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Place des Vosges

The Place des Vosges, originally the Place Royale, is the oldest planned square in Paris, France. It is located in the Marais district, and it straddles the dividing-line between the 3rd and 4th arrondissements of Paris. It is the oldest square in Paris, just before the Place Dauphine. It is an enclosed square, accessible via a main street on one of its four sides and two streets running beneath pavilions. It was a fashionable and expensive square to live in during the 17th and 18th centuries, and one of the main reasons for the chic nature of Le Marais among the Parisian nobility. Along with Place des Victoires, Place Dauphine, Place Vendôme and Place de la Concorde, it is one of the five royal squares in Paris.

History
Originally known as the Place Royale, the Place des Vosges was built by Henri IV from 1605 to 1612. A true square (140 m × 140 m), it embodied one of the first European programs of royal city planning (Plaza Mayor in Madrid, begun in 1590, precedes it). It was built on the site of the Hôtel des Tournelles and its gardens, which were demolished by Catherine de' Medici.

The Place Royale was inaugurated in 1612 with a grand carrousel to celebrate the engagement of Louis XIII and Anne of Austria, and became a prototype of the residential squares of European cities that were to come. What was new about the Place Royale, was that the house-fronts were all built to the same design, probably by Jean Baptiste Androuet du Cerceau, of red brick with strips of stone quoins over vaulted arcades that stand on square pillars. The steeply-pitched blue slate roofs are pierced with discreet small-paned dormers above the pedimented dormers that stand upon the cornices. Only the north range was built with the vaulted ceilings that the "galleries" were meant to have.

There are two pavilions that rise higher than the unified roofline of the square on the north and south faces and offer access to the square through triple arches. Though they are designated the Pavilion of the King and of the Queen, no royal has ever lived in the aristocratic square, except for Anne of Austria who lived in the Pavilion de la Reine for a short while. The Place Royale inspired subsequent developments of Paris that created a suitable urban background for the French aristocracy and nobility.

The square was often the place for the nobility to chat, and served as a meeting place for them. This was so until the French Revolution.

Before the square was completed, Henri IV ordered the Place Dauphine to be laid out. Within a mere five-year period, the king oversaw an unmatched building scheme for the ravaged medieval city: additions to the Louvre Palace, the Pont Neuf, and the Hôpital Saint Louis as well as the two royal squares.

Cardinal Richelieu had an equestrian bronze of Louis XIII erected in the centre. In the late 18th century, while most of the nobility moved to the Faubourg Saint-Germain district, the square managed to keep some of its aristocratic owners until the Revolution. It was briefly renamed "Place de la Fabrication-des-Armes" (the place were weapons are produced) then in 1800, it was formally renamed to Place des Vosges in honor of the département of Vosges which was the first to pay taxes supporting a campaign of the Revolutionary army. From 1814 until 1830, and from 1852 until 1870, the name was changed back to the original by the Restoration monarchs. In 1830 the name was briefly switched to being "Place de la République". Finally in 1870 the revolutionary name was restored.

Today the square is planted with a bosquet of mature lindens set in grass and gravel, surrounded by clipped lindens.

Residents of the Place des Vosges
 * No. 1bis: Madame de Sevigné was born here
 * No. 6 (Maison de Victor Hugo): Victor Hugo's home from 1832 to 1848, in what was then the Hôtel de Rohan, now a museum devoted to his memory, managed by the City of Paris
 * No. 7: Sully, Henri IV's great minister
 * No. 8: poet Théophile Gautier and writer Alphonse Daudet
 * No. 9 (Hôtel de Chaulnes): seat of l'Académie d'Architecture, currently also tenanted by Galerie Historisimus
 * No. 11: courtesan Marion Delorme from 1639 to 1648
 * No. 12: natural philosopher and mathematician Émilie du Châtelet
 * No. 14 (Hôtel de la Rivière): rabbi David Feuerwerker, Antoinette Feuerwerker and Atara Marmor
 * No. 15: Marguerite Louise d'Orléans, wife of Cosimo III de' Medici Grand Duke of Tuscany. Its ceilings painted by Lebrun are reinstalled in the Musée Carnavalet.
 * No. 17: bishop and theologian Bossuet
 * No. 20: Prince Obolensky Arnaud Henry Salas-Perez
 * No. 21: Cardinal Richelieu from 1615 to 1627
 * No. 23: post-impressionist painter Georges Dufrénoy
 * No. 28 (Pavillon de la Reine): Chabot-Rohan family

title: Place des Vosges


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Patti LuPone

Patti Ann LuPone (born April 21, 1949) is an American actress and singer best known for her work in musical theater. After starting her professional career with The Acting Company in 1972 she soon gained acclaim for her leading performances on the Broadway and West End stage. She has won three Tony Awards, two Olivier Awards, and two Grammy Awards, and was a 2006 inductee to the American Theater Hall of Fame.

