Dame Edith Mary Evans, was an English actress. She was best known for her work on the stage, but appeared in films at the beginning and towards the end of her career. Between 1964 and 1968, she was nominated for three Academy Awards. Evans's stage career spanned sixty years during which she played more than 100 roles, in classics by Shakespeare, Goldsmith and Wilde, plays by contemporary writers including Bernard Shaw, Enid Bagnold, Christopher Fry and Noël Coward, she created roles in two of Shaw's plays: Orinthia in The Apple Cart, Epifania in The Millionairess and was in the British premières of two others: Heartbreak House and Back to Methuselah. Evans became known for portraying haughty aristocratic women, as in two of her most famous roles: Lady Bracknell in The Importance of Being Earnest, Miss Western in the 1963 film of Tom Jones. By contrast, she played a downtrodden maid in The Late Christopher Bean, a deranged, impoverished old woman in The Whisperers and – one of her most celebrated roles – the Nurse in Romeo and Juliet, which she played in four productions between 1926 and 1961.
Evans was born in Pimlico, the daughter of Edward Evans, a junior civil servant in the General Post Office, his wife, Caroline Ellen née Foster. She had a brother who died at the age of four, she was educated at St Michael's Church of England School, before being apprenticed at the age of 15 in 1903 as a milliner. She commented in years that she loved the rich and beautiful materials of the craft, but could not manage to make two hats alike. While working in a milliner's shop in the City she began attending drama classes in Victoria. In 1912, playing Beatrice in Much Ado About Nothing, she was spotted by the producer William Poel and made her first professional appearance for him in Cambridge in August of that year. Poel cast her as Cressida in Troilus and Cressida in London and subsequently at Stratford-upon-Avon; the critic of The Manchester Guardian found her diction inadequate, but otherwise approved: "Miss Edith Evans, without quite the invincible charm for Cressida, gave an interesting performance".
Evans's West End debut was in George Moore's Elizabeth Cooper in 1913. The play received poor notices, but Evans was praised: "In the small part of a maid Miss Edith Evans made the success of the afternoon, she put more into her few minutes than most of our approved'stars' can suggest in leading parts." In January 1914 she made her professional Shakespearian debut as Gertrude in Hamlet. In 1914, at Moore's instigation, Evans was given a year's contract by the Royalty Theatre in Soho, she played character roles in comedies, as a junior member of casts that included Gladys Cooper and Lynn Fontanne. Over the next ten years she polished her craft in a wide range of parts, she played in a silent film called A Welsh Singer, directed by and featuring Henry Edwards in 1915. For the same director she acted in East is East in 1917, but thereafter made no more films for over thirty years, she toured in Shakespeare with Ellen Terry's company in 1918, appeared in light comedy alongside the young Noël Coward and played five new Shavian roles, Lady Utterword in Heartbreak House and the Serpent, the Oracle, the She-Ancient and the ghost of the Serpent in Back to Methuselah.
In 1922 she made what J T Grein in The Illustrated London News called "a personal triumph" in Alfred Sutro's comedy The Laughing Lady. By this time Evans was well known to the critics, received excellent notices. Nigel Playfair cast her as the strong-willed and witty heroine in his revival of Congreve's Restoration comedy at the Lyric Hammersmith, in 1924; the critics resorted to superlatives: he main pleasure of the evening is due to Miss Edith Evans's Millamant, a part in which she "arrives." This actress imposes herself upon the audience first of all by her Rubens-like vitality. We have always known. Physically she may have no more affinity with Congreve than a fiower-girl of Piccadilly Circus, but she has the art and the wit that transfigure the woman and give us the great lady, the coquette, the rogue, the lover all in one, it was delicious to hear her demand to be "sole empress of her tea-table," but sublime to see her "dwindle into a wife." James Agate wrote, "Let me not mince matters. Miss Edith Evans is the most accomplished of living and practising English actresses."
