Word: tapers
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...hilltop complex-a 3,250-seat music hall named the Dorothy Chandler Pavilion after the center's prime mover-opened 2½ years ago. Last week two handsome new structures were opened: the 2,100-seat Howard Ahmanson Theater for drama and musicals and the 750-seat Mark Taper Forum for chamber music and experimental plays. Together they give Los Angeles a visual fulcrum, not to mention one of the most versatile performing-arts centers in the country...
Intimate Shane. Inside its drum shape, Becket's Taper Forum boasts a thrust stage surrounded by a semicircle of seats banking gracefully upward for 14 rows. The farthest spectator is just barely 16 yards from the action and the sound is superior. Considering its impressive size, the Ahmanson Theater is also remarkably intimate; as in the trail-blazing Chandler Pavilion, Architect Becket has replaced the traditional shoe-box-shaped auditorium with an almost perfect square. The proscenium is as wide and as high as the walls and ceilings, the stage semithrust...
...openers last week, the Ahmanson mounted Man of La Mancha with the original Broadway leads, and the Taper presented John Whiting's The Devils. Both productions were polished and professional, and the performances were first-rate. Elliot Martin, director of the center's Theater Group, hastens to point out that he is not running a rental hall for touring New York shows. Last week he announced that his first work of the fall season, a more characteristic center production, will be the U.S. premiere of Eugene O'Neill's last play, More Stately Mansions. The star...
Good Start. Gordon Davidson, the Taper's artistic director, plans to follow The Devils with two new dramatic works by U.S. Playwrights Romulus Linney and William Murray, and with Friedrich Dürrenmatt's The Marriage of Mr. Mississippi...
...along with the redoubtable Dietrich Fischer-Dieskau, who, as Falstaff, makes his voice convey everything from arrogance to cravenness to humiliation. At times the mirth seems about to explode in all directions, but Bernstein's firm hand directing the Vienna Philharmonic gathers it in and the voices taper off in the graceful, fluid way that Verdi had of ending sequences...