She made her Broadway debut in Three Sisters in 1973. She went on to receive three Tony Awards: two for Best Actress in a Musical for her roles as Eva Perón in Tim Rice and Andrew Lloyd Webber's Evita (1980), and Rose in Gypsy (2008) and one for Best Featured Actress in a Musical for playing Joanne in the Stephen Sondheim revival Company (2022). She was Tony-nominated for The Robber Bridegroom (1975), Anything Goes (1988), Sweeney Todd: The Demon Barber of Fleet Street (2006), Women on the Verge of a Nervous Breakdown (2010), and War Paint (2017).

For her performances on the West End stage she received three Laurence Olivier Awards, one for Best Actress in a Musical for her performances as Fantine in the original London cast of Les Misérables and Moll in The Cradle Will Rock in 1985, and the second for Best Actress in a Supporting Role in a Musical for Company in 2019. She was nominated for her role as Norma Desmond in Sunset Boulevard in 1993. She has two Grammy Awards for the recording of the 2007 Los Angeles Opera production of Rise and Fall of the City of Mahagonny.

On television, she starred in the drama series Life Goes On (1989–1993) and received Emmy Award nominations for the TV movie The Song Spinner (1995) and her guest role in the sitcom Frasier (1998). She has also appeared in three Ryan Murphy series, American Horror Story (2013–2014, 2022), Pose (2019), and Hollywood (2020). She also acted in Penny Dreadful (2014–2016) and Crazy Ex-Girlfriend (2017). Her film roles include 1941 (1979), Witness (1985), Driving Miss Daisy (1989), Summer of Sam (1999), State and Main (2000), and Beau Is Afraid (2023).

Early life and training
LuPone was born on April 21, 1949, in Northport, New York, on Long Island, the daughter of Italian-American parents Angela Louise (née Patti), a library administrator at the C.W. Post Campus of Long Island University, and Orlando Joseph LuPone, a school administrator and English teacher at Walt Whitman High School in Huntington, NY. Her great-great aunt was 19th-century Spanish-born Italian opera singer Adelina Patti. Her father's side came from Abruzzo, while her mother's side is Sicilian. Her older brother Robert LuPone was a Tony-nominated actor, dancer, and director who originated the role of Zach, the director, in A Chorus Line. She grew up Roman Catholic.

LuPone was part of the first graduating class of Juilliard's Drama Division (1968–1972: Group 1), which also included actors Kevin Kline and David Ogden Stiers. She graduated from Juilliard in 1972 with a Bachelor of Fine Arts degree. LuPone has a mezzo-soprano vocal range, and she is known for her strong/high "Broadway" belt singing voice. In a 2008 interview, she maintained that she was "an actor who sings", and thankful she "had a voice".

1970s: Early career
In 1972, LuPone became one of the original members of The Acting Company, formed by John Houseman. The Acting Company is a nationally touring repertory theater company. LuPone's stint with the company lasted from 1972 to 1976, and she appeared in many of their productions, such as The Cradle Will Rock, The School for Scandal, Women Beware Women, The Beggar's Opera, The Time of Your Life, The Lower Depths, The Hostage, Next Time I'll Sing to You, Measure for Measure, Scapin, Edward II, The Orchestra, Love's Labours Lost, Arms and the Man, and The Way of the World. She made her Broadway debut in the play The Three Sisters as Irina in 1973. For her work in The Robber Bridegroom (1975) she received her first Tony Award nomination, for Best Featured Actress in a Musical. The Acting Company honored LuPone on March 12, 2012, in an event called "Patti's Turn" at the Kaye Playhouse.

In 1976, theater producer David Merrick hired LuPone as a replacement to play Genevieve, the title role of the troubled pre-Broadway production of The Baker's Wife. The production toured at length but Merrick deemed it unworthy of Broadway and it closed out of town.

Since 1977, LuPone has frequently collaborated with David Mamet, appearing in his plays The Woods, All Men Are Whores, The Blue Hour, The Water Engine (1978), Edmond, The Old Neighborhood (1997), and The Anarchist (2012). The New York Times reviewer wrote of LuPone in The Old Neighborhood, "Those who know Ms. LuPone only as a musical comedy star will be stunned by the naturalistic fire she delivers here. As Jolly, a part inspired by Mr. Mamet's real-life sister and his realized female character, Ms. LuPone finds conflicting layers of past and present selves in practically every line. She emerges as both loving matriarch and wounded adolescent, sentimental and devastatingly clear-eyed." In 1978, she appeared in the Broadway musical adaptation of Studs Terkel's Working, which ran for only 24 performances.

