto succumbed. Her legal suits were continued by her brother, Cecil, 85, who claimed ownership of over 1,000 works,. He prevailed, after a fashion, having legally inherited her estate and exported the Burri works to the U.S. before officials from the Foundation could seize them.

While, I continued to maintain some contacts with the SMP for another 8 or 10 years, my time for arts activities had to be curtailed. As noted in Chapter 7, I had begun a new research project with parrots and was carrying out extensive analytical studies of symmetry, continuing teaching and guiding Ph.D. thesis students, as usual. Other than e-mail contacts, I have been seeing friends at the SMP only occasionally at annual Christmas Parties, the latest in 2007.

Sometime in 1975 the Biology Department decided to update its file of faculty portrait photographs and assigned the task to the Department artist photographer, Karl Pogany. To the best of my knowledge, Karl had an international reputation for combining the real and the surreal in the same work, a technique which became known as "Poganyized."

When Karl arrived at my office laboratory he was much impressed with my real time, digital programming-computing system. This involved hundreds to thousands of patch cords, plus meters, printers, and other instruments of all sorts (Figs. 1-9, 4-1). The panels for this system, about 4 x 10 feet, took up much of the room. He proposed to photograph me against the computer panel background, and posed me accordingly. When he later returned, he proposed, with great enthusiasm, the idea of painting his "masterpiece," using me and my computer panel as subjects, with evolutionary themes, the main one being that the computer was a creation of my mind.

Because of both fortunate and unfortunate circumstances the painting was never finished and Karl left the employ of The University. The unfinished "masterpiece" was mounted and temporarily stored by Fred Sauls. It now covers much of a wall at my home.
End Overview

A Side Trip into the Affairs of Live Los Angeles Theater

From my earliest college years at the U. of Michigan, I habitually attended plays and concerts, which were scheduled regularly at the Rackham Auditorium. I retained this habit, taking advantage, particularly, of events staged during my travels in Europe, including operas in Rome and Naples. I kept up this practice while at UCLA, attending affairs in Hollywood, Beverly Hills, the Campus, and Santa Monica. Those at the Santa Monica Playhouse (SMP), with artistic co-directors Evelyn Rudie and Chris DeCarlo (Fig. 8-1), a wife and husband team since 1970, were particularly congenial. Now and then, after certain performances there, audience members would be invited to remain after the performance for 'notes,' and to ask questions.

This was in the mid to late 1970s, when I was heavily into the excess property program, aiding my own and other campus research projects. I became aware then, through SMP solicitations, that the theater was much in need of supplies and materials, some types of which might have been in my possession in extensive raw materials and component stocks. Inasmuch as the SMP sponsored educational classes, they qualified as an educational activity, and thus were eligible for aid from the excess property supplies. Accordingly, I phoned and invited them to UCLA to inspect the excess property. To make a long story short I assisted them in following years with numerous supplies and components.

At the commencement of this activity of donating materials, the SMP invited me to come to the theater some night and see to what good use they were putting the materials. As luck would have it, I chose a Monday night. I had not realized that Monday nights were for classes in theater arts. Arriving in mid class, I occupied one of the seats, waiting for the break between class sessions. In this way, I observed the goings on for the first time and, being interested, asked if I might audit classes on Monday nights. Permission being granted, I became a regular auditor.

One night, after the usual introductory lecture by Chris, the class was invited down to the stage, as usual. Mostly as a joke, I joined in, but had planned a hasty retreat. However, not entirely unexpectedly, Chris invited me to stay, which I did! In this way, I became a regular. One thing led to another and they, thinking that I must have acting ambitions which was decidedly not the case also invited me to take part as a member of the cast in the special New Year's performances. Seeing no harm in such very limited participation, I accepted (Fig. 8-2).

For background concerning the Santa Monica Playhouse, Evelyn Rudie, co-artistic director, had been a child star who received an Emmy nomination at the age of 6 for her performance of Eloise on TV's Playhouse 90, the first time a child actress was so recognized. Author and actress, Kay Thompson, picked her for the part from over 100 of Hollywood's top child actresses. Evelyn followed this role with many guest-star appearances and several movies. For one performance she was considered reminiscent of Louise Rainer's playing Anna Held by the New York Times' Bosley Crowther, and was hailed "the greatest child tragedian of our times" in the London Daily Express. According to the LA Times, she "may well be the most talented and prolific producer-director-lyricist-composer-musician-actress in theater." She has a gold star on Hollywood Boulevard's Walk of Fame.

Chris DeCarlo has been directing, writing, acting, and teaching for over forty years, and has brought over 500 productions to the boards. As a performer he has created over 300 roles with over 10,000 on stage performances on three continents. He is especially recognized for his portrayals of historical figures, such as Mark Twain, Chekhov, Moliere, and Sholom Aleichem. His versatile performance style has garnered him rave notices. He has directed scores of critically acclaimed world premiers. Chris is co-founder and director of the Actors Workshop and Young Professionals' Company. The latter has traveled to New York, Canada, Japan, Ireland, and England. Chris also teaches in the public and private school systems.

Evelyn comes from a renowned theatrical family. Her father, Emery Bernauer, wrote the famed Nelson anti Hitler Revues at the Tuschinsky Cabaret in Amsterdam during World War II, writing 60 shows and over 600 songs in less than 3 years, a unique accomplishment. Emery also participated in writing, scoring, and designing many SMP productions. He was an accomplished photographer who exhibited and sold his works regularly at art shows. I encouraged him to translate Die Forderungen der reinen  Schauspielkunst: ein enkenntnistheoretische Versuch, written by his father, Rudolf, into English. It became, The Pure Art of Acting (Its Essence and Its Laws). Rudolf's biography (below) is extracted therefrom and the introductory passages are reproduced. Emery donated numerous surviving theater programs and other memorabilia to the UCLA Libraries and Collections.

The late, great cabaret singer and actress, Agnes Bernelle (1923-1999), was Evelyn's aunt. Her album, "Father's Lying Dead on the Ironing Board," swept the charts in Great Britain in the early 1990's. Agnes used a quote from Gertrude Stein -- "Everything is so dangerous that nothing is really frightening" -- to introduce her memoirs, The Fun Palace (1996). Her own life surpassed the plots of the films and plays in which she appeared. Torn between cultural, familial, and religious allegiances, even between the demands of motherhood and her career on the stage, she saw her life as a kind of fair-ground fun-house, full of unexpected twists, disorienting new environments, inevitable pratfalls, and an exhilarating slide down to rescue at the end. From her escape from Nazi Germany to her associations with Orson Welles, Winston Churchill and The Rolling Stones, Agnes became a cult figure, an early multi-media pioneer, who worked in radio, dance, theatre, film, television and cabaret.

Ranking highest among the show business luminaries in Evelyn's family is her grandfather, Rudolf Bernauer (1880-1953). Because of his celebrated career and offspring, his background becomes of great interest. He was born in Vienna, of a Hungarian salesman and his exceptionally educated, intelligent, and witty Austrian wife, who mentored Rudolf diligently. As Rudi (the origin of Evelyn's last name) became of school age, the family moved to Berlin, where his father worked for a wine import export firm. While his mother tended to his domestic well being, his father took him along to all possible theatrical events.

When his father died early, Rudolf interrupted his studies and ventured into the theatrical world, first as an extra in Otto Brahm's repertory theater. Here he befriended a fellow actor, Carl Meinhard, who later became his business partner in all matters concerning their great theater combine (3 legitimate theaters, one movie house) which enriched German culture for the next 20 years. His first spectacular success, the satirical "The Bad Boys," played by Meinhard and Bernauer, established him as a sharp tongued author, witty poet, and lyricist, and made them both popular overnight.

