Probably the most remarkable aspect of a review of the arts this past year is that there has been so much of it. Whoever would have thought, 20 years ago, that local reviewers would be hard pressed to keep up with it all? Even more encouragingly, this trend has embraced all the visual and performing arts, making this a `bumper' year, both in terms of new ventures and, on the whole, cementation of existing ones.

There have been some other kinds of bumps along the way, too. Top honours in this department belong to `the Garton saga' which -- a rare event -- actually placed the arts at the forefront of the news during the summer months. This unusual state of affairs erupted when the Dunbarton School of Music decided not to renew the Gartons' contract. But, hey, wait a minute, became the cry -- that would mean the Philharmonic Society being left high and dry without a director -- and as might have been expected, the uproar over this potential predicament kept even the most unmusical of bystanders in a state of bemusement as tenors and sopranos alike forsook the Cecilian heights for some strong verbalising on his beleagured behalf. It worked. Immigration climbed down and said the couple could stay, after all. Supporters even set them up in a new school and Mr. Garton has conducted two major Philharmonic concerts since September.

The Geoffrey Tankard Choir must have been breathing heavier than usual, as well, slated as they were to provide some local flavour at the Bermuda Festival next month under -- yes -- the baton of Graham Garton. Having decided to cancel (with Bermudian singing stars Marcelle Clamens and Gary Burgess allegedly poised in the wings to fill the spot) the last-minute reprieve meant that the Choir is now, after all, busily rehearsing for their January date at City Hall.

The other big newsmaker event turned out to be the exhibition of Georgia O'Keeffe's Bermuda Drawings, staged by Masterworks at the end of October (and running through the end of January '95) in the Ondaatje Wing of the Bermuda National Gallery. The main focus of media interest came, however, from overseas, with several major North American newspapers and magazines highlighting this hitherto neglected `Bermuda period' of the world's arguably most famous woman artist. Barbara Buhler Lynes, author of the projected O'Keeffe Catalogue Raisonne, came from Washington to view the show and will include the Bermuda drawings in her book. The genuine interest that this show has earned from such establishments as the Georgia O'Keeffe Foundation itself and the National Gallery of Art in Washington, seems to have firmly launched Masterworks' reputation in the art world. `Georgia O'Keeffe: The Bermuda Respite' was curated by Elise Outerbridge.

It was, of course, 20 years ago this coming January, that the Bermuda Festival came into being. This event certainly changed the course of the musical arts in Bermuda -- a fact that will be emphasised on January 17 when Bermuda welcomes Lord Menuhin back as conductor of the Gala Concert.

Last January, the 19th season provided a perhaps unexpectedly strong roster of talent. The celebrations got off to what can only be called a triumphant start, when the Juilliard Student Symphony Orchestra, the first Symphony-size ensemble to visit the Island, thrilled capacity audiences with their performances under the baton of Otto-Werner Mueller.

Dance was represented by a group of stylish young dancers from the Dayton Contemporary Dance Company, while Maria Benitez kicked up her heels as she tried to bring the allure of gypsy flamenco to the cold confines of City Hall.

Celebrated blues and jazz singer, Sandra Reaves wowed an adoring audience in a trio of concerts and the 17-year old Canadian violinist, James Ehnes, eloquently revealed why he has been causing such a stir in musical circles.

A highlight of the Festival was the debut appearance in Bermuda of the famed Tallis Scholars; those who attended these well-nigh perfect concerts will long remember the spine-tingling effect as they sang Allegri's Miserere.

There were also notable performances from pianist Alexei Sultanov, the Czech Talich String Quartet, Richard Stolzman's clarinet trio and the welcome return of organist Wayne Marshall and pianist Mladen Janjanin.

Drama, as usual rather meagrely represented, brought us Jane McCulloch's biographical study of the life of Beethoven. James Bolam and Neil McCaul turned in sterling performances in this unusual two-hander.

It was the turn of the BMDS to provide the token local contribution and, for some bizarre reason, settled on King Richard III to represent the genius of Shakespeare. Unless, of course, this was a subtle attempt to underline the ageless warning against power-crazed individuals who will take a country to the brink of ruin to promote personal ambitions. If so, it was obviously a trifle too subtle for Bermuda. David Perry, of the Royal Academy of Dra A look back at an eventful year for the arts From Page 25 matic Art directed, with John Zuill in the title role.

On the lighter side, there was a fitting ending to this annual cultural jamboree with the appearance of mega-star Roger Whittaker warbling his romantic ballads at the Marriott's Castle Harbour Hotel.

Another kind of festival came into being this year, also. Devoted strictly to children, this was the brainchild of former Canadian dancer, Paula Maguire.

Keenly aware that Canada maintains the highest possible standards in children's theatre, she has imported several delightful shows from that country to Bermuda under the banner of Kidfest.

There was a `first' in the world of dance this year, when the Bermuda Ballet Assocation invited the New Jersey Ballet to stage their full-length version of The Sleeping Beauty. One of the best of the American regional companies, this ambitious production (despite the drawback of `canned' music and a miniscule City Hall stage on which to dance) gave our young dancers at least an inkling of classical ballet as danced on the grand scale.

