document_title: Ames (surname)

question_text: where does the last name ames come from

question_tokens: where does the last name ames come from

text: Ames (surname)

text: This is the current revision of this page, as edited by 213.235.52.218 (talk) at 12:46, 20 July 2017 (Adding musician Taylor Ames). The present address (URL) is a permanent link to this version.

tag: table

text: The surname Ames is usually either French or Hebrew in origin. The French name comes from the noun amie, meaning a friend or a beloved. In Hebrew it literally means burden, but is actually derived from the eponymous Hebrew prophet Amos. The name may also be a contraction of Ambrose or Eames.

text: List of people surnamed Ames[edit]

text:
A. A. Ames (Albert Alonzo Ames, 1842–1911), American physician and politician
Adelaide Ames (1900–1932), American astronomer, co-author of the Shapley-Ames Catalog
Adelbert Ames (1835–1933), American Civil War general
Adelbert Ames Jr. (1880–1955), American scientist
Adrienne Ames (1907–1947), American film actress
Aldrich Ames (born 1941), convicted spy for the Soviet Union
Alfred Elisha Ames, American physician and politician
Blanche Ames Ames (1878–1969), artist, inventor, writer, and prominent supporter of women's suffrage and birth control
Blanche Butler Ames (1847–1939), the wife of Gen. Adelbert Ames
Bruce Ames (born 1928), American biochemist
Cheney Ames (1808–1892), New York politician
David Ames (disambiguation), several people
DeHart H. Ames (1872–1955), New York politician
Ed Ames (born 1927), American popular singer and actor
Fisher Ames (1758–1808), Congressman from Massachusetts
Frederick Lothrop Ames (1835–1893), grandson of Oliver Ames, Sr.
Frederick Lothrop Ames, Jr. (1876–1921), great-grandson of Oliver Ames, Sr.
Hermes L. Ames (1865–1920), New York politician
James Ames (disambiguation), several people
John Ames (disambiguation), several people
Jonathan Ames (born 1964), American author
Joseph Ames (disambiguation), several people
Keith Ames (born 1933), English former professional footballer
Leon Ames (1902–1993), American actor
Les Ames (1905–1990), English cricketer
Nathaniel Ames (1708–1764), American almanac maker
Oakes Ames (1804–1873), American manufacturer and Congressman from Massachusetts
Oakes Ames (botanist) (1874–1950), American botanist
Oakes Angier Ames (1829–1899), industrialist and philanthropist from Massachusetts
Oliver Ames (disambiguation), several people
Rachel Ames (born 1929), American actress
Ramsay Ames (1919–1998), American movie actress
Red Ames (1882–1936), Major League Baseball pitcher
Roger Ames (born 1942), American Anglican priest
Roger T. Ames, prominent sinologist, linguist, and translator of a version of the Analects of Confucius and the Zhongyong
Rosemary Ames (1906–1988), American film actress
Samuel Ames (1824–1875), New York politician
Samuel Ames (jurist), Chief Justice of Rhode Island 1856–1866
Solace Ames, American writer
Stephen Ames (born 1964), golfer from Trinidad and Tobago and Canada
Taylor Ames (born 1992), singer and songwriter from London, England
William Ames (1576-1633), English theologian
William Ames (Quaker) (died 1662), English preacher
William Thayer Ames (1901–1987), American composer
Winthrop Ames (1870–1937) American producer and playwright; son of Oakes Angier Ames
The Ames Brothers, a singing quartet

tag: ul

text: This page lists people with the surname Ames. If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name(s) to the link.

text: Surnames

text: All set index articles


document_title: Clerical celibacy (Catholic Church)

question_text: when was celibacy introduced in the catholic church

root

text: Clerical celibacy (Catholic Church)

text: Description[edit]

text: Throughout the Catholic Church, East as well as West, a priest may not marry. To become a married priest, one must therefore marry before being ordained.

tag: p

text: The Catholic, Eastern Orthodox and Oriental Orthodox Churches, without exception, rule out ordination of married men to the episcopate, and marriage after priestly ordination (clerical marriage).

text: The Church considers the law of clerical celibacy to be not a doctrine, but a discipline. Exceptions are sometimes made, especially in the case of married Protestant clergymen who convert to the Catholic Church, and the discipline could in theory be changed for all ordinations to the priesthood.

text: Theological and scriptural foundations[edit]

text: Theologically, the Church teaches that priesthood is a ministry conformed to the life and work of Jesus Christ. Priests as sacramental ministers act in persona Christi, that is in the person of Christ. Thus the life of the priest conforms, the Church believes, to the chastity of Christ himself. The sacrifice of married life is for the "sake of the Kingdom" (Luke 18:28–30, Matthew 19:27–30), and to follow the example of Jesus Christ in being "married" to the Church, viewed by Catholicism and many Christian traditions  as the "Bride of Christ" (following Ephesians 5:25-33 and Revelation 21:9, together with the spousal imagery at Mark 2:19-20; cf. Matthew 9:14-15).[2]

text: Cardinal Joseph Ratzinger (later Pope Benedict XVI) in Salt of the Earth saw this practice as based on Jesus' words in Matthew 19:12: "Some are eunuchs because they were born that way; others were made that way by men; and others have renounced marriage because of the kingdom of heaven. The one who can accept this should accept it." He linked this celibacy "because of the kingdom of heaven" with God's choice to confer the Old Testament priesthood on a specific tribe, that of Levi, which unlike the other tribes received no land from God, but which had "God himself as its inheritance" (Numbers 1:48–53).

text: Paul, within a context of having "no command from the Lord" (1 Cor 7:25), recommends celibacy, but acknowledges that it is not God's gift to all within the church: "For I wish that all men were even as I myself. But each one has his own gift from God, one in this manner and another in that. But I say to the unmarried and to the widows: It is good for them if they remain even as I am, ... I want you to be without care. He who is unmarried cares for the things of the Lord – how he may please the Lord. But he who is married cares about the things of the world – how he may please his wife. There is a difference between a wife and a virgin. The unmarried woman cares about the things of the Lord, that she may be holy both in body and in spirit. But she who is married cares about the things of the world – how she may please her husband. And this I say for your own profit, not that I may put a leash on you, but for what is proper, and that you may serve the Lord without distraction" (1 Corinthians 7:7–8, 7:32–35). Peter Brown and Bart D. Ehrman speculate that for early Christians celibacy had to do with the “imminent end of the age” (1 Corinthians 7:29-31).[3][4]

text: Historical origins[edit]

text: In the earliest years of the church, the clergy were largely married men. C K Barrett points to 1 Cor 9:5 as clearly indicating that "apostles, like other Christians, have a right to be (and many of them are) married" and the right for their wife to be "maintained by the communities in which they [the apostles] are working."[5] However, Paul himself was celibate,[6][7] and there is no consensus that inclusion among the requirements for candidacy to the office of "overseer" of being "the husband of one wife"[8] meant that celibate Christians were excluded.[9]

text: Studies by some Catholic scholars, such as the Ukrainian Roman Cholij[10] and Christian Cochini,[11] have argued for the theory that, in early Christian practice, married men who became priests—they were often older men, "elders"—were expected to live in complete continence, refraining permanently from sexual relations with their wives.[12][13] When at a later stage it was clear that not all did refrain, the Western Church limited ordination to unmarried men and required a commitment to lifelong celibacy, while the Eastern Churches relaxed the rule, so that Eastern Orthodox and Eastern Catholic Churches now require their married clergy to abstain from sexual relations only for a limited period before celebrating the Eucharist. The Church in Persia, which in the fifth century became separated from the Church described as Orthodox or Catholic, decided at the end of that century to abolish the rule of continence and allow priests to marry, but recognized that it was abrogating an ancient tradition. The Ethiopian Orthodox Tewahedo Church, whose separation, along with the Coptic Orthodox Church of Alexandria, came slightly later, allows deacons (who are ordained when they are boys) to marry after ordination, but not priests: any future priests who wish to marry must do so before becoming priests. The Armenian Apostolic Church, which also belongs to Oriental Orthodoxy, while technically prohibiting, like the Eastern Orthodox Church, marriage after ordination to the sub-diaconate, has generally let this rule fall into disuse and allows deacons to marry up to the point of their priestly ordination, thus continuing to maintain the traditional exclusion of marriage by those who are priests.[14] This theory would explain why all the ancient Christian Churches of both East and West, with the one exception mentioned, exclude marriage after priestly ordination, and why all reserve the episcopate (seen as a fuller form of priesthood than the presbyterate) for the celibate.