Most of the following plays and librettos of musicals co-authored by Bernauer among them "The Chocolate Soldier," "Maytime, " "The Wonderful Tales of Conductor Kreisler," "The Garden of Eden," "Konto X," etc. have had long successful runs also in the U.S., and have been made into films by Hollywood. Together with many other operettas, musical plays, and comedies of international fame, these furnished the financial support for the staging of Ibsen, Strindberg, Wedekind, etc. Bernauer's last theatrical activity in Berlin was his direction of "The Student Prince," the lavish American musical version of the old German Classic, "Alt Heidelberg," a rousing success.

Bernauer realized that with the advent of sound films, chances for dramatists were rapidly growing in that field. Adjusting his creative thinking to the new medium, he soon was head over heels engrossed in working for the screen. Most of the films he co-authored or directed, or both, were also hits in the U.S. Among them: "Her Majesty Love," "Excursion into Life," "A Song for You," "La Paloma," and "Cursed Music" (the life of Franz Liszt). Later, in Holland, Bernauer directed the Dutch version of "Daddy Longlegs." In London he authored the screenplays of "Town without Music" (Starring Richard Tauber), "The Lilac Domino," "Hatter's Castle" (starring James Mason), etc.

On the cover of Bernauer's memoirs, titled, "Das Theater Meines Lebens," (The Theatrics of My Life), the publishers begin:

Four great producer directors, Otto Brahm, Max Reinhardt, Rudolf Bernauer, Leopold Jessner shaped the image of the German theater all through its magnificent era, the first quarter of the twentieth century. Only one of them, Rudolf Bernauer, who through his pioneering work helped Strindberg as well as Wedekind to a decisive breakthrough, left us his memoirs....

Emery Bernauer's delightful introduction to his translation of his father, Rudolf's, "Die Forderungen der reinen  Schauspielkunst: ein enkenntnistheoretische Versuch," reads as follows;

My sincere thanks to: Julian Lee Kavanau, professor at UCLA, who, after having read but the first few messily corrected pages of my translation, spoke the encouraging words: "it's perfect. You can't miss. Just go ahead and do it!"; to my wonderful daughter Evelyn Rudie and her brilliant actor husband Chris DeCarlo, both of whom I often consulted, and who always answered my questions, be it on the phone or the kitchen of our home; to Felicitas (Feechen) Wall, Evelyn's godmother, early coach, and our dearest friend, who, being herself an actress with a glorious past and a heart of gold, inspired me and proof read my spelling and my thoughts; and last not least, and certainly in first place, to my beloved dad who peeked always over my shoulder and, with his well remembered logic, his pioneering spirit, and his friendship, guided my pencil and steered my typewriter. I do hope he finds my translation of his book acceptable and forgive any boner I have made.  Hollywood, California, U. S. A., 1983, E. J. Bernauer.

Dear Dad: If I remember correctly, I thumbed through your "Pure Art of Acting" when I still called you "Pops or "Pappchen." I actually read it for the first time when you visited me a quarter of a century later here in California. We talked a lot about the book, and I was amazed how little I really knew about the scope of your life's work. Of course, I didn't let on.

After you had passed away, I read the book again - no, I studied it in the light of our discussions and made up my mind to let the world in on the wonders of the greatest "instruction manual" ever written on the subject of performing art.

Forgive me for calling it "philosophical" or "analytical dissertation" or such. It is both, of course, and more. But I do have to remind you that its author was a playwright, an actor, a theatrical producer, a director and, foremost, a man of practical ideas. No matter how dry and colorless, theoretical it may read, yours gives more practical information between the lines, more surprisingly unorthodox acting hints in every chapter than are in all the popular writings attempting to "teach" the art of acting put together.

Your "Pure Art" has not been written only for the betterment of German performing art. Right? Even though you conclude your CONCLUSION with an expression of hope in this respect, the greater part of your book reflects what you always told me, and what you also stress in your memoirs, namely your concern for - to use your own words - "performing art, wherever it strives for perfection."

Well, like you, I got around in this world quite a bit and found no place where it did not need perfection. But I also found many places where it already had acquired much of what you stood for, and what you were fighting for. In short, you can believe me when I tell you that your pioneering efforts, as well as your many proselytes are still keeping the fires burning "wherever performing art strives for perfection."

Now, Dad, since all of this is more or less between you and me and may bore your readers, let me introduce you to those of my contemporaries who may not have heard of you, or who may have forgotten. Knowing the strong aversion you always had against any kind of personal publicity, I shall keep it short, though the abundance of wonderful things to say about you will make my task quite difficult. Anyway, here goes:

Back to Los Angeles theater

The Los Angeles Theater Alliance (LATA) was an umbrellar organization offering logistical support for local theaters. It was an amalgam, in May 1975, of the League of Los Angeles Theaters and the Professional Actors' League. The highly regarded Gil Laurence was Executive Director, Peter Chernack was President, Donald Bruce, VP, Cyndi Turtledove (a future President) second VP. Alistair Hunter, Treasurer, and Adrienne Marden, Secy. (a post I held briefly a few years later). Among other Directors with whom I had much contact later, were Susan Gelb (whom I ran into coincidentally some years later in a Philippine airport waiting room), Ron Sossi and, particularly, Robert Houston. LATA obtained a National Endowment for the Arts (NEA) matching grant of $10,000.

All 'small' theaters in the Los Angeles area were urged to join LATA and send representatives. Since the SMP could ill spare anyone in that capacity, I volunteered merely to audit the LATA meetings. But one thing led to another, and I soon became the official representative from the SMP, and also was elected to the LATA Board. In subsequent months I became acquainted with many, even most, of the artistic directors and owners of small theater in Los Angeles.

Rebellion

As fate would have it, I became drawn into the politics of LATA a few years later, in the following manner. Representatives of the National Endowment for The Arts (NEA) let it be known to a Board Member that the Alliance would receive no further support as long as its serving President and Vice President remained in office. It fell upon some of the other Board Members and me to take steps, in an effort to ensure our continued funding. I was a natural choice to engage in such matters, as I had no professional theater arts affiliation. I remember the details hazily, as follows. Against his initial opposition, I was able to talk Ted Schmitt, the popular artistic director of the Cast Theater into running for President of the Alliance (Ted was disenchanted with LATA for the same reason as NEA and some other artistic directors, namely, the style of management at the top) and another Board Member into running for Vice President in 1979 or 1980. I ran for Secy. Upon all three of us being elected, I resigned, retaining my Board Membership, while the other candidate for Secy., another of our supporters, automatically filled that position.

Through this means, including the necessary prior campaigning, we retained our arts endowment funding. Not for long, though, as it was withdrawn in 1981. Subsequent funding for LATA was tight, and a benefit 'casino' party took place in the Roof Gardens at Variety Arts in Oct., 1984. Unfortunately, Ted Schmitt died of AIDS in May, 1990. In his memory, the Los Angeles Drama Critics Circle established the Ted Schmitt Award for the Best World Premier Play of the Year, soon to become a very prestigious award.

Reviewing the reviewers

Artistic directors and actors understandably often have disagreements, even fallings out, with the critics from the various LA media. Someone on the LATA Board got the well received idea of sponsoring an article in which the LA critics, themselves, were critiqued. Being the only member of the Board, not a theater owner, director, or performer, hence immune to possible retaliation by the LA critics, I was the logical person for the task, and I accepted it.