Arnold Bennett noted in his journals that this Millamant was the finest comedy performance he had seen. Her colleagues too were struck by the performance. John Gielgud recalled: It was as Millamant... that she took the town by storm. It was a exquisite performance, she purred and challenged and melted, showing her changing moods by subtly shifting the angles of her head and shoulders. Poised and cool, like a porcelain figure in a vitrine, she used her fan – which she never opened – in the great love scene, as an instrument for attack or defence, now coquettishly pointing it upwards beneath her chin, now resting it languidly against her cheek, her words flowed on, phrasing and diction balanced in perfect cadences, as she smiled and pouted in delivering her delicious sallies. In the 1925–26 season, Evans joined the company of the Old Vic, playing Portia in The Mer
A love triangle is a romantic relationship involving three or more people. While it can refer to two people independently romantically linked with a third, it implies that each of the three people has some kind of relationship to the other two; the 1994 book Beliefs and Decision Making states, "Although the romantic love triangle is formally identical to the friendship triad, as many have noted their actual implications are quite different.... Romantic love is viewed as an exclusive relationship, whereas friendship is not." Statistics suggest that, in Western society, "willingly or not, most adults have been involved in a love triangle". Two main forms of love triangle have been distinguished: "there is the rivalrous triangle, where the lover is competing with a rival for the love of the beloved, the split-object triangle, where a lover has split their attention between two love objects"; the term "love triangle" connotes an arrangement unsuitable to one or more of the people involved. One person ends up feeling betrayed at some point.
A similar arrangement, agreed upon by all parties is sometimes called a triad, a type of polyamory though polyamory implies sexual relations. Within the context of monogamy, love triangles are inherently unstable, with unrequited love and jealousy as common themes. In most cases, the jealous or rejected first party ends a friendship—and sometimes starts a fight with—the second party over the third-party love interest. Though rare, love triangles have been known to lead to murder or suicide committed by the actual or perceived rejected lover. Psychoanalysis has explored'the theme of erotic love triangles and their roots in the Oedipal triangle'. Experience suggests that'a repeated pattern of forming or being caught in love triangle can be much dissolved by beginning to analyse the patterns of the childhood relationship to each parent in turn and to both parents as a couple'. In such instances,'you find men who are attracted only by married woman but who can't sustain the relationship if it threatens to become more than an affair.
They need the husband to protect them from a full relationship...as women who get involved with married men need the wives'. A common love triangle is one in which the hero or heroine is torn between two suitors of radically contrasting personalities. Alternatively, the hero or heroine has a choice between a perfect lover and an imperfect but endearing person. In this case, the "too-good-to-be-true" person is revealed to have a significant flaw, such as hidden insensitivity or lecherousness, causing the other person to become the more desirable partner.'In geometric terms, the eternal triangle can be represented as comprising three points – a jealous mate in a relationship with an unfaithful partner who has a lover... A feels abandoned, B is between two mates, C is a catalyst for crisis in the union A-B', it has been suggested that'a collusive network is always needed to keep the triangle eternal'. This may take a tragic form –'I saw no prospect of its ending except with death – the death of one of three people' – or alternately a comic one:'A man at the funeral of a friend's wife, with whom he has been carrying on an affair, breaks into tears and becomes hysterical, while the husband remains impassive.
"Calm yourself," says the husband, "I'll be marrying again"'. It has been suggested that if men'share a sense of brotherhood and they allow a woman into their relationship, an isosceles triangle is created' automatically, as'in Truffaut's film Jules et Jim'. René Girard has explored the role of envy and mimetic desire in such relationships, arguing that the situation'subordinates a desired something to the someone who enjoys a privileged relationship with it'. In such cases,'it cannot be fair to blame the quarrel of the mimetic twins on a woman.... She is their common scapegoat'; when a love triangle results in the breakup of a marriage, it may be followed by what has been called'the imposition of a "defilement taboo"...the emotional demand imposed by a jealous ex-mate...to eschew any friendly or supportive contact with the rival in the triangle' The result is to leave children gripped by'shadows from the past...they take sides. Their loyalties are torn', – except in the best of cases –'the one left "injured" can sway the feelings of the children against acknowledging this new relationship'.
As to gender responsibility, evidence would seem to indicate that in late modernity both sexes may well play the part of the "Other Person" – that'men and women love with equivalent passion as well as folly' and that there is nothing to'suggest that a man is better able to control himself in a love triangle than a woman'. Stereotypically, the person at the center of a rivalrous love triangle is a woman, whereas for a split-object love triangle it is a man, due to the same reasons that polygyny is far more common than polyandry; those who find themselves tempted to become the Other Man may, still find a cynic's advice from the 1930s pertinent on'the emotional position of the adulterer, why to avoid it... Did I know what a mug's game was? – No. – "A mug's game," he told me, "is breaking your back at midnight, trying to make another man's wife come'. Love triangles are a popular theme in entertainment romantic fiction, including opera, romance novels, soap operas, romantic comedies, mang
Bessie Love was an American motion picture actress who achieved prominence playing innocent young girls and wholesome leading ladies in silent films and early talkies. Her acting career spanned eight decades, her performance in The Broadway Melody earned her a nomination for the Academy Award for Best Actress. Bessie Love was born in Texas, she attended school in Midland until she was in the eighth grade, when her chiropractor father moved his family to Arizona, New Mexico, to Hollywood. On actor Tom Mix's recommendation that she "get into pictures", Love's mother sent her to Biograph Studios, where she met pioneering film director D. W. Griffith. Griffith, who introduced Bessie Love to films gave the actress her screen name, he gave her a small role in his film Intolerance. Love dropped out of Los Angeles High School to pursue her film career, although she completed her diploma many years later, her "first role of importance" was in The Flying Torpedo. She appeared opposite William S. Hart in The Aryan and with Douglas Fairbanks in The Good Bad Man, Reggie Mixes In, The Mystery of the Leaping Fish.
