West End theatre
West End theatre is a common term for mainstream professional theatre staged in the large theatres of "Theatreland" in and near the West End of London. Along with New York City's Broadway theatre, West End theatre is considered to represent the highest level of commercial theatre in the English-speaking world. Seeing a West End show is a common tourist activity in London. Society of London Theatre has announced that 2017 was a record year for the capital’s theatre industry with attendances topping 15,000,000 for the first time since the organization began collecting audience data in 1986. Box office revenues exceeded £700,000,000. Famous screen actors and international alike appear on the London stage. Theatre in London flourished after the English Reformation; the first permanent public playhouse, known as The Theatre, was constructed in 1576 in Shoreditch by James Burbage. It was soon joined by The Curtain. Both are known to have been used by William Shakespeare's company. In 1599, the timber from The Theatre was moved to Southwark, where it was used in building the Globe Theatre in a new theatre district formed beyond the controls of the City corporation.
These theatres were closed in 1642 due to the Puritans who would influence the interregnum of 1649. After the Restoration, two companies were licensed to perform, the Duke's Company and the King's Company. Performances were held in converted buildings, such as Lisle's Tennis Court; the first West End theatre, known as Theatre Royal in Bridges Street, was designed by Thomas Killigrew and built on the site of the present Theatre Royal, Drury Lane. It was destroyed by a fire nine years later, it was replaced by a new structure designed by Christopher Wren and renamed the Theatre Royal, Drury Lane. Outside the West End, Sadler's Wells Theatre opened in Islington on 3 June 1683. Taking its name from founder Richard Sadler and monastic springs that were discovered on the property, it operated as a "Musick House", with performances of opera. In the West End, the Theatre Royal Haymarket opened on 29 December 1720 on a site north of its current location, the Royal Opera House opened in Covent Garden on 7 December 1732.
The Patent theatre companies retained their duopoly on drama well into the 19th century, all other theatres could perform only musical entertainments. By the early 19th century, music hall entertainments became popular, presenters found a loophole in the restrictions on non-patent theatres in the genre of melodrama. Melodrama did not break the Patent Acts; these entertainments were presented in large halls, attached to public houses, but purpose-built theatres began to appear in the East End at Shoreditch and Whitechapel. The West End theatre district became established with the opening of many small theatres and halls, including the Adelphi in The Strand on 17 November 1806. South of the River Thames, the Old Vic, Waterloo Road, opened on 11 May 1818; the expansion of the West End theatre district gained pace with the Theatres Act 1843, which relaxed the conditions for the performance of plays, The Strand gained another venue when the Vaudeville opened on 16 April 1870. The next few decades saw the opening of many new theatres in the West End.
The Criterion Theatre opened on Piccadilly Circus on 21 March 1874, in 1881, two more houses appeared: the Savoy Theatre in The Strand, built by Richard D'Oyly Carte to showcase the comic operas of Gilbert and Sullivan, opened on 10 October, five days the Comedy Theatre opened as the Royal Comedy Theatre on Panton Street in Leicester Square. It abbreviated its name three years later; the theatre building boom continued until about World War I. During the 1950s and 1960s, many plays were produced in theatre clubs, to evade the censorship exercised by the Lord Chamberlain's Office; the Theatres Act 1968 abolished censorship of the stage in the United Kingdom. "Theatreland", London's main theatre district, contains forty venues and is located in and near the heart of the West End of London. It is traditionally defined by The Strand to the south, Oxford Street to the north, Regent Street to the west, Kingsway to the east, but a few other nearby theatres are considered "West End" despite being outside the area proper.
Prominent theatre streets include Drury Lane, Shaftesbury Avenue, The Strand. The works staged are predominantly musicals and modern straight plays, comedy performances. Many theatres in the West End are of late Victorian or Edwardian construction and are owned. Many are architecturally impressive, the largest and best maintained feature grand neo-classical, Romanesque, or Victorian façades and luxurious, detailed interior design and decoration. However, owing to their age, leg room is cramped, audience facilities such as bars and toilets are much smaller than in modern theatres; the protected status of the buildings and their confined urban locations, combined with financial constraints, make it difficult to make substantial improvements to the level of comfort offered. In 2003, the Theatres Trust estimated that an investment of £250 million over the following 15 years was required for modernisation, stated that 60% of theatres had seats from which the stage was not visible; the theatre owners unsuccessfully requested tax concessions to help them meet the costs.
