These Cranky Critics Missed Some Things

I saw the final dress rehearsal of “Follies,” and it seems like I saw an entirely different production than the one Reed Johnson reviewed (“ ‘Follies’ Remains Marvelous Contradiction,” June 18).

To imply that Patty Duke might have to “win over” the audience in order to be a “keeper” in the lead foursome was totally unfair. Her acting, as always, was superb. She also sang and danced (and did a great, campy job of it, judging by the audience reception the night I attended).

Perhaps Johnson is too young to appreciate the abilities of the performers in the starring roles, or the midlife crisis they portray. At any rate, I applaud Duke for her performance--and feel it’s Johnson’s “folly” not to recognize talent when he sees it.

VALERIE PORTER

Studio City

*

Lewis Segal’s conservative interpretation and unbalanced focus on the weaknesses of the final act of the Center for New Theater at Cal Arts’ extraordinary production of “King Lear”--as opposed to the genius of the previous three and a half hours--not only does a great disservice to a truly brilliant and innovative theatrical experience but to the Los Angeles cultural community and its audiences as well (“A King-Size Challenge in Experimental ‘Lear,’ ” June 17).

It has been more than a decade since this kind of radical redefining of theatrical performance on this scale has even been attempted in this city, and it merits a more illuminating discussion than Segal’s own cranky negativity. It’s no wonder we have had to wait so long for such daring endeavors.

JACKI APPLE

Los Angeles

*

I have just finished reading Kenneth Turan’s review of “Windtalkers” (“Unable to Crack the Code,” June 14). He seems to have fallen into the same trap as your opera reviewers, to wit: Line after line about the director (John Woo) and a nod toward the script and photography, but, except for mentioning him, there is nothing to tell us whether Nicolas Cage’s performance is worthy of another Academy Award. Or how the others in the cast succeeded or failed.

Yes, Mr. Turan, I’d like to know whether or not these actors turned in a good, mediocre or execrable performance. Or were you being kind?

ANGELO S. LAIACONA

Los Angeles

*

Howard Reich’s article asks “Where Exactly Have All the Great Male Jazz Singers Gone?” (June 17). They are alive and well, Howard, but you have to get out more and listen.

On the Maxjazz label there’s a marvelous singer named Philip Manuel who just drips with “hip.” If you miss Sinatra, pick up a copy of James Darren’s “Because of You” album on Concord Records. You’ll hear great big band arrangements, top-drawer material and a voice that is incredibly Sinatra-esque. On Columbia Records you’ll find Steve Tyrell, who’s a great interpreter with just a little edge. The venerable Ben E. King on Half Note Records is a great example of what a jazz singer with a lot of soul can do.

Great talent isn’t found around every corner--you have to look for it. But you also have to recognize it when you’ve found it. It seems to me that Reich is incapable of either.

DON SAVAGE

Pasadena