text:
Cozonac
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Cozonac
Bulgarian Kozunak with raisins, braided and sprinkled with sugar.
Alternative names
Bulgarian: козунак
Course
Dessert
Place of origin
Region or state
Romania
Moldova
Bulgaria
Main ingredients
Wheat flour
Butter
Milk
Eggs
Sugar
Yeast
Raisins
Rahat
Lemon zest
Orange zest
Walnuts
Hazelnuts
Vanilla
Rum
Cookbook: Cozonac Media: Cozonac
Cozonac (Romanian pronunciation: [kozoˈnak]) or Kozunak (Bulgarian: козунак, Bulgarian pronunciation: [kozuˈnak]), from Greek: ϰοσώνα ('doll', i.e. "doll-shaped sweet bread"), is a traditional Bulgarian and Romanian sweet leavened bread, which is a type of Stollen. It is usually prepared for Easter in Bulgaria, and mostly for every major holiday (Christmas, Easter, New Year's Day, Pentecost) in Romania and Moldova.
The dessert is also known as tsoureki (Greek: τσουρέκι), شوريك (Arabic), panarët (Arbërisht), choreg or chorek (Armenian: չորեկ), çörək (Azerbaijani), or çörek (Turkish). It is a sweet, egg-enriched bread, which is rooted in the cuisines of Western and Central Asia.[1] Such rich brioche-like breads are also traditional in many other countries, such as Hungary and the Czech Republic. Examples of similar breads from other cultures include badnji kruh in Croatian cuisine, folar de páscoa in Portuguese cuisine, brioche in French cuisine, kulich in Russian cuisine, panettone in Italian cuisine, and challah in Jewish cuisine.
Cozonac is a sweet bread, into which milk, yeast, eggs, sugar, butter, and other ingredients are mixed together and allowed to rise before baking. In Bulgaria, the kozunak is prepared by adding lemon zest to the dough mixture, just as the Romanian version. The Italian Panettone is very similar to the basic cozonac, the most visible difference being their shapes.
In Romania, the recipes for trimmings differ rather significantly between regions. The dough is essentially similar throughout the country; a plain sweet bread made from flour, eggs, milk, butter, sugar and salt. Depending on the region, one may add to it any of the following: raisins, rahat, grated orange or lemon zest, walnuts or hazelnuts, and vanilla or rum flavor. Cozonac may be sprinkled with poppy seeds on top. Other styles dictate the use of a filling, usually a ground walnut mixture with ground poppy seeds, cocoa powder, rum essence, or raisins. The dough is rolled flat with a pin, the filling is spread and the whole is rolled back into a shape vaguely resembling a pinwheel. In the baked product, the filling forms a swirl adding to the character of the bread.
It was the sweet chosen to represent Romania in the Café Europe initiative of the Austrian presidency of the European Union, on Europe Day 2006.[2]
Contents
[hide]
1 Origins
2 See also
3 Notes and references
4 External links
Origins[edit]
It is possible that the first cozonac has been made in Ancient Egypt. Perhaps it was sweetened with honey and filled with seeds. The Greeks took from the Egyptians their interest in cuisine, the yeast, and the leavened doughs. Certainly the Greeks have eaten cozonac. They made it with honey, raisins and walnuts. The Greek cozonac is called plakoús (πλακούς). Yeast and implicitly leavened breads, such as cozonac, were "stolen" from the Greeks by the Romans, where they added dried fruits to the cozonac. At first there were only two varieties called libum and placenta. Libum was a small cake, used as an offering to the gods. Later appeared versions were also consumed by people, not only by the gods. Placenta, more elaborate, is a cozonac made from cheese, raisins and peanuts, which was served with a sweet wine. Although, they took the ready-made yeast from the Greeks and the Egyptians, the Romans were the ones who discovered all the possibilities offered by the yeast added to doughs, thus becoming true masters of pastry. In the Middle Ages, European bakers often made cozonac with dried fruits, because they lasted longer.
In Great Britain, the first recipe of cozonac appears in a cookbook in 1718, with the recommendation to be baked in long and narrow forms, a recommendation that remains valid nowadays. The French people, those who in the 19th century added the third kind of meal, the dessert, are those who put forward the cozonac, more than others.
Today, this dessert with a long history is prepared mainly in the southeastern European countries, especially in Romania, Moldova and Bulgaria, where it is considered a traditional food.[3]
See also[edit]
Tsoureki
Lokum
Babka
Brioche
Challah
Stollen
Bread pudding
Notes and references[edit]
Jump up ^ Толковìй словарь живаго великорусскаго язîка, Dal' V.I., IAS, 1869
Jump up ^ Coffee and Sweets
Jump up ^ (in Romanian) "Istoria cozonacului", Revista Flacăra, December 10, 2010
External links[edit]
Wikimedia Commons has media related to Cozonac.
Cozonac recipes and more
Cozonac with walnut
Cozonac
Romanian Cozonac or Colac - a Christmas Bread, mislabeled cozonac but actually a Paskha recipe
Cozonac Rosenkrantz
Cozonac with cocoa ( ro cozonac cu cacao)
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text:
An Inspector Calls
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the play. For other uses, see An Inspector Calls (disambiguation).
An Inspector Calls
Written by
J. B. Priestley
Date premiered
1945
Place premiered
Moscow, Soviet Union
Original language
English
Subject
A mysterious inspector interrogates a wealthy English family about their responsibility for the death of a young working class factory girl.[1]
Genre
Drama
Setting
The Birlings' home in Brumley, England; April 1912
An Inspector Calls is a play written by English dramatist J. B. Priestley, first performed in 1945 in the Soviet Union and in 1946 in the UK. It is one of Priestley's best known works for the stage, and is considered to be one of the classics of mid-20th century English theatre. The play's success and reputation has been boosted in recent years by a successful revival by English director Stephen Daldry for the National Theatre in 1992,[2] and a tour of the UK in 2011–2012.
The play is a three-act drama, which takes place on a single night in April 1912,[3] focusing on the prosperous upper middle-class Birling family,[4] who live in a comfortable home in the fictional town of Brumley, "an industrial city in the north Midlands".[3] The family is visited by a man calling himself Inspector Goole, who questions the family about the suicide of a young working-class woman, Eva Smith (also known as Daisy Renton). The family is interrogated and revealed to have been responsible for the young woman's exploitation, abandonment and social ruin, effectively leading to her death. Long considered part of the repertory of classic "drawing room" theatre, the play has also been hailed as a scathing critique of the hypocrisies of Victorian/Edwardian English society and as an expression of Priestley's socialist political principles. The play is studied in many schools in the UK as one of the prescribed texts for the English Literature GCSE (General Certificate of Secondary Education) examination.