From 2004 onwards there were several incidents of falling plasterwork or performances being cancelled because of urgent building repairs being required. These events culminated in the partial
Miss Great Britain
Miss Great Britain is a female beauty pageant. It is the oldest pageant in the UK, established in 1945. Following World War Two, a number of seaside resorts around the country introduced beauty contests as attractions; the contest began in the Summer of 1945 under the name “Bathing Beauty Queen”, organised by the Morecambe Local Council in partnership with the ‘Sunday Dispatch’ newspaper. Morecambe went on to become the home of Miss Great Britain between 1956 and 1989; the first Miss Great Britain final was watched by 4,300 people in a continuous downpour. The winner received a cup and according to the local newspaper ‘a paltry prize’ of seven guineas as well as a swimsuit. Prize money increased to £100 the following year, £500 the next and reached £1000 in the fifties due to its popularity; the contest continued to offer the largest prize fund of any competition run by a municipal authority. The sixties saw the beginning of the decline in British seaside holidays with families able to afford trips abroad.
A new competition format was needed and was realised with the introduction of television to Miss Great Britain in 1971. By 1978, the prize fund had increased to £10,000 thanks to the competition’s sponsors, the popularity of the competition was again on the rise; the contests were aimed at a family audience – men could enjoy watching pretty girls, women could have fun backing their favourites and young girls could aspire to be a bathing beauty when they grew up. For the girls who entered, there was the lure of cash prizes, potential fame and fortune; the pageant has changed over the years and is now one of the few inclusive systems allowing both married women and mothers to compete. The Miss Great Pageant is organised/ran by Kreative Group Ltd.. Miss Great Britain winner will go on to represent Great Britain as its Tourism Ambassador in Miss Tourism World; the 2006 title holder was Preeti Desai. Desai made history when she became the first winner of Indian ethnicity when she replaced the dethroned Danielle Lloyd.
Lloyd had lost the crown after stirring up scandals for posing nude for Playboy magazine and dating one of the judges during her participation in the pageant. Danielle Lloyd has been re-instated into the Wall of Fame/ Previous winners as of 11 January 2010. Archives of Miss Great Britain are held at The Women's Library at the Library of the London School of Economics, ref 5MGB Most surviving material is held at Lancashire Archives, ref as part of the Morecambe and Heysham Borough Council collection, MBMO-HE www.missgreatbritain.co.uk Remembering seaside beauty contests Miss Tourism World Organisation
Music hall is a type of British theatrical entertainment, popular from the early Victorian era, beginning around 1850. It ended, after the First World War, when the halls rebranded their entertainment as Variety. Perceptions of a distinction in Britain between bold and scandalous Victorian Music Hall and subsequent, more respectable Variety differ. Music hall involved a mixture of popular songs, speciality acts, variety entertainment; the term is derived from a type of venue in which such entertainment took place. American vaudeville was in some ways analogous to British music hall, featuring rousing songs and comic acts. Originating in saloon bars within public houses during the 1830s, music hall entertainment became popular with audiences. So much so, that during the 1850s some public houses were demolished, specialised music hall theatres developed in their place; these theatres were designed chiefly so that people could consume food and alcohol and smoke tobacco in the auditorium while the entertainment took place.
This differed somewhat from the conventional type of theatre, which until seated the audience in stalls with a separate bar-room. Major music halls were based around London. Early examples included: the Canterbury Music Hall in Lambeth, Wilton's Music Hall in Tower Hamlets, The Middlesex in Drury Lane, otherwise known as the Old Mo. By the mid-19th century, the halls cried out for many catchy songs; as a result, professional songwriters were enlisted to provide the music for a plethora of star performers, such as Marie Lloyd, Dan Leno, Little Tich, George Leybourne. All manner of other entertainment was performed: male and female impersonators, lions comiques, mime artists and impressionists, trampoline acts, comic pianists were just a few of the many types of entertainments the audiences could expect to find over the next forty years; the Music Hall Strike of 1907 was an important industrial conflict. It was a dispute between artists and stage hands on one hand, theatre managers on the other, culminating in a strike.