In her early career, she was compared to Mary Pickford, was called "Our Mary" by Griffith. Love took an active role in the management of her career, upgrading her representation to Gerald C. Duffy, the former editor of Picture-Play Magazine, publicizing herself by playing the ukulele and dancing for members of the military. Glowing reviews of her films criticized the venues in which they were shown, citing this as a reason she was not a more awarded actress; as her roles got larger, so did her popularity. In 1922, Love was chosen as a WAMPAS Baby Star. In 1923, she produced by Thomas Ince; because of her performance in The King on Main Street, Love is credited with being the first person to dance the Charleston on film, popularizing it in the United States. Her technique was documented in instructional guides, including a series of photographs by Edward Steichen, she subsequently performed the dance the following year in Dance Man. In 1925, she starred in The Lost World, a science fiction adventure based on the novel of the same name by Sir Arthur Conan Doyle.
Three years she starred in The Matinee Idol, a romantic comedy directed by a young Frank Capra. Despite these successes, Love's career was on the decline, she lived frugally so that she could afford lessons in dancing. Love toured with a musical revue for sixteen weeks; the experience she gained on the vaudeville stage singing and dancing in three performances a day prepared her for the introduction of sound films. She was signed to MGM in 1928. In 1929, she appeared in the musical The Broadway Melody, her performance earned her a nomination for the Academy Award for Best Actress, the success of the film resulted in a 5-year contract with MGM and an increase in her weekly salary from $500 to $3,000—$1,000 more than her male co-star Charles King. She appeared in several other early musicals, including The Hollywood Revue of 1929, Chasing Rainbows, Good News, They Learned About Women. However, by 1932, her American film career was once again in decline, she did stage work and occasional films there.
Love returned to the United States in 1936 to seek a divorce. During World War II in Britain, when Love found acting work hard to come by, she was the "continuity girl" on the film drama San Demetrio London, an account of a ship badly damaged in the Atlantic but whose crew managed to bring her to port, she worked for the American Red Cross. After the war, she resumed work on the stage and played small roles in films as an American tourist. Stage work Born Yesterday, she wrote and performed in The Homecoming, a semiautobiographical play, which had its opening in Perth, Scotland in 1958. Film work included The Barefoot Contessa with Humphrey Bogart, Ealing Studios' Nowhere to Go, The Greengage Summer starring Kenneth More, she played small roles in the James Bond thriller On Her Majesty's Secret Service and in Sunday Bloody Sunday. In addition to playing the mother of Vanessa Redgrave's titular character in Isadora, Love served as dialect coach to the actress. In October 1963, Love was the subject of This Is Your Life, when she was surprised by Eamonn Andrews in central London.
Love appeared in John Osborne's play West of Suez, as "Aunt Pittypat" in a large-scale musical version of Gone with the Wind. She played Maud Cunard in the TV miniseries Edward & Mrs. Simpson in 1978, her film work continued in the 1980s with roles in Ragtime, Lady Chatterley's Lover, and—her final film—The Hunger. Love married agent William Hawks at St. James Episcopal Church in South Pasadena, California on December 27, 1929. Mary Astor, Carmel Myers, Norma Shearer were among her bridesmaids, they lived at the Havenhurst Apartments in Hollywood. They had a daughter, Patricia Hawks, who had some bit parts in movies in 1952, they divorced in 1936. Love was a Christian Scientist, she died in London, England from natural causes on April 26, 1986. Love was periodically interviewed by film historians, wrote a series of articles about her experiences for The Christian Science Monitor. In 1977, Love published an autobiography based on these articles, enti
St Alfege Church, Greenwich
St Alfege Church is an Anglican church in the centre of Greenwich, part of the Royal Borough of Greenwich in London. It was rebuilt in 1712 -- 1714 to the designs of Nicholas Hawksmoor; the church is dedicated to Alfege, Archbishop of Canterbury, reputedly marks the place where he was martyred on 19 April 1012, having been taken prisoner during the sack of Canterbury by Danish raiders the previous year. The Danes took him to their camp at Greenwich and killed him when the large ransom they demanded was not forthcoming; the church was rebuilt in around 1290. It was in this building that Henry VIII was baptised in 1491; the patronage of the church was given to the abbey at Ghent during the 13th century. Following the suppression of alien priories under Henry V, it was granted to the priory at Sheen with which it remained until transferred to the Crown by exchange under Henry VIII in 1530. During a storm in 1710 the medieval church collapsed, its foundations having been weakened by burials both inside and outside.