text: Some Catholic scholars, such as Jesuits Peter Fink and George T. Dennis of Catholic University of America, have argued that we cannot know if priests in early Christianity practised sexual abstinence. Dennis says "there is simply no clear evidence of a general tradition or practice, much less of an obligation, of priestly celibacy-continence before the beginning of the fourth century."[15] Fink says that a primary book used to support apostolic origins of priestly celibacy "remains a work of interpretation. There are underlying premises that seem to hold firm in this book but which would not stand up so comfortably to historical scrutiny."[16]

text: The earliest textual evidence of the forbidding of marriage to clerics and the duty of those already married to abstain from sexual contact with their wives is in the fourth-century decrees of the Council of Elvira and the later Council of Carthage (390). According to some writers, this presumed a previous norm, which was being flouted in practice.[17]

text: Council of Elvira (c. 305)

text: Council of Carthage (390)

text: Among the early Church statements on the topic of sexual continence and celibacy are the Directa and Cum in unum decretals of Pope Siricius (c. 385), which asserted that clerical sexual abstinence was an apostolic practice that must be followed by ministers of the church.

text: The writings of Saint Ambrose (died 397) also show that the requirement that priests, whether married or celibate, should be continent was the established rule. To the married clergy who, "in some out-of-the-way places", claimed, on the model of the Old Testament priesthood, the right to father children, he recalled that in Old Testament times even lay people were obliged to observe continence on the days leading to a sacrifice, and commented: "If such regard was paid in what was only the figure, how much ought it to be shown in the reality!"[18] Yet more sternly he wrote: "(Saint Paul) spoke of one who has children, not of one who begets children."[19]

text: Medieval Christendom[edit]

text: Beyond the fact that clerical celibacy functioned as a spiritual discipline, it also was guarantor of the independence of the Church and of its essential dimension as a spiritual institution ordered toward ends beyond the competence and authority of temporal rulers.[20]

text: During the decline of the Roman Empire, Roman authority in western Europe completely collapsed. However, the city of Rome, under the guidance of the Catholic Church, still remained a centre of learning and did much to preserve classical Roman culture in Western Europe. The classical heritage flourished throughout the Middle Ages in both the Byzantine Greek East and the Latin West. Philosopher Will Durant argues that certain prominent features of Plato's ideal community were discernible in the organization, dogma and effectiveness of the medieval Church in Europe:[21]

text: The clergy, like Plato's guardians, were placed in authority... by their talent as shown in ecclesiastical studies and administration, by their disposition to a life of meditation and simplicity, and ... by the influence of their relatives with the powers of state and church. In the latter half of the period in which they ruled [800 AD onwards], the clergy were as free from family cares as even Plato could desire [for such guardians].... [Clerical] Celibacy was part of the psychological structure of the power of the clergy; for on the one hand they were unimpeded by the narrowing egoism of the family, and on the other their apparent superiority to the call of the flesh added to the awe in which lay sinners held them.... In the latter half of the period in which they ruled, the clergy were as free from family cares as even Plato could desire.[21]

text: In his book The Ruling Class, Gaetano Mosca wrote of the medieval Church and its structure:

text: ...the Catholic Church has always aspired to a preponderant share in political power, it has never  been able to monopolize it entirely, because of two traits, chiefly, that are basic in its structure. Celibacy has generally been required of the clergy and of monks. Therefore no real dynasties of abbots and bishops have ever been able to establish themselves.... Secondly, in spite of numerous examples to the contrary supplied by the warlike Middle Ages, the ecclesiastical calling has by its very nature never been strictly compatible with the bearing of arms. The precept that exhorts the Church to abhor bloodshed has never dropped completely out of sight, and in relatively tranquil and orderly times it has always been very much to the fore.[22]

text: It is sometimes claimed that celibacy became mandatory for Latin Church priests only in the eleventh century; but others say, for instance: "(I)t may fairly be said that by the time of St. Leo the Great (440–61) the law of celibacy was generally recognized in the West,"[23] and that the eleventh-century regulations on this matter, as on simony, should obviously not be interpreted as meaning that either non-celibacy or simony were previously permitted.[24]

text: Reformation period[edit]

text: Celibacy as a requirement for ordination to the priesthood (in the Western Church) and to the episcopate (in East as well as in West) and declaring marriages of priests invalid[25] (in both East and West) were important points of disagreement during the Protestant Reformation, with the Reformers arguing that these requirements were contrary to Biblical teaching in 1 Timothy 4:1-5, Hebrews 13:4, and 1 Corinthians 9:5, and implied a degradation of marriage, and were one reason for "many abominations"[26][27] and for widespread sexual misconduct within the clergy at the time of the Reformation.[28] The doctrinal view of the Reformers on this point was reflected in the marriages of Zwingli in 1522, Luther in 1525, and Calvin in 1539; in England, the married Thomas Cranmer was made Archbishop of Canterbury in 1533. Both of these actions, marriage after ordination to the priesthood and consecration of a married man as a bishop, went against the long-standing tradition of the Church in the East as well as in the West. See Clerical marriage.

text: Celibacy in the present-day Church[edit]

text: Celibacy of deacons[edit]

text: Following recommendations made at the Second Vatican Council, the Latin Church now admits married men of mature age to ordination as deacons, to remain permanently as deacons and not as part of the process by which aspirants are temporarily deacons on their way to priestly ordination.[29][30] The change was effected by Pope Paul VI's motu proprio Sacrum diaconatus ordinem of 18 June 1967.[31] A candidate for ordination to the permanent diaconate must have reached a certain minimum age and must have the written consent of his wife.

text: Ordination even to the diaconate is an impediment to a later marriage (for example, if a man who was already married by the time of ordination to the diaconate subsequently becomes a widower), though special dispensation can be received for remarriage under extenuating circumstances.[32]

text: Celibacy of priests[edit]

text: Debate on celibacy of priests[edit]

text: Garry Wills, in his book Papal Sin: Structures of Deceit, argued that the imposition of celibacy among Catholic priests played a pivotal role in the cultivation of the Church as one of the most influential institutions in the world. In his discussion concerning the origins of the said policy, Wills mentioned that the Church drew its inspiration from the ascetics, monks who devote themselves to meditation and total abstention from earthly wealth and pleasures in order to sustain their corporal and spiritual purity, after seeing that its initial efforts in propagating the faith were fruitless. The rationale behind such strict policy is that it significantly helps the priests perform well in their religious services while at the same time following the manner in which Jesus Christ lived his life. Moreover, the author also mentioned that although the said policy insists on helping priests focus more on ecclesiastical duties, it also enabled the Church to control the wealth amassed by the clerics through their various religious activities, hence contributing to the growing power of the institution.[33]

text: The Latin Church discipline continues to be debated for a variety of reasons.

text: First, many believe celibacy was not required of the apostles. Peter himself had a wife at the time of Jesus' ministry, whose mother Jesus healed of a high fever.[34] And 1 Corinthians 9:5 is commonly interpreted as saying that years later, Peter and other apostles were accompanied by their wives. However, on the basis especially of Luke 18:28-30, others think the apostles left their wives, and that the women mentioned in 1 Corinthians as accompanying some apostles were "holy women, who, in accordance with Jewish custom, ministered to their teachers of their substance, as we read was the practice with even our Lord himself."[35][36][37]

text: Second, this requirement excludes a great number of otherwise qualified men from the priesthood, qualifications which according to the defenders of celibacy should be determined not by merely human hermeneutics but by the hermeneutics of the divine. Supporters of clerical celibacy answer that God only calls men to the priesthood if they are capable. Those who are not called to the priesthood should seek other paths in life since they will be able to serve God better there. Therefore, to the supporters of celibacy no one who is called is excluded.

text: Third, some say that resisting the natural sexual impulse in this way is unrealistic and harmful for a healthy life. Sexual scandals among priests, especially homosexuality and pedophilia, the defenders say, are a breach of the Church's discipline, not a result of it, especially since only a small percentage of priests have been involved.

text: Fourth, it is said that mandatory celibacy distances priests from this experience of life, compromising their moral authority in the pastoral sphere, although its defenders argue that the Church's moral authority is rather enhanced by a life of total self-giving in imitation of Christ, a practical application of the Vatican II teaching that "man cannot fully find himself except through a sincere gift of himself."[38]

text: In 1970, nine German theologians, including Joseph Ratzinger (the future Pope Benedict XVI), signed a letter calling for a new discussion of the law of celibacy, though refraining from making a statement as to whether the law of celibacy should in fact be changed.[39]

text: In 2011, hundreds of German, Austrian, and Swiss theologians (249 as of 15 February 2011[40]) signed a letter calling for married priests, as well as for women in Church ministry.[41]

text: Since the Second Vatican Council[edit]

text: During and after the Council, the Magisterium of the Catholic Church has repeatedly re-affirmed the permanent value of the discipline of obligatory clerical celibacy in the Latin Church.[42] Pope John Paul II wrote in 1992:[43]

text: The synod fathers clearly and forcefully expressed their thought on this matter in an important proposal which deserves to be quoted here in full: "While in no way interfering with the discipline of the Oriental churches, the synod, in the conviction that perfect chastity in priestly celibacy is a charism, reminds priests that celibacy is a priceless gift of God for the Church and has a prophetic value for the world today. This synod strongly reaffirms what the Latin Church and some Oriental rites require, that is that the priesthood be conferred only on those men who have received from God the gift of the vocation to celibate chastity (without prejudice to the tradition of some Oriental churches and particular cases of married clergy who convert to Catholicism, which are admitted as exceptions in Pope Paul VI's encyclical on priestly celibacy, no. 42). The synod does not wish to leave any doubts in the mind of anyone regarding the Church's firm will to maintain the law that demands perpetual and freely chosen celibacy for present and future candidates for priestly ordination in the Latin rite.