Fred Beauford, Editor in Chief of the publication of the Inner City Cultural Center, Neworld magazine, gladly agreed to publish such a critique in the first available issue. Accordingly, I set to work late in 1977 and early in 1978 interviewing artistic directors, owners, and performers of small LA theaters concerning their thoughts, gripes, estimation, and whatever, of LA theater critics. You can imagine that this project was one of unparalleled interest on the LA Theater scene before, during, and after its appearance! One could even say that it also created a small sensation in the theater world back east. At any rate, such an article appeared in due course early in 1978 in Vol.4, No.3 of Neworld .

Inasmuch as this article led to some expressions of opinion, even before it appeared, with an accompanying Editorial, my story would not be complete without also presenting the Editorial, as follows.

CHEAP SHOT?

Rick Talcove was clearly annoyed. His voice on the other end of the line quivered with resentment.

"A bunch of untalented people," he said, "and I will not cooperate. It's a cheap shot. If they can't stand the fire...."

I was personally a bit surprised at his attack and at first I was unsure as to whether I should slam the phone down or enter a stronger plea for his assistance.

After all, Mr. Talcove is a leading theater reviewer in this area. And all I wanted was a photograph of him so that we could use it to accompany the story in this issue on how member theaters of the Los Angeles Theater Alliance view reviewers.

I tried briefly to explain that the report, compiled by J. Lee Kavanau, Board Member of LATA, was really an attempt by the theater community to enter into a real dialogue with members of the press. Both Neworld and LATA think that this is needed on an ongoing basis. We are not trying to hold up any individual to ridicule. As the report states, our aim is to "help improve all aspects of the review process by periodically communicating to the press and to the individual reviewers our impressions of the adequacy and/or quality of the review coverage...."

Needless to say, Mr. Talcove did not seem impressed with my line of reasoning. Our conversation ended on, what was for me, and uncomfortable note. But the report is not a "cheap shot." And I hope that it will be read by all, including Mr. Talcove, in the spirit in which it is given. Fred Beauford

Who Shall Review the Reviewers?

J. Lee Kavanau

The Los Angeles Theater Alliance casts a judgemental eye on the credentials, objectivity and problems of the Southland's major theater reviewers

This report, the first of its kind for Neworld, is based upon information given in confidence by representatives of 23 out of 33 members of the Los Angeles Theater Alliance (LATA). It has been approved by the LATA Board of Directors. Copy has been rephrased for purposes of moderation, integration and reduction of redundancy. Through this first article in the series and subsequent annual continuations, LATA hopes to provide a continuing channel for feedback to the press from artists working in its member theaters. The object of this report is to improve all aspects of the review process by periodically communicating to the press and individual reviewers the LATA's impressions of the adequacy and quality of review coverage, and by making appropriate constructive suggestions.

A basic premise of LATA is that the press has an obligation to help keep Los Angeles legitimate theater alive, healthy, and growing. Unfortunately, press coverage is not keeping pace with the growth of Los Angeles theater. And press news of theater continues to be a stepchild to news of motion pictures and television.

Very few publications have adjusted to the major cultural shift that has occurred in Los Angeles. Interest in theater now is stronger than ever but not many people in the media realize it or what it means. In part, the failure of realization may be traced to the previous lack of organization of the intimate professional theater (IPT) movement. This movement now is beginning to find the means to survey and document the situation for the press and public, and economic impact studies are getting underway.

Reviewers, themselves, gradually are becoming aware of the fact that the present vitality of Los Angeles theater has been generated in large part by the efforts of people working in IPTs under the 99 seat waiver plan. Increasingly they are coming to realize that work of high quality is emerging from IPTs in Los Angeles, which bears comparisons with the best products of New York and other theater centers in America. But as the quality and variety of theater increase so do demands on reviewer competence, and this is an area in which the review climate in Los Angeles leaves something to be desired.

More and more frequently one hears comments about reviewer  provincialism, which translates into shortcomings in the areas of artistic credentials, ability to judge creatively, and possession of a scholarly overview. Few question sincerity and integrity: the bone of contention most often is inadequate qualifications, interest or insight. Reviewer limitations in this regard not only are a disservice to the public but are a cause of increasing concern to the artists, who are almost literally at the mercy of reviewers.

What are some of the specific problems and how might they be dealt with? Many specifics are touched upon in the following Reviewers section: more general topics are covered here. For perspective, it was first acknowledged that, by comparison with the "national average," Los Angeles reviewers are relatively articulate and knowledgeable. But even this consolation is in jeopardy if, instead of bringing in new reviewers with full credentials to meet increasing demands, publications continue to make use of "stringers," who often are poorly equipped to do even a workmanlike job.

One major problem is that review policies and preferences often are being established by default rather than by plan. As all realize, it is incumbent upon the reviewer to be familiar with the history, background, and style of the work to be reviewed. To fulfill even this minimal obligation is highly demanding, if not impractical, when the prospective reviewer is faced with unfamiliar material which he does not understand and with which he is untrained to come to grips. Consequently he tends to shun such material or give it the lowest priority. This may be the main reason many publications state that they will not review various types of theater, such as one acts, revivals and experimental plays. In the LATA experience these publications do not always have these fixed policies. Rather, they seem to enforce or ignore stated policies selectively according to whether or not they wish to review specific shows, and this presumably depends mostly on the competence and tastes of their review staff.

Audiences are ready to see both original plays and revivals, yet attempts to bring to the community playwrights who typify past decades often are unsupported by the press. These playwrights' works often are regarded as "old hat" and refused critical review. Plays with intellectual content and experimental plays often are dismissed outright. Most of our local reviewers have too little knowledge of the larger forces working in theater today. They lack an understanding of what is happening in the other arts, and of the interconnections between the arts and the community.

New playwrights usually are not treated in sufficient depth. Plays by writers of world importance, for example, Handke, Arrabal, Witkiewic, and Ghelderode are brought here but too often get reviewed as if they had been written by rank unknowns, with stress on their value as bits of show biz, rather than on their cultural import. New plays by local playwrights are not given continuity of coverage. It would be most beneficial if reviewers would assume the obligation of gaining familiarity with a contemporary writer's previous work before undertaking the review of a new play.

The total number of theaters contributing to the profile of each reviewer is given in parentheses after the reviewer's name. Thereafter, the number of contributors who submitted or subscribed to specific comments is given in parentheses after each comment. Statements generally were initiated independently and submitted in writing. Much material also was obtained by interview, partly through endorsements of statements already submitted. The numbers after the comments are only lower bounds since some theaters did not give consideration to (but might endorse) some of the comments. In the interests of style and simplicity, many statements are not phrased in cautious qualifications, but such qualifications should be taken to be implicit. "IPT" is our acronym for "intimate professional theater."

A LATA profile: The 1978 Review of Reviewers

JAY ARNOLD, (6) Hollywood Reporter

Jay's reviews seem quite constructive (4), well written, and enjoyable (4). He has a good understanding of theater (4) and is not afraid to stand alone in his assessments of shows (1).

DAVE BERMAN, (6) Santa Monica Evening Outlook

Dave gives fair perceptive appraisals (5) and has positive, constructive attitudes (3), His opinions are valued and welcomed (2). Though he has been known to take a theater to task if it artistic practices did not conform to this own views (1), he is sincere in his efforts to improve IPT (2).

Dave is quick to recognize new concepts in theater (2), though some broadening of his tastes might be beneficial (2). He is punctual and conscientious (2). He gives excellent space coverage with photos (4) and very good year-end roundups (1). If your theater is distant from Santa Monica, you might have difficulty getting him to review your show (2).

