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ROSENCRANTZ AND GUILDENSTERN ARE DEAD, winner of the Tony Award for Best Play, takes a chip off the old Bard to construct a neo-Elizabethan existentialist drama. Brian Murray and John Wood are adept as Tom Stoppard's netherheroes of flashing wit but blinking comprehension...

Author: /time Magazine | Title: Television: May 10, 1968 | 5/10/1968 | See Source »

Exact cause of death has not yet been determined. Heart specialists conjectured that death was caused by an inborn misconception of format: The Lampoon's rigid structure, dominated by the short story form, inhibited free circulation of wit and frustrated doctors' attempts to heal...

Author: By Deborah R. Waroff, | Title: The Lampoon | 5/7/1968 | See Source »

Surgeon Thomas LaFarge also brought moments of wit to The Lampoon with his slogan "Forget Vietnam! See The Meat-Cleaver Man!" and his description and catalogue of mutilations that can spare American youth "the indignities of conscription." Similarly revivifying was the poem inspired by Andrew Marvell's "To His Coy Mistress" which Dr. La Farge dedicated to the CRIMSON...

Author: By Deborah R. Waroff, | Title: The Lampoon | 5/7/1968 | See Source »

Galloping Elegance. Now, at 50, "Woody" Broun has settled into a comfortable niche that takes advantage of his talents as actor, writer and learned wit. He is the "sports essayist" on CBS's Saturday Evening News, and compared with the breathless, cliche-riddled attack of the athletes-turned-commentators, his relaxed, reflective reports are easily the best sportscasting on TV. Sprinkled with quotes from Shelley and Browning, his stories are aimed at the average viewer rather than the batting-average viewer who dotes on statistics...

Author: /time Magazine | Title: Television: The Lovable Professor | 5/3/1968 | See Source »

...controlled, but he succeeds in underplaying effectively a role which would tempt any actor to bravado. As the ultimate embodiment of the Shavian pragmatic, democratic, sympathetic Superman, he also manages to convey a vision of humility in majesty. Further, his discipline deserves to underline the character's moments of wit and emotion, and to set the lonely Caesar apart from the more broadly drawn figures who surround him. The greatest virtues of the performance are, however, confined largely to scenes of dialogue. In Caesar's relatively few longer set speeches, Seltzer tends to lapse into a rhetorical and inflectionally rigid...

Author: By Peter Jaszi, | Title: Caesar and Cleopatra | 5/3/1968 | See Source »

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