text: He added that the "unchanging" essence of ordination "configures the priest to Jesus Christ the Head and Spouse of the Church." Thus, he said, "The Church, as the Spouse of Jesus Christ, wishes to be loved by the priest in the total and exclusive manner in which Jesus Christ her Head and Spouse loved her."

text: There has never been any doubt, however, that it is an ecclesiastical discipline, as the Council Fathers explicitly recognised when they stated that "it is not demanded by the very nature of the priesthood."[44] Pope John Paul II took up this theme when he said at a public audience on 17 July 1993 that celibacy "does not belong to the essence of priesthood."[45]  He went on to speak of its aptness for, and its congruence with, the requirements of sacred orders, asserting that the discipline "enters into the logic of [priestly] consecration."[46]

text: Yet some commentators have argued for the possibility that married men of proven seriousness and maturity (viri probati, taking up a phrase which appears in the first-century First Epistle of Clement in a different context)[47] might be ordained to a localized and modified form of the priesthood.[48] The topic of viri probati was raised by some participants in discussions at Ordinary General Assembly XI of the Synod of Bishops held at the Vatican in October 2005 on the theme of the Eucharist, but it was rejected as a solution for the insufficiency of priests.[49]

text: Pope Francis[edit]

text: Pope Francis shared his views on celibacy, and the possibility of church discussion on the topic, when he was the Archbishop of Buenos Aires, recorded in the book On Heaven and Earth, a record of conversations conducted with a Buenos Aires rabbi.[50] He commented that celibacy "is a matter of discipline, not of faith. It can change" but added: "For the moment, I am in favor of maintaining celibacy, with all its pros and cons, because we have ten centuries of good experiences rather than failures.... Tradition has weight and validity."[51]  He said that now the rule must be strictly adhered to, and any priest who cannot obey it "has to leave the ministry."[51] National Catholic Reporter Vatican analyst, Jesuit Thomas J. Reese, called Bergoglio's use of "conditional language" regarding the rule of celibacy "remarkable."[50]  He said that phrases like "for the moment" and "for now" are "not the kind of qualifications one normally hears when bishops and cardinals discuss celibacy."[50]

text: In a conversation with Bishop Erwin Krautler about mandatory celibacy on 4 April 2014, the Pope also spoke about a possible mechanism for a change starting with national bishop conferences. These conferences would

text: seek and find consensus on reform and we should then bring up our suggestions for reform in Rome. … The pope explained that he could not take everything in hand personally from Rome. We local bishops, who are best acquainted with the needs of our faithful, should be ‘corajudos,’ that is ‘courageous’ in Spanish, and make concrete suggestions.... It was up to the bishops to make suggestions, the pope said again.[52]

text: In 2018 Francis showed that he wanted the topic discussed, beginning with remote areas like Amazonia that have a shortage of priests.[53]

text: Exceptions to the rule of priestly celibacy[edit]

text: Exceptions to the rule of celibacy for priests of the Latin Church are sometimes granted by authority of the Pope, when married Protestant clergy become Catholic. Thus married Anglicans have been ordained to the Catholic priesthood in personal ordinariates and through the United States Pastoral Provision. Because the rule of celibacy is an ecclesiastical law and not a doctrine, it can, in principle, be changed at any time by the Pope. Nonetheless, both Pope Benedict XVI and his predecessors have spoken clearly of their understanding that the traditional practice was not likely to change.[54]

text: Father Richard McBrien, a controversial voice within the Church, argued that the existence of these exceptions, coupled with a declining number of priests in active ministry (per McBrien's North America and in Europe)[citation needed][clarification needed] and reported cases of non-observance of the norm will keep the subject in the spotlight.[55] However, the number of priests worldwide has been increasing in the past two decades,[56][57][58] reversing the downward tendency of the 1970s and 1980s.[59]

text: Eastern Catholic churches[edit]

text: In general, the Eastern Catholic Churches allow ordination of married men as priests. Within the lands of the Ukrainian Greek Catholic Church, the largest Eastern Rite Catholic Church, priests' children often became priests and married within their social group, establishing a tightly-knit hereditary caste.[60] In North America, by the provisions of the decree Cum data fuerit, and for fear that married priests would create scandal among Latin Church Catholics, Eastern Catholic bishops were directed to ordain only unmarried men. This ban, which some bishops determined to be null in various circumstances or at times or simply decided not to enforce, was finally rescinded by a decree of June 2014.[61]

text: A condition for becoming an Eastern Catholic bishop is to be unmarried or a widower.[62]

text: The mainly Lebanese Maronite Church doesn't demand celibacy vows from its deacons or parish priests;[citation needed] their monks, however, are celibate, as well as their bishops who are normally selected from celibate priests and sometimesfrom the monasteries. The current Patriarch of the Maronite Church is originally a monk in the Mariamite Maronite Order.


document_title: My Fair Lady

question_text: who starred in the original my fair lady

text: My Fair Lady

text: Plot[edit]

text: This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (January 2017) (Learn how and when to remove this template message)

text: On a rainy night in Edwardian London, opera patrons are waiting under the arches of Covent Garden for cabs. Eliza Doolittle, a Cockney flower girl, runs into a young man called Freddy. She admonishes him for spilling her bunches of violets in the mud, but she cheers up after selling one to an older gentleman. She then flies into an angry outburst when a man copying down her speech is pointed out to her. The man explains that he studies phonetics and can identify anyone's origin by their accent. He laments Eliza's dreadful speech, asking why so many English people don't speak properly and explaining his theory that this is what truly separates social classes, rather than looks or money ("Why Can't the English?"). He declares that in six months he could turn Eliza into a lady by teaching her to speak properly. The older gentleman introduces himself as Colonel Pickering, a linguist who has studied Indian dialects. The phoneticist introduces himself as Henry Higgins, and, as they both have always wanted to meet each other, Higgins invites Pickering to stay at his home in London. He distractedly throws his change into Eliza's basket, and she and her friends wonder what it would be like to live a comfortable, proper life ("Wouldn't It Be Loverly?").

text: Eliza's father, Alfred P. Doolittle, and his drinking companions, Harry and Jamie, all dustmen, stop by the next morning. He is searching for money for a drink, and Eliza shares her profits with him ("With a Little Bit of Luck"). Pickering and Higgins are discussing vowels at Higgins's home when Mrs. Pearce, the housekeeper, informs Higgins that a young woman with a ghastly accent has come to see him. It is Eliza, who has come to take speech lessons so she can get a job as an assistant in a florist's shop. Pickering wagers that Higgins cannot make good on his claim and volunteers to pay for Eliza's lessons. An intensive makeover of Eliza's speech, manners and dress begins in preparation for her appearance at the Embassy Ball. Higgins sees himself as a kindhearted, patient man who cannot get along with women ("I'm an Ordinary Man"). To others he appears self-absorbed and misogynistic.

text: Alfred Doolittle is informed that his daughter has been taken in by Professor Higgins, and considers that he might be able to make a little money from the situation ("With a Little Bit of Luck" [Reprise]).

text: Doolittle arrives at Higgins's house the next morning, claiming that Higgins is compromising Eliza's virtue. Higgins is impressed by the man's natural gift for language and brazen lack of moral values. He and Doolittle agree that Eliza can continue to take lessons and live at Higgins's house if Higgins gives Doolittle five pounds for a spree. Higgins flippantly recommends Doolittle to an American millionaire who has written to Higgins seeking a lecturer on moral values. Meanwhile, Eliza endures speech tutoring, endlessly repeating phrases like "In Hertford, Hereford and Hampshire, hurricanes hardly ever happen” (initially, the only "h" she aspirates is in "hever") and "The rain in Spain stays mainly in the plain" (to practice the "long a" phoneme). Frustrated, she dreams of different ways to kill Higgins, from sickness to drowning to a firing squad ("Just You Wait"). The servants lament the hard "work" Higgins does ("The Servants' Chorus"). Just as they give up, Eliza suddenly recites "The rain in Spain stays mainly in the plain" in perfect upper-class style. Higgins, Eliza, and Pickering happily dance around Higgins's study ("The Rain in Spain"). Thereafter she speaks with impeccable received pronunciation. Mrs. Pearce, the housekeeper, insists that Eliza go to bed; she declares she is too excited to sleep ("I Could Have Danced All Night").