LAWRENCE CHRISTON, (20) Los Angeles Times

Larry is an intense, demanding (2), articulate (4), perceptive, and literate (5) reviewer. His criticism generally is accurate (4) but could be improved if he guarded firmly against personal negative reactions (7), including being swayed by physical attributes of performers (3). Other suggestions were that Larry be less cynical (10), less blunt in his criticism (6), and avoid temptations to "vent his spleen" on theater (10). His reviews would benefit from a more constructive approach (11) and a lesser employment of the desire to showcase his literary prowess (13). Some feel that at least some of the negative impressions of him stem from his being assigned to many ill-produced shows (4).

It is said that Larry's perception of theater could stand broadening (6) but that he has manifested notable artistic growth in recent years (3). It is felt that his occasional censuring of theater management and policies in his reviews could more appropriately be confined to his non-review theater coverage (7). He appreciates receiving in depth background about productions (2). He is ever too doubting of theaters' adherence to their announced curtain times (5). Larry provides good non-review theater coverage (10).

SYLVIE DRAKE, (18) Los Angeles Times

Some find Sylvie to be quite fair (7), others would like to see her avoid partiality in dealing with big shows with "name" stars as opposed to small productions without them (8). A lack of unqualified approval has been detected in even her most favorable reviews of IPT (7). It was suggested that she guard against unwarranted severity in criticizing shows that displease her (7). She writes well (5) with a touching, interesting style (5).

Sylvie's love for theater is an asset (1). She has a very fine background, in the sense of knowing and understanding theater (7), and she brings a good perspective to her reviews (9). Some would welcome seeing her adopt less of a bias toward realistic theater (9), and a less traditional inclination (3), particularly with regard to experimental theater (7). Although Sylvie is among the most well informed and kind but demanding reviewers (3) and her criticism usually is constructive (5), it has been suggested that a less passionate and more consistently constructive approach would be helpful (3).

Sylvie tries to be friendly and helpful to IPT (9), tries hard to cover IPT (9), and has been accessible to educational theater (3). It is felt that her occasional censuring of theater management and policies in her reviews could be more appropriately confined to her other articles on theater (5). She provides good non-review coverage (9) and many would like to see her write more of her scholarly feature articles on artistic aspects of theater development in Los Angeles (9).

BILL EDWARDS, (21) Daily Variety

Bill is regarded as a generally tough reviewer (6) who, of all reviewers judges most from the point of interest of the audience (5). It was suggested that Bill's reviews would be even more helpful if he took the biting edge off some of his remarks (10) and eschewed the occasional patronizing wrist slap in favor of constructive comments (4). He might also aspire to greater consistency, for sometimes he is "right on" but at others may carry negative reviews to extremes (11).

Some regard Bill as being sentimental (2), conservative in tastes (8), favoring light frothy,  escapist fare (8), and tending to regard IPT as showcase (8). It is felt that he would benefit greatly from an expansion of his knowledge and appreciation of theater in all its aspects (9), particularly as an evolving serious art form (5). Some of his reviews would be improved if he editorialized less (7) and adopted a less commercial viewpoint (3).

Bill's passion for theater is unlimited (5). He is a strong supporter of IPT (7) and no one has worked harder or done more to help it (5). Bill is punctual and cordial (8). All acknowledge his friendly attitude in discussing review invitations by phone but would appreciate more cooperation and assistance (8). Bill's knitting during performances is dissentious (15). Some feel he should request a seat in the back row (5), others would like to see him check his knit kit at the box office (8). Still others merely wonder whether the grand pattern of the Argyle is influenced by his reactions to the performance (1) or believe that the performers should integrate his knitting behavior into their presentation (1).

Bill deserves high commendation for big "Legit Bits' article, which is one of the best continuing articles on Los Angeles theater and one of the few continuing sources of information and interest relating to IPT (10).

CHARLES FABER, (17) Los Angeles Free Press

Charles is regarded by some as one of the most well rounded of all Los Angeles reviewers (9). He is articulate (6), well informed, literate, very able, and well versed in many aspects of theater (8). Concern for theater and breadth of knowledge are apparent in all his reviews (5) which are broad in coverage and generally very constructive (6). No matter his opinion, he always informs the reader (4) and is always fair to actors (4).

Some suggest that his reviews would be even more useful if some of his comments were less biting (5) and he abstained from occasional clever brief put downs in favor of constructive comments (3). There are those who would like to see Charles broaden his tastes and concepts of theater (6) and theatrical styles (4), including accepting entertainment for its own sake (4) and being more open-minded about reviewing avant garde theater (7).

It is hoped that in the future Charles will cover more theaters and more often (11). He has declined to review productions of some theaters (9), sometimes with a click of abrupt finality (5).

JACK HOLLAND, (4) Newporter

Jack is interested primarily in productions that already have received favorable reviews (3) and he requires consistent contact to be enticed to review Los Angeles based theater (4). If only he would broaden his views and concepts of theater (2)!

GREGG HUNTER, (9) Glendale News Press

While one theater has found Gregg to be approachable and genuinely concerned about the viability of IPT, as well as an enthusiastic supporter of it, others wish that Gregg were easier to reach by phone and that he would acquire a secretary more conscientious about passing on messages to return calls (6). He has been missed at certain openings and other performances (6).

ED KAUFMAN, (6) Herald Examiner

Ed is one of the better Los Angeles reviewers (4). He is tough but human (2) and always seems fair (2). Apparently he researches the plays he reviews (5), for his reviews reflect a careful studied approach (4). Ed cares about theater (3) and has a wide spectrum of interest in it (4). Some wish he would renew his support and reviewing of avant garde theater (4).

SUSAN LaTEMPA, (6), Herald Examiner

Several contributors feel that Susan is the best reviewer in the Los Angeles theater scene (5). She is one of the few reviewers in Los Angeles who has an understanding of the actor's problems, the writers problems, and the theater's problems, and who has a deep knowledge and affinity for new forms and styles of theater (2). She is well prepared and constructive but too seldom assigned (6). She always manages to put her criticism in the context of the cultural development of the community(5).

RAY LLOYND (10), Herald Examiner

Ray is friendly, prompt, considerate, and very cooperative (5). Some have found him sympathetic to IPT (4) with good intentions but not the broadest sensitivity (4). There are those who would like to see him contribute more to the process of theater (4). Others feel that his reviews could stand much invigoration (3). One theater has found Ray only difficult to reach; others question his existence (5). But they thank God for Susan LaTempa (5)!

SONDRA LOWELL (13), Los Angeles Times

Sondra is enthusiastic about theater (3) and is friendly, informal, and punctual (8). Although her reviews often are favorable, they would benefit if she spoke out more firmly and enthusiastically (9), and with less pedantry (7). She should seek to avoid letting personal dislikes for actors influence her evaluation of their craft (3). Her prose style could stand some animation (11) and most feel that she would benefit greatly from additional study and knowledge of theater arts (12).

HERB LUFT (7), B'Nai Brith Messenger

Herb is a true gentleman of the theater (5)-a genuine theater lover (7) steeped in theatrical and cinematic history and bringing nearly 30 years of theatrical production experience to his writing (2). He is actively involved in Los Angeles theater (5) and is punctual, pleasant, and extremely friendly (7).

Herb's critical comments are incisive and usually constructive (4). Some feel that he would benefit from a more flexible, imaginative approach (3).