Following the collapse of the medieval church, the present building was constructed, funded by a grant from the Commission for Building Fifty New Churches, to the designs of Nicholas Hawksmoor, one of the commission's two surveyors. The first church to be built by the commissioners, it was begun in 1712 and basic construction was completed in 1714; the church is rectangular in plan with a small apse serving as a chancel. The east front, towards the street, has a portico in the Tuscan order, with a central arch cutting through the entablature and pediment—a motif used in Wren's "Great Model" for St Paul's Cathedral. A giant order of pilasters runs around the rest of the church, a feature Kerry Downes suggests may have been added by Thomas Archer, according to the minutes of the commission, "improved" Hawksmoor's plans. On the north and south sides of the churchwide projecting vestibules rise to the full height of the building, with steps leading up to the doors. Hawksmoor planned a west tower, in the position of the existing one, which had survived the collapse.
However the commission was reluctant to fund it, the medieval tower was retained. In 1730 John James refaced it, added a spire. Hawksmoor's design, published in an engraving in 1714, had an octagonal lantern at the top, a motif he was to use at St George in the East. An organ, built by George England, was installed in the mid-18th century; the crypt served as an air-raid shelter during World War II. During the Blitz on 19 March 1941, incendiary bombs landed on the roof causing it to collapse, burning into the nave; the walls and the tower remained standing. The church was restored by Sir Albert Richardson in 1953. In 2015 a fund-raising cream tea garden party for Christian Aid, held in the churchyard after the Sunday sermon, was stormed by armed police. An attendee said that the vicar's wife was “almost knocked over by a policeman with a huge machine gun”, but “people just carried on drinking their tea” in a display of typical British fortitude though “all these armed police bursting in was like the film Hot Fuzz”.
The police proceeded to the adjacent Saint Alfege Park, where a man was arrested and a firearm found. The Church is used to celebrate "Founder's Day" of Addey and Stanhope School and The John Roan School. Notable burials in and around the church include the Renaissance composer Thomas Tallis. Sarah Barrett Moulton was buried under the doctors vault; the merchant, Lloyd's underwriter and art collector John Julius Angerstein, was a churchwarden during the early 19th century and is buried there. Sir James Creed lies against the outer north wall. Sir John Lethieullier lies on the outer southwest corner of the church. In Charles Dickens's novel Our Mutual Friend, Bella Wilfer marries John Rokesmith in St Alfege Church. List of churches and cathedrals of London Official website Mystery Worshipper Report at the Ship of Fools website
Murray Seafield St George Head is an English actor and singer. Head has appeared in a number of films, including the role of Bob Elkin in the Oscar-nominated 1971 film Sunday Bloody Sunday; as a musician, he is most recognised for his international hit songs "Superstar" and "One Night in Bangkok", for his 1975 album Say It Ain't So. He has been involved in several projects since the 1960s and continues to record music, perform concerts, make appearances on television either as himself or as a character actor. Murray Head was born in London to Helen Shingler. Head's father was a founder of Verity Films. Head's mother played Mme Maigret alongside Rupert Davies in the BBC 1960s television adaptation of the Maigret novels written by Georges Simenon. Head's younger brother Anthony Head is an actor, best known for playing Rupert Giles in the TV series Buffy the Vampire Slayer. Murray Head was educated at the Lycée Français Charles de Gaulle in South Kensington and Hampton School in Hampton, London, he attended Chiswick Polytechnic in the early 1960s.
Head began writing songs as a child, by the mid-1960s he had a London-based recording contract. He had limited success, until asked by Tim Rice and Andrew Lloyd Webber to play Judas Iscariot on the original concept album version of Jesus Christ Superstar. With the Trinidad Singers, the song "Superstar" peaked at No. 14 on the Billboard Hot 100 chart in 1971. He made his film debut in The Family Way, which featured Hayley Mills, Hywel Bennett and John Mills in the leading roles. Head won a leading role in the Oscar-nominated film Sunday Bloody Sunday, alongside Peter Finch and Glenda Jackson. Despite these successes, he received little public attention in the next ten years. "Never Even Thought" has been covered by both Colin Blunstone and Cliff Richard. In 1973, he appeared in The Fourth Tower of Inverness. In 1979, Head appeared in the miniseries Prince Regent and the final episode of the ITV program Return of the Saint. Head reappeared in the spotlight in 1984 as the American on the concept album for the musical Chess.
