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Rose Tobias Shaw (born Stuttgart, September 7, 1919 in Poland - October 27, 2015 ) was a Polish-American casting director.

Career
She was known as ‘Queen of the Mini-series’ for her casting of multi-episodic projects. She was credited with discovering George C Scott, Elliott Gould, Kim Novak, and Pierce Brosnan.

Her credits include the British televisions shows The Prisoner, Secret Agent, and Man in a Suitcase, as well as the films Madhouse (1974), The Seven-Per-Cent Solution (1976), Equus (1977), The Wild Geese (1978), Otto Preminger’s last film, The Human Factor (1979), Lassiter (1984), The Jewel of the Nile (1985), The Last Temptation of Christ (1988) and Escape to Victory (1981).

She was on the set of The Misfits and knew Arthur Miller.

Personal Life
Born in Poland, she immigrated with her parents and sister as a child to The Bronx, New York. She was engaged briefly to acclaimed Broadway director and choreographer Jerome Robbins. She then married British actor Maxwell Shaw.

Partial Filmography

 * 1976 Sweet Smell of Succession - Colin Raleigh
 * 1976 The Incredible Sarah - Fadinard
 * 1975 Mister Quilp - Isaac List
 * 1974 Intercept - Hodges
 * 1974 The Quick One
 * 1959 Ben-Hur - rower (uncredited)

Career
Her many television roles include playing Tess Farraday in the sitcom Stark Raving Mad from 1999-2000. She has also appeared in Angel, Justice League, Nowhere Man, Vanishing Son, and One Life to Live.

Film roles include How to Marry a Billionaire: A Christmas Tale (2000), Do You Wanna Know a Secret? (2001), Down with Love (2003), Just Desserts (2004), and God Bless America (2011).

She made her debut as writer-director with the feature film Girl Flu., which premiered at the Los Angeles Film Festival in 2016. It received positive reviews and was a festival hit, screening at festivals worldwide and winning many awards, including the Audience Award (New Director category) at the Nashville Film Festival.

She co-directed She Kills Monsters: Virtual Realms.

She is writing and directing the upcoming movie Welcome to the Show.

Filmography

 * 1993–1994: Love, Lie, Passion ( One Life to Live, TV series)
 * 1995: Delinquent's Derby
 * 1995: Vanishing Son (TV series, episode)
 * 1996: Nowhere Man - Without Identity! ( Nowhere Man, TV series, an episode)
 * 1997: Dark Skies ( Dark Skies, TV series, episode)
 * 1999: Palm Beach Duo ( Silk Stalkings, TV series, an episode)
 * 1999: Foreign Correspondents
 * 1999: The Sentinel ( The Sentinel, TV series, an episode)
 * 1999–2000: Men without Nerves ( Stark Raving Mad, TV series, 20 episodes)
 * 2000: How to Marry a Billionaire: A Christmas Tale (TV movie)
 * 2001: CSI: On the trail of the perpetrators ( CSI: Crime Scene Investigation, TV series, an episode)
 * 2001: Do You Wanna Know a Secret?
 * 2001: The Kidnapping of Chris Burden
 * 2001: The Guardian ( The Guardian, TV series, an episode)
 * 2001: Sabrina - Totally Bewitched! ( Sabrina, the Teenage Witch, TV series, one episode)
 * 2002: Baby Bob (TV series, two episodes)
 * 2002: My Wife, Her Dad, and I ( In-Laws, TV series, two episodes)
 * 2003: Down with Love - To the devil with love! (Down with Love)
 * 2003: Martha, Inc .: The Story of Martha Stewart (TV movie)
 * 2003: Justice League ( Justice League, television series, two episodes, Voice)
 * 2003: Angel ( Angel, TV series, an episode)
 * 2003–2004: I'm with Her (TV series, four episodes)
 * 2004: Love for Dessert ( Just Desserts, TV movie)
 * 2004: My wife, her in-laws and I (Meet the Fockers)
 * 2005: Strong Medicine: Two Doctors Like Fire and Ice ( Strong Medicine, TV series, an episode)
 * 2005: Bewitched (Bewitched)
 * 2005: Freddie (TV series, an episode)
 * 2005: Out of Practice - Doctor, Single sucht ... ( Out of Practice, TV series, one episode)
 * 2006: What I Did for Love (TV movie)
 * 2006: Roasted and Sold (Grilled)
 * 2006: Cold Case ( Cold Case, TV series, an episode)
 * 2008: The Nanny Express (TV movie)
 * 2009: All About Steve (All About Steve)
 * 2009: Otis E.
 * 2011: God Bless America
 * 2011: The Mentalist (TV series, episode)
 * 2012–2013: Ave 43 (TV series, seven episodes)

Theatre credits
Selected credits listed below.