JOHN MAHONEY, (17), Los Angeles Times

John is said to be constructive (5), helpful, and fair (11) but tough when displeased (9). His writing shows affection for the theater, recognition of courage, and appreciation for achievement (13). He does his utmost to inform the reader of good IPT (10). His reviews sometimes might benefit from greater clarity of expression (4). One theater felt that John had not done them justice. Some would like to see him broaden his taste in theater (5), others find John to be one of the few Los Angeles reviewers who appreciates highly stylized, difficult, or complex "new" theater pieces that may be disturbing (2). The main point of dissatisfaction was that he is assigned too infrequently and given too little space in print (9).

John is very much in touch with production and administrative problems of IPTs (8) and usually is the first to recognize IPT growth (7). His great support for IPT is not fully recognized nor appreciated (7). John is friendly and polite (13) and always punctual (9).

LEE MELVILLE (3) Drama Logue

Lee is thoughtful, constructive, and fair (4), helpful with original plays (3), and will speak out forcefully for the shows he likes (3).

JIM MOORE (4), Freelance

Jim is knowledgeable and fair (3) and aims at covering all aspects of productions (2). He is encouraging to IPT (4) and particularly helpful with new works (3). His non-review articles are informative and very supportive of IPT (4).

BILL MURRAY (3) New West Magazine

Bill is very knowledgeable and deeply concerned about theater (2). He does not cover as much IPT as one would like (3) but will review shows when pressed (3).

RON PENNINGTON (17), Hollywood Reporter

Ron writes well (5) and his reviews are held in esteem (6). He generally does an excellent job, at least within the limits of a trade journal (6). He is one of the few Los Angeles reviewers with a clear knowledge of "new" theater and a deep understanding of non-traditional styles and concepts (2). The value of his thorough reviews of all aspects of productions (6) would be enhanced if his viewpoint were less commercial (5). Although generally fair (5), Ron should be on his guard against going to extremes (4).

While most find Ron to be approachable, considerate (7), and always a gentleman (6), some suggest that he could be more friendly (2). Likewise, while Ron is felt to be sincerely interested in theater as an art form (5) and as an asset to Los Angeles theater (6), a few feel that he could be more sympathetic to theater (3) and that adopting a more enthusiastic attitude would be helpful (4).

DAN SULLIVAN (19), Los Angeles Times

Dan takes the obligations of his work and position very seriously (10). He is non-indulgent , has good judgement and high standards of integrity (7). Even when unfavorable, his reviews tend to be constructive and considerate (5). Some feel that Dan tries to be fair (5), others that he plays it "safe" (9); still others have noted a tendency to play favorites (8) which could be redressed by giving equal space to rave reviews of actors in productions of both large theater and IPT (8).

While Dan is articulate (7) and has a better literary background than most reviewers (7), it is felt that his reviews sometimes could be better organized (4), better thought out (6), and presented in a more interesting (6) and enthusiastic (7) manner. Some contributors would like to see Dan greatly expand his tastes in theater (7) to include the unconventional (8) or, at least, to show more leeway for non-realistic styles (6) and material without a strong mix of social drama (5).

Because of his influential positions, Dan is Los Angeles' most sought after reviewer (10). He tries to be friendly and helpful to IPT (5). Hopefully the future will find him covering more of its best products (7) and see a resurgence of his seemingly waning interest in it (5). It is felt that Dan's occasional censuring of theater management and policies in his reviews could be confined more appropriately to his non-review theater coverage (7).

VIOLA SWISHER (11), After Dark, is said to be an intelligent, efficient writer (4), a demanding reviewer (2), and a strong supporter of IPT (2). Greatly appreciated are her enthusiasm and encouragement of superior IPT and her promotion of it among her peers (2). Some would like to se her become more open-minded (6), particularly toward experimental (4) and avant garde theater (3), and be more patient, friendly (2), and easy to find after intermission (2).

RICK TALCOVE (15), Various Valley papers

Despite having his own plays produced, Rick is not particularly sympathetic to new productions (5), although he will go out on a limb for something he likes (3). Suggestions were that Rick seek greater clarity of expression (2), strive for a more consistent approach (9), be more objective and constructive (9), avoid assuming an adversary position to the artist (8), be more friendly and cooperative (9), try to be more open-minded about theatrical styles alien to those he favors (7), temper his comments and greatly expand his knowledge relating to esthetics and theatrical principles (7), give more leeway to experimental theater (10), try not to give the impression that he resents being involved with theater (8), and make a greater effort to see the entire show (5).

POLLY WARFIELD (10), Los Angeles Free Press

Polly is fair and tends to be favorable (5). She is involved (5) and very sympathetic and helpful to IPT (5). She is very friendly and always punctual(4). Theater is richer for the love she brings to her work (5).

JOHN BROGDON (1), Dean Newspapers, although relatively inaccessible, supports IPT.

LOIS DEAN (1), Pasadena Star News, is conservative but open-minded.

T. E. FORMAN (2), Riverside Press and Enterprise, is fair and open to new approaches (1) and always will attend a favorably reviewed production as a member of the Los Angeles Drama Critics Club (2).

DAVID GALLIGAN (2), Drama Logue, could be a more supportive and less biting reviewer (2).

LEN GOLDSMITH (2), Southwest Daily News, although relatively inaccessible, he supports IPT(2).

FRED GOODMAN (1), Drama Logue, is thoughtful constructive, and fair.

MICHAEL KEARNS (1), Los Angeles Free Press, is a very sensitive writer with an extensive theatrical vocabulary.

FLORENCE KROLL (5), Guardian Circle News, is an enthusiastic supporter and audience developer for IPT (5).

DICK LOCHTE (1), Los Angles Magazine, is very knowledgeable and thorough-would like to see him review IPT more frequently.

JOEL MacBRIDE (1), Daily Variety, could be more constructive, impartial, and sympathetic to theater.

RICHARD MENTZER (2), Santa Ana Register, will always attend a favorably reviewed production as a member of the Los Angeles Drama Critics Club (2).

JAY STANLEY (2), Quote, supports IPT but needs experience (2).

LILA STERN (1), Southwest Daily News, is thorough and very supportive of IPT.

Profile of a Paragon Among Reviewers

We can assemble a profile or portrait of a paragon among reviewers based upon the above comments. He (or she) brings to the calling a broad background in theater arts and theatrical styles and his grasp and appreciation therefore keeps pace with their growth and evolution. Works of all types, whether one acts, revivals, original, avant garde, or experimental, fall with equal facility within his purview and are covered without bias. His reviews bring to bear a scholarly overview in which the work is scrutinized and analyzed as to its subject matter, style, professionalism, the crafts of the writer, director, and actors; the quality of the lighting, sets, costumes, etc., in creating the appropriate atmosphere, and how it fits into the world of art, theater, and the community as to entertainment, an art experience, its emotional impact, previous work by the same author and related work of other authors, etc.

In the main his analysis is objective; if he gives personal opinions of artists or expresses personal tastes, he does so in moderation and he clearly delineates them as such. His erudition and elegance of prose style and expression enhance his review objectives. His interest, affection, and enthusiasm for theater permeate the review and inspire the reader. His assessments are not colored by the presence of "name" stars, and big production values, and in evaluating the degree of success or failure of a production he gives greatest weight to what its goals were. He is pleasant, friendly, cordial, punctual, always returns calls, and is conscientious about providing a means for receiving messages.

At the time the article was published early in 1978, I was much occupied with other matters. Aside from a phone call from one of the reviewers who had been reviewed, and who wanted to know who said what, my feedback from the article came almost entirely from the editor of Neworld, Fred Beauford. Having told me that my article above all else "had put Neworld on the map," and having received calls about it from back east, he was trying to persuade me to make it a yearly affair, as had been implied in the text. I could not undertake it, however, as more urgent matters at UCLA were occupying my attention and time for phone calls and interviews would have been too demanding.

