A REVAMPED FORD IN CHAMBER BUFFS' FUTURE

By MARC SHULGOLD

May 31, 1987 12 AM PT

“Chamber Music at the Ford” may not be the most colorful title for the three-concert series next weekend at the John Anson Ford Theatre in Hollywood, but it does tell the story--or part of it, at least. The mini-festival could just as easily have been “Welcome Back . . . and Farewell.”

The welcome is extended to the venerable theater itself, which has made a comeback thanks to a clever move spearheaded by Supervisor Ed Edelman. By shifting the burden of running the Ford from county government to the private sector, Edelman did more than save taxpayers some money, said Roy Hassett. According to the concert promoter, Edelman also saved the theater.

“Because of Proposition 13,” Hassett said, “there was a shortage of funds to help maintain the facility. It’s crazy: Five years ago, the county spent $1.5 million to renovate it--but then there was no money to operate it. But Supervisor Edelman decided that the Ford should be put out to bid among theater operations and entertainment people. We were the winners.”

We refers to H&D; Entertainment Inc., which became John Anson Ford Theatre Inc. The organization immediately put $250,000 into sprucing up the place. “We put in a bar, we fixed doors, we painted, resurfaced the floors, put in new sound and lights,” Hassey said.

“It’s an example of winning by addition through subtraction: By removing the Ford from its jurisdiction, the county comes out ahead. The county saves $200,000 a year in annual maintenance and, of course, we’ve done $250,000 in renovation. The Ford is now back in 1922-vintage shape.”

Though the facility will be used mostly for pop attractions--jazz, salsa, con junto , cabaret and such--Hassett pointed out that Edelman’s love for classical music ensured that chamber buffs would soon have a Ford in their future. The series will continue annually during the 10-year period that Hassett’s group will run the Ford.

That’s the good news. The not-so-good news is that the final event in the weekend festival, organized by cellist Robert Martin, marks the end of an important chapter in local chamber music annals. And that’s where the “Farewell” enters into our alternate name for the event.

Following concerts at the Ford by an ad-hoc chamber ensemble led by Martin (Friday) and an early-music program by the Aulos Ensemble (Saturday), the concluding event next Sunday afternoon will be the last local appearance of James Dunham as a member of the Sequoia String Quartet.

As most fans of the esteemed ensemble know by now, Dunham will be joining the Cleveland Quartet. The violist’s departure thus sends the Sequoia into suspended animation, officially designated a sabbatical.

Yes, there are two Sequoia concerts here in August at the Getty Museum, with Brian Denbow sitting in for Dunham. But for all intents and purposes, the Sequoia is no more.

Is this really the end? Maybe, and maybe not, according to violinist Peter Marsh: “We all feel that (the answer) is something that will evolve over the next few months or longer.”

Personnel changes have hurt the group, he said, and certainly Dunham’s exit was a major factor in derailing the Sequoia Express--but it wasn’t the only factor.

“The fact that Bonnie Hampton (the Bay Area cellist who, with Marsh, joined the group two years ago) has had to do all that commuting presents a restriction of activity. And losing the residencies at Cal State Long Beach and CalArts hurt us as well.

“What it come down to is the fact that there are limited possibilities in finding a strong economic base in chamber music.”

In other words, it’s a tough way to make a living. “I’ve been in string quartets 29 out of the last 30 years,” Marsh said, adding with a chuckle, “In that one year, I made twice as much money. Right now, I have two kids who are attending very expensive colleges.”

Marsh said that he and the other members--Hampton and violinist Miwako Watanabe--plan to keep in touch. “We have each other’s best interests in mind. I think this is a good time for all of us to take stock in what we want to do.

“We honestly haven’t had time to discuss the future when we’re together. We’ve been busy rehearsing like mad.”

What of his own future? “I’m not even sure of that,” Marsh said. “Someday soon I’ll sit down and have a nice long drink.”

TOO MANY “GISELLES”?: If all had gone according to plan, today would be closing day of the fourth and final production in Long Beach Ballet’s ‘86-87 season. All did not go according to plan. According to artistic director David Wilcox, it was just rotten luck that his new production of “Giselle” would end up sandwiched between American Ballet Theatre’s “Giselle” (seen at the Shrine Auditorium in March) and the Bolshoi Ballet production of same (due at the Music Center in late August).

“There’s just no way we’re going to compete with those companies,” Wilcox said.

“Every time I have had an idea, someone beats me to it--like when I wanted to do ‘La Fille mal Gardee’ and the Joffrey brought it to town around the same time.”

But how much of the decision to jettison “Giselle” is based on Long Beach Ballet’s season-long battle with fiscal problems? In December, the company had to cancel its run-out performances of “The Nutcracker,” thus resulting in a $50,000 loss.

Wilcox said that money--or the lack of it--played a key role in the decision to cut short the season. “If we were in great financial shape, we still wouldn’t have done ‘Giselle.’ We would have done another production. But with our situation, it would have been irresponsible to go ahead.”

The future, he said, looks bright for Long Beach Ballet. “We will hold our season to three productions next year. We had 1,600 subscribers for ‘86-’87 and these are very loyal fans. We’ve had three requests for refunds (for the canceled “Giselle”). Our people know we’ll be around next season.

“But many of the real arts supporters in Long Beach have never seen us perform. We’re working hard to make them aware that we’re here.”