Contents
[hide]
1 Plot
2 Characters
2.1 Inspector Goole
2.2 Eva Smith/Daisy Renton
2.3 Sheila Birling
2.4 Eric Birling
2.5 Arthur Birling
2.6 Sybil Birling
2.7 Gerald Croft
2.8 Edna
3 Criticism and interpretation
4 Productions
5 Adaptations
5.1 Film
5.2 Television
5.3 Radio and audio
6 Awards and nominations
7 References
8 Further reading
9 External links
Plot[edit]
At the Birlings' home in April 1912, Arthur Birling - a wealthy mill owner and local politician - and his family are celebrating the engagement of daughter Sheila to Gerald Croft, the son of one of Birling's competitors, Croft Limited. In attendance are Arthur's wife Sybil and their adult children Sheila and Eric. Eric, the younger, has a drinking problem that is discreetly ignored. After dinner, Arthur speaks about the importance of self-reliance. He talks about his impending knighthood and about how "a man has to look after himself and his own."
A man calling himself Inspector Goole arrives, interrupting the evening and explaining that a woman called Eva Smith has killed herself by drinking strong disinfectant. He implies that she has left a diary naming names, including members of the Birling family. Goole produces a photograph of Eva and shows it to Arthur, who acknowledges that she worked in one of his mills. He admits that he dismissed her from Birling & Co. 18 months ago for her involvement in an abortive workers' strike. He denies responsibility for her death.
Sheila enters the room and is drawn into the discussion. After prompting from Goole, she admits to recognising Eva as well. She confesses that Eva served her in a department store, Milwards, and Sheila contrived to have her fired for an imagined slight. She admits that Eva's behaviour had been blameless and that the firing was motivated solely by Sheila's jealousy and spite towards a pretty working-class woman.
Sybil enters the room and Goole continues his interrogation, revealing that Eva was also known as Daisy Renton. Gerald starts at the mention of the name and Sheila becomes suspicious. Gerald admits that he met a woman by that name in the Palace Bar. He gave her money and arranged to see her again. Goole reveals that Gerald had installed Eva as his mistress, and gave her money and promises of continued support before ending the relationship. Arthur and Sybil are horrified. As an ashamed Gerald exits the room, Sheila acknowledges his nature and credits him for speaking truthfully but also signals that their engagement is over by handing the ring, that Gerald had bought for her, back to him.
Goole identifies Sybil as the head of a women's charity to which Eva had turned for help. Despite Sybil's haughty responses, she eventually admits that Eva, pregnant and destitute, had asked the committee for financial aid. Sybil had convinced the committee that the girl was a liar and that her application should be denied. Despite vigorous cross-examination from Goole, Sybil denies any wrongdoing. Sheila begs her mother not to continue, but Goole plays his final card, making Sybil declare that the "drunken young man" who had made Eva pregnant should give a "public confession, accepting all the blame". Eric enters the room, and after brief questioning from Goole, he breaks down, admitting that he drunkenly raped Eva before meeting up with her several times later and then stole £50 (equivalent to $4,464 in 2015) from his father's business to help her when she became pregnant. Arthur and Sybil are upset by this, and the evening dissolves into angry recriminations.
The implication resulting from Goole's questioning is that each of the people there that evening had contributed to Eva's despondency and suicide. He reminds the Birlings that actions have consequences, and that all people are intertwined in one society, saying, "If men will not learn that lesson, then they will be taught it in fire and blood and anguish", alluding to the impending World War. Goole then leaves.
Gerald returns, telling the family that there may be no "Inspector Goole" on the police force. Arthur makes a call to the Chief Constable, who confirms this. Gerald points out that as Goole was lying about being a policeman, there may be no dead girl. Placing a second call to the local infirmary, Gerald determines that no recent cases of suicide have been reported. The elder Birlings and Gerald celebrate, with Arthur dismissing the evening's events as "moonshine" and "bluffing". The younger Birlings, however, still realise the error of their ways and promise to change. Gerald is keen to resume his engagement to Sheila, but she is reluctant, since he still admitted to having had an affair.
The play ends abruptly with a telephone call, taken by Arthur, who reports that a young woman has died, a suspected case of suicide by disinfectant, and that the local police are on their way to question the Birlings. The true identity of Goole is never explained, but it is clear that the family's confessions over the course of the evening are true, and that they will be disgraced publicly when news of their involvement in Eva's demise is revealed.
Characters[edit]
Inspector Goole[edit]
A mysterious interrogator who introduces himself as "Inspector Goole", claiming that he has seen the dead body of Eva Smith/Daisy Renton earlier that day after her slow and painful suicide by swallowing disinfectant, and that he has been given "a duty" to investigate the Birlings’ responsibility for her death. He makes a brief reference to a diary left by Eva/Daisy although this is never seen or explicitly referred to. Throughout the play, it is suggested that Goole knows everything about Eva/Daisy’s life and the Birlings’ involvement in her death, and is interrogating the family solely to reveal their guilt rather than to discover unknown information. Both during and after his interrogation of the family, the Birlings query whether he is actually a real inspector, and a phone call made by Mr. Birling to the local police station reveals that there is no Inspector Goole in the local police force. Many critics and audiences have interpreted Goole’s role as an "avenging angel" or a supernatural being because of his unexplained omniscience, his prophetic final speech in which he says that humanity will learn its lesson in "fire and blood and anguish" (referring to the First World War, two years after the setting of the play 1912)[3] and even because of his name, which is a homophone for the word "ghoul" (meaning "ghost") and is also the name of a seaside town (which could possibly be a reference to the time period in the play when Eva Smith stays in a seaside town with money that Gerald Croft had given her).[5] It is suggested in the final scene that Goole's interrogation of the family will foreshadow a further interrogation to follow by the "real" police force, and that Goole's purpose has been to warn the family in advance and encourage them to accept responsibility and repent for their bad behaviour, like The Ghost of Christmas Yet to Come. Goole also forces the characters to question their very own lives, and if the ones they were living were true. In addition he also feels a responsibility to make the Birling family feel guilty for their actions. His identity remains ambiguous throughout the play.
Eva Smith/Daisy Renton[edit]
She is the unseen working class woman whom Goole claims has committed suicide whilst pregnant with Eric Birling's baby, and who has been mistreated by each member of the Birling family and by Gerald Croft. Through reports from other characters, she is described as "pretty" with soft brown hair and big dark eyes, and it is explained that she has no family and must work for her living. Her beauty is commented on by all the characters. Her beauty attracts both Gerald and Eric to her, with Eric sexually exploiting her. Sheila comments disparagingly that Eva looked prettier when she wore a certain dress than Sheila did herself, and seems threatened by Eva's beauty, confessing that if Eva had been plain she would have been unlikely to have had her fired. It is also suggested that Eva/Daisy is somewhat morally principled, as she refuses to accept stolen money from Eric, despite her dire financial situation, although about to become Gerald Croft's mistress before he abandoned her. Eva/Daisy appears to be a victim who is judged by the (female) characters for not acting in a manner appropriate for someone of her class. Sheila imagines that Eva laughed at her disparagingly and so "punishes" her by having her fired. Sybil also criticises Eva for appearing proud and putting on airs and graces, and for being "impertinent" rather than being meek and grateful to her social superiors. The audience is invited to dwell on Eva/Daisy's vulnerability and her suffering at the hands of an exploitative employer, her sexual abuse at the hands of Eric, her powerlessness caused by her sex, class, and poverty and her victimisation on the basis of a sexual double standard.