Biography
He spent his entire career at the Palais-Royal theatre. His eccentric acting, his hoarse voice and his buffoonish pantomime made him one of the most applauded comedians in Paris.

In May 29, 1852 (some sources say earlier) he married his colleague Françoise Billiard, known under the name of Madame Grassot, in Paris.

Started at the Palais-Roya l in 1838. Entered the Gymnasium in 1833, with his wife.

Henry Lyonnet gave him the first name of Paul (an error which has been perpetuated), while Edmond-Denis de Manne clearly indicates in the baptismal extract the first names of Jacques Antoine. However the latter quotes an act of 22 Nivôse year VIII (January 12, 1800), while the reconstituted civil status of Paris only includes one form on the date of September 16, 1799. This may also relate to different dates given for his birth and marriage.

Theatre Credits
Selected credits listed below.

Another list of credits from another source (might be some overlap) below.
 * 1838: Monsieur de Coyllin or the Infinitely Polite Man by Eugène Labiche, Auguste Lefranc and Marc-Michel , Palais-Royal theater: M. de Coyllin
 * 1839: Les Avoués en vacances, comedy-vaudeville in 2 acts by Bayard and Dumanoir , Palais-Royal theater: Zurich and Francine
 * 1843: Les Hures-Graves by Dumanoir, Clairville and Paul Siraudin, Palais-Royal theater: Job aged 300
 * 1844: Deux papas très bien ou la Grammaire de Chicard by Eugène Labiche and Auguste Lefranc, Palais-Royal theater: Tourterot
 * 1845: Le Roi des Frontins by Eugène Labiche, Auguste Lefranc, Palais-Royal theater: Fayensal
 * 1845: The Truancy of Eugène Labiche, Palais-Royal theater: Provins
 * 1845: The Sick Potatoes by Clairville and Dumanoir], Palais-Royal theater: Boudin's son
 * 1846: Mademoiselle ma femme by Eugène Labiche, Auguste Lefranc, Palais-Royal theater: Naquet
 * 1847: A burning fever by Mélesville and Nezel, Palais-Royal theater: the count of Renardoff
 * 1848: A sentimental journey by Charles Varin, Leuven and Brunswick , Théâtre du Palais-Royal
 * 1848: An English channel by Eugène Labiche, Palais-Royal theater: Charençon
 * 1848: A tragedy at the home of M. Grassot by Eugène Labich and Auguste Lefranc, Théâtre du Palais-Royal: Ulysse
 * 1849: The Headlines of a Villain by Eugène Labiche and Saint-Yves, Palais-Royal theater: Sangredino
 * 1849: Trompe-la-ball by Eugène Labiche and Auguste Lefranc, Palais-Royal theater: Crémuffendorf
 * 1849: Exhibition of products from the Republic by Eugène Labiche, Dumanoir and Clairville, Palais-Royal theater: a bousingot and a socialist
 * 1849: The godmothers of the year three of Dumanoir and Clairville, Palais-Royal theater: Soulouque
 * 1850: Bolster and Cover by Eugène Labiche and Charles Varin, Palais-Royal theater: Salvador
 * 1850: Le Sopha by Eugène Labiche, Mélesville and Charles Desnoyer, Palais-Royal theater: the Marquis de Haute-Futaie
 * 1850: The Well-Guarded Girl by Eugène Labiche and Marc-Michel, Palais-Royal theater: Saint-Germain
 * 1850: A ball in a dressing gown by Eugène Labiche and Marc-Michel, Palais-Royal theater: The viscount of Vert-Gazon
 * 1851: Mam'zelle makes her teeth with Eugène Labiche and Marc-Michel, Palais-Royal theater: Turpin
 * 1851: An Italian straw hat by Eugène Labiche and Marc-Michel, Palais-Royal theater: Nonancourt
 * 1851: Martial, the heartbreak of Mélesville, Palais-Royal theater: Pipelet
 * 1852: Maman Sabouleux by Eugène Labiche and Marc-Michel, Palais-Royal theater: Sabouleux
 * 1852: Les Coulisses de la vie, comedy-vaudeville in 5 acts by Dumanoir and Clairville, Palais-Royal theater: Saint-Martin
 * 1852: Mon Isménie by Eugène Labiche and Marc-Michel, Palais-Royal theater: Dardenbœuf
 * 1853: A chest C by Eugène Labiche and Auguste Lefranc, Palais-Royal theater: Fridolin
 * 1853: The Raven Hunt by Eugène Labiche and Marc-Michel, Palais-Royal theater: Montdouillard
 * 1853: A flying hat from Delacour and Morand: Jobinard
 * 1854: Spaniards and Boyardinos by Eugène Labiche and Marc-Michel, Palais-Royal theater: Crétinowitch
 * 1855: La Perle de la Canebière by Eugène Labiche and Marc-Michel, Palais-Royal theater: Beautendon
 * 1855: Les Précieux by Eugène Labiche, Marc-Michel and Auguste Lefranc, Palais-Royal theater: Carolus de Valtravers
 * 1856: La Fiancée du bon coin by Eugène Labiche and Marc-Michel, Palais-Royal theater: Dindard
 * 1856: La Queue de la poële by Paul Siraudin, Alfred Delacour and Lartigue: King Kaperdulaboula
 * 1856: A gentleman who burned a lady by Eugène Labiche and Auguste Anicet-Bourgeois  : Loiseau
 * 1856  : A ball of Auvergnats by Paul Siraudin, Alfred Delacour and Lambert-Thiboust, Théâtre du Palais-Royal
 * 1856  : La Queue de la poële by Paul Siraudin and Alfred Delacour, Palais-Royal theater
 * 1857: The Wedding at Bouchencœur by Eugène Labiche, Albert Monnier and Édouard Martin, Palais-Royal theater: Bouchencœur
 * 1858: Le Punch Grassot by Eugène Grangé and Alfred Delacour, Palais-Royal theater