Also on the dance front, the National Dance Theatre of Bermuda's move to the outdoors in a series of performances at Dockyard, proved a popular one.

Musically, it was a satisfying and very busy year. Highlights included the Bermuda Philharmonic Society's full-length rendition of Handel's Messiah at the Anglican Cathedral in April and an outstanding concert of Baroque Music by the Saltus Concert Society in the same month.

As part of this year's Heritage Month celebrations in May, the Gilbert & Sullivan Society again mounted a concert by invited musicians and choir under the direction of Marjorie Pettit. Again, this proved to be a thrilling evening for the audience as they listened to the 25-year old Chinese violinist, Xioa-Dong Wang from Juilliard play the Bruch Concerto. The other major work was Rossini's Stabat Mater.

Bermuda turned out in force for Marcelle Clamens' June concert at City Hall.

The soprano who has captured the Island's -- to say nothing of the Cincinnati Conservatory's -- imagination in her determination to train for a professional career, confirmed in this recital that she has indeed a rare talent. Tackling music that ranged from opera to lieder, she came into her own with a climactic selection of negro spirituals.

Throughout the year, musicians from the Menuhin Foundation and teachers from around the Island have performed in various concerts and recitals, as have their pupils.

With the Island's oldest art group, the Bermuda Society of Arts, the two-year old Bermuda National Gallery, Masterworks and the Arts Centre at Dockyard all staging regular exhibitions throughout the year, it seemed as if there was an explosion of artistic endeavour. Then, of course, there were some excellent exhibitions staged by The Windjammer and Heritage House.

The Bermuda Society of Arts (president, Elmer Midgett) has had what may well turn out to be a watershed year. With the small gallery within their premises at City Hall up and running, the smaller-scale shows staged there proved popular with the public and have, of course, provided an invaluable showcase for artists who opted for a more intimate setting than that offered by the main gallery. In addition, there were the regular quarterly Members' Shows.

In March, during the Royal Visit, Prince Philip toured the Society's City Hall Gallery and was presented with a Sheilagh Head painting.

In the autumn, the Society leased the historic old Falconer House on Pitts Bay Road to provide a more accessible gallery and sale room, as well as a social centre where members could meet informally in the evenings and at weekends.

The opening show featured watercolourist Chris Marson and it is planned that different artists will be regularly featured.

Another innovation was the Society's decision to start its own Contemporary Collection: so far, three works by members have been selected. The Bermuda National Gallery, which will celebrate its third anniversary in March, has also been busy, continuing its programme of lectures, entertainments and concerts as fundraisers through the year.

In January, the Tucker sisters, acknowledged as the Island's first commercial artists and entrepreneurs, were honoured in a retrospective. March brought an exciting exhibition of sculptures by Bermuda's own Bill Ming. He travelled from his home in England for the opening which turned out to be a gala event as it coincided with the visit of the Queen and Prince Philip to the Gallery.

May brought The Fine Art of Bermuda Maps, curated by Nicholas Lusher and featuring a selection of historical maps. Included was Peter Martyr's 1511 manuscript, loaned for the occasion by the New York Public Library.

The other May exhibition, devoted to the work of landscapist John Kaufmann, was curated by Graeme Outerbridge.

The Gallery's first juried Biennial was a Celebration of Excellence, featuring paintings, sculptures and photographs by local residents, an event that proved to be more remarkable for the artists who, for one reason or another, were omitted, than for those who were eventually included.

Their final exhibition for the year, which opened in October, and devoted to `Pop' and `Op' art, included many of the works from the Mary-Jean and Peter Green Collection, and was curated by Marlee Robinson. Called Pop Goes the Easel (a title rather naughtily `cribbed', incidentally, from a 1962 BBC TV show), it featured works by such trendy art icons as Andy Warhol, Roy Lichtenstein and Bridget Riley.

Besides the aforementioned O'Keeffe show, Masterworks enjoyed a highly successful year. Largely as a result of that show, Barbara Haskell, curator of American paintings and sculpture at the Whitney Museum in New York, has agreed to join their board of directors.

Bermuda Artworks Foundation (the US arm of Masterworks) has just made funds available for a scholarship for a Bermudian student to study overseas: the name of the recipient will be announced shortly.

Bermudian artist Charles Lloyd Tucker was honoured with an exhibition at the National Gallery, curated by Carolee Trott and E. Michael Jones, and a special show was mounted there to coincide with the publication of the Bermudian art collection book, published in September.

As their contribution to Heritage Year, Masterworks staged Ladies in Painting (curators Diana Amos and Sheilagh Head), featuring the work of female artists past and present. In a felicitous blend of the old and the new, the fascinating range of artists included the 19th century Englishwoman, F.C.

Sims, sculptress Byllee Lang, Florence Fish and her now famous daughter, Janet, as well as some of the best women working in Bermuda today.