At the end of the play, Gerald suggests that Eva Smith may not have been the same person but rather a collective personification of all the different working class women that the family had exploited, invented by Goole to make the family feel guilty. Yet the final phone call, announcing that a police inspector is shortly to arrive at the Birlings' house to investigate the suicide of a young girl, leaves open the possibility that Eva Smith really did exist after all.
Sheila Birling[edit]
Sheila is the Birlings' eldest child. She is described as a "pretty girl in her early twenties", delighted about her engagement to Gerald Croft. She starts out as a playful, self-centred girl who loves attention. She also knows of Eric Birling's heavy drinking. Throughout the play, she becomes the most sympathetic family member, showing remorse upon hearing the news of her part in the girl's downfall, and attempting to encourage the family to accept responsibility for their part in Eva's death. She is shown to be not as naive as originally thought, revealing her suspicions about her fiancé's infidelity. Despite continual criticism from her father, she becomes more rebellious toward her parents, supporting her brother against them and assisting Goole in his interrogations. At the end of the play, Sheila is much wiser. She can now judge her parents and Gerald from a new perspective, but the greatest change has been in herself: her social conscience has been awakened and she is aware of her responsibilities. The Sheila who had a girl dismissed from her job for a trivial reason has given way to one who acknowledges the wrongdoing of herself and her family. She represents the younger generation's break from the exploitative behaviour of her class.
Eric Birling[edit]
He is the Birlings' youngest child, often presented as awkward and embarrassed. Eric is revealed to have made Eva Smith pregnant as well as to have stolen some money from his father's business to support Eva (although she refuses the money once she knows it is stolen). An alcoholic, his drinking habits are known by everyone except his mother who wants to think of him as a child, and not accept that he is no longer her innocent child but a grown man. After the Inspector leaves, he and Sheila are the only two who feel guilty over Eva's death. In the beginning of the play, Eric is shown as a rebellious young man who is very full of himself; however, towards the end of the play his true personality is revealed. By the end of the story Eric has learned his lesson and feels as guilty as Sheila does for his part in Eva Smith's death. He feels as if he cannot talk to his family, especially his father, about his problems - "You are not the kind of father that a chap could go to when he's in trouble" - so he bottles them up inside himself.
Arthur Birling[edit]
Arthur Birling is described as "a heavy-muskel, rather portentous man in his middle fifties", husband of Sybil, and father of Sheila and Eric Birling. He represents the capitalist ruling class, repeatedly describing himself with pride as a "hard-headed businessman", and the head of a patriarchal family structure, and is arguably the main subject of Priestley's social critique. Dominant, arrogant, self-centred, and morally blind, he is insistent throughout about his lack of responsibility for Eva's death and quotes his economic justification for firing her as being the importance of keeping his labour costs low and quelling dissent, which he says is standard business practice. Although he is authoritative and has risen to a position of economic and social prominence, he inadvertently reveals his social rank to be lower then that of his wife's when he compliments the cook right at the start of the play, and by his continual need to assert his social importance. His status as an alderman and former Lord Mayor of Brumley is repeated several times in the play, with increasing comic effect. Early in the play, he also makes a series of thoroughly-explained and justified predictions about the future world, all of which the audience knows will not come true, such as describing the Titanic as "unsinkable, absolutely unsinkable" and saying that "the Germans don't want war". He appears pleased at the economic and social cachet brought by his daughter's engagement to Gerald Croft, and resents Goole's intrusion on the family. He remains unaffected by the details of Eva's death, and his own concerns appear to be retaining his social standing, avoiding public embarrassment by the leaking of such a scandal, insisting that Eric accounts for and repays the stolen company money and that Sheila should 're-consider' her relationship with Gerald in-order for him to maintain a promised Croft-Birling merger.
Sybil Birling[edit]
Sybil Birling is the wife of Arthur and mother of Sheila and Eric Birling. She is her husband's "social superior" and is keen to show him the correct etiquette that is expected from an upper-middle class family. As the leader of a women's charitable organisation, she assumes a social and moral superiority over Inspector Goole, whose questioning style she frequently refers to as "impertinent" and "offensive". Like her husband, she refuses to accept responsibility for the death of Eva Smith, and seems more concerned with maintaining the family's reputation, even going so far as to lie and deny recognition of the photograph of Eva. She fearlessly expresses her prejudices against working class women, like Eva, whom she accuses of being immoral, dishonest, and greedy. It is Eva's use of the assumed name "Birling" that makes Sybil turn her away from her charity and she doesn't see why she did this until it is too late. Also, she seems detached from the rest of the family as she does not realise Eric's alcohol problem (either she's blind to it or fails to accept it and still insists on unsuccessfully covering it up around the Inspector). She is around 50 years old, as mentioned in the pre-play stage directions, highlighting she belongs to the older generation.
Gerald Croft[edit]
The son of Sir George Croft of Crofts Limited, a competitor of Birling and Company, he is at the Birling residence to celebrate his recent engagement to Sheila Birling. Gerald is revealed to have known Eva and installed her as his mistress, becoming "the most important person in her life", before ending the relationship. After the revelation of his affair, he is not blamed as heavily as the other characters (Sheila commends him for his honesty and for initially showing Eva compassion, even though he is shown as cowardly and thoughtless for taking advantage of a vulnerable woman). He is caused to confess as soon as he shouts out in shock at hearing the name he had known Eva by (Daisy Renton), allowing the Inspector to investigate Gerald's involvement in Eva's life. Gerald thinks that Goole is not a police inspector, that the family may not all be referring to the same woman and that there may not be a body. Initially he appears to be correct, and does not think the Birlings have anything to feel ashamed of or worry about. He seems excited at the prospect of discovering the 'fake' Inspector and seems almost desperate for others to believe him.
Edna[edit]
Edna is the maid at the Birling household. The character has limited contribution in the play; however she is the only person in the play that can provide an insight into the life of Eva Smith, a character to whom Edna has a similar working-class background. It is she who opens the door to allow the Inspector into the Birlings' lives, although she is often taken for granted and treated somewhat poorly at times, as if she were not actually there.
Criticism and interpretation[edit]
Highly successful after its first and subsequent London productions, the play is now considered one of Priestley's greatest works, and has been subject to a variety of critical interpretations.
After the new wave of social realist theatre in the 1950s and 1960s, the play fell out of fashion, and was dismissed as an example of outdated bourgeois "drawing room" dramas, and became a staple of regional repertory theatre. Following several successful revivals (including Stephen Daldry's 1992 production for the National Theatre), the play was "rediscovered" and hailed as a damning social critique of capitalism and middle-class hypocrisy in the manner of the social realist dramas of Shaw and Ibsen. It has been read as a parable about the destruction of Victorian social values and the disintegration of pre-World War I English society, and Goole's final speech has been interpreted variously as a quasi-Christian vision of hell and judgement, and as a socialist manifesto.