text: For her first public tryout, Higgins takes Eliza to his mother's box at Ascot Racecourse ("Ascot Gavotte"). Henry's mother reluctantly agrees to help Eliza make conversation, following Henry's advice that Eliza should stick to two subjects: the weather and everybody's health. Eliza makes a good impression at first with her polite manners but later shocks everyone when she forgets herself while watching a race and reverts to Cockney slang. She does, however, capture the heart of Freddy Eynsford-Hill, the young man she ran into in the opening scene. Freddy calls on Eliza that evening, but she refuses to see him. He declares that he will wait for her as long as necessary in the street outside Higgins's house ("On the Street Where You Live").

text: Eliza's final test requires her to pass as a lady at the Embassy Ball, and after weeks of preparation, she is ready. All the ladies and gentlemen at the ball admire her, and the Queen of Transylvania invites her to dance with her son, the prince ("Embassy Waltz"). Eliza then dances with Higgins. A rival and former student of Higgins, a Hungarian phonetician named Zoltan Karpathy, is employed by the hostess to discover Eliza's origins through her speech. Though Pickering and his mother caution him not to, Higgins allows Karpathy to dance with Eliza.

text: The event is revealed to have been a success, with Zoltan Karpathy having concluded that Eliza is "not only Hungarian, but of royal blood. She is a princess!" After the ball, Pickering flatters Higgins on his triumph, and Higgins expresses his pleasure that the experiment is now over ("You Did It"). The episode leaves Eliza feeling used and abandoned. Higgins completely ignores Eliza until he mislays his slippers. He asks her where they are, and she lashes out at him, leaving the clueless professor mystified by her ingratitude. When Eliza decides to leave Higgins, he insults her in frustration and storms off. Eliza cries as she prepares to leave ("Just You Wait" [Reprise]). She finds Freddy still waiting outside ("On the Street Where You Live" [Reprise]). He begins to tell her how much he loves her, but she cuts him off, telling him that she has heard enough words; if he really loves her, he should show it ("Show Me"). She and Freddy return to Covent Garden, where her friends do not recognize her with her newly refined bearing ("The Flower Market/Wouldn't It Be Loverly?" [Reprise]). By chance, her father is there as well, dressed in a fine suit. He explains that he received a surprise bequest of four thousand pounds a year from the American millionaire, which has raised him to middle-class respectability, and now must marry Eliza's "stepmother", the woman he has been living with for many years. Eliza sees that she no longer belongs in Covent Garden, and she and Freddy depart. Doolittle and his friends have one last spree before the wedding ("Get Me to the Church on Time").

text: Higgins awakens the next morning to find that, without Eliza, he has tea instead of coffee, and cannot find his own files. He wonders why she left after the triumph at the ball and concludes that men (especially himself) are far superior to women ("A Hymn to Him"). Pickering, becoming annoyed with Higgins, leaves to stay with his friend at the Home Office. Higgins seeks his mother's advice and finds Eliza having tea with her. Higgins's mother leaves Higgins and Eliza together. Eliza explains that Higgins has always treated her as a flower girl, but she learned to be a lady because Pickering treated her as one. Higgins claims he treated her the same way that Pickering did because both Higgins and Pickering treat all women alike. Eliza accuses him of wanting her only to fetch and carry for him, saying that she will marry Freddy because he loves her. She declares she no longer needs Higgins, saying she was foolish to think she did ("Without You"). Higgins is struck by Eliza's spirit and independence and wants her to stay with him, but she tells him that he will not see her again.

text: As Higgins walks home, he realizes he's grown attached to Eliza ("I've Grown Accustomed to Her Face"). He cannot bring himself to confess that he loves her, and insists to himself that if she marries Freddy and then comes back to him, he will not accept her. But he finds it difficult to imagine being alone again. He reviews the recording he made of the morning Eliza first came to him for lessons. He hears his own harsh words: "She's so deliciously low! So horribly dirty!" Then the phonograph turns off, and a real voice speaks in a Cockney accent: "I washed me face an' 'ands before I come, I did". It is Eliza, standing in the doorway, tentatively returning to him. The musical ends on an ambiguous moment of possible reconciliation between teacher and pupil, as Higgins slouches and asks, "Eliza, where the devil are my slippers?"

text: Characters and original Broadway cast[edit]

text: The original cast of the Broadway stage production:[2]

text:
Henry Higgins, a professor of phonetics – Rex Harrison
Eliza Doolittle, a young Cockney flowerseller – Julie Andrews
Alfred P. Doolittle, Eliza's father, a dustman – Stanley Holloway
Mrs. Higgins, Higgins's socialite mother – Cathleen Nesbitt
Colonel Hugh Pickering, Higgins's friend and fellow phoneticist – Robert Coote
Freddy Eynsford-Hill, a young socialite and Eliza's suitor – John Michael King
Mrs. Pearce, Higgins's housekeeper – Philippa Bevans
Mrs. Eynsford-Hill, Freddy's mother – Viola Roache
Zoltan Karpathy, Higgins's former student and rival – Christopher Hewett

text: Musical numbers[edit]

text:
Act I[2]

Overture – The Orchestra
Busker Sequence – The Orchestra
Why Can't the English? – Professor Higgins
Wouldn't It Be Loverly? – Eliza and Male Quartet
With a Little Bit of Luck – Alfred Doolittle, Harry, and Jamie
I'm an Ordinary Man – Professor Higgins
With a Little Bit of Luck (Reprise) – Alfred Doolittle and Ensemble
Just You Wait – Eliza
The Servants' Chorus (Poor Professor Higgins) – Mrs. Pearce and Servants
The Rain in Spain – Professor Higgins, Eliza, and Colonel Pickering
I Could Have Danced All Night – Eliza, Mrs. Pearce, and Servants
Ascot Gavotte – Ensemble
On the Street Where You Live – Freddy
Eliza's Entrance/Embassy Waltz – The Orchestra

Act II

You Did It – Colonel Pickering, Professor Higgins, Mrs. Pearce, and Servants
Just You Wait (Reprise) – Eliza
On the Street Where You Live (Reprise) – Freddy
Show Me – Eliza and Freddy
The Flower Market/Wouldn't It Be Loverly? (Reprise) – Eliza and Male Quartet
Get Me to the Church on Time – Alfred Doolittle and Ensemble
A Hymn to Him – Professor Higgins and Colonel Pickering
Without You – Eliza and Professor Higgins
I've Grown Accustomed to Her Face – Professor Higgins
I Could Have Danced All Night (Reprise) / Finale – The Orchestra

text: Background[edit]

text: In the mid-1930s, film producer Gabriel Pascal acquired the rights to produce film versions of several of George Bernard Shaw's plays, Pygmalion among them. However, Shaw, having had a bad experience with The Chocolate Soldier, a Viennese operetta based on his play Arms and the Man, refused permission for Pygmalion to be adapted into a musical. After Shaw died in 1950, Pascal asked lyricist Alan Jay Lerner to write the musical adaptation. Lerner agreed, and he and his partner Frederick Loewe began work. They quickly realized, however, that the play violated several key rules for constructing a musical: the main story was not a love story, there was no subplot or secondary love story, and there was no place for an ensemble.[3] Many people, including Oscar Hammerstein II, who, with Richard Rodgers, had also tried his hand at adapting Pygmalion into a musical and had given up, told Lerner that converting the play to a musical was impossible, so he and Loewe abandoned the project for two years.[4]

text: During this time, the collaborators separated and Gabriel Pascal died. Lerner had been trying to musicalize Li'l Abner when he read Pascal's obituary and found himself thinking about Pygmalion again.[5] When he and Loewe reunited, everything fell into place. All the insurmountable obstacles that stood in their way two years earlier disappeared when the team realized that the play needed few changes apart from (according to Lerner) "adding the action that took place between the acts of the play".[6] They then excitedly began writing the show. However, Chase Manhattan Bank was in charge of Pascal's estate, and the musical rights to Pygmalion were sought both by Lerner and Loewe and by Metro-Goldwyn-Mayer, whose executives called Lerner to discourage him from challenging the studio. Loewe said, "We will write the show without the rights, and when the time comes for them to decide who is to get them, we will be so far ahead of everyone else that they will be forced to give them to us."[7] For five months Lerner and Loewe wrote, hired technical designers, and made casting decisions. The bank, in the end, granted them the musical rights.

text: Lerner settled on the title My Fair Lady, relating both to one of Shaw's provisional titles for Pygmalion, Fair Eliza, and to the final line of every verse of the nursery rhyme "London Bridge Is Falling Down". Recalling that the Gershwins' 1925 musical Tell Me More had been titled My Fair Lady in its out-of-town tryout, and also had a musical number under that title, Lerner made a courtesy call to Ira Gershwin, alerting him to the use of the title for the Lerner and Loewe musical.

