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...served as art editor of the magazine. He has designed several of the recent covers, including the so-called "architectural" ones, he has also written poetry and a short story for the magazine. Ratte also designs sets for the Dramatic Club and has acted in several of the Workshop production...

Author: NO WRITER ATTRIBUTED | Title: Ratte Wins Advocate Presidential Election | 1/11/1956 | See Source »

...magazine will be "a workshop where liberals (especially found liberals) can hammer out the problems, of a liberal philosophy," he said. The magazine, however, will be a dialogue in the true sense of the word, Kaplowitz explained. Contributions from conservatives and Communists as well as liberals are welcome. "Unfortunately, perhaps," he said, "there are no Communists represented in the first issue...

Author: NO WRITER ATTRIBUTED | Title: Students to Begin Liberal Quarterly | 12/1/1955 | See Source »

...fieldstone southwing is Ike's home workshop. A small office contains a well-thumbed set of Winston Churchill's memoirs, a telephone directly connected to the White House, a portrait of Lincoln. Adjoining is Ike's beam-ceilinged study, a null room with a masculine air: soft leather lounge chairs, an old Dutch oven, a pine cabinet built from discarded White House timbers. On one wall is a reproduction of a cyclorama (TIME, July 5, 1954) of the Gettysburg battlefield, showing locations of men, guns and horses on July 3, 1863, when Pickett charged toward Cemetery Ridge...

Author: /time Magazine | Title: National Affairs: Gettysburg Address | 11/21/1955 | See Source »

After this initiation, the student can approach The Stable, formerly the Jazz Workshop. The band here, more intergrated after six years of playing together, provides a true progressive atmosphere while belting out improvisations which the leader, saxaphonist Varty Haroutunian, admits can get "real crazy when everyone starts winging...

Author: By Bruce M. Reeves, | Title: Warm Jazz In Dark Rooms | 11/5/1955 | See Source »

Shadow of a Gunman is less successful. To be fully effective, O'Casey's play demands a studied performance, with its various parts considerably underplayed in order to achieve perspective and continuity. None of the actors in the New Theatre Workshop's presentation even attempted such an approach. If director Dean Gitter had tried to stifle their buoyancy, he would have overcome one weakness in the production. But it is the play, more than the acting, that is inadequate. Taken as a whole, the story is confusing, at times almost wild. Heavy Irish brogues hardly improve the clarity. Instead...

Author: By H. CHOUTEAU Dyer, | Title: The Established Plays | 10/28/1955 | See Source »

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