In the end, within 8 months or so, Fred, himself, relocated back east, and I have not seen nor heard from him since. Could his relocation have been connected in some way with calls to Neworld about my article? At any rate, last I heard, Fred was a managing editor of the Beachwood Voice, a novelist and journalist, having written six books, among them, The Womanizer, The Year Jerry Garcia Died, The Rejected American, The Hard Luck Novel, and The Cosmopolitans. Last I heard, in 2002, the Dept. of African American Studies at UC Berkeley sponsored a lecture by Fred.

Minsa Craig Burri and The Pilot Theater for the Arts

One day in 1977, a meeting of theater representatives took place at the new Pilot Theater for the Arts in West Hollywood on Santa Monica Blvd. There I met Minsa Craig Burri (Fig. 8-3), a modern ballet choreographer, former American ballerina, also a poetess and founder and owner of the Pilot. On the same occasion I met Fred Sauls, a playwright (avant guard), stage director, and artist (in all media from heroic sculpture to jewelry to drawing and painting). I also met Robert Houston there. He was well known in Hollywood theater, was on the LATA and Vanguard Boards, and much involved in Vanguard productions.

Of the Pilot, Lawrence Christon wrote as follows, in 1976, in the L:A Times:

The most ambitious attempt in recent memory to convert a mundane facility into a theater, or in this instance into a performing arts center, has to be that of a lady named Minsa Craig, whose Pilot Theater for the Arts in Hollywood will cost a cool $250,000.

Miss Craig, who shares with Frederick Sauls the artistic directorship of the theater, is a choreographer who had been working in Europe before returning to the United States to stage "November Steps" for the Chicago Ballet and then moving on to Los Angeles. Her dream for the Pilot Theater is to have a place where ballet (mirrored walls and all), theater, music, and the fine arts (and a children's theater) can coexist and where writers and poets can come to read their new works and contribute to a bimonthly magazine.

The theater will open officially on Wednesday [Dec. 17, 1976] with a performance of Pablo Picasso's surrealistic [dada] theater piece "Le Desir Attrape par la Queen," directed by Sauls. The theater which is two theaters actually, a 50-seater in the back and a 99-seater up front-will be draped and carpeted and otherwise display a few of the amenities many other smaller theaters do not.

After the Picasso play, the next performance of which I have a record was the dancing of four of Minsa's works by the Pilot Ballet Troupe, on May 29, 1978. These consisted of "Lost," "Cluttered," "Meditation," and "Burn," with a cast of four men and four women. The last performance at the Pilot of which I have record was by the San Francisco Jazz Company opening on Oct. 20, 1984 (see below). Other productions in 1984 included Decadence in Feb., Hamlet, opening in July, and performances sponsored by the Los Angeles Dance Alliance on Sept. 6-8.

As will become evident in the following, Christon was not fully informed about Minsa's background, nor did he realize that Sauls also played a leading role in designing and building the Pilot. I had much further contact with Minsa, the Pilot theater, Bob Houston, and Fred Sauls. This included evenings of social bridge at Minsa's home on Mulholland Drive, high in the Santa Monica Mountains. Fred and I and other friends also got together on many Sundays for bridge and other matters at his studio, only half a block from the Pilot.

I also brought my classes every quarter to Fred's studio for art lectures. I eventually became Vice President of the Pilot Board. Little evidence of those contacts survives. In one letter, dated in 1978, I inform the LATA Board that as of Sunday, May 7, Jacque Lynn Colton "is the official representative and Fred Sauls is the alternate representative to LATA from the Pilot Theater for the Arts."

Frederick Sauls (Fig. 8-4) was born in Seattle Wash. in  1934. After military service in Korea and Japan, he obtained a B.A. from Stanford U. in 1951. After studies in Paris and London, and at the San Francisco Academy of Art, and the Calif. Academy of Arts and Crafts, he obtained an M.A. in Arts and became an "Associate in Arts" at UC Berkeley in 1959. He was "Visiting Artist at U. of Kentucky in 1965, Assistant Prof. of Art at U. of Minnesota in 1968, and moved to Santa Monica, CA in 1970. He taught Art History at Cabrillo College and Film Making at UC Santa Cruz in 1972, and began restricting his painting palette to metallics. He moved to Los Angeles in 1974. He had six one-man exhibitions, participated in thirteen selected group exhibitions, and has his works in at least seven public collections and sixteen private collections (I have three of his works, including a metallic). Production of his plays began in 1974. One of Fred's abstract metallic sculptures is shown in Fig. 8-5. His sketch of me with a cat in my lap appears in Fig. 8-6.

Sauls' family had made money in real estate investments and, after his children were grown and on their own, his mother had deeded two buildings to him, one on Second St. in downtown Santa Monica, site of the Gille Mansillon Gallery, and the other in West Hollywood on Santa Monica Boulevard and N. Hudson St. With the income from these buildings Fred was financially independent and could indulge freely in his artistic interests. He also collected art and had a business manager to free him from mundane matters. He converted most of the second floor of the Hollywood property into his art studio, perhaps 3,000 square feet.

One storefront on SM Blvd was converted into the tiny Fig Tree Theater and another into an after theater coffeehouse and weekly informal seminar site for both the Pilot and the Fig Tree. Of two one acts at the Fig Tree in Oct., 1987, Ray Lloynd of The LA Times wrote:

Playwright director Frederick Sauls' "Fingus" and "Awker" are fractured views of human nature, pointy black comedies that wed jocularity and cynicism in a way that the anarchic Joe Orton might have enjoyed. Sauls....writes and directs with strokes that are jagged, deceptive, bold.

Minsa had a colorful and internationally notable past. Born in Chicago, at a date that was her best kept secret, professional events took her to Rome in the early 1950s, where she met Alberto Burri, the soon to be famous, even legendary, Italian Arte Povera ("junk art") artist. She and Alberto were married in Rome in 1955. In the popular media they were said to be 'joined for life' and highly compatible (translated, "a deep understanding joined them"). Among other events of note, in 1970 Minsa produced a folio of poems dedicated to Alberto. These were signed and numbered, 1 to 150. After her return to America, and staging "November Steps" for the Chicago Ballet, Minsa was, at first, choreographer for the Improvisation Dance Company at Vanguard Theater in 1975.

Two events stand out among all others from those days. In one instance Fred and I were attending a party at the Pilot, celebrating the opening of a new play. I was seated and Fred was circulating among the attendees and actors. Presently he came toward me accompanied by a young woman who turned out to be an actress in the play. As she approached, she extended her hand to me and spoke my name. I shook hands and replied, "yes," expecting her to introduce herself and continue. To our great surprise, her name, Leigh Cavanaugh, was pronounced the same as mine. She was not greeting me but introducing herself! The odds against that happening are in the millions to one. From then on I had to be careful leaving voice messages at the Pilot.

The other incident was very sad, and most painful to recall. A performing group had rented the Pilot to present a production, but had fallen far behind in their rent, creating an adversarial relationship with Minsa, who may not always have been easy to get along with, even under favorable conditions. To my knowledge, at her wits end to collect the rent, and not the wisest of business managers, Minsa confiscated some of the group's equipment. In return, when they discovered this, in fits of rage, they utterly destroyed the theater, smashing lights, ripping out wiring (some of it my donated excess property), and tearing up every one of 149 cushioned seats. That marked the demise of the Pilot,. Having occurred in 1984, and with my being heavily engaged in my geometry studies, and closely observing small parrots in my aviary at the time, I was not privy to the precise circumstances or legal consequences.

