For the Act concerning the licensing of premises to sell alcohol, see Licensing Act 2003. The Licensing Act of 1737 is a defunct Act of Parliament in the Kingdom of Great Britain, a pivotal moment in theatrical history, its purpose was to control and censor what was being said about the British government through theatre. The act was modified by the Theatres Act 1843 and was named as the Theatres Act 1968; the Lord Chamberlain was the official censor and the office of Examiner of Plays was created under the Act. The Examiner assisted the Lord Chamberlain in the task of censoring all plays from 1737–1968; the Examiner read all plays which were to be publicly performed, produced a synopsis and recommended them for licence, consulting the Lord Chamberlain in cases of doubt. The function of censorship of plays for performance fell to the Master of the Revels by the time of the reign of Queen Elizabeth I; the power was used with respect to matters of politics and religion. It was exercised by Edmund Tylney, Master from 1579 to 1610.
Tylney and his successor, George Buck exercised the power to censor plays for publication. The Master of the Revels, who reported to the Lord Chamberlain, continued to perform the function until, with the outbreak of the English Civil War in 1642, stage plays were prohibited. Stage plays did not return to England until the Restoration in 1660. During the creation of the Licensing of 1737, Robert Walpole was the standing Master of the Revels Laws regulating theatre in the early 18th century were not enforced. People had free rein to say anything they wanted through theatre, including all their troubles with the government. Free speech in theatre was seen as a threat to the government, facilitating the spread of revolutionary ideas; the act enhanced government censorship. In addition to reading plays and writing Reader's Reports for the Lord Chamberlain the Examiners were expected to visit theatres to ensure their safety and comfort and to see that the Lord Chamberlain's rules were carried out with regard to the licences.
They were required to appear at subpoenas in law cases relating to licensing, to examine Play Bills. From 1911 Examiners were required to write reports on plays for the Lord Chamberlain. A copy of the play script and Reader's Report were held by the Lord Chamberlain's office and are now held by the British Library in the Lord Chamberlain's Plays collection. In the years 1922–1938 when The Earl of Cromer was the Lord Chamberlain nearly 13,000 plays were licensed, an average of 820 a year. There were 21 Examiners of Plays between 1738 and 1968; the Examiners had a variety of qualifications and experience for the position. Edward Pigott was a journalist on the Daily News and had an extensive knowledge of European literature and languages. George Redford, a playwright, resigned his post in 1913 to become the first president of the British Board of Film Censors. Ernest Bendall had been a clerk in the Paymaster-General's Office for 30 years retiring in 1896 to become a journalist and drama critic for several London newspapers.
Charles Brookfield was an actor and journalist. George Street was an essayist and playwright. Henry Game trained as an artist, was an amateur actor and was known for his knowledge of the theatre. Charles Heriot was an producer. Sir St Vincent Troubridge was in the military as well as being a theatre historian. Ifan Kyrle Fletcher was a theatre antiquarian bookseller. Timothy Harward studied theatre and literature at university, becoming a theatre journalist for the Irish Times and lecturer at Regent Street Polytechnic. Censorship in the United Kingdom Lord Chamberlain Lord Chamberlain's Office Antitheatricality: 16th and 17th century Baker, Roger. Drag: A History of Female Impersonation In The Performing Arts. New York City: NYU Press. ISBN 978-0814712535. Liesenfeld, Vincent J; the Licensing Act of 1737. University of Wisconsin Press. 1984. Print. ISBN 0-299-09810-9 The text of the act
Joel C. Baxley is an American businessman and government official who serves as the Acting Assistant to the Secretary for Rural Development. Baxley was born and raised in Bay County and received a Masters of Business Administration from the University of Alabama, he went on to earn a postgraduate diploma in financial strategy from the University of Oxford. Baxley served as the managing partner of Baxley Property Advisors, LLC before holding the titles of Consulting Services Director and the senior real estate technical consultant with RSM US LLP's Financial Advisory Services consulting practice, he rose to become Administrator of USDA Rural Development's Rural Housing Service. In 2019, he was by Sec. Sonny Perdue to replace Assistant to the Secretary for Rural Development Anne Hazlett, named the Senior Adviser at the White House Office of National Drug Control Policy. Baxley is married and has three children
Arthur Moore was an English professional rugby league footballer who played in the 1910s and 1920s. He played at representative level for England, at club level for Hull Kingston Rovers, as a forward, during the era of contested scrums. Moore won a cap for England while at Hull Kingston Rovers, he played as a forward, i.e. number 12, in 1913 against Wales. Arthur Moore played as a forward, i.e. number 8, in Hull Kingston Rovers' 10-22 defeat by Huddersfield in the 1911–12 Yorkshire County Cup Final during the 1911–12 season at Belle Vue, Wakefield on Saturday 25 November 1911, in front of a crowd of 20,000. Hull Kingston Rovers ~ Captains
The 2016 Betway Premier League Darts was a darts tournament organised by the Professional Darts Corporation – the twelfth edition of the tournament. The event began on Thursday 4 February at the First Direct Arena in Leeds and ended with the Play-offs at The O2 Arena in London on Thursday 19 May; the tournament saw its first visit to the Netherlands after agreeing to go to Ahoy Arena in Rotterdam on Thursday 12 May, joining 15 other venues across the UK and Ireland. This is the third year. Gary Anderson was the defending champion. Michael van Gerwen won his second Premier League Darts title by beating Taylor 11–3 in the final. Van Gerwen recorded the highest televised 3-dart average of 123.40 against Michael Smith during night 4 in Aberdeen. The tournament format is identical to that since 2013. During the first nine weeks each player plays the other nine players once; the bottom two players are eliminated from the competition. In the next six weeks each player plays the other seven players once.