text: Noël Coward was the first to be offered the role of Henry Higgins, but turned it down, suggesting the producers cast Rex Harrison instead.[8] After much deliberation, Harrison agreed to accept the part. Mary Martin was an early choice for the role of Eliza Doolittle, but declined the role.[9] Young actress Julie Andrews was "discovered" and cast as Eliza after the show's creative team went to see her Broadway debut in The Boy Friend. Moss Hart agreed to direct after hearing only two songs. The experienced orchestrators Robert Russell Bennett and Philip J. Lang were entrusted with the arrangements and the show quickly went into rehearsal.

text: The musical's script used several scenes that Shaw had written especially for the 1938 film version of Pygmalion, including the Embassy Ball sequence and the final scene of the 1938 film rather than the ending for Shaw's original play. The montage showing Eliza's lessons was also expanded, combining both Lerner and Shaw's dialogue. The artwork on the original playbill (and sleeve of the cast recording) is by Al Hirschfeld, who drew the playwright Shaw as a heavenly puppetmaster pulling the strings on the Henry Higgins character, while Higgins in turn attempts to control Eliza Doolittle.

text: Productions[edit]

text: Original Broadway production[edit]

text: The musical had its pre-Broadway tryout at New Haven's Shubert Theatre. At the first preview Rex Harrison, who was unaccustomed to singing in front of a live orchestra, "announced that under no circumstances would he go on that night...with those thirty-two interlopers in the pit".[10] He locked himself in his dressing room and came out little more than an hour before curtain time. The whole company had been dismissed but were recalled, and opening night was a success.[11] In 1973, on an episode of her Emmy Award-winning ABC-TV variety series, Julie Andrews recalled that during the New Haven tryout, one of the songs written for the show, "Say A Prayer For Me Tonight" was dropped and then used two years later for the 1958 MGM musical Gigi. My Fair Lady then played for four weeks at the Erlanger Theatre in Philadelphia, beginning on February 15, 1956.

text: The musical premiered on Broadway March 15, 1956, at the Mark Hellinger Theatre in New York City. It transferred to the Broadhurst Theatre and then The Broadway Theatre, where it closed on September 29, 1962 after 2,717 performances, a record at the time. Moss Hart directed and Hanya Holm was choreographer. In addition to stars Rex Harrison, Julie Andrews and Stanley Holloway, the original cast included Robert Coote, Cathleen Nesbitt, John Michael King, and Reid Shelton.[12] Harrison was replaced by Edward Mulhare in November 1957 and Sally Ann Howes replaced Andrews in February 1958.[13][14] The Original Cast Recording went on to become the best-selling album in the country in 1956.[15] The original costumes were designed by Cecil Beaton and are on display at the Costume World Broadway Collection in Pompano Beach, Florida, along with many of the original patterns.

text: Original London production[edit]

text: The West End production, in which Harrison, Andrews, Coote, and Holloway reprised their roles, opened on April 30, 1958, at the Theatre Royal, Drury Lane, where it ran for five and a half years[16] (2,281 performances). Edwardian musical comedy star Zena Dare made her last appearance in the musical as Mrs. Higgins.[17] Leonard Weir played Freddy. On May 5, 1958, Queen Elizabeth II, along with Prince Philip, Duke of Edinburgh, attended a performance. Harrison left the London cast in March 1959, followed by Andrews in August 1959 and Holloway in October 1959.

text: 1970s revivals[edit]

text: The first revival opened at the St. James Theatre on Broadway on March 25, 1976 and ran there until December 5, 1976; it then transferred to the Lunt-Fontanne Theatre, running from December 9, 1976 until it closed on February 20, 1977, after a total of 377 performances and 7 previews. The director was Jerry Adler, with choreography by Crandall Diehl, based on the original choreography by Hanya Holm. Ian Richardson starred as Higgins, with Christine Andreas as Eliza, George Rose as Alfred P. Doolittle and Robert Coote recreating his role as Pickering.[12] Both Richardson and Rose were nominated for the Tony Award for Best Actor in a Musical, with the award going to Rose.

text: A London revival opened at the Adelphi Theatre in October 1979, with Tony Britton as Higgins, Liz Robertson as Eliza, Dame Anna Neagle as Higgins' mother, Peter Bayliss, Richard Caldicot and Peter Land. The revival was produced by Cameron Mackintosh and directed by the author, Alan Jay Lerner. A national tour was directed by Robin Midgley.[18][19][20] Gillian Lynne choreographed.[21] Britton and Robertson were both nominated for Olivier Awards.[22]

text: 1981 and 1993 Broadway revivals[edit]

text: Another Broadway revival of the original production opened at the Uris Theatre on August 18, 1981 and closed on November 29, 1981 after 120 performances and 4 previews. Rex Harrison recreated his role as Higgins, with Jack Gwillim, Milo O'Shea, and Cathleen Nesbitt, at 93 years old reprising her role as Mrs. Higgins. The revival co-starred Nancy Ringham as Eliza. The director was Patrick Garland, with choreography by Crandall Diehl, recreating the original Hanya Holm dances.[12][23]

text: A new revival directed by Howard Davies opened at the Virginia Theatre on December 9, 1993 and closed on May 1, 1994 after 165 performances and 16 previews. The cast starred Richard Chamberlain, Melissa Errico and Paxton Whitehead. Julian Holloway, son of Stanley Holloway, recreated his father's role of Alfred P. Doolittle. Donald Saddler was the choreographer.[12][24]

text: 2001 London revival; 2003 Hollywood Bowl production[edit]

text: Cameron Mackintosh produced a new production on March 15, 2001 at the Royal National Theatre, which transferred to the Theatre Royal, Drury Lane on July 21. Directed by Trevor Nunn, with choreography by Matthew Bourne, the musical starred Martine McCutcheon as Eliza and Jonathan Pryce as Higgins, with Dennis Waterman as Alfred P. Doolittle. This revival won three Olivier Awards: Outstanding Musical Production, Best Actress in a Musical (Martine McCutcheon) and Best Theatre Choreographer (Matthew Bourne), with Anthony Ward receiving a nomination for Set Design.[25] In December 2001 Joanna Riding took over the role of Eliza and in May 2002 Alex Jennings took over as Higgins, both winning Olivier Awards for Best Actor and Best Actress in a Musical respectively in 2003.[26] In March 2003, Anthony Andrews and Laura Michelle Kelly took over the roles until the show closed on August 30, 2003.[27]

text: A UK tour of this production began September 28, 2005. The production starred Amy Nuttall and Lisa O'Hare as Eliza, Christopher Cazenove as Henry Higgins, Russ Abbot and Gareth Hale as Alfred Doolittle, and Honor Blackman[28] and Hannah Gordon as Mrs. Higgins. The tour ended August 12, 2006.[29]

text: In 2003 a production of the musical at the Hollywood Bowl starred John Lithgow as Henry Higgins, Melissa Errico as Eliza Doolittle, Roger Daltrey as Alfred P. Doolittle and Paxton Whitehead as Colonel Pickering.[30]

text: 2018 Broadway revival[edit]

text: Lincoln Center Theater and Nederlander Presentations Inc. have announced plans to mount a new Broadway revival in 2018. It is to be directed by Bartlett Sher and begin previews March 22, 2018 at the Vivian Beaumont Theater, with an opening night scheduled for April 19, 2018.[31]

text: Other major productions[edit]

text: Berlin, 1961[edit]

text: A German translation of My Fair Lady opened on October 1, 1961, at the Theater des Westens in Berlin, starring Karin Hübner and Paul Hubschmid (and conducted, as was the Broadway opening, by Franz Allers). Coming at the height of Cold War tensions, just weeks after the closing of the East Berlin–West Berlin border and the erection of the Berlin Wall, this was the first staging of a Broadway musical in Berlin since World War II. As such it was seen as a symbol of West Berlin's cultural renaissance and resistance. Lost attendance from East Berlin (now no longer possible) was partly made up by a "musical air bridge" of flights bringing in patrons from West Germany, and the production was embraced by Berliners, running for two years.[32][33]

text: 2007 New York Philharmonic concert and US tour[edit]

text: In 2007 the New York Philharmonic held a full-costume concert presentation of the musical. The concert had a four-day engagement lasting from March 7–10 at Lincoln Center's Avery Fisher Hall. It starred Kelsey Grammer as Higgins, Kelli O'Hara as Eliza, Charles Kimbrough as Pickering, and Brian Dennehy as Alfred Doolittle. Marni Nixon played Mrs. Higgins; Nixon had provided the singing voice of Audrey Hepburn in the film version.[34]

text: A U.S. tour of Mackintosh's 2001 West End production ran from September 12, 2007 to June 22, 2008.[35] The production starred Christopher Cazenove as Higgins Lisa O'Hare as Eliza, Walter Charles as Pickering, Tim Jerome as Alfred Doolittle[36] and Nixon as Mrs. Higgins, replacing Sally Ann Howes.[37]

text: 2008 Australian tour[edit]

