Word: concealment
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Dates: during 1960-1969
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Accordingly, rollers have rolled out from bathroom cabinets and dressing-table drawers. Impossible to conceal, gaudy in color, they make a display of what was once an embarrassment. Increasingly, these Saturdays, the odd woman in almost any suburban shopping center is the one without rollers. Rollered women tread libraries and museums, department stores and movie theaters, put their rollered heads together over a bridge table, even go to confession rollered...
None but the Brave. As producer, director and star of this World War II melodrama, Frank Sinatra is triply committed to a piece of flip moral hindsight. War is archaic, he says. It is also rough on brotherhood. But he cannot conceal his boyish enthusiasm for any activity that brings together a swell bunch of guys...
...dress to Lancetti's denim and organdy evening gown, elegance was clearly the theme of the day. And of the night, too. thanks to Top Designer Princess Irene Galitzine, whose patio pajamas (patterned in mauve and pea-green poppies) and open-front, open-back nightgowns (layer-wrapped to conceal seams) stopped the show in Rome, but will only start it somewhere else...
Tiny Alice, by Edward Albee, is a delaying action of adroit theatricality designed to conceal a clutter of confused thought. Albee preaches "resign yourself to the mysteries," but in this quasi-metaphysical suspense melodrama he practices only mystification. He brings the playgoer through the Nietzschean revelation that "God is dead" to the Sartrean discovery of the absurdity of existence. Albee adds that man creates God in his own image, a profundity he presumably shares with many sophomores, past and present. Who's Afraid of Virginia Wool)? rang with the brassy gong of reality; Tiny Alice is a tinny allegory...
...from reverence for your writers' erudition. (Long experience has accustomed us to expect little in the way of illuminating criticism from a CRIMSON reviewer. We know, well before we enter the building, his piece will be an expression of himself, full of sly conceits and clever phrases that scarcely conceal his failure to appreciate a production insghtfully or his general ignorance of theatrical problems.) Rather, we are concerned with your reaction to a play because we must be. It is our misfortune that the Harvard community has only you to turn to for an evaluation of our efforts: Your reviewer...