‘MASH,’ music and ‘Mastermind’

Press, 26 October 1984, Page 15

‘MASH,’ music and ‘Mastermind’

F Review!

Ken Strongman

It is a time of unwitting contrasts. “M*A*S*H” has finished, again, and in spite of the emotional turmoil of the longest goodbye in the history of television, has been an excellent daily aperitif for the 6.30 News. Even seen for the third time, it was so subtle and understated that the knowledge that it is American comes with a jolt. Now, it is “Alice,” bursting from the screen, U.S. of A. television at its mindbruising worst. It is one of those programmes which seems to be suspended in overblown laughter. The laughter either squelches from enormous cans or comes from a studio audience which has fallen under the sway of a demented circus trainer.

“M*A*S*H” made the time from 6.00 to 6.30 into only 10 minutes; "Alice” has stretched it to an hour. But the alternative is too disturbing to contemplate - the life-distorting horrors of Australia as “The Young Doctors” would have us believe. Perhaps for the next little while it will be best to go straight in the News, without the indulgence of being softened up beforehand. The early part of Sunday evenings prompts the second contrast. 'Heroes,” the new drama series, may (just possibly) open a few eyes which have been squeezed tight against the world of modern music. It is certainly far better than it promised to be from the announcer, who said: “We

proudly present a brandnew series.” Come on; if the new series itself can be un-self-concious, surely its announcement can be less coy. This sounded like something from the year that television began.

In the first episode, there was nothing of the “Look at me, I’m on telly” about “Heroes.” The characters are interesting and unpredictable and have a very, very satisfying confident contempt for the unthinking,

fat-cat type of authority. The acting is low-key and unobtrusive and the developing music is exciting. The only rough edge came with some overly didactic moments as the characters told each other, in order to tell us, of the difference between playing live and in a recording session. Over all, though, “Heroes” has the feel of a sophisticated production, involving some talented persons. Above all, so far there is no navel-gazing New Zealand insularity about it. The contrast with ‘Heroes” overlapped it on the other channel. Switching over to the “Young Musician of the Year” was like stepping back in time. With a flick of the control, one was jerked from a jam to

an arpeggio. However, the music apart, there is a great deal of potential similarity between the two programmes. They both snow young people doing something with their idea of music.

The question that screams for an answer is why does the “Young Musician”haveto be in the classical mode? No doubt, to some it will sound sacrilegious to suggest that it be otherwise. But there was something very refreshing about the energy and creativity in the music of “Heroes.” It was more zestful than the interpretation of the classics by the “Young Musicians,” even though they are impressively talented and technically competent It is not just a choice between

the creative and the conventional, but this is part of it. And we could do with more of the creative. The final contrast is again on Sunday. "Mastermind” has been replaced by its poor cousin, "University Challenge.” This year, “Mastermind” ended on a decidedly down-beat note in comparison with last year’s programme. Somehow, the gentleman and his Australian parrots lacked the sparkle of Ida Gaskin. However, it was better than “University Challenge,” which seems increasingly to lapse info silliness, as students almost mimic themselves. Take heart though, these are not the cream - they represent the extroverts, not necessarily the most talented.