The song "One Night in Bangkok" featured Head on lead vocals. It became the last significant Broadway/West End number to be a hit single on American and German radio until "No Matter What" by Boyzone in 1996. "One Night in Bangkok" was a success in both North America. Head performed the role of world chess champion Frederick "Freddie" Trumper in the London West End stage production of Chess that premiered on 14 May 1986; the show ran in London until 8 April 1989. After that, Head had little recording success in the United States; this fact would be underscored in a radio segment featured on The Kevin and Bean Show on KROQ-FM in Los Angeles, in which the hosts would phone Head in the morning to find out "What's Up with Murray Head?" Fluent in French, he has released a number of albums in that language. A duet with Marie Carmen, "Une femme un homme", was released in 1993 and was a hit in French-speaking Canada. In 1999, Head co-wrote the screenplay to Les Enfants du Siècle, he has appeared on television in the UK on The Bill, North Square and Judge John Deed.
He played an artist, love interest of Gina Ward, called Jack Hollins on ITV's Heartbeat from 2005–06. On 15 March 2010 he appeared in the BBC drama Doctors playing a pop singer, Pete Perry, trying to make a comeback, in which Head sang Robert Johnson's "Love in Vain". In Canada, he was part of the cast of the 2002 television mini-series Music-Hall, which played on the Radio-Canada network. In 2011 he appeared in the first episode of the series Vera as Peter Calvert. Head's picture appeared on the album cover of The Smiths' compilation album Stop Me, taken from a still of the film The Family Way. Murray Head married Susan Ellis Jones in 1972, he has two daughters: Sophie. Sophie sometimes sings with her father, for example on songs such as "Seras-tu là?" on the album Tête à tête and "Make It Easy" from the Emotions album. 1972 – Nigel Lived 1975 – Say It Ain't So 1979 – Between Us 1981 – Voices 1981 - How Many Ways 1983 – Shade 1984 – Restless 1987 – Sooner or Later 1992 – Wave 1993 – Innocence 1995 – Pipe Dreams 2000 – Innocence 2002 – Passion 2007 – Tête à Tête 2008 – Rien n'est écrit 2012 – My Back Pages 1981 – Find the Crowd 2009 - Live Collection Vol 1 2010 - Live Collection Vol 2 1990 – Watching Ourselves Go By 1995 – When You're in Love 1995: Greatest Hits 2006 – Emotions, My Favourite Songs 2016: Scrapbook - Boxset 3 CD + 1 DVD With Live Tracks.
1980: Cocktail Molotov - Song Dearest Anne. 1982: Pour cent briques t'as plus rien - Song No Mystery. 1985: The Flying Devils Original Soundtrack: Music by Kasper Winding & Murray Head. 1988: A Gauche En Sortant De L'Ascenseur - Music by Murray Head. 1989: Un été d'orages - Music by Murray Head. 1992: Patrick Dewaere - Documentary from Marc Esposito directing, on the french actor and friend Patrick Dewaere, with music by Murray Head & Patrick Dewaere. 1970: Jesus Christ Superstar - Murray plays the role of Judas Iscariot and Ian Gillan plays the part of Jesus Christ. 1986: Time by Dave Clark. Murray sings on We're the U. F. O
Gabrielle Daye was an English stage and television actress, notable for her TV role as Mrs. Pring on Bless Me, Father. Other television appearances include Coronation Street, The War of Darkie Pilbeam, Survivors, Dear Enemy, Juliet Bravo, Ever Decreasing Circles, Bleak House and A Very British Coup, she appeared in the feature films 10 Rillington Place, Sunday Bloody Sunday, Don't Just Lie There, Say Something!, Cry Wolf and No Surrender. On stage, she was in the original Royal Court production of David Storey's In Celebration in 1969 for director Lindsay Anderson, she worked again for Anderson in the long running Ben Travers farce The Bed Before Yesterday at London's Lyric Theatre in 1975. Twilight Hour - Housemaid Saints and Sinners - Maeve's Mother Little Big Shot - Coronation Street, 27 episodes - Beattie Pearson Chitty Chitty Bang Bang - Lady-in-Waiting 10 Rillington Place - Mrs. Lynch Sunday Bloody Sunday - Wife at Hospital Don't Just Lie There, Say Something! - Elderly lady In Celebration - Mrs. Burnett No Surrender - Winnie Gabrielle Daye on IMDb