The halls had recovered by the start of the First World War and were used to stage charity events in aid of the war effort. Music hall entertainment continued after the war, but became less popular due to upcoming jazz and big-band dance music acts. Licensing restrictions had changed, drinking was banned from the auditorium. A new type of music hall entertainment had arrived, in the form of variety, many music hall performers failed to make the transition, they were deemed old-fashioned, with the closure of many halls, music hall entertainment ceased and modern-day variety began. Music hall in London had its origins in the 18th century, it grew with the entertainment provided in the new style saloon bars of public houses during the 1830s. These venues replaced earlier semi-rural amusements provided by fairs and suburban pleasure gardens such as Vauxhall Gardens and the Cremorne Gardens; these latter became fewer and less popular. The saloon was a room where for an admission fee or a greater price at the bar, dancing, drama or comedy was performed.
The most famous London saloon of the early days was the Grecian Saloon, established in 1825, at The Eagle, 2 Shepherdess Walk, off the City Road in east London. According to John Hollingshead, proprietor of the Gaiety Theatre, this establishment was "the father and mother, the dry and wet nurse of the Music Hall". Known as the Grecian Theatre, it was here that Marie Lloyd made her début at the age of 14 in 1884, it is still famous because of an English nursery rhyme, with the somewhat mysterious lyrics: Up and down the City RoadIn and out The EagleThat's the way the money goesPop goes the weasel. Another famous "song and supper" room of this period was Evans Music-and-Supper Rooms, 43 King Street, Covent Garden, established in the 1840s by W. H. Evans; this venue was known as'Evans Late Joys' – Joy being the name of the previous owner. Other song and supper rooms included the Coal Hole in The Strand, the Cyder Cellars in Maiden Lane, Covent Garden and the Mogul Saloon in Drury Lane; the music hall as we know it developed from such establishments during the 1850s and were built in and on the grounds of public houses.
Such establishments were distinguished from theatres by the fact that in a music hall you would be seated at a table in the auditorium and could drink alcohol and smoke tobacco whilst watching the show. In a theatre, by contrast, the audience was seated in stalls and there was a separate bar-room. An exception to this rule was the Britannia Theatre, Hoxton which somehow managed to evade this regulation and served drinks to its customers. Though a theatre rather than a music hall, this establishment hosted music hall variety acts; the establishment regarded as the first true music hall was the Canterbury, 143 Westminster Bridge Road, Lambeth built by Charles Morton, afterwards dubbed "the Father of the Halls", on the site of a skittle alley next to his pub, the Canterbury Tavern. It opened on 17 May 1852 and was described by the musician and author Benny Green as being "the most significant date in all the history of music hall"; the hall looked like most contemporary pub concert rooms, but its replacement in 1854 was of unprecedented size.
It was further extended in 1859 rebuilt as a variety theatre and destroyed by German bombing in 1942. Another early music hall was Drury Lane. Popularly known as the'Old Mo', it was built on the site of the Mogul Saloon. Converted into a theatre it was demolished in 1965; the New London Theatre stands on its site. Several la
The Victoria Cross is the highest and most prestigious award of the British honours system. It is awarded for gallantry "in the presence of the enemy" to members of the British Armed Forces, it may be awarded posthumously. It was awarded to Commonwealth countries, most of which have established their own honours systems and no longer recommend British honours, it may be awarded to a person of any military rank in any service and to civilians under military command although no civilian has received the award since 1879. Since the first awards were presented by Queen Victoria in 1857, two-thirds of all awards have been presented by the British monarch; these investitures are held at Buckingham Palace. The VC was introduced on 29 January 1856 by Queen Victoria to honour acts of valour during the Crimean War. Since the medal has been awarded 1,358 times to 1,355 individual recipients. Only 15 medals, 11 to members of the British Army, four to the Australian Army, have been awarded since the Second World War.