text: An Australian tour produced by Opera Australia commenced in May 2008. The production starred Reg Livermore as Higgins, Taryn Fiebig as Eliza, Robert Grubb as Alfred Doolittle and Judi Connelli as Mrs Pearce. John Wood took the role of Alfred Doolittle in Queensland, and Richard E. Grant played the role of Henry Higgins at the Theatre Royal, Sydney.[38]

text: 2010 Paris revival[edit]

text: A new production was staged by Robert Carsen at the Théâtre du Châtelet in Paris for a limited 27-performance run, opening December 9, 2010 and closing January 2, 2011. It was presented in English. The costumes were designed by Anthony Powell and the choreography was by Lynne Page. The cast was as follows: Sarah Gabriel / Christine Arand (Eliza Doolittle), Alex Jennings (Henry Higgins), Margaret Tyzack (Mrs. Higgins), Nicholas Le Prevost (Colonel Pickering), Donald Maxwell (Alfred Doolittle), and Jenny Galloway (Mrs. Pearce).[39]

text: 2012 Sheffield production[edit]

text: A new production of My Fair Lady opened at Sheffield Crucible on December 13, 2012. Dominic West played Henry Higgins, and Carly Bawden played Eliza Doolittle. Sheffield Theatres' Artistic Director Daniel Evans was the director. The production ran until January 26, 2013.[40][41]

text: 2016 Australian production[edit]

text: The Gordon Frost Organisation, together with Opera Australia, presented a production at the Sydney Opera House from 30 August to 5 November 2016. It was directed by Dame Julie Andrews and featured the set and costume designs of the original 1956 production by Oliver Smith and Cecil Beaton.[42] The production sold more tickets than any other in the history of the Sydney Opera House.[43] The show is then planned to tour to Brisbane from 12 March and Melbourne from 11 May. The show's opening run in Sydney was so successful that in November 2016, ticket pre-sales were released for a re-run in Sydney, with the extra shows scheduled between 24 August and 10 September 2017 at the Capitol Theatre.

text: Critical reception[edit]

text: According to Geoffrey Block, "Opening night critics immediately recognized that 'My Fair Lady' fully measured up to the Rodgers and Hammerstein model of an integrated musical...Robert Coleman...wrote 'The Lerner-Loewe songs are not only delightful, they advance the action as well. They are ever so much more than interpolations, or interruptions.'"[44] The musical opened to "unanimously glowing reviews, one of which said 'Don't bother reading this review now. You'd better sit right down and send for those tickets...' Critics praised the thoughtful use of Shaw's original play, the brilliance of the lyrics, and Loewe's well-integrated score."[45]

text: A sampling of praise from critics, excerpted from a book form of the musical, published in 1956.[46]

text:
"My Fair Lady is wise, witty, and winning. In short, a miraculous musical." Walter Kerr, New York Herald Tribune.
"A felicitous blend of intellect, wit, rhythm and high spirits. A masterpiece of musical comedy ... a terrific show." Robert Coleman, New York Daily Mirror.
"Fine, handsome, melodious, witty and beautifully acted ... an exceptional show." George Jean Nathan, New York Journal American.
"Everything about My Fair Lady is distinctive and distinguished." John Chapman, New York Daily News.
"Wonderfully entertaining and extraordinarily welcomed ... meritorious in every department." Wolcott Gibbs, The New Yorker.
"One of the 'loverliest' shows imaginable ... a work of theatre magic." John Beaufort, The Christian Science Monitor.
"An irresistible hit." Variety.
"One of the best musicals of the century." Brooks Atkinson, The New York Times.

text: The reception from Shavians was more mixed, however. Eric Bentley, for instance, called it "a terrible treatment of Mr. Shaw's play, [undermining] the basic idea [of the play]", even though he acknowledged it as "a delightful show".[47]

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text: Sources: BroadwayWorld[48] TheatreWorldAwards[49]

text:
Year
Award
Category
Nominee
Result

1956
Theatre World Award
Outstanding New York City Stage Debut Performance
John Michael King
Won

1957
Tony Award
Best Musical
Won

Best Performance by a Leading Actor in a Musical
Rex Harrison
Won

Best Performance by a Leading Actress in a Musical
Julie Andrews
Nominated

Best Performance by a Featured Actor in a Musical
Robert Coote
Nominated

Stanley Holloway
Nominated

Best Direction of a Musical
Moss Hart
Won

Best Choreography
Hanya Holm
Nominated

Best Scenic Design
Oliver Smith
Won

Best Costume Design
Cecil Beaton
Won

Best Conductor and Musical Director
Franz Allers
Won

text: 1976 Broadway revival[edit]

text: Sources: BroadwayWorld[50] Drama Desk[51]

text:
Year
Award
Category
Nominee
Result

1976
Tony Award
Best Performance by a Leading Actor in a Musical
Ian Richardson
Nominated

George Rose
Won

Drama Desk Award
Outstanding Revival of a Musical
Nominated

Outstanding Actor in a Musical
Ian Richardson
Won

Outstanding Featured Actor in a Musical
George Rose
Won

Outstanding Director of a Musical
Jerry Adler
Nominated

text: 1979 London revival[edit]

text: Source: Olivier Awards[52]

text:
Year
Award
Category
Nominee
Result

1979
Laurence Olivier Award
Best Actor in a Musical
Tony Britton
Nominated

Best Actress in a Musical
Liz Robertson
Nominated

text: 1981 Broadway revival[edit]

text: Source: BroadwayWorld[53]

text:
Year
Award
Category
Nominee
Result

1982
Tony Award
Best Revival
Nominated

text: 1993 Broadway revival[edit]

text: Source: Drama Desk[54]

text:
Year
Award
Category
Nominee
Result

1993
Drama Desk Award
Outstanding Revival of a Musical
Nominated

Outstanding Actress in a Musical
Melissa Errico
Nominated

Outstanding Costume Design
Patricia Zipprodt
Nominated

text: 2001 London revival[edit]

text: Source: Olivier Awards[55]

text:
Year
Award
Category
Nominee
Result

2002
Laurence Olivier Award
Outstanding Musical Production
Won

Best Actor in a Musical
Jonathan Pryce
Nominated

Best Actress in a Musical
Martine McCutcheon
Won

Best Performance in a Supporting Role in a Musical
Nicholas Le Prevost
Nominated

Best Theatre Choreographer
Matthew Bourne
Won

Best Set Design
Anthony Ward
Nominated

Best Costume Design
Nominated

Best Lighting Design
David Hersey
Nominated

2003
Best Actor in a Musical
Alex Jennings
Won

Best Actress in a Musical
Joanna Riding
Won

text: Adaptations[edit]

text: 1964 film[edit]

text: An Oscar-winning film version was made in 1964, directed by George Cukor and with Harrison again in the part of Higgins. The casting of Audrey Hepburn instead of Julie Andrews as Eliza was controversial, partly because theatregoers regarded Andrews as perfect for the part and partly because Hepburn's singing voice was dubbed (by Marni Nixon). Jack L. Warner, the head of Warner Bros., which produced the film, wanted "a star with a great deal of name recognition", but since Julie Andrews did not have any film experience, he thought a movie with her would not be as successful.[56] (Andrews went on to star in Mary Poppins that same year for which she won both the Academy Award and the Golden Globe for Best Actress.) Lerner in particular disliked the film version of the musical, thinking it did not live up to the standards of Moss Hart's original direction. He was also unhappy with the casting of Hepburn as Eliza Doolittle and that the film was shot in its entirety at the Warner Bros. studio rather than, as he would have preferred, in London.[57] Despite the controversy, My Fair Lady was considered a major critical and box office success, ultimately going on to win eight Academy Awards, including Best Picture of the Year, Best Actor for Rex Harrison, and Best Director for George Cukor.

text: Unrealized film[edit]

text: A new film adaptation was announced by Columbia Pictures in 2008,[58] but as of May 5, 2014, the project had been shelved.[59] The intention was to shoot on location in Covent Garden, Drury Lane, Tottenham Court Road, Wimpole Street and the Ascot Racecourse.[60] In December 2009, it was announced that John Madden had been signed to direct it and in 2011 it was reported that Colin Firth and Carey Mulligan were possible choices for the leading roles. Emma Thompson wrote a new screenplay adaptation for the project.[61]


document_title: Mind your Ps and Qs

question_text: where do we get the phrase mind your p's and q's

question_tokens: where do we get the phrase mind your p 's and q 's

text: Mind your Ps and Qs

text: Look up mind one's ps and qs in Wiktionary, the free dictionary.

text: Mind your Ps and Qs is an English expression meaning "mind your manners", "mind your language", "be on your best behaviour" or similar.

