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...virtues of this show well outweigh its faults. The costumes, designed by Tony Duquette and Adrian, and Oliver Smith's sets combine with lighting by Feder and choreography by Hanya Holm to produce several extremely effective scenes. In a way, it's a case of something being so far Out that it's In: often, one is repelled by large amounts of money spent on garish costuming and lavish sets, but producers Lerner, Loewe, and Moss Hart have obviously spent so much money, and spent it so well, that the result is a pleasure...

Author: By Michael S. Lottman, | Title: Camelot | 11/23/1960 | See Source »

...rugs, mats, doilies, divots), and that 15 million could use them. Sales were short until makers started advertising hair pieces in major magazines and newspapers five years ago. Since then, annual sales of such bigwigs as Hollywood's Max Factor & Co., Manhattan's House of Louis Feder Inc., and Joseph-Fleischer & Co. (Fleischer will make the Sears toupees from imported hair) have climbed close to $1,000,000 each. Total U.S. sales are estimated at $15 million a year. Says Louis Feder, a wigger himself: "We have put across the idea that a man is not completely dressed...

Author: /time Magazine | Title: FASHION: Proper Toppers | 3/30/1959 | See Source »

Mordecai Gorelik's sets are cleanly pictorial, and Feder's lighting is inspired...

Author: /time Magazine | Title: The Theater: New Plays in Manhattan, Jan. 10, 1955 | 1/10/1955 | See Source »

...addition to Charivari, the Harvard-Radcliffe Music Clubs also presented four works by other student composers. Paul Knudson's Piano Sonata seemed to be the most significant of these. Despite passages of atonality, the work as a whole is not forbiddingly abstruse. A Serenade for Wind Quartet by Stuart Feder, Intrada and Dance by John Davison, and a Sonata for Cello and Piano by John Bavicchi were also on the program...

Author: By Lawrence R. Casler, | Title: Charivari | 5/15/1953 | See Source »

...settings of Psalms Nos. 139 and 140 for mezzo-soprano and cello showed the greatest freedom in the handling of a vocal line. He took excellent advantage of these highly dramatic texts and displayed an appropriate variety of moods while maintaining a stylistic unity with in the pair. Mr. Feder's settings showed a greater simplicity, more of a desire to render the texts than to interpret them. Yet his songs were to from colorless, I especially enjoyed the mock heroic piano recite after the Found liner. "And I would rather have my sweet... Than de high deeds...

Author: By Alex Gelley, | Title: Composers' Night | 12/19/1952 | See Source »

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