Note

 * 1) ↑ It was Henry Lyonnet who first gave him the first name of Paul (an error which has been perpetuated), while Edmond-Denis de Manne clearly indicates in the baptismal extract the first names of Jacques Antoine . However the latter quotes an act of 22 Nivôse year VIII (January 12, 1800), while the reconstituted civil status of Paris only includes one form on the date of September 16, 1799...
 * 2) ↑ Paris, Reconstructed civil status, view 11/26.  [ archive ]
 * 3) ↑ Death record in Paris 1 st, 14/21 view.  [ archive ]
 * 4) ↑ Paris, Reconstructed civil status, view 20/49.  [ archive ]
 * 5) ↑ Portrait of Grassot in the role of Pipelet by Lhéritier  [ archive ] read online at Gallica.
 * 6) ↑ Portrait of Grassot in the role of Kaperdulaboul by Lhéritier  [ archive ] read online on Gallica.

Broadway
His Broadway credits include roles in productions of Saint Joan, Six Characters in Search of an Author, Richard III, Cyrano de Bergerac, The Taming of the Shrew, and King Richard II, and he was stage manager on How to Be a Jewish Mother.

Television
He is also known for his television writing credits on Armchair Mystery Theatre, Armchair Theatre, Ruth and Rope (both 1959) , ITV Play of the Week (from 1957 - 1961), Playdate, BBC Sunday-Night Play, and Encounter.

Australian television plays
He travelled to Melbourne on 8 August 1959 to present two plays for GTV-9, starting with Ruth, which was a part of Shell Presents and directed by Rod Kinnear. He was also to help coach Australian writers and producers on US drama techniques. The producers wanted Lyndall Barbour to play the lead. She was tracked down to a hotel room in Paris and John Glennon travelled from London to persuade her to accept the part. He also co-starred in the production. The play was produced in Melbourne at the GTV 9 studios. While rehearsing it Glennon said he was working on a play about Australians in London. The TV critic from the Sydney Morning Herald called it "a highly original and diverting play" where Glennon's writing was "in an attractively inventive and individual way that sometimes shades into the eccentric". Another version aired as a BBC Sunday-Night Play in 1962, starring Constance Cummings, again written by John Glennon, and this time directed by Henry Kaplan.

Rope was the other 1959 Australian TV play he wrote and starred in, also part of Shell Presents and again directed by Kinnear, based on the play by Patrick Hamilton, best known for being adapted as an Alfred Hitchcock movie. Glennon also played one of the lead roles. Glennon made several changes to the play including cutting the time down from two hours to an hour, shifting the action from 1929 to present day New York, and moving the local from one room to a four-room penthouse. "Whereas the original dealt with distance," said Glennon, "you can now eliminate long speeches and convey the same idea by gesture or by a bit of business magnified a hundred fold by that eagle eyed camera." The Sydney Morning Herald critic praised "John Glennon' s clever, perceptive and highly mannered performance... and the tensions which producer Rod Kinnear was able to generate by some thoughtful camera work, and some very skilful organisation on a large and attractive set." The Age TV credit praised the set, credit sequence and some of the acting but had reservations about some of the performances and the direction.