Out at Dockyard, the Arts Centre came up with more of the `meaty' theme shows for which they have become famous. Always encouraging newer and younger artists to participate, the opening of The Tree exhibit in April saw `artists in action', and Two by Two enabled couples of all kinds to get together. Their Annual Members' Show picked up on the International Flower Show held at City Hall in November, choosing a theme of, yes, Flowers and Gardens.

The craft show, always a popular event of high quality, specialised this year with The Painted Object, embracing decorative and applied arts, and thus fulfilling the Arts Centre's mission to cater to all art forms.

Five Women featured local artists in an impressive show during the summer, and again, echoed the theme for Heritage Year.

That was the arts year that was From Page 26 of Community and Cultural Affairs staged In Celebration of Women at City Hall in May. This comprehensive look at the progress of women through the ages encompassed a large exhibition that traced their plight from the earliest days of settlement through to the present day.

On the theatre front, Bermuda was positively jumping. Two new groups deserve special mention.

The first was the imaginative and valiant effort by Reese Bartley and Kensley McDowell to bring international black theatre to Bermuda through their specially formed company, Stage One Productions in Drama Fest 94. All three productions were excellent -- the first, in March, being Dark Cowgirls and Prairie Queens, followed by Toussaint: Angel Warrior of Haiti and starring Antonio Fargas in May, and then, Roots star John Amos in Halley's Comet.

Jabulani Repertory Theatre, formed last winter to provide semi-professional theatrical entertainment at the Princess Hotel, came into its own this winter.

Producer Dusty Hind and director Patricia Pogson have now attracted some of Bermuda's leading thespian names to participate. The result is not only some of the best theatre recently seen in Bermuda, but also goes a long way in addressing the racial divide that has unfortunately tended to characterise the legitimate stage here.

Performing through the end of March, they presented some hilarious comedy with Livin' Fat, Vanities and Horowitz and Mrs. Washington, with Love Letters completing the quartet.

This November, the overall standard was even higher and, according to turnout and audience reaction, they have four certain hits on their hands. Don't Dress for Dinner (with a wonderfully fluent performance from Arthur Lugo) was a fast-moving and suitably outrageous British farce, One Mo' Time provided a scintillating evening of Black Vaudeville, 1920s New Orleans-style (with outstanding performances from Denise Whitter, Ginea Edwards and Khalilah Smith), the `heavenly' musical comedy, Nunsense, which had the distinction of being viewed by its creator, Dan Goggin, and the classic comedy thriller, Deathtrap, with a dazzling performance from Richard Fell as an `over the hill', scheming playwright.

Besides the previously mentioned Richard III, BMDS had rather a mixed year.

Considering the vast amount of activity going on elsewhere in the arts, our oldest theatre group spluttered only occasionally into life.

By far the most interesting drama event of the year was their production of Joan of Arc. This musical was not only an original work (a world premiere, actually), written by Bermudian Warren Cabral, with music by a young English composer, James Burn, but also perfectly fulfilled the purpose for which Daylesford was (or so many of us thought) originally intended -- that of experimental theatre.

Stephanie Butler beautifully led a fine and dedicated cast in this latest treatment of one of history's most gripping events. Its potential was fascinating and provided an important landmark in Bermuda's theatrical growth.

In June came the annual and ever-popular evening of One Act Plays, followed in October by a highly entertaining version of Richard Harris's smash hit, The Business of Murder. One of our most talented directors, Gavin Wilson, wrought splendid performances from veterans Ken Morgan and John Instone and from Iva Peele as the writer who becomes embroiled in a series of events that are indeed stranger than fiction.

Alice's Adventures in Wonderland, directed by England's Davilia David, provided a decidedly damp squib for their last show. Spectacular sets and costumes could not save this production from being labelled as one big yawn.

In addition to their Heritage Concert, the Gilbert & Sullivan Society also mounted its annual musical, this time choosing Webber and Rice's Evita (Janice Moran, director). An unreliable sound system marred some otherwise great performances from Karen Musson, Joel Froomkin, Brian Webb and Keith Madeiros.

Finally, no overview of 1994 would be complete without a tribute to former Royal Gazette arts critic, Miss Marian Robb, who died earlier this month at the age of 89. Her reviews, on all aspects of the arts and written in sometimes forthright, but always impeccable English, formed an important part of the artistic bloom that has spread over Bermuda since her arrival here from the US 40 years ago. Hopefully, she was gratified that she left the arts in a far better state than she found them.

ALUMNI ART SHOW -- The Bermuda College staged its first Alumni art show this month. Shown is a still life painting by Margaret Downing Dill, one of the many artists who participated in the exhibition.

DON'T CRY FOR ME -- Karen Musson and Brian Webb in the balcony scene from Evita, produced by the Gilbert & Sullivan Society in October.

IT'S ALL NUNSENSE! -- The cast of Jabulani Repertory Company's production of Nunsense included (from left to right):- Dee Martin, Khalilah Smith, Connie Dey, Fran Tucker and Denise Whitter.