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...crew like a too-tight corset. Some six basic sets, including Graustarkian streets, bridges, gardens and flats on casters and hundreds of props were arranged in a tight circle on a stage about the size of a basketball court. Off in one niche among the sets, Comedienne Alice Ghostley, one of the mean stepsisters, inadvertently pulled a lavender drape down about her head. "Who in hell moved the curtains?" the prop man screeched from across the room. The sets towered up to within an inch of the overhead pipes and lights. "The street scene is this shape because the studio...

Author: /time Magazine | Title: Television: Rear View | 3/25/1957 | See Source »

Holloway get in some lively dancing, and Comedienne Alice Ghostley throws out some wonderfully mad looks...

Author: /time Magazine | Title: The Theater: New Musical in Manhattan, Jun. 25, 1956 | 6/25/1956 | See Source »

...suburban couple. In its breakfast-table and business-day vignettes, it takes on some of the flatness of its subject matter. But its mockingbird passages-as when a trio hymns the joys of Scarsdale or Shaker Heights-are brighter, and it gets very bright and funny when Singer Alice Ghostley, while meaning to sneer at the movie she's seen, rhapsodically pants over...

Author: /time Magazine | Title: The Theater: New Show in Manhattan, may 2, 1955 | 5/2/1955 | See Source »

...Broadway, New Faces had the irresistible appeal of freshness, bounce and intimacy. The production had concentrated youth−Singers Eartha Kitt. Robert Clary, June Carroll; Comics Ronny Graham and Alice Ghostley−along with some bright sketches and several good songs (Monotonous, Love Is a Simple Thing, I'm in Love with Miss Logan). Also, the show was ingratiatingly small: it played up, rather than down, to the audience...

Author: /time Magazine | Title: Cinema: The New Pictures, Mar. 8, 1954 | 3/8/1954 | See Source »

...others, the comedy doesn't know how to build or where to stop. Take-offs on Truman Capote and Gian-Carlo Menotti (written by Comic Ronny Graham), though clever, have not enough magic in their madness. Even Boston Beguine, well sung by the show's topranker, Alice Ghostley, should mingle Harvard and Haiti more hilariously. The show is funniest where the spoofing is broadest: Paul Lynde as a battered African explorer turned lecturer; and "After Canasta-What?" daffily prophesying a card game requiring adding machines and traffic lights...

Author: /time Magazine | Title: The Theater: New Revue in Manhattan, may 26, 1952 | 5/26/1952 | See Source »

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