Minsa, of course, was devastated and in about 1988 returned to France, where she had resident status. She achieved little peace there either, soon becoming embroiled in a bitter dispute that gained international attention. Her husband, Alberto, was living there at the time in their small cottage in the south near Città di Castello, not far from Nice. Alberto, born in 1915, died in Nice in 1995. Beforehand, he had written a new will, revoking the terms of his earlier (1978) bequest to the Burri Foundation (Fondazione Albizzini), and leaving his entire estate to Minsa. Unfortunately, she subsequently signed legal papers provided by the Foundation. But, being formalized in Italian, she did not have full knowledge of their content.

For perspective, the Foundation possessed over 1,000 of Burri's works, including many of his best.  The top auction price realized by a Burri was $2.5 million, at Sotheby's in 1989. Minsa brought suits to gain legal ownership of the estate, about 39 of the works of which were in her possession in her and Alberto's cottage. Minsa accidentally fell and badly injured an arm in 2003. She died while being treated in the same hospital where Alberto succumbed. Her legal suits were continued by her brother, Cecil, 85, who claimed ownership of over 1,000 works,. He prevailed, after a fashion, having legally inherited her estate and exported the Burri works to the U.S. before officials from the Foundation could seize them to preserve them in Italy. I provide excerpts from statements published by Bernhard Warner in Time Magazine Europe (May 2005) and a rebuttal (June 2005) by Michel Distel, Counsel to the Estate.

How a cache of valuable art by legendary Italian painter Alberto Burri vanished without a trace

....for artists like Alberto Burri turning refuse - burlap sacks, globs of tar - into popular works....would eventually become treasure....museums and galleries....vied for his works for decades....in 1995....most famous pieces....could be found in modern art museums in London, New York, Venice ....and his hometown of Città di Castello....part of Italy's art establishment is in turmoil, because a large cache of Burri's work is missing....have disappeared....[perhaps] stolen and smuggled out of Europe to the U.S....includes a 3 meter tall Sacco....[which] could fetch over a million Euros....a sin says Sarteanese, a [Foundation] board member....

....[would be] one of the biggest heists of Italian art in years....represents a sad coda to Burri's remarkably colorful career....earned a degree in medicine from the U. of Peruggia....abandoned medicine for art....turned to the abundant supply of burlap in the [prison] camp and used it as a canvas....first drew the attention of American art critics to Burri in the early 1950s....to his peers Burri was seen as an absolutely crucial figure to the Italian art scene....increasingly disenchanted with the international art scene in the 1970s....[Burri] created La Fondazione Abizzini to house and promote many of his favorites....

represent Umbria in its deepest and most intimate nature....after the artist's death, she [Minsa] tried to gain control of all Burri's works....in 1998 Italian courts ruled in favor of [the Foundation] as the guardian of Burri's art...collection contained intimate pieces Burri gave to his wife....on Christmas or birthdays with little dedications....important for the Foundation because they are unique....alerted galleries and collections to be on the lookout....very important that these artworks are not sold or dispersed....would be a sin for....Italy's and the world's cultural heritage....

Art owned by the late Minsa Craig Burri has by no means "disappeared"

....article is unfortunately an instance of sloppy and one-sided journalism....misrepresents the true status of the art....and the legal rights of the Albizzine Foundation....[have] not been "smuggled" out from France but legally exported by the Executors....representing its legitimate owner....[her[ sole heir, her brother, after all the custom filings had been effected....curators of the Centre Georges Pompidou....selected one piece to be accepted by the French Treasury in lieu of estate duties....[the one piece] reproduced in the Time article....

....foundation has no standing to claim any part of the estate....mishandling of the assets has warranted the intervention of the Italian government in the Foundation's affairs....litigation in the Italian courts has been resumed by the estate....and remains pending....foundation has instituted a number of frivolous lawsuits in France where Minsa Craig Burri had been a resident for the last fifteen years of her life....a French court of appeals decided that the foundation has no legal existence in France, and no capacity to claim to be her heir....

A later, impartial, and more informative article by reporter Elisabetta Povoledo follows.

Report in the New York Times for Dec. 15, 1999

Even in an argumentative country like Italy, some would be surprised by the furious dispute taking place over some burlap sacks, sheets of burnt plastic and panels of particle board. But in this case those ordinary materials passed through the hands of Alberto Burri, one of Italy's most important postwar artists, who made the commonplace divine.

Nearly five years after Burri's death at age 79, a battle is under way between his widow, Minsa Craig Burri, and the foundation that Burri established to act as administrator and curator for his artistic legacy. The drama is being acted out in Città di Castello, a placid Renaissance town in the central Italian region of Umbria where Burri spent much of his life and created two museums devoted entirely to his art.

Mrs. Burri and the Palazzo Albizzini Foundation have been feuding since 1996. Mrs. Burri has made one unsuccessful attempt to claim a big share of her husband's inheritance, which led to a lawsuit in which she is now the defendant. Now tensions have risen further. In late November Mrs. Burri produced a shakily handwritten will signed by her husband in December 1994, two months before his death, making her his universal heir. If accepted by the court, this document would automatically revoke the previous will, which left almost everything to the artist's foundation. ''I want everything, everything that is my due,'' Mrs. Burri said recently. ''I'm destroyed by three years of fighting.''

Mrs. Burri says that if she wins she will set up a Burri museum in Rome because Città di Castello, about 150 miles north of the capital, is too remote for art lovers to visit. The foundation fears that losing the inheritance would mean closing the existing Burri museums for lack of funds. What's more, the foundation's charter mandates that the Burri collection pass to the National Gallery of Modern Art in Rome if either of the Città di Castello museums shuts down. Foundation members say that regardless of who wins, a lengthy court case could so thoroughly deplete the museums' finances that they could no longer operate....

Born in this small town in 1915, Burri is celebrated for helping to bring about Italy's artistic recovery after World War II. He was one of the first artists to explore the poetry of the mundane, proposing that anything, even the most humble burlap sack, could be transformed into art. Burri worked in series, creating abstract collages using ordinary materials. His most celebrated series, and the one that confirmed his status as one of the foremost artists in Italy, was the Sacks, which he began in 1950. Later series featured such materials as wood, iron, plastic and particle board. His paintings hang in many museums....But Burri lived frugally and chose not to sell many works during his lifetime.

Although a complete inventory has never been made, the contested inheritance includes 450 to 800 paintings, prints, temperas and lithographs, as well as real estate in Italy. In the last two years Burri pieces have sold for $24,000 to $511,000. In October Sotheby's in London sold a 1954 ''Sack'' for $409,000.

Slight and almost frail in appearance, Mrs. Burri moves with a dancer's grace, though her hands are twisted with arthritis. A choreographer and poet, she met the painter in the early 1950's when she came to Rome after a successful European dance tour. She worked only sporadically in Italy, where outlets for modern dance were rare. ''When I presented my piece 'November Steps' at the Rome Opera in 1973, half the audience was shouting 'Brava! Brava!' and the other half was shouting 'Basta! Basta!''' she recalled. ''I was so excited.''

The couple lived mostly in Los Angeles and Città di Castello until Mr. Burri's failing health prompted them to move to the French Riviera in 1992. They kept two houses in Città di Castello, one in the city center, another in the countryside, so that Mr. Burri could pursue one of his favorite pastimes, hunting. Mrs. Burri said that the foundation had prevented her from entering her former town residence to retrieve her belongings. ''They changed the locks without telling me,'' she said. ''They told me that I could only use my house for vacations.''