Phase 2 consists of four weeks where five matches are played followed by two weeks where four matches are played. At the end of phase 2 the top four players contest the two semi-finals and the final in the play-off week
Lanester is a commune in the Morbihan department in Brittany, in north-western France. It is the largest suburb of the city of Lorient, across the river Scorff to the east. Inhabitants of Lanester are called Lanestériens; the municipality created a linguistic plan through Ya d'ar brezhoneg on July the 13th of 2006. In 2008, 5.67% of the children attended the bilingual schools in primary education. Communes of the Morbihan department Mayors of Morbihan Association INSEE commune file Official website French Ministry of Culture list for Lanester Map of Lanester on Michelin
Alice Jeanne Faye was an American actress and singer. She sang "You'll Never Know", which won its composers the Academy Award for Best Original Song at the 1944 Oscars ceremony. Faye introduced the song in the musical film Hello, Hello. Faye had two daughters, she married actor and singer Tony Martin in 1937, they divorced in 1940. She married actor Phil Harris in 1941, a union which lasted until his death in 1995. Alice Jeanne Leppert was born on May 5, 1915, in Hell's Kitchen, the daughter of Alice, who worked for the Mirror Chocolate Company, Charles Leppert, a police officer, she had Charles. Faye was raised an Episcopalian. Faye's entertainment career began in vaudeville as a chorus girl, she failed an audition for the Earl Carroll Vanities when it was revealed she was too young, before she moved to Broadway and a featured role in the 1931 edition of George White's Scandals. By this time, she had adopted her stage name and first reached a radio audience on Rudy Vallée's The Fleischmann's Yeast Hour.
Faye got her first major film break in 1934, when Lilian Harvey abandoned the lead role in a film version of George White's 1935 Scandals, in which Vallee was to appear. Hired first to perform a musical number with Vallee, Faye ended up as the female lead, she became a hit with film audiences of the 1930s when Fox production head Darryl F. Zanuck made her his protégée, he softened Faye from a wisecracking show girl to a youthful, yet somewhat motherly figure, such as her roles in a few Shirley Temple films. Faye received a physical makeover, going from a version of Jean Harlow to a wholesome appearance, in which her platinum hair and pencil-line eyebrows were swapped for a more natural look. In 1938, Faye was cast as the female lead in In Old Chicago. Zanuck resisted casting Faye, as the role had been written for Jean Harlow. However, critics applauded Faye's performance; the film was memorable for its 20-minute ending, a recreation of the Great Chicago Fire, a scene so dangerous that women, except for the main stars, were banned from the set.
In the film, she appeared with two of her most frequent co-stars, Tyrone Power and Don Ameche, as it was customary for studios to pair their contract players together in more than one film. Faye and Ameche were reunited for the 1938 release Alexander's Ragtime Band, designed to showcase more than 20 Irving Berlin songs. One of the most expensive films of its time, it became one of the most successful musicals of the 1930s. By 1939, Faye was named; that year, she made Rose of Washington Square with Tyrone Power. Although a big hit, the film was based on the real life of comedian Fanny Brice, who sued Fox for stealing her story; because of her bankable status, Fox placed Faye in films that were put together more for the sake of making money than showcasing Faye's talents. Films like Tail Spin and Barricade were more dramatic in nature than regular Faye films and did not contain any songs. But, due to her immense popularity, none of the films that she made in the 1930s and 1940s lost money. In 1940, Faye played one of her most memorable roles, the title role in the musical biopic Lillian Russell.
Faye always named this film as one of her favorites, but it was her most challenging role. The tight corsets Faye wore. After declining the lead role in Down Argentine Way, because of an illness, Faye was replaced by the studio's newest musical star, Betty Grable, she was paired as a sister act opposite Grable in the film Tin Pan Alley that same year. During the making of the picture, a rumor arose that there was a rivalry between Grable. In a Biography interview, Faye admitted. In 1941, Fox began to place Faye in musicals photographed in Technicolor, a trademark for the studio in the 1940s, she played a performer one moving up in society, allowing for situations that ranged from the poignant to the comic. Films such as Week-End in Havana and That Night in Rio, in which she played a Brazilian aristocrat, made good use of Faye's husky singing voice, solid comic timing, flair for carrying off the era's starry-eyed romantic story lines. In 1943, after taking a year off to have her first daughter, Faye starred in the Technicolor musical Hello, Hello.
Released at the height of World War II, the film became one of her highest-grossing pictures for Fox. It was in this film that Faye sang "You'll Never Know"; the song won the Academy Award for Best Original Song for 1943, the sheet music for the song sold over a million copies. However, since there was a clause in her contract stating that she could not record any of her movie songs, other singers, such as Dick Haymes, Frank Sinatra, Rosemary Clooney have been more associated with the song than Faye. However, it is still considered Faye's signature song; that year, Faye was once again named. As Faye's star continued to ascend during the war years, family life became more important to her with the arrival of a second daughter, Phyllis. After her birth, Faye signed a new contract with Fox to make only one picture a year, with the option of a second one, to give Faye a chance to spend more time with her family, her second