The struggle between the embattled patriarch Arthur Birling and Inspector Goole has been interpreted by many critics as a symbolic confrontation between capitalism and socialism, and arguably demonstrates Priestley's socialist political critique of the perceived-selfishness and moral hypocrisy of middle-class capitalist society. While no single member of the Birling family is solely responsible for Eva's death, together they function as a hermetic class system that exploits neglected, vulnerable women, with each example of exploitation leading collectively to Eva's social exclusion, despair and suicide. The play also arguably acts as a critique of Victorian-era notions of middle-class philanthropy towards the poor, which is based on presumptions of the charity-givers' social superiority and severe moral judgement towards the "deserving poor". The romantic idea of gentlemanly chivalry towards "fallen women" is also debunked as being based on male lust and sexual exploitation of the weak by the powerful. In Goole's final speech, Eva Smith is referred to as a representative for millions of other vulnerable working-class people, and can be read as a call to action for English society to take more responsibility for working-class people, pre-figuring the development of the post-World War II welfare state.
Productions[edit]
An Inspector Calls was first performed in 1945 in the USSR in two theatres (Kamerny Theatre in Moscow and Comedy Theatre in Leningrad), as a suitable venue in the United Kingdom could not be found,[6][7] due to the fact that Priestley wrote the play in one week and all the theatres in the UK had already been booked for that season.[8] The play had its first British production in 1946 at the New Theatre in London with Ralph Richardson as Inspector Goole, Harry Andrews as Gerald Croft, Margaret Leighton as Sheila Birling, Julien Mitchell as Arthur Birling, Marian Spencer as Sybil Birling and Alec Guinness as Eric Birling.
The first Broadway production opened at the Booth Theatre on 21 October 1947 and ran until 10 January 1948. The production was staged by Cedric Hardwicke.
The play was produced and performed at the Ferdowsi Theatre in Iran in late 1940s based on the translation by Bozorg Alavi.
In 1986 Richard Wilson directed a production at the Royal Exchange, Manchester with Geraldine Alexander as Sheila Birling, Hugh Grant as Eric Birling and Graeme Garden as Inspector Goole.
Tom Baker played Inspector Goole in a 1987 production directed by Peter Dews and designed by Daphne Dare that opened at the Theatr Clwyd on 14 April then transferred to London's Westminster Theatre on 13 May 1987. The cast included Pauline Jameson as Sybil Birling, Peter Baldwin as Arthur Birling, Charlotte Attenborough as Sheila Birling, Simon Shepherd as Gerald Croft and Adam Godley as Eric Birling.
A revival of the play by British director Stephen Daldry opened at the National Theatre's Lyttelton Theatre in September 1992. It won the Drama Desk Award for Outstanding Revival of a Play, and was widely praised for making the work involving and politically relevant for a modern audience. The production is often credited with single-handedly rediscovering Priestley's works and "rescuing" him from the reputation of being obsolete and class-bound, though the production had some detractors, including Sheridan Morley[9] who regarded it as a gimmicky travesty of the author's patent intentions. The success of the production since 1992 has led to a critical reappraisal of Priestley as a politically engaged playwright who offered a sustained critique of the hypocrisy of English society. A Broadway transfer of the production starring Philip Bosco opened at the Royale Theatre (now the Bernard Jacobs Theatre) on 27 April 1994 and played 454 performances.[10]
Sheila recognises a picture of Eva presented by The Inspector, as Gerald looks on. A 2012 production by OVO theatre company, St Albans, UK
The Stephen Daldry production went on a tour of the UK in 2011 and 2012,[11] with Tom Mannion as Inspector Goole. The production returned to the Playhouse in London's West End in November 2016, with Liam Brennan in the name part.[12]
Adaptations[edit]
Film[edit]
The first film version of An Inspector Calls was produced in the United Kingdom by Watergate Productions Ltd; the 1954 screenplay was adapted by Desmond Davis and directed by Guy Hamilton. Alastair Sim starred as Inspector Goole, renamed "Poole" for the film, with Jane Wenham as Eva Smith (the character not seen in the play), Eileen Moore as Sheila Birling, Arthur Young as Arthur Birling, Brian Worth as Gerald Croft, Olga Lindo as Sybil Birling and Bryan Forbes as Eric Birling.
It was also adapted into a comedy film in Hong Kong, released on 19 February 2015.
Television[edit]
The first television version was shown on live BBC Television on 4 May 1948, with a second live performance three days later. Running to 105 minutes, it was produced and directed by Harold Clayton, and starred Julien Mitchell as Arthur Birling (reprising his role from the first British stage production), Mary Merrall as Sybil Birling, Joy Shelton as Sheila Birling, Derek Blomfield as Eric Birling, Alastair Bannerman as Gerald Croft, Madeleine Burgess as Edna, and George Hayes as Inspector Goole.
A second BBC Television version was screened on 19 February 1961 as part of the Sunday Night Play series. Produced and directed by Naomi Capon, it starred John Gregson as Inspector Goole, Heather Sears as Sheila Birling, Nora Swinburne as Sybil Birling, William Russell as Gerald Croft, Edward Chapman as Arthur Birling, Hilda Campbell-Russell as Edna, and Alan Dobie as Eric Birling.[13]
A selection of scenes from the play were broadcast in the ITV series Conflict on 15 May 1967. Produced by Associated Television, the 25 minute programme was directed by George More O'Ferrall, and starred Reginald Marsh as Arthur Birling, Julian Curry as Eric, Margo Andrew as Sheila, Pauline Winter as Mrs Birling, Stuart Saunders as Inspector Goole, Michael Graham as Gerald Croft, and Ann Dimitri as Edna.
In 1973, a Soviet made-for-television film Он пришел (On prishel) was produced, starring Vladimir Etush as Gull (Goole), Irina Kupchenko as Sheila Birling and Oleg Shklovsky as Eric Birling.[14]
Also, in the Soviet Union in 1979, a made-for-television two-part film Инспектор Гулл (Inspector Gooll), was produced starring Juozas Budraitis as Gull (Goole), Vladimir Zeldin as Arthur Birling and Ivars Kalniņš as Gerald Croft.
A BBC Schools version of An Inspector Calls was produced in three 30 minute episodes, shown between 22 September and 6 October 1981 on BBC One. Directed by Michael Simpson, it starred Bernard Hepton as Inspector Goole, Sarah Berger as Sheila Birling, Nigel Davenport as Arthur Birling, Simon Ward as Gerald Croft, Margaret Tyzack as Sybil Birling and David Sibley as Eric Birling. It was repeated on primetime BBC One in three episodes between 17 and 31 August 1982, and as a single 85 minute version on 2 September 1984.
