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...Rainey natters toward its climax like Ibsen gone funky, but it illuminates the talents of worldly-wise actors; one, Charles S. Dutton, spumes anger as the odd man out, striding, not shuffling, to his doom. A one-woman show? Catch Whoopi Goldberg, six monologues written and performed by a rag-doll actress with a bonkers stage name. Some of the skits are predictably poignant, and two just peter out. But the evening serves as an embossed calling card for stardom, presented by a scarifyingly gifted comic artist whose radiant smile even a cobra would be compelled to return...

Author: /time Magazine | Title: Theater: Say Amen, Everybody | 1/7/1985 | See Source »

...after a local second-grader was raped. The heart of the CAP program, and others that have followed or paralleled it, is a series of playlets | designed so that children and leaders can handle the roles and then talk out the tricky nuances of abuse. For the youngest children, rag dolls are used as stand-ins to show the body areas that are strictly private...

Author: /time Magazine | Title: Education: Facing Up to Sex Abuse | 11/12/1984 | See Source »

SOME OF THE better writing, though, lies in the "texts" themselves. The parodies of Helen Gurley Brown and of Jack Kerouac (in the form of Camille Cassidy Cassady, who writes On the Rag) are particularly funny, because the humor is aimed more at the society that fostered Cosmopolitan and the Beat generation than at specific female stereotypes...

Author: By Melissa I. Weissberg, | Title: What's the Message? | 10/24/1984 | See Source »

...this business" should be able to retain the right to some privacy and still make their careers in film. That celebrities may, as some courts have characterized it, invite speculation into their private lives does not endow every fan to exchange their ticket stub and the price of some rag for a detailed account of someone's private life...

Author: By Clark J. Freshmen, | Title: The Price of Arrogance | 9/21/1984 | See Source »

...begins the artistic trajectory of surge, transcendence, decline and early death. Mozart takes a lower-class wife (Elizabeth Berridge, with the puffy, smooth face and black button eyes of a rag doll left in grandma's attic), but befuddles her with his excesses at work and play. He fights with his possessive father (Roy Dotrice) and with the arbiters of art in Joseph's court. He is a slave to fashion and passion. His genius continues to consume him, like a virus he is unable or unwilling to shake; at the first performance of The Magic Flute...

Author: /time Magazine | Title: Cinema: Mozart's Greatest Hit | 9/10/1984 | See Source »

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