Nemo Sarteanesi, the secretary general of the Palazzo Albizzini Foundation, said that ''Burri wanted the world to know Città di Castello,'' adding, ''He used to say that if Americans wanted to see his paintings, they would have to come here looking for them.'' The first museum opened in the 15th-century, Palazzo Albizzini in 1981, with a representative collection of paintings that Burri arranged and hung. Nine years later, a much larger museum displaying some of Burri's later, more monumental pieces opened in a former tobacco-processing factory.

Burri donated his artworks and thousands of dollars to the museums. He also left a number of paintings that were to be sold at auction to finance the administration and maintenance of the museums, which costs about $200,000 a year. So far the foundation has relied mainly on government financing and ticket sales and has not had to sell many pieces. Mr. Sarteanesi said he feared that the dispute with Mrs. Burri would depress the market for Burri's art. ''Now that we have this confusion, people will think twice about spending money,'' he said. ''This conflict has caused us enormous harm.''

Members of the foundation have said that it was Burri's desire, confirmed in the will signed in July 1993, that the foundation benefit from his estate. ''Burri was afraid of death and knew that the only way to keep his art alive was through these museums,'' explained Giuliano Giombini, a foundation member. Mrs. Burri, however, said that her husband had changed his mind and made her his heir in the latter will because he was unhappy with the way the foundation was being run. She insists that she does not want her husband's artworks for personal gain and has designated 300 paintings from the inheritance for her museum project in Rome. ''At least having a Burri museum in Rome would allow the public to see his work,'' she said. 'Città di Castello is so small, it doesn't even have an airport.''

While, I continued to maintain some contacts with the SMP for another 8 or 10 years, my time for arts activities had to be curtailed. As noted above, I had begun a new research project with parrots and was carrying out extensive analytical studies of symmetry, continuing teaching, and guiding Ph.D. thesis students, as usual. Other than e-mail contacts, I have been seeing friends at the SMP only occasionally at annual Christmas Parties.

Fred Sauls also had inherited very low grade gold mining properties near Lone Pine, CA from his father. His last years were spent in unsuccessful attempts to commercially extract the gold employing new, more efficient, techniques. At several invited affairs, he solicited investment funds among friends and acquaintances. To my knowledge, only my sister and I lent support. From our investment, however, we received no return. It eventually turned out that the gold mine was in a mountain of Wollastonite (calcium silicate). This also was potentially valuable. One Sunday morning, late in the game, I received an SOS from Fred at the studio to bring money for the next month's rent at Lone Pine. He succumbed to liver cancer at age 59 in June, 1993, before proceeds from the mining property could be realized. I was never in touch with his family and have no idea whether a gain from the property was realized.

The Pogany Incident (1975-1976)

Sometime in 1975 the Biology Department decided to update its file of faculty portrait photographs and assigned the task to the Department artist photographer, Karl Pogany. To the best of my knowledge, Karl had an international reputation for combining the real and the surreal in the same work, a technique which was known as "Poganyized."

When Karl arrived at my office laboratory he was much impressed with my real time, programming-computing system. This involved hundreds to thousands of patch cords, plus meters, printers, and other instruments of all sorts. The panels for this system, about 5 x 10 feet, took up much of the room. He proposed to photograph me against the computer panel background, and posed me accordingly. When he later returned, he proposed, with great enthusiasm, the idea of painting his "masterpiece," using me and my computer panel as subjects, with evolutionary themes, the main one being that the computer was a creation of my mind.

Specifically, my head with brain exposed would appear at the top of the computer panel, with wires joining my brain to the panel, depicting its origin and evolution from my thoughts. With time, Karl's plans became even more grandiose. The background for the painting would be sea and sky, with my head on high, the computer panel below and behind, and with creatures climbing from the depths of the sea, below, ever evolving toward and eventually achieving land forms.

Karl proposed that we pay for the project ourselves, independently of University funding, with him working on it only on his own time or when no other work offered, to which I agreed. Soon he showed up with beautiful new seascapes, one of which was chosen for the background. Karl went right to work on the painting, which was almost life size, hanging it in his workroom where all University projects also were carried out. Some months after, when other faculty members consulting with Karl, recognized me (with the painting itself far from finished), with my head in the heavens, word began to circulate in the Department that Karl was using University time on a private project. I received a letter from the Chair on October 18, 1976, as follows.

As you may already know, the Biology Department is conducting a much needed survey of its support staff. One aspect of this survey is an evaluation of Mr. Pogany's services as Illustrator.

To complete this evaluation I need a letter from you explaining your understanding of the time and recharge arrangement for the portrait he is doing for you. I ask for this because of the large number of hours of Department time he has logged on your behalf.

In answer to this letter, I explained the situation, as recounted above. Nonetheless, shortly thereafter the survey revealed that Mr. Pogany's services actually were superfluous to Departmental needs, and they shortly were dispensed with. In fact, this turned out to be much to Karl's advantage. The next I heard from him he had joined an international filming company, traveling about the world, and doing of all their artwork. I knew nothing of the unfinished painting's fate until some time later, when I learned that it was abandoned in a stairwell under the Life Sciences Building.

I 'rescued' the painting and, having no room for it myself, prevailed upon Frederick Sauls, to store it for me. The accompanying photograph (Fig. 8-7) shows its present condition at a time when it was stored in Sauls' studio. When I next saw Karl, perhaps a year later, and for the last time, I asked him if he would like to finish his "masterpiece," whereupon he laughed and replied something to the effect that he had many unfinished "masterpieces." Aside from getting the unfinished painting framed, compliments of Fred Sauls, and hung at my home, that was the end of the "incident." I found only one reference to Karl through the internet. He was the Production Designer for the 1983 movie, the Young Warriors (The Graduate of Malibu High), starring Ernest Borgnine and Richard Roundtree.

A Rare "Speaking Out" at a Departmental Meeting

By nature I am very reserved. I rarely spoke out at Departmental meetings, even when apparent jealousies prevented our hiring of future Academy members. In one case we turned down a future star who went on to be chairman of the Zoology Dept. at the U. of Much. and the editor of a prestigious zoology series on reptiles, because the storeroom manager where he got his degree complained of a "Prussian attitude."

At any rate, the time came for a new hire in herpetology in about 1961, for which a candidate was proposed, to be voted on at the following meeting. The discussion was very favorable. I had two acquaintances in herpetology with degrees from Berkeley, so I had a more than usual interest in finding out his qualifications. Apparently I was the only one who actually read his CV carefully. I found his grades to be poor in certain courses (long since forgotten) where one would expect A's. Additionally, in one of his letters the recommender was impressed highly by his research because it was so much like his own. Reading between the lines, it appeared to me that the recommender was hinting at a lack of originality. I mentioned to a few other faculty members that I was going to oppose his candidacy, but apparently word did not get back to the chair or vice-chair.

At the next meeting, I spoke out against hiring him and was supported by the rest of the faculty. The chairman was somewhat miffed because time was short and no other candidate was in sight. I replied that I knew two eminently qualified candidates for whom I could vouch. One, however, had been a student at UCLA and had clashed with one of our eminent members, so he had to be passed up. Eventually he received a prestigious professorship at the U. of Giessen.

The other was Frederick B. Turner. At the time he was at Wayne State University in Detroit, but being from California he accepted an appointment offer and had a long following career at UCLA in the Research Zoologist series. Fred was a Life Master bridge player. We paired together for a time, until my limitations were all too evident. Last I heard Fred was suffering from dementia in an 'old folks' home' in Santa Monica. Incidentally, the candidate I opposed obtained a position at a nearby California State U. and eventually was a member of the Oral Committee for one of my Ph.D students. Fortunately, he knew nothing of my earlier opposition and we were on good terms.