An 86-minute An Inspector Calls film was produced for BBC Television, and first screened on 13 September 2015 on BBC One. Adapted by Helen Edmundson and directed by Aisling Walsh for Drama Republic,[15][16][17] it stars David Thewlis as Inspector Goole,[18] Chloe Pirrie as Sheila Birling, Ken Stott as Arthur Birling, Kyle Soller as Gerald Croft, Miranda Richardson as Sybil Birling and Finn Cole as Eric Birling.
Radio and audio[edit]
The first radio production was broadcast on the BBC Home Service on 27 March 1950 in the Contemporary European Theatre series.[19] This was followed by a BBC Light Programme production on 10 June 1953. Adapted by Cynthia Pughe and produced by McWhinnie, it starred Frank Pettingell as Arthur Birling, Gladys Young as Sybil Birling, Angela Baddeley as Sheila Birling, David Enders as Eric Birling, Alastair Duncan as Gerald Croft, Dorothy Smith as Edna, and Richard Williams as Inspector Goole.[20][21]
A second version of Pughe's adaptation was broadcast on the BBC Home Service on 12 November 1960. Produced by Alfred Bradley and directed by Geoffrey Ost, it starred the Sheffield Repertory Company: George Waring as Arthur Birling, Ann Woodward as Sybil Birling, Jeanne Davies as Sheila Birling, Keith Barron as Eric Birling, Patrick Stewart as Gerald Croft, Geraldine Gwyther as Edna, and John Pickles as Inspector Goole.[22]
BBC Radio 4 broadcast a BBC Manchester production on 14 December 1979. Directed by Alfred Bradley, it starred Ronald Baddilet as Arthur Birling, Derrick Gilbert as Gerald Croft, Ann Rye as Sybil Birling, Barbara Flynn as Sheila Birling, Christian Rodska as Eric Birling, Teresa Moore as Edna, Geoffrey Banks as Inspector Goole.[23]
A full-cast unabridged audio adaptation and analysis was released on audio CD and MP3-CD in the United Kingdom by SmartPass in 2004 as part of their Audio Education Study Guides series.
On 14 July 2007 BBC Radio 7 broadcast an adaptation by John Foley originally aired on the BBC World Service, starring Bob Peck as Inspector Goole, John Woodvine as Arthur Birling and Maggie Steed as Sybil Birling. The production was directed by Rosalyn Ward.
A second 90-minute BBC Radio adaptation was transmitted on BBC Radio 4 on 29 May 2010 in the Saturday Play slot.[24] It starred Toby Jones as Inspector Goole, David Calder as Arthur Birling, Frances Barber as Sybil Birling and Morven Christie as Sheila Birling. The production was directed by Jeremy Mortimer.
Awards and nominations[edit]
Awards
1993 Laurence Olivier Award for Best Revival
1994 Drama Desk Award for Best Revival of a Play
1994 Tony Award for Best Revival of a Play
References[edit]
Jump up ^ Cousin, Geraldine (2007). "Past present: dramatisations of 'return'". Playing for Time. Manchester, England: Manchester University Press. p. 16. ISBN 978-0-7190-6197-4.
Jump up ^ Stringer, Jenny (1996). The Oxford companion to twentieth-century literature in English. Oxford, England: Oxford University Press. p. 330. ISBN 978-0-19-212271-1.
^ Jump up to: a b c Priestley, J. B. (1947). Bezant, Tim, ed. An Inspector Calls: A Play in Three Acts (1992 ed.). London: Heinemann. pp. xi–xiv. ISBN 0-435-23282-7.
Jump up ^ Gale, Maggie (2004). "Theatre and drama between the wars". In Nicholls, Peter; Marcus, Laura. The Cambridge history of twentieth-century English literature. Cambridge, England: Cambridge University Press. p. 328. ISBN 0-521-82077-4. the middle class family was at the centre of much of Priestley's work...most clearly perhaps in 'An Inspector Calls'.
Jump up ^ Gale, Maggie Barbara (2008). J.B. Priestley. London: Routledge. p. 140. ISBN 978-0-415-40243-9.
Jump up ^ Priestley, J.B. (1950). Introduction to the Plays of J.B.Priestly. III. London: Heinemann. pp. xii–xiii.
Jump up ^ "Remember Eva Smith: The Inspector’s Russian Journey". 100 Objects from Special Collections at the University of Bradford. Yorkshire, England: University of Bradford.
Jump up ^ "For Students and Teachers | jbpriestleysociety.com". www.jbpriestleysociety.com. Retrieved 2017-05-25.
Jump up ^ Morley, Sheridan (25 September 1992). "Stop messing about". The Spectator. p. 53. Retrieved 4 October 2015.
Jump up ^ "An Inspector Calls". Internet Broadway Database. Retrieved 26 October 2016.
Jump up ^ http://www.aninspectorcalls.com/#/tour/
Jump up ^ Gardner, Lyn (13 November 2016). "An Inspector Calls review – Stephen Daldry helps make the case for justice". The Guardian. Retrieved 14 November 2016.
Jump up ^ BBC Genome
Jump up ^ http://www.kinopoisk.ru/film/715281/
Jump up ^ BBC One announces ambitious season of classic 20th-century literature, BBC Media Centre, 24 April 2014, Retrieved 28 June 2015
Jump up ^ "An Inspector Calls". BBC iPlayer. Retrieved 13 September 2015.
Jump up ^ "An Inspector Calls - BBC One". BBC. Retrieved 13 September 2015.
Jump up ^ [1], Evening Standard, 28 August 2015, Retrieved 20 October 2015
Jump up ^ BBC Genome
Jump up ^ BBC Genome - first transmission
Jump up ^ BBC Genome - repeat
Jump up ^ BBC Genome
Jump up ^ BBC Genome
Jump up ^ "An Inspector Calls". BBC. 29 May 2010. Archived from the original on 29 May 2010. Retrieved 5 June 2010.
"English Literature: An Inspector Calls". GCSE Bitesize. BBC Schools Online. 2008. Retrieved 9 May 2008.
"J.B. Priestley". J.B. Priestley.com. 2008. Archived from the original on 10 June 2008. Retrieved 5 October 2008.
Further reading[edit]
Priestley, J. B. (1947). An Inspector Calls: A Play in Three Acts (First ed.). London: Heinemann. OCLC 59564726.