The traditional explanation of the source of the metal from which the medals are struck is that it derives from Russian cannon captured at the Siege of Sevastopol. However, research has suggested another origin for the material. Historian John Glanfield has established that the metal for most of the medals made since December 1914 came from two Chinese cannon, that there is no evidence of Russian origin. Owing to its rarity, the VC is prized and the medal has fetched over £400,000 at auction. A number of public and private collections are devoted to the Victoria Cross; the private collection of Lord Ashcroft, amassed since 1986, contains over one-tenth of all VCs awarded. Following a 2008 donation to the Imperial War Museum, the Ashcroft collection went on public display alongside the museum's Victoria and George Cross collection in November 2010. Beginning with the Centennial of Confederation in 1967, followed in 1975 by Australia and New Zealand, developed their own national honours systems, separate from and independent of the British or Imperial honours system.
As each country's system evolved, operational gallantry awards were developed with the premier award of each system—the Victoria Cross for Australia, the Canadian Victoria Cross and the Victoria Cross for New Zealand—being created and named in honour of the Victoria Cross. These are unique awards of each honours system, assessed and presented by each country. In 1854, after 39 years of peace, Britain found itself fighting a major war against Russia; the Crimean War was one of the first wars with modern reporting, the dispatches of William Howard Russell described many acts of bravery and valour by British servicemen that went unrewarded. Before the Crimean War, there was no official standardised system for recognition of gallantry within the British armed forces. Officers were eligible for an award of one of the junior grades of the Order of the Bath and brevet promotions while a Mention in Despatches existed as an alternative award for acts of lesser gallantry; this structure was limited. Brevet promotions or Mentions in Despatches were confined to those who were under the immediate notice of the commanders in the field members of the commander's own staff.
Other European countries had awards that did not discriminate against rank. There was a growing feeling among the public and in the Royal Court that a new award was needed to recognise incidents of gallantry that were unconnected with the length or merit of a man's service. Queen Victoria issued a Warrant under the Royal sign-manual on 29 January 1856 that constituted the VC; the order was backdated to 1854 to recognise acts of valour during the Crimean War. Queen Victoria had instructed the War Office to strike a new medal that would not recognise birth or class; the medal was meant to be a simple decoration that would be prized and eagerly sought after by those in the military services. To maintain its simplicity, Queen Victoria, under the guidance of Prince Albert, vetoed the suggestion that the award be called The Military Order of Victoria and instead suggested the name Victoria Cross; the original warrant stated that the Victoria Cross would only be awarded to officers and men who had served in the presence of the enemy and had performed some signal act of valour or devotion.
The first ceremony was held on 26 June 1857 at which Queen Victoria invested 62 of the 111 Crimean recipients in a ceremony in Hyde Park, London. A single company of jewellers, Hancocks of London, has been responsible for the production of every VC awarded since its inception, it has long been believed that all the VCs were cast from the cascabels of two cannon that were captured from the Russians at the siege of Sevastopol. However, in 1990 Creagh and Ashton conducted a metallurgical examination of the VCs in the custody of the Australian War Memorial, the historian John Glanfield wrote that, through the use of X-ray studies of older Victoria Crosses, it was determined that the metal used for all VCs since December 1914 is taken from antique Chinese guns, replacing an earlier gun. Creagh noted the existence of Chinese inscriptions on the cannon, which are now legible due to corrosion. A explanation is that these cannon were taken as trophies during the First Opium War and held in the Woolwich repository.
