Will Waspe's Whispers
What odds a shake-up in the ITV team coverting horse -racing? Persistent rumours of changes f.e, the line-up get no official support, but they clearly overdue. The chances are that they „ happen,, though, in the un ruthless, gentleMa way proper tothe sport.Outsidersare usually sutPrP.ng to learn that the strangulated falsetto heard readli<, the betting show is the most powerful voice b°Ccal screen. But not so • powerful ag of yore. Lt ,„ H. W. Moor, DSO, MC (Retd) is the maneverYbo;t calls him ' Peter ' and he calls everybody 'Cock ' whO fix,es, el, all the racecourse contracts and used to do all the hiring of Pers"-„npre too. He's an old Indian army hand (spent most of his time out ki, running Rawalpindi racecourse) and so, oddly enough, is hls,,c0ers, stager commentator Tony Cooke, twenty-two years in the 9th 1"3",,,-ake it's hard to say which is the more amusing: Cooke's trying t'9"; sense. of a race with more than four runners, or John Ric muddled efforts to pick out the first three and say something r-c-c.lott, during the after-race playbacks. Expect to see young Brough ect an ex-rider who knows what he's talking about, taking over and more of a chore that seems beyond veteran Rickman. E"`taPtor to see Cooke giving ground to young ex-racecourse coMnle,.11„rithet Raleigh Gilbert, the team's newest acquisition. Expect also '' transfusions of new blood.
Consorting with Prince
h% RoYal The Broadway producer-director Harold Prince has been inviteu-; the Shakespeare Company boss Trevor Nunn to direct the RSC aso-, an Aldwych in a production to be agreed. It seems, if I may $aY,rjovitil eccentric idea. Local directors, who would leap at the chance to Yv°' latelY the RSC, will be aghast at the news. Though Hal Prince has irocli branched out into film directing, his Broadway reputation rests erellY more on his know-how as a producer (what we call more gerieteeil ' management ') than on his ability as a director. He did direct Cabar;obs Company — and no complaint, but I'm told that his four directingdi a hell New York prior to those two were failures to a total tune of one° bee° million dollars. You will note, too, that Prince's experience has almost wholly in the field of musicals — not exactly the RSC line' cecond Nunn is surely a little rash. Also brave. For Hal Prince PlaYs,'"e 1,00 fiddle to no one (except possibly Jerome Robbins) on any enterPosele which he is connected. He is always what Broadway calls 'the Musd with he show. This may be all right with Nunn; it wouldn't have wasbe Peter Hall.
Embarrassment of Rothkos ut My colleague Evan Anthony (opposite page) is enthusiastic Mark Rothko exhibition, which currently shares the HaYwerd,„ssedifile with MirO and Rietveld shows. He might have been even more in1P` he in t e had been able to see the whole exhibition. Most of it is crate'," Hayward basement. d shoo's' f HaYWaAr found himself with an embarrassment of Rothkos. He haa was The Arts Council's Norbert Lynton, who organises the " arranged the Miro and Rietveld displays when he heard therenrid) chance of getting the Rothko collection assembled bY the ;Dila K unsthaus — but, also, there was an unavoidable clash of Oaf! space' dates, and Rothko, who was no cameo painter, needs Pier ":0 L ynton had no option but to settle for half a loaf. He found couple of dozen pictures on the Hayward walls — the other — noted, remain in their crates.
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