External links[edit]
Wikiquote has quotations related to: An Inspector Calls
An Inspector Calls at the Internet Broadway Database
An Inspector Calls on IMDb
http://www.dooyoo.co.uk/theatre-musicals-national/an-inspector-calls/1023475/
[show]
v
t
e
Drama Desk Award for Outstanding Revival of a Play
Anna Christie (1993)
An Inspector Calls (1994)
The Heiress (1995)
A Delicate Balance (1996)
A Doll's House (1997)
A View from the Bridge (1998)
Death of a Salesman / The Iceman Cometh (1999)
The Real Thing (2000)
The Best Man (2001)
Private Lives (2002)
Long Day's Journey into Night (2003)
Henry IV (2004)
Twelve Angry Men (2005)
Awake and Sing! (2006)
Journey's End (2007)
Boeing-Boeing (2008)
The Norman Conquests (2009)
A View from the Bridge / Fences (2010)
The Normal Heart (2011)
Death of a Salesman (2012)
Who's Afraid of Virginia Woolf? (2013)
Twelfth Night (2014)
The Elephant Man (2015)
A View from the Bridge (2016)
Jitney (2017)
[show]
v
t
e
Laurence Olivier Award for Best Revival (1991–2000)
Pericles (1991)
Hedda Gabler (1992)
An Inspector Calls (1993)
Machinal (1994)
As You Like It (1995)
Complete list
(1991–2000)
(2001–2025)
[show]
v
t
e
Tony Award for Best Revival of a Play
An Inspector Calls (1994)
The Heiress (1995)
A Delicate Balance (1996)
A Doll's House (1997)
A View from the Bridge (1998)
Death of a Salesman (1999)
The Real Thing (2000)
One Flew Over the Cuckoo's Nest (2001)
Private Lives (2002)
Long Day's Journey into Night (2003)
Henry IV (a combination of Part 1 and Part 2) (2004)
Glengarry Glen Ross (2005)
Awake and Sing! (2006)
Journey's End (2007)
Boeing-Boeing (2008)
The Norman Conquests (2009)
Fences (2010)
The Normal Heart (2011)
Death of a Salesman (2012)
Who's Afraid of Virginia Woolf? (2013)
A Raisin in the Sun (2014)
Skylight (2015)
A View from the Bridge (2016)
Jitney (2017)
[show]
v
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e
Works by J. B. Priestley
Novels
Benighted (1927)
Adam in Moonshine (1927)
Farthing Hall (1929 with Hugh Walpole)
The Good Companions (1929)
Angel Pavement (1930)
Faraway (1932)
I'll Tell You Everything (1932 with Gerald Bullett)
Wonder Hero (1933)
They Walk in the City: The Lovers in the Stone Forest (1936)
The Doomsday Men (1938)
Let the People Sing (1939)
Blackout in Gretley (1942)
Daylight on Saturday (1943)
Three Men in New Suits (1945)
Bright Day (1946)
Jenny Villiers (1947)
Festival at Farbridge (1951)
Low Notes on a High Level (1954)
The Magicians (1954)
Saturn Over the Water (1961)
The Shapes of Sleep (1962)
Sir Michael & Sir George (1964)
Lost Empires (1965)
Salt Is Leaving (1966)
It's an Old Country (1967)
London End (1968)
Out Of Town (1968)
Snoggle (1971)
Over The Long High Wall (1972)
Found, Lost, Found (1976)
Short stories
"The Town Major of Miracourt" (1930)
Short story collections
The Other Place (1953)
The Carfitt Crisis (1974)
Plays
Time Plays series
Dangerous Corner (1932)
The Roundabout (1932)
Eden End (1934)
Laburnum Grove (1934)
Cornelius (1935)
Duet in Floodlight (1935)
Bees on the Boatdeck (1936)
Time and the Conways (1937)
I Have Been Here Before (1937)
People at Sea (1937)
Mystery of Greenfingers (1937)
Music at Night (1938)
When We Are Married (1938)
Johnson Over Jordan (1939)
The Long Mirror (1940)
Goodnight Children (1942)
Desert Highway (1944)
They Came to a City (1944)
An Inspector Calls (1945)
The Long Mirror (1947)
The Rose and Crown (1947)
The Linden Tree (1948)
Home is Tomorrow (1949)
Bright Shadow (1950)
Summer Day's Dream (1950)
Dragon's Mouth (1952)
Mother's Day (1953)
Private Rooms (1953)
Treasure on Pelican (1953)
The Scandalous Affair of Mr. Kettle and Mrs. Moon (1956)
The Glass Cage (1957)
Poetry
The Chapman of Rhymes (1918)
Screenplays
Sing As We Go (1934)
Jamaica Inn (1939)
Britain at Bay (1940)
Last Holiday (1950)
Non-fiction
Brief Diversions (1922)
Papers from Lilliput (1922)
Open House (1927)
Self-selected Essays (1932)
English Journey (1934)
Midnight on the Desert (1937 autobiography)
We Live In Two Worlds (1937 documentary)
Rain Upon Godshill (1939 autobiography)
British Women Go To War (1943)
Margin Released (1962 autobiography)
Man and Time (1964)
The Edwardians (1970)
Particular Pleasures (1975)
Instead Of The Trees (1977 autobiography)
Film & TV adaptations
An Inspector Calls (1954 film)
Out of the Unknown: "Level Seven" (1966 sci-fi series)
An Inspector Calls (1982 film)
Lost Empires (1986)
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text:
Angel of the North
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Angel of the North
The Angel of the North, October 2014
Location within Tyne and Wear
General information
Type
Artwork
Location
Low Eighton, Gateshead, NE9
United Kingdom NE9 7TY
Coordinates
54°54′54″N 1°35′24″W / 54.915°N 1.59°W / 54.915; -1.59Coordinates: 54°54′54″N 1°35′24″W / 54.915°N 1.59°W / 54.915; -1.59
Elevation
75 metres (246.1 ft)
Construction started
1994
Completed
1998
Height
20 metres (65.6 ft)
Design and construction
Architect
Antony Gormley (artist)
Structural engineer
Ove Arup
Main contractor
Hartlepool Steel Fabrications
The Angel of the North is a contemporary sculpture, designed by Antony Gormley, located in Gateshead in Tyne and Wear, England.
Completed in 1998, it is a steel sculpture of an angel, 20 metres (66 ft) tall, with wings measuring 54 metres (177 ft) across.[1] The wings do not stand straight sideways, but are angled 3.5 degrees forward; Gormley did this to create "a sense of embrace".[2]
It stands on the hill of Birtley, at Low Eighton in Lamesley, overlooking the A1 and A167 roads into Tyneside, and the East Coast Main Line rail route, south of the site of Team Colliery.[3]
Contents
[hide]
1 Concept
2 Construction
3 Maquettes
4 Other projects
5 Photo gallery
6 See also
7 References
8 External links
Concept[edit]
According to Gormley, the significance of an angel was three-fold: first, to signify that beneath the site of its construction, coal miners worked for two centuries; second, to grasp the transition from an industrial to an information age, and third, to serve as a focus for our evolving hopes and fears .[2]
Construction[edit]
Work began on the project in 1994, and cost £800,000.[4] Most of the project funding was provided by the National Lottery. The Angel was finished on 16 February 1998.
Due to its exposed location, the sculpture was built to withstand winds of over 100 mph (160 km/h). Thus, foundations containing 600 tonnes (590 long tons; 660 short tons) of concrete anchor the sculpture to rock 70 feet (21 m) below. The sculpture was built at Hartlepool Steel Fabrications Ltd using COR-TEN weather-resistant steel. It was made in three parts—with the body weighing 100 tonnes (98 long tons; 110 short tons) and two wings weighing 50 tonnes (49 long tons; 55 short tons) each — then brought to its site by road. It took five hours for the body to be transported from its construction site in Hartlepool, up the A19 road to the site.[5]
The Angel aroused some controversy in British newspapers, at first, including a "Gateshead stop the statue" campaign, while local councillor Martin Callanan was especially strong in his opposition. However, it has since been considered to be a landmark for North East England[5][6] and has been listed by one organisation as an "Icon of England".[7] It has often been used in film and television to represent Tyneside, as are other local landmarks such as the Tyne Bridge and the Gateshead Millennium Bridge.