It was thought that some medals made during the First World War were composed of metal captured from different Chinese guns during the Boxer Rebellion. This is not so
Sir Alan Arthur Bates, was an English actor who came to prominence in the 1960s, when he appeared in films ranging from the popular children's story Whistle Down the Wind to the "kitchen sink" drama A Kind of Loving. He is known for his performance with Anthony Quinn in Zorba the Greek, as well as his roles in King of Hearts, Georgy Girl, Far From the Madding Crowd and The Fixer, for which he received an Academy Award nomination for Best Actor. In 1969, he starred in the Ken Russell film Women in Love with Glenda Jackson. Bates went on to star in The Go-Between, An Unmarried Woman, Nijinsky and in The Rose with Bette Midler, as well as many television dramas, including The Mayor of Casterbridge, Harold Pinter's The Collection, A Voyage Round My Father, An Englishman Abroad and Pack of Lies, he appeared on the stage, notably in the plays of Simon Gray, such as Butley and Otherwise Engaged. Bates was born at the Queen Mary Nursing Home, Darley Abbey, England, on 17 February 1934, the eldest of three sons of Florence Mary, a housewife and a pianist, Harold Arthur Bates, an insurance broker and a cellist.
They lived in Allestree, Derby, at the time of Bates' birth, but moved to Mickleover before returning to Allestree. Both parents were amateur musicians. However, by the age of 11, having decided to become an actor, he studied drama instead, he further developed his vocation by attending productions at Derby's Little Theatre. Bates was educated at the Herbert Strutt Grammar School, Derby Road, Belper and gained a scholarship to the Royal Academy of Dramatic Art in London, where he studied with Albert Finney and Peter O'Toole, before leaving to join the RAF for National Service at RAF Newton. Bates's stage debut was in You and Your Wife, in Coventry. In 1956 he made his West End debut as Cliff in Look Back in Anger, a role he had originated at the Royal Court and which made him a star, he played the role on television and on Broadway. In the late 1950s Bates appeared in several plays for television in Britain and in 1960 appeared as Giorgio in the final episode of The Four Just Men entitled Treviso Dam.
In 1960 he appeared in The Entertainer opposite Laurence Olivier, his first film role. Bates worked for the Padded Wagon Moving Company in the early 1960s while acting at the Circle in the Square Theatre in New York City. Throughout the 1960s he starred in several major films including Whistle Down the Wind, A Kind of Loving, Zorba the Greek, Philippe de Broca's King of Hearts, Georgy Girl, Far From the Madding Crowd and the Bernard Malamud film The Fixer, which earned him an Academy Award nomination for Best Actor. In 1969 he starred in Women in Love. Film critics cited the 1963 film noir, The Running Man, as being one of Alan Bates' finest performances; the film starred Laurence Harvey, Lee Remick and Bates in the supporting role of Stephen Maddox, an insurance company investigator who encounters Harvey and Remick in Spain after Harvey faked his death in an airplane crash to cash in on a life insurance policy, leaving wife Lee Remick a small fortune. Fans of film noir turns The Running Man offered.
The film offered movie fans a depth of character study worthy of a memorable film noir. Bates' character worked well with Harvey and Remick, helping director Carol Reed craft an ever-guessing, suspenseful story of cat and mouse detective work that moved seamlessly from beginning to end. While many movies in film noir have predictable plots, The Running Man featured a plot, unpredictable, its best asset; the film's finale saw Lee Remick standing wearily on a dock, looking at a departing boat with the Rock of Gibraltar looming in the background. Bates was handpicked by director John Schlesinger to play the starring role of Dr. Daniel Hirsh in the film Sunday Bloody Sunday. Bates was held up filming The Go-Between for director Joseph Losey, had become a father around that time, so he had to refuse the role. Around this time he appeared as Col. Vershinin in the National Theatre's film of Three Sisters, directed by and co-starring Laurence Olivier, he worked with Olivier for television in the Laurence Olivier Presents version of Harold Pinter's The Collection and A Voyage Round My Father.
