Word: rosten
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Most of the photography is rather mediocre, with the outstanding exception of the pictures by Patricia L. Hollander '63, whose "Peace March" (first prize) appeared on the cover of the November 17 CRIMSON WEEKLY REVIEW. Constance Ross Dupee '64, and Madeline Rosten '63, both submitted fairly interesting though in no way extraordinary color photography...
...Eliot House Drama seminar's production, they are suddenly offered to us out of the air. Sitting on tall stools, 11 readers manage to fill more than 70 parts, and for the most part, their many duplications are neither annoying nor indeed very noticeable. This goes particularly for Madeline Rosten and Anna Kay Moses, the only women, switch about genially from whore to henpecker. Of all the cast they help most to keep the play from dragging. "I'm fast," says Miss Rosten engagingly, as Mae Rose Cottage. "You just wait. I'll sin till I blow...
Morgan then completed casting for the various sketches: John Nathan, looking like the Wild Bull of the Pampas, in an old vaudeville bit set along the river bank; Dan Seltzer, a chalk-faced Death directly out of Bergman; Madeline Rosten, as a frowsy, hip-scratching housewife; Steve Aaron, who bests the Devil (Seltzer) in a game of Monopoly; and Jack Daniels, who doubled as technical director. There is also an unidentified couple making love near the John Weeks bridge...
...illuminating example of the trials of movie-making is the bit in which Casey and Babe are seen peering through an open window as Miss Rosten prepares her breakfast. Actually half of the shooting took place from inside the kitchen of Gilman House at Radcliffe. The street-view shots of the Peeping Toms, however, were taken outside the Owl Club, because the first-floor level there made peeping somewhat easier than the greater height from the ground of the Gilman kitchen. When Miss Rosten seems to be pulling the shade on her uninvited guests, the shading is actually being performed...
...Return of H*Y*M*A*N K*A*P*L*A*N, by Leo Rosten. The redoubtable dunce of the immigrant English class is back, just as funny as ever...