The sculpture is also humorously known by some local people as the "Gateshead Flasher", because of its location and appearance.[8]
Maquettes[edit]
Several maquettes were produced during the development stage of the project.[9] A life-size model from which the sculpture was created was sold at auction for £2.28 million in July 2008.[10] An additional bronze maquette used in fundraising in the 1990s, owned by Gateshead Council, was valued at £1 million on the BBC show Antiques Roadshow on 16 November 2008—the most valuable item ever appraised on the programme.[9][11] In 2011 German fashion designer Wolfgang Joop sold his life-size maquette (previously kept in the garden of his mansion in Potsdam, Germany) at an auction at Christie's in London for £3.4m to an anonymous bidder.[12][13] Another maquette was donated to the National Gallery of Australia in 2009, and stands in its Sculpture Garden.[14]
Other projects[edit]
Inspired by the Angel of the North, several similar projects have been proposed. The Angel of the South title has been given by some to the Willow Man, which sits to the side of the M5 in Somerset, while a project, informally named the Angel of the South, has been proposed in Ebbsfleet, Kent. The sculpture Brick Man (also by Gormley) was proposed for the Holbeck area of Leeds.
Photo gallery[edit]
Detail of the Angel's body
Rear view of Angel of the North (man-size maquette) at the National Gallery of Australia
A Lego model of Angel of the North in Miniland
See also[edit]
Angel of the West (2008)
Angel of the South
Angel of the North statue (2009) statue by Banksy
List of statues by height
Wicker man
Star of Caledonia
References[edit]
Jump up ^ "Facts". Gateshead.gov.uk. Retrieved 18 October 2010.
^ Jump up to: a b "The Angel of the North > Background". Gateshead Council. Archived from the original on 29 March 2007. Retrieved 9 March 2007. Gormley said of the Angel: "... The effect of the piece is in the alertness, the awareness of space and the gesture of the wings – they are not flat, they're about 3.5 degrees forward and give a sense of embrace."
Jump up ^ Durham Mining Museum. "Durham Mining Museum – 1951 Durham Map 23". Dmm-gallery.org.uk. Retrieved 18 October 2010.
Jump up ^ "Angel facts". Gateshead council. 16 February 1998. Retrieved 16 June 2015.
^ Jump up to: a b "The angel has landed". BBC. 16 February 1998. Retrieved 9 March 2007.
Jump up ^ "Angel of the North". AboutBritain.com. Archived from the original on 4 April 2007. Retrieved 9 March 2007.
Jump up ^ "Icons of England". Icons.org.uk. Retrieved 18 October 2010.
Jump up ^ Higgins, Charlotte (27 September 2010). "Antony Gormley". Guardian. London. Archived from the original on 30 August 2010. Retrieved 28 September 2010.
^ Jump up to: a b "Angel of the north is one in a million". Gateshead Council. 17 November 2008. Retrieved 19 November 2008.
Jump up ^ "Buyer pays £2.3m for Angel model". BBC. 2008-07-02. Retrieved 2015-10-04.
Jump up ^ "Antiques Roadshow finds £1m Angel". BBC News. 16 November 2008. Retrieved 1 January 2010.
Jump up ^ "Joop lets his angel fly". BILD. 23 October 2011. Retrieved 25 August 2015.
Jump up ^ "Antony Gormley's 'Angel of North' sold at auction". BBC. 15 October 2011. Retrieved 25 August 2015.
Jump up ^ "Angel of the North (life-size maquette) 1996". Collection search. National Gallery of Australia. Retrieved 6 January 2013.
External links[edit]
Wikimedia Commons has media related to Angel of the North.
Gateshead Council's Angel of the North website
Angel of the North – Antony Gormley's official website
The Angel of the North at icons.org, featuring pictures of the sculpture under construction
"In praise of ... the Angel of the North". The Guardian. London. 30 January 2008. Archived from the original on 31 January 2008. Retrieved 7 February 2008.
Photo showing a maquette in the garden of German fashion designer Wolfgang Joop's mansion 'Villa Wunderkind' in Potsdam, Germany
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text:
Betty Lynn
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Betty Lynn
Betty Lynn and Ian Oliver Martin in 2011
Born
Elizabeth Ann Theresa Lynn
(1926-08-29) August 29, 1926 (age 91)
Kansas City, Missouri, U.S.
Other names
Betty Ann Lynn
Occupation
Actress
Years active
1948-2006
Elizabeth Ann Theresa "Betty" Lynn[1] (born August 29, 1926) is a former American actress. She is best known for her role as Thelma Lou, Deputy Barney Fife's girlfriend, on The Andy Griffith Show. She is the last surviving multi-season regular adult cast member from that series.