Bates starred in such international films as An Unmarried Woman and Nijinsky, played Bette Midler's ruthless business manager in the film The Rose. On television, his parts included Michael Henchard, the ultimately-disgraced lead in The Mayor of Casterbridge – which he described as his favourite role – in the serial adaptation by Dennis Potter, he played two diametrically-opposed roles in An Englishman Abroad, as Guy Burgess, a member of the Cambridge spy ring exiled in Moscow, in Pack of Lies, as a British Secret Service agent tracking several Soviet spies. He continued working in film and television in the 1990s, including the role of Claudius in Mel Gibson's version of Hamlet, though most of his roles in this era were more low-key. In 2001 Bates joined an all-star cast in Robert Altman's critically acclaimed period drama Gosford Park, in which he played the butler Jennings, he played Antonius Agrippa in the 2004 TV film Spartacus
Albert Finney was an English actor who worked in film and theatre. He attended the Royal Academy of Dramatic Art and worked in the theatre before attaining prominence on screen in the early 1960s, debuting with The Entertainer, directed by Tony Richardson, who had directed him in the theatre, he maintained a successful career in theatre and television. He is known for his roles in Saturday Night and Sunday Morning, Tom Jones, Two for the Road, Annie, The Dresser, Miller's Crossing, A Man of No Importance, Erin Brockovich, Big Fish, The Bourne Ultimatum, Before the Devil Knows You're Dead, The Bourne Legacy, the James Bond film Skyfall. A recipient of BAFTA, Golden Globe and Screen Actors Guild awards, Finney was nominated for an Academy Award five times, as Best Actor four times, for Tom Jones, Murder on the Orient Express, The Dresser, Under the Volcano, as Best Supporting Actor for Erin Brockovich, he received several awards for his performance as Winston Churchill in the 2002 BBC–HBO television biographical film The Gathering Storm.
Finney was born in Salford, the son of Alice and Albert Finney, a bookmaker. He was educated at Tootal Drive Primary School, Salford Grammar School and the Royal Academy of Dramatic Art, from which he graduated in 1956. While at RADA Finney made an early TV appearance playing Mr Hardcastle in Oliver Goldsmith's She Stoops to Conquer; the BBC filmed and broadcast the RADA students' performances at the Vanbrugh Theatre in London on Friday 6 January 1956. Other members of the cast included Richard Briers. In February 1956 John Fernald, principal of RADA, gave Finney his first major role in the Vanbrugh Theatre's student production of Ian Dallas' play The Face of Love, as Shakespeare's Troilus. Finney became a member of the Royal Shakespeare Company. Finney was offered a contract by the Rank Organisation but turned it down to perform for the Birmingham Rep, he was in a production of The Miser for Birmingham Rep, filmed for the BBC in 1956. For the BBC he appeared in The Claverdon Road Job and View Friendship and Marriage.
At Birmingham he played the title role in Henry V. Finney made his first appearance on the London stage in 1958, in Jane Arden's The Party, directed by Charles Laughton, who starred in the production along with his wife, Elsa Lanchester, he guest starred on several episodes of Emergency-Ward 10 and was Lysander in a TV version of A Midsummer Night's Dream directed by Peter Hall. In 1959 Finney appeared at Stratford in the title role in Coriolanus, replacing an ill Laurence Olivier. Finney's first film appearance was with Laurence Olivier. Finney and Alan Bates played Olivier's sons. Finney made his breakthrough in the same year with his portrayal of a disillusioned factory worker in Karel Reisz's film version of Alan Sillitoe's Saturday Night and Sunday Morning, produced by Richardson; the film was a box-office success. It earned over half a million pounds in profit. Finney did Billy Liar on stage and for British television. Finney had been chosen to play T. E. Lawrence in David Lean's production of Lawrence of Arabia after a successful, elaborate, screen-test that took four days to shoot.
However, Finney baulked at signing a multi-year contract for producer Sam Spiegel and chose not to accept the role. Finney created the title role in Luther, the 1961 play by John Osborne depicting the life of Martin Luther, one of the foremost instigators of the Protestant Reformation, he performed the role with the English Stage Company in London, Nottingham and New York. The original West End run at the Phoenix ended in March 1962, after 239 performances there, when Finney had to leave the cast to fulfill a contractual obligation with a film company. Finney starred in the Academy Award-winning 1963 film Tom Jones, directed by Richardson and written by Osborne; the success of Tom Jones saw British exhibitors vote Finney the ninth most popular star at the box office in 1963. Finney followed this with a small part in The Victors, he made his Broadway debut in Luther in 1963. When that run ended he decided to sail around the world. "People told me to cash in on my success while I was hot," he said.