text: Attempts at explaining the origin of the phrase go back to the mid-19th century. One explanation favoured in a letter to the editors of Notes and Queries dated 1851, as well as by the Oxford English Dictionary upon their revision of the relevant entry in 2007, is literal interpretation of the saying, concerning the distinction of the lowercase letters p and q in the context of the school-room or the printing-office.[1] As noted by W. D. Henkle in Educational Notes and Queries in 1876, in this case the proper spelling of the phrase should be "note your p's and q's", because the distinction of majuscule P and Q does not pose a problem.[2]

text: Nevertheless, a number of alternative explanations have been considered as more or less plausible. Another explanation suggests that "Ps and Qs" is short for "pleases" and "thank-yous", the latter of which contains a sound similar to the pronunciation of the name of the letter "Q". Another proposed origin is from the English pubs and taverns of the 17th century. Bartenders would keep a watch on the alcohol consumption of the patrons; keeping an eye on the pints and quarts that were consumed. As a reminder to the patrons, the bartender would recommend they "mind their Ps and Qs".[3] This may also have been a reminder to bartenders not to confuse the two units, written as "p" and "q" on the tally slate.[4]

text: Other origin stories, some considered "fanciful",[4] could come from French instructions to mind one's pieds (feet) and queues (wigs) while dancing. However, there is no French translation for this expression.[5] Another origin could be from sailors in the 18th century who were reminded to pay attention to their peas (pea coat) and queues (pony tail).[5]

text: Another proposal concerns the use of Norman French in medieval England; as the English dialect of the 11th century had no qs,[dubious – discuss] one must watch their usage in court or discourse with the French Norman conquerors. [6][dubious – discuss]

text: Quinion cites an apparently related expression of pee and kew for "highest quality" used in 17th-century English.[7]


document_title: Meg Griffin

question_text: who does meg's singing voice in family guy

question_tokens: who does meg 's singing voice in family guy

text: Meg Griffin

text: Personality

text: Meg is a self-conscious teenage girl. She is treated unfairly by her parents and her insecurities cause her to try desperately to be part of the cool crowd, which only results in her getting coldly rebuffed by Connie D'Amico,[1] the popular and beautiful yet mean-spirited and superficial head cheerleader of the local high school, James Woods Regional High School. However, another student named Neil Goldman is attracted to her.[2] She is also usually at the bottom of the family's pecking order and the butt of Peter's jokes due to her homeliness, tendency toward social awkwardness, and unpopularity. Everyone in her family makes fun of her: Peter and Chris resort to outrageous stunts and names; Stewie and Brian employ subtle but effective jokes, but typically choose not to verbalize them in front of Meg; Lois constantly puts Meg down while boosting her own egotistical image. However, in the episode "Seahorse Seashell Party", she strongly insults and defames her family for their actions against her, causing them to distance themselves in shame and sending Peter and Lois into a depression, though she later apologizes. On one occasion, the whole family even goes as far as to read her diary and mock her deepest secrets. However, on some occasions the family's true love for her has been proven. She has been so self-conscious and insecure about herself that she has engaged in dangerous sexual behavior just for attention. She is also prone to violent releases of her repressed rage, as shown in "Road to Rupert", when she assaults a man who insulted her after a fender-bender. Many of the show's "Meg" storylines involve her trying to improve her typical life, trying to find a boyfriend, and reaching breaking points with her family and other bullies. In the episode "Chris Cross", it's strongly hinted that Meg is working with Dutch neo-Nazis when she orders Chris to retrieve mail she receives from the Netherlands at a private post office box, saying she's "sort of part of a group that trashes the Anne Frank house every spring."

text: Voice actors

text: On the season 1 DVD commentary for the Drawn Together episode "Hot Tub", Cree Summer claims she was offered the role to play Meg but was dismissed by the producers. Meg was voiced by an uncredited Lacey Chabert for the first season, and by Mila Kunis in subsequent seasons after Chabert became busy with school and appearing on Party of Five at the time,[3] although some of her work became second season episodes due to production order. Mila Kunis won the role after auditions and a slight rewrite of the character, in part due to her performance on That '70s Show.[4] MacFarlane called Kunis back after her first audition, instructing her to speak more slowly, and then told her to come back another time and enunciate more. Once she claimed that she had it under control, MacFarlane hired her.[4] MacFarlane stated that Kunis "had a very natural quality to Meg" and she's "in a lot of ways [...] almost more right for the character". Kunis's voice is first heard as Meg in Episode 3 of season two "Da Boom", and the voices switch back and forth in the broadcast order until settling on Kunis.[5] Tara Strong provides Meg's singing voice in "Don't Make Me Over".[6]

text:
Lacey Chabert (1999–2000, 2011, 2012)[7]
Mila Kunis (1999–present)[8]
Tara Strong (singing voice)[9]

text: Appearance

text: Meg typically wears glasses and a pink beanie even underneath other headgear. She also commonly wears a pink and white T-shirt, blue jeans, and tan (later white) shoes. She occasionally is seen wearing dresses or formal wear usually without her trademark cap. She is slightly shorter than her younger brother Chris. Meg is also self-conscious about her appearance ("I'm so fat and gross.").[10]

text: Social life

text: Meg is very unpopular in high school due to her plain appearance and personality. Meg desperately tries to be part of the cool crowd, but is usually coldly rebuffed. She is also usually the butt of Peter's jokes due to her perceived homeliness and tendency towards social awkwardness. Because of her eagerness for acceptance, she has been recruited unknowingly into a suicidal religious cult,[11] and later recruited again unwittingly into her school's Lesbian Alliance ("Brian Sings and Swings").[12] However, Meg does have a moderate number of friends, the best of which being with a group of girls who are often seen with her during occasions such as her slumber parties and gossiping about boys.[13] In later episodes, these girls, known by the names Beth, Patty, Collette, Esther, and Ruth, are characterized as being highly unpopular and dateless, much like Meg, even saying that she was the only one of them who ever had a boyfriend (actually a decaying corpse she was "dating").

text: Dating

text: Meg is so unpopular at school that one student fires a nail gun into his own stomach twice (in shop class) in order to avoid a date with her, and then in a later episode shoots his own brother as an excuse not to go to a dance with her the following night. On another occasion, Meg and Lois are looking for new clothes for Meg, but with no luck (a saleswoman ended up pouring gasoline on herself, lighting a match, catching fire, and then jumping out of a window after looking at Meg in a pair of jeans). However, she is sought by nerd Neil Goldman. In "8 Simple Rules for Buying My Teenage Daughter", Neil starts dating a girl named Cecilia, Meg becomes instantly jealous and pretends to date Jake Tucker to make him jealous. This leads to her signing a contract to become Neil's girlfriend and (not knowing at first) his slave, but she gets him to tear up the contract after Lois seduces him. Perverted neighbor Glenn Quagmire has shown a repeated interest in her, mostly due to his very low standards, asking if she has reached the age of consent. Quagmire comes close to succeeding when Lois tells Peter to back off after he was ruining Meg and Quagmire's 'dates'. Then, they rescue Meg after Glenn takes her to his cabin, Peter and Lois arriving in time before anything happens.[14] In several episodes she is shown dating, including stories with characters Mayor Adam West[15] and nudist Jeff Campbell.[16] She also loses her virginity unknowingly on live television to Saturday Night Live host Jimmy Fallon after having a drastic makeover; but, before all that happens, she goes out with a rebel at her school named Craig Hoffman.[17] In "Jerome is the New Black", Jerome, an old flame of Lois's and Peter's new friend, admits to having sex with Meg, to which Peter replies indifferently.

text: In the episode "Brian Sings and Swings", a lesbian student named Sarah invites Meg to join in her Lesbian Alliance Club, with Meg not knowing at first what kind of club it was. Desperate to fit in, she pretends to be a lesbian and also pretends to be attracted to Sarah and even goes so far as to kiss her to prove it. At the end of the episode, Meg goes over to Sarah's house to admit she lied about being a lesbian (Sarah thought that Meg came over to have sex and even undresses when Meg is telling her that she lied), much to Glenn's (who was hiding in Sarah's closet) disappointment. She also used to have a crush on anchorman Tom Tucker, but it ended after she discovered his vanity and selfishness.

text: In other episodes, she is portrayed as chronically incapable of finding a boyfriend. For her Junior Prom she accepts a pity date from Brian, the family dog and only after threatening suicide.[10]

text: Earlier in season 2, she dated Joe Swanson's son Kevin Swanson, but in "Stew-Roids" it is mentioned that Kevin died in Iraq. In the episode, "Prick Up Your Ears", she dates a boy named Doug, but he breaks up with her when he sees her naked right before almost having sex. In the episode "Peter's Daughter", Meg falls in love with a medical student named Michael Milano after coming out of a short coma (caused by Peter when he asked her to "rescue" beer and make him a sandwich out of an already flooded kitchen) and they start to date. After he breaks up with Meg (because of Peter being overprotective of her after promising that if she came out of the coma, he would "treat her like a princess"), she announces that she is pregnant by Michael and the two get engaged. After finding out that she is not actually pregnant, Meg tells Michael the truth hoping that he will stay, however, Michael quickly leaves Meg at the altar. In the episode "Dial Meg for Murder", she is dating a convict, while in the episode "Go, Stewie, Go!" she dates an attractive young man named Anthony, who is absolutely normal (much to the surprise and chagrin of many of the other characters). They were so shocked that they had to do tests just to see if he was completely normal which annoyed Meg. It is presumed that she broke up with him after he and Lois had an affair.