Contents
[hide]
1 Early life
2 USO tour
3 Acting career
4 Personal life
5 Honors
6 Filmography
7 References
8 External links
Early life[edit]
Betty Lynn was born in Kansas City, Missouri,[2] Her mother, Elizabeth Ann Lynn,[3] was "an accomplished mezzo-soprano" who taught Betty to sing and started her in the Kansas City Conservatory of Music when she was 5 years old.[4]
Lynn had little personal contact with her father, who once threatened to shoot her mother in the abdomen when she was pregnant with Lynn. After Lynn's birth, her mother once took shelter in a locked closet with the baby as her husband threatened the two. They divorced when Lynn was 5 years old. Lynn's grandfather, George Andrew Lynn, a railroad engineer, took on the role of father as she grew up.[4]
USO tour[edit]
When she was 17, Lynn auditioned to participate in United Service Organizations entertainment. At 18 she was part of a USO tour in the China Burma India Theater. She realized the gravity of the situation when a Marine gave her a pistol saying, "You might need this."[4] Her activities on the tour included visiting patients in hospitals and singing requests from a repertoire of 725 songs. She also met recently released prisoners of war from Rangoon, and she was told by a doctor, "Most of them will be out of their minds in six months."[4]
Acting career[edit]
Betty Lynn began her acting career in radio as a member of the cast on a daytime drama on a station in Kansas City.[5] On Broadway, she acted in Walk with Music (1940) and Oklahoma! (1943).[6] She was discovered in a Broadway production by Darryl F. Zanuck and signed to 20th Century Fox.[7] A clause in her contract allowed the studio to drop her at six-month intervals, leading to recurring concerns for Lynn. She said, "I was a redhead with freckles and didn’t have a bosom. I prayed so hard they’d keep picking me up."[4]
Lynn made her film debut in the 1948 film Sitting Pretty opposite Robert Young. That same year, she appeared in June Bride with Bette Davis followed by roles in Mother Is a Freshman (1949), Cheaper by the Dozen (1950), and Payment on Demand (1951).[8]
Lynn replaced Patricia Kirkland in the role of Betty Blake in the CBS comedy, The Egg and I (1951-1952),[9] and she played Pearl in the ABC comedy Love That Jill (1958).[9]:631 She was Viola Slaughter in the ABC Western Texas John Slaughter (1958-1962).[9]:1064 In the 1953–1954 television season, Lynn was cast as June Wallace,[9]:1171 the sister-in-law of the Ray Bolger character in the ABC sitcom Where's Raymond? Allyn Joslyn played her husband, Jonathan Wallace. Lynn and Joslyn left the series in its second season when it was renamed The Ray Bolger Show.[10][8]
After guest-starring on various television series, including Schlitz Playhouse of Stars, The Gale Storm Show, Sugarfoot, and Markham, Lynn won the role of Thelma Lou on The Andy Griffith Show. She portrayed the role regularly from 1961 until 1965, then made a final guest appearance in one episode during the sixth season (1965–1966). Following the end of The Andy Griffith Show, Lynn continued appearing in various television and film roles.[8] In 1986, she reprised the role of Thelma Lou in the reunion television movie Return to Mayberry in which Thelma Lou and Barney Fife were finally married. In 2006, Lynn retired from acting and relocated to Mount Airy, North Carolina, the hometown of Andy Griffith and the town on which Mayberry is believed to have been based despite Griffith's repeated denials.[7]
Personal life[edit]
In 1950, Lynn bought a house in Los Angeles, with her mother and grandparents moving in. She thus took on the off-screen roles of breadwinner and caretaker.[4]
Betty Lynn
Giovanna Rayburn left and Randy Rayburn Right with Betty Lynn "Thelma Lou" Mount Airey NC
Betty Lynn has never married, although she has said she was once engaged.[11] She makes monthly appearances at the Andy Griffith Museum in Mount Airy to sign autographs and meet with her fans.[12]
Honors[edit]
In 2007, Lynn was inducted into the Missouri Walk of Fame, located in Marshfield, Missouri, and is still "The Cats".[13]
On August 30, 2016, then-North Carolina Governor Pat McCrory granted and North Carolina Lieutenant Governor Dan Forest presented Lynn with the Order of the Long Leaf Pine, the highest civilian honor in North Carolina.[14]
Filmography[edit]
1951 Payment on Demand (1951) Martha Ramsey
Film
Year
Title
Role
Notes
1948 Apartment for Peggy Wife Credited as Betty Ann Lynn
Sitting Pretty Ginger Credited as Betty Ann Lynn
June Bride Babara Brinker
1949 Father Was a Fullback Constance "Connie" Cooper
1950 Cheaper by the Dozen Deborah Lancaster
1951 Take Care of My Little Girl Marge Colby
1956 Meet Me in Las Vegas Young Bride Alternative title: Viva Las Vegas!
1959 Louisiana Hussy Lili Guillot
Television
Year
Title
Role
Notes
1958 M Squad Susan Baines Episode: "The Trap"
1958 Lawman Edna Phillips Episode: "The Oath"
1958 Wagon Train Molly Richardson Episode: "The Dick Richardson Story"
1958 Bronco Molly Bailey Episode: "Baron of Broken Lace"
1959 Tales of Wells Fargo Mary Francis Episode: "The Bounty Hunter"
1959 Mickey Spillane's Mike Hammer Mona Episode: "Pen Pals"
1959 Sugarfoot Sarah Sears Episode "The Royal Raiders"
1959 Sugarfoot Alice Fenton Episode "The Twister"
1960-1966 The Andy Griffith Show Thelma Lou 26 episodes
1960 National Velvet Barbara Howard Episode: "Mi's Girl"
1963 The Farmer's Daughter Sylvia Episode: "The Speechmaker: Part 2"
1965 The Smothers Brothers Show Vera Episode: "Here Comes the Bridegroom"
1967–1970 My Three Sons Janet/Janice; Lois 7 episodes
1966–1968 Family Affair Miss Lee 4 episodes
1969 The Mod Squad Mrs. Hill Episode: "The Healer"
1974 Little House on the Prairie Bridget Episode: "If I Should Wake Before I Die"
1978 Barnaby Jones Mrs. Russell Episode: "Blind Jeopardy"
1986 Matlock Sarah 4 episodes
References[edit]
Jump up ^ Oby, Jenny (2017). Lakewood Theatre. Arcadia Publishing. p. 103. ISBN 9781467125949. Retrieved 24 October 2017.
Jump up ^ Robinson, Dale; Fernandes, David (1996). The Definitive Andy Griffith Show Reference: Episode-by-Episode, With Cast and Production Biographies and a Guide to Collectibles. McFarland. p. 267. ISBN 0-7864-0136-2.
Jump up ^ Collura, Joe (September 2017). "Betty Lynn: Barney's Thelma Lou". Classic Images (507): 68–71.
^ Jump up to: a b c d e f Washburn, Mark (August 28, 2016). "The secret life of Mayberry's Thelma Lou". Miami Herald. Archived from the original on 24 October 2017. Retrieved 25 October 2017.
Jump up ^ "Betty Lynn Started Acting At Early Age". Biddeford-Saco Journal. Maine, Biddeford. April 14, 1952. p. 12. Retrieved October 25, 2017 – via Newspapers.com.
Jump up ^ "Betty Lynn". Playbill Vault. Playbill. Archived from the original on 25 October 2017. Retrieved 25 October 2017.
^ Jump up to: a b Breed, Allen G. (2007-09-28). "'Thelma Lou' moves to Mount Airy after L.A. break-ins". news-record.com. Archived from the original on 2012-02-13. Retrieved 2009-05-10.
^ Jump up to: a b c Betty Lynn on IMDb
^ Jump up to: a b c d Terrace, Vincent (2011). Encyclopedia of Television Shows, 1925 through 2010 (2nd ed.). Jefferson, N.C.: McFarland & Company, Inc., Publishers. p. 300. ISBN 978-0-7864-6477-7.
Jump up ^ "Where's Raymond?/The Ray Bolger Show". ctva.biz. Retrieved March 14, 2011.
Jump up ^ "Actress Who Played Thelma Lou Reminisces About Andy Griffith". Huffington Post. August 29, 2013.
Jump up ^ "Meet Thelma Lou". Andy Griffith Museum. September 13, 2017.
Jump up ^ "Marshfield, Missouri Cherry Blossom Fest". cherryblossomfest.com. Retrieved 2009-05-10.
Jump up ^ "Lt. Gov. Honors Lynn". Mount Airy News. Retrieved February 27, 2017.
External links[edit]
Betty Lynn on IMDb
Betty Lynn at the Internet Broadway Database
Betty Lynn helping to donate Andy Griffith show articles to Andy Griffith Museum in Mount Airy, NC
Interview, September, 2015
Authority control
WorldCat Identities
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