"I'd been acting for about eight years and had only had one vacation... Captain Cook had been a hero of mine when I was a kid, I thought it would be exciting to go to some of the places in the Pacific where he'd been."The success of Tom Jones enabled Finney produce his next film, Night Must Fall, in 1964, which he starred in and, directed by Reisz. Finney undertook a season of plays at the National Theatre, he returned to films with Two for the Road co starring Audrey Hepburn. He and Michael Medwin formed a production company, Memorial Productions, which made Privilege, directed by Peter Watkins. Directed by Lindsay Anderson. Memorial did stage productions, such as A Day in the Death of Joe Egg, which Finney performed in London and Broadway. Memorial produced some in which Finney did not appear, such as Spring and Port Wine and The Burgular. Memorial made Charlie Bubbles, which Finney starred in and directed. Liza Minnelli made her feature debut in the movie. Finney called it "the most intense sense of creation I've had."As an actor only he made The Picasso Summer.
Finney played the title role in the musical Scrooge
Shirley Anne Field
Shirley Anne Field is an English actress who has performed on stage and television since 1955. Shirley Anne Field was born Shirley Broomfield, in London, she was the third of four children, with two elder sisters and a younger brother, Earnest "Guy" Broomfield. Guy Broomfield was murdered in 1999 by the son of Adrian Dalsey. At the age of six, Shirley was placed in the National Children's Home at Edgworth, near Bolton, four years was moved to another children's home in Blackburn, where she attended Blakey Moor School for Girls, she subsequently returned to Edgworth until she was 15, when she moved to a children's home hostel in London, training as a typist while still attending school. After a course at the Lucie Clayton School and Model Agency, she became a photographic model for pin-up magazines like Reveille and Titbits, she was subsequently spotted by Bill Watts, who ran a theatrical agency and obtained for her a number of uncredited roles in various late 1950s British films. Her first appearance in a film was as an extra in Simon and Laura, but her breakthrough came in 1960 when she was chosen by Laurence Olivier to play the role of model Tina Lapford in The Entertainer.
That same year, she appeared in her best known role as Doreen, the would-be girlfriend of rebellious Arthur Seaton, in the influential New Wave film Saturday Night and Sunday Morning. Co-star Finney had had a small role in The Entertainer. In 1960, Field starred alongside Kenneth More in Man in the Moon. With those three big film starring roles in 1960, she became one of the few actors to have their name above the titles in all the major cinemas around Leicester Square simultaneously. During the 1970s, she spent some time working in stage roles before returning to films and television, in both the US and UK, in the 1980s, 1990s and 2000s, she married the aristocratic RAF pilot and racing driver Charles Crichton-Stuart on 7 July 1967 and they had a daughter, Nicola Crichton-Stuart, born the same year. The marriage ended in divorce during the late 1970s, she wrote her autobiography A Time for Love. On 14 November 1993, Field appeared on BBC Radio 4's Desert Island Discs, talking to Sue Lawley about her upbringing in different children's homes in Northern England and her success as an actress in the 1960s.
She reminisced about her friendship with John F. Kennedy and an ill-fated date with Frank Sinatra, her record choices included Beethoven's Piano Concerto No. 1 in C major and pieces by Rachmaninov, Elvis Presley and the Carpenters. In the September 2009 issue of Cinema Retro, there was a long interview with Field, where she candidly talked about her childhood and the making of Peeping Tom, The Entertainer, Beat Girl and The War Lover. Field, Shirley Anne, A Time for Love: An Autobiography ISBN 978-0-593-01161-4 ISBN 0-593-01161-9 Halliwell's Who's Who in the Movies - published by Harper-Collins, 1981 - ISBN 0-06-093507-3 The Film Encyclopedia by Ephraim Katz - published by Collins - ISBN 0-06-074214-3 Shirley Anne Field at the British Film Institute - Retrieved 2012-12-07 Shirley Anne Field at BFI Screenonline - Retrieved 2012-12-07 Shirley Anne Field on IMDb Field of Dreams, four-page interview with Shirley Anne Field in the September 2009 issue of Cinema Retro - Retrieved 2012-12-07