text: Meg also shows extremely possessive behavior when she encounters someone she believes she has a romantic connection with such as kidnapping Brian and detaining Bonnie Swanson at the airport by planting a gun in her purse.

text: Sexuality

text: Meg has shown romantic interest in and dated several men throughout the series. However, there have been several instances in which she has shown hints of bisexuality or lesbianism: examples of this include "Brian Sings and Swings", "Stew-Roids", and "Dial Meg for Murder".

text: In November 2016, when asked by Splitsider if the writers will further develop the characters of Chris and Meg in future episodes, showrunner Alec Sulkin confirmed that the series crew members are working on doing so and added that there are plans for an episode where Meg comes out as a lesbian, taking inspiration from previous instances in which she exhibited signs of lesbian characteristics, like when she joins a lesbian alliance group at school in "Brian Sings and Swings" and is identified as a transgender man named "Ron" in Stewie Griffin: The Untold Story, the latter which takes place in the future. However, Sulkin also noted that the plotline has not yet been finalized and thus isn't officially set to be used in an episode.[18][19]

text: Family life

text: In the first three seasons of the show, Meg's family often inadvertently humiliated her due to their bumbling or stupidity, though they cared for her and meant well. In the post-cancellation seasons, this began to change as the show started to flesh out the characters to the point where it seems that most of the population of Quahog, including her own family, despise her for no reason other than her simply being "Meg".[20] In an interview, Mila Kunis stated: "Meg gets picked on a lot. But it's funny. It's like the middle child. She is constantly in the state of being an awkward 14-year-old, when you're kind of going through puberty and what-not. She's just in perpetual mode of humiliation, and it's fun."[21]

text: Meg is also the most misunderstood, at least by Peter, Chris, and others who are shown avoiding her company, disparaging her in person, gathering in her bedroom to read her diary for laughs, etc.[22] Peter reminds Lois, "We agreed that if we could only save two, we'd leave Meg!"[23] even randomly shooting her when she simply said "Hi Dad" ("Peter's Daughter") but despite this he also was going to say "I love you" in "Hell Comes to Quahog", and in "Road to Rupert" he stated they were 'secret best friends' before throwing lemonade in her face, saying he would have to continue to treat her badly in public in order to maintain his reputation due to "peer pressure", thus giving hope that they may be on good terms. Occasionally, when Meg asks a question to Peter or just speaks when he is in the room, Peter responds by saying "Shut up, Meg," which is immediately followed by a line from another character.

text: When the family tries an anger management technique of writing letters and not sending them, Meg finds Peter's letter to her, which says, "Dear Meg, for the first four years of your life, I thought you were a house cat." [24] And in Peter's short story of her birth, they had to go back to get her once they realized they grabbed the afterbirth. In the episode "Stewie Kills Lois", Peter tells guests on a cruise ship about how he and Lois had gone to get an abortion but decided against it when they arrived at the clinic and found out the abortionist had one hand. He then says "two and a half months later, our daughter Meg was born" – indicating that they had tried to abort her when Lois was already over six months pregnant. Another hint to this is when Meg is in the car with Lois and at an attempt to make civilized conversation, says, "Hey Meg, did you know that if you're on birth control and you take an antibiotic it makes it not work? 'Cause no one told me! I just thought you should know" and laughs awkwardly. On Meg's 17th birthday, her mother and father both try to hide from Meg that they do not remember her age.[25] Peter openly states that Meg sucks in the episode "PTV", and Chris says the same thing about her in "Long John Peter". In "Not All Dogs Go to Heaven", Brian says to Meg's face that she lives in a home "where nobody respects or cares about [her], not even enough to get [her] a damn mumps shot!" Chris, however, seems to have more of a typical brother-sister relationship with Meg. Although they fight and argue from time to time, he tends to go to her for advice. Chris even once threatened to quit his job if his boss didn't re-hire Meg (at the insistence of Lois).[26] Like Chris, Meg has an anthropomorphic monkey in her closet, and although she has proved it, her family coldly state that they were talking about Chris', not hers. Cleveland comments to Peter "Meg is my least favorite of your children."[27]

text: Apparently, a double standard also exists against Meg, further underscoring the mistreatment she suffers from the people around her. In "Big Man on Hippocampus", an episode wherein Peter loses his memory, as he reacquaints himself with the pleasures of sex, Lois tells him that it is inappropriate to have sex with his own children; in response, Meg attempts an incest joke. Most of the family lambaste her for this and Chris kicks her out of the room.[28] However, in the season finale "Partial Terms of Endearment", Lois tells a joke that implies that it was Meg that gave birth to Stewie, and apart from a shocked reaction from the latter, Lois receives no such violent reaction.[29] Additionally, in "Model Misbehavior", when Lois starts a modeling career, Peter states that he will pleasure himself to Lois' pictures, followed by Chris and Meg both exclaiming "Me too!" to which Peter shouts "Oh God, Meg, that's sick! That's your mother!", ignoring the fact that Chris said the same thing. Meg responded by saying "I was only trying to fit in!" Peter immediately kicked her out of the house. Later, during an unrelated conversation, when she spoke, he said "Meg, who let you back in the house?"

text: Brian's attention softens the lack of respect from Peter and the neighbors; he admits that he cares for Meg when she goes out with Mayor Adam West. Lois has also often shown sympathy for Meg, for example, taking her to Spring Break at the beach. Lois very often comforts Meg when she is down; however, she gives up one attempt after 45 minutes and gives her a Sylvia Plath novel and a bottle of Ambien, and with a "Whatever happens, happens," leaves Meg to her misery.[27] One of the most cruel examples comes in the episode "You Can't Do That On Television, Peter". When Peter is mauled by a puma, Meg uses medical training to save his life. However, no one thanks her afterward and when she tries to point it out, Peter just tells her to get him water.

text: The family's treatment of Meg finally reaches her limit in "Dial Meg for Murder" when Meg emerges from a short stint in a Young Offenders Institution as a hardened criminal, abusing her family and beating up anyone who makes fun of her. It is only after a conversation with Brian that she changes her ways. However, it comes to a head once again in "Seahorse Seashell Party", when Meg finally grows tired of her mistreatment and lashes out against Chris, Lois, and Peter, informing them of their own flaws. She starts with Chris by calling him "a bastard" for being a terrible brother to her, berating him for all the ill treatment he has given her over the years, and how he never takes her side when their parents abuse her. Lois Griffin condescendingly tells Meg that she is simply taking her own problems out on everyone else invoking Meg to bring up her mother's delinquent past. Meg tells her that she is far from the perfect parent, harshly berates her for constantly and ruthlessly pointing out Meg's shortcomings. Lois tries to justify that she's a better person because of her past and she is open that she isn't the perfect parent, but Meg tells her that she's the farthest thing from and states how she has neglected to protect her from harm and guide her through life. Meg also informs Lois that when she turns 18, she may never want to see her again.

text: This breaks Lois' heart and she finally admits that she's been a terrible mother to Meg. Finally, Meg turns on Peter who, unable to comprehend her insults, thinks that his daughter's argument is amusing, even when she points out Peter's destructive tendencies and that he would go to jail if someone could witness his negative treatment towards her. It dawns on Peter that he is being insulted when Meg calls him a "waste of a man." A shocked Peter asks Lois to tell Meg to "knock it off," but Lois refuses because he didn't stick up for her. Within moments, Peter, Lois and Chris turn their abusive criticisms and insults on each other. Peter finally runs to his room crying (with Chris telling Meg he faked all of his orgasms), leaving Meg and Brian, who is now fully recovered from his trip (he had taken magic mushrooms prior to the argument), to discuss what just happened. Brian is proud that Meg stood up for herself, but she sadly tells him that even though she meant every word, seeing her family turn on each other like wild animals has made her think that it is ultimately her non-ideal role to serve as the Griffins' lightning rod and "absorb all the dysfunction". He commends her on her maturity, and even goes on to say that Meg is the "strongest person" in the family. She soon apologizes to the others and says that she is the one at fault; Chris calls her a bitch, to which she proudly responds "Yes, yes I am," and the family reconciles. Since this episode, Meg has been less prominent in the series and the abuse towards her slowly fades away as a storyline. Meg also notices that Peter's pro wrestler sister Karen treats Peter exactly the way Peter treats her, and they bond over this with a plan to embarrass Karen at a wrestling show--which goes awry when Meg hits her with a metal folding chair instead of a breakaway one and injures Karen to the point where she ends up in a coma and (as it is implied) possibly will die from her injuries without a blood transfusion.