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...Louis Post-Dispatch's veteran Federal Building reporter, Ray A. (for Archibald) Webster once took aggressive pity on an underpaid reporter from an opposition paper. "Listen, you," Webster gruffly told him, "the Star is going to have to raise you to $50 a week or I'll scoop you every day-and you tell your managing editor that." The Starman meekly passed on the warning and was speedily raised to $50 a week to keep Webster from carrying out his threat. There was no doubt that he could carry it out. For most of the 40 years...
Last week in St. Louis, the Post-Dispatch celebrated the retirement of Ray Webster, 65, with a special, four-page newspaper, Webster Good Times ("Published Once-and That's Enough"), which regretfully headlined: SCOOPS WILL...
Saloon Expense Account. Reporter Webster seldom took it easy on his beat, telephoned in to rewritemen tips and stories that helped the crusading P-D break scores of exclusives on everything from protection rackets and gambling to a series on corruption on the federal bench that won a Pulitzer Prize. Many of his sources were cultivated after hours in a bar across the street from the Federal Building, where Webster was the only P-D reporter to have a special "saloon expense account." His expense account also included other unorthodox items. Once he bought an overcoat to go to Indianapolis...
...wonderful." As a result, many a producer and director charges the critics with too often being "shallow" or "dull." "When a critic praises a play," says the Mirror's Coleman, "he is a wonderful critic . . . When he pans one, he is destructive, monstrous, unintelligent." Director Margaret Webster sums it up simply: "Bad notices will cook you. It's impossible to grin and bear...
...deliberately chose to move the play as close to the audience as possible. Instead of performing on Sander's stage, they use a highly symbolic set built on a semi-arena sunk into the floor. This decision was a good one; instead of an aloofness, designer Webster Lithgow has produced a feeling of closeness that adds to the intensity. One can only wish that the individual components of the set were larger and placed further apart. Lighting, by Campbell Steward, and costumes, by Leslie Van Zandt, were excellent...