In 1979, LuPone starred in the original Broadway production of Evita, the musical based on the life of Eva Perón, composed by Andrew Lloyd Webber and Tim Rice, and directed by Harold Prince. Although LuPone was hailed by critics, she has since said that her time in Evita was not an enjoyable one. In a 2007 interview, she stated "Evita was the worst experience of my life," she said. "I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee." Despite the trouble, LuPone won her first Tony Award for Best Actress in a Musical. It was not until she had reprised the role in a production in Sydney when she had finally enjoyed the part and felt comfortable singing the score. LuPone and her co-star, Mandy Patinkin, remained close friends both on and off the stage.

1980s
In May 1983, founding alumni of The Acting Company reunited for an off-Broadway revival of Marc Blitzstein's landmark labor musical The Cradle Will Rock at the American Place Theater. It was narrated by John Houseman with LuPone in the roles of Moll and Sister Mister. The production premiered at The Acting Company's summer residence at Chautauqua Institution, toured the United States including an engagement at the Highland Park, Illinois' Ravinia Festival in 1984 and played in London's West End.

When the run ended, LuPone remained in London to create the role of Fantine in Cameron Mackintosh's original London production of Les Misérables, in 1985, which premiered at the Barbican Theatre, at that time the London home of the Royal Shakespeare Company. LuPone had previously worked for Mackintosh in a short-lived Broadway revival of Oliver! in 1984, playing Nancy opposite Ron Moody as Fagin. For her work in both The Cradle Will Rock and Les Misérables, LuPone received the 1985 Olivier Award for Best Actress in a Musical.

She returned to Broadway in 1987 to star as nightclub singer Reno Sweeney in the Lincoln Center Theater revival of Cole Porter's Anything Goes. She starred opposite Howard McGillin, and they both received Tony nominations for their performances. The Lincoln Center cast reassembled for a one-night-only concert performance of Anything Goes in New York in 2002.

1990s
In 1993, LuPone returned to London to create the role of Norma Desmond in the original production of Andrew Lloyd Webber's Sunset Boulevard at the Adelphi Theater. There was much anticipation of LuPone appearing in another Lloyd Webber musical, the first since her performance in Evita. Her time in the show was difficult, and she was abruptly fired by Lloyd Webber and replaced by Glenn Close, who opened the show in Los Angeles and eventually on Broadway.

In November 1995, LuPone starred in her one-woman show, Patti LuPone on Broadway, at the Walter Kerr Theatre. For her work, she received an Outer Critics Circle Award. The following year, she was selected by producer Robert Whitehead to succeed his wife, Zoe Caldwell in the Broadway production of Terrence McNally's play Master Class, based on the master classes given by operatic diva Maria Callas at Juilliard. LuPone received positive reviews, with Vincent Canby writing "Ms. LuPone really is vulnerable here in a way that wasn't anticipated: she's in the process of creating a role for which she isn't ideally suited, but she's working like a trouper to get it right." She appeared in the play in the West End. In November 2001, she starred in a Broadway revival of Noises Off, with Peter Gallagher and Faith Prince. LuPone has performed in many New York concert productions of musicals including Pal Joey with Peter Gallagher and Bebe Neuwirth, Annie Get Your Gun with Peter Gallagher, Sweeney Todd with George Hearn in both New York and San Francisco, Anything Goes with Howard McGillin, Can-Can with Michael Nouri for City Center Encores!, Candide with Kristin Chenoweth, Passion with Michael Cerveris and Audra McDonald and Gypsy with Boyd Gaines and Laura Benanti for City Center Encores!. Her performances in Sweeney Todd, and Candide were recorded and broadcast for PBSs Great Performances and were released on DVD. The concert staging of Passion was televised as part of Live from Lincoln Center.

2000s
Since 2001, LuPone has been a regular performer at the Chicago Ravinia Festival. She starred in a six-year-long series of concert presentations of Stephen Sondheim musicals, which began in honor of his seventieth birthday. Her roles here have included Mrs. Lovett in Sweeney Todd, Fosca in Passion, Cora Hoover Hooper in Anyone Can Whistle, Rose in Gypsy and two different roles in Sunday in the Park with George.

She returned to Broadway in October 2005 to star as Mrs. Lovett in John Doyle's new Broadway production of Sweeney Todd. In this radically different interpretation of the musical, the ten actors on stage also served as the show's orchestra, and LuPone played the tuba and orchestra bells as well as performing the score vocally. For her performance, she received a Tony Award nomination as well as Golden Icon Award for Best Female Musical Theater Performance. In August 2006, LuPone took a three-week leave from Sweeney in order to play Rose in Lonny Price's production of Gypsy at Ravinia. Sweeney Todd closed in September 2006.

On February 10, 2007, LuPone starred with Audra McDonald in the Los Angeles Opera production of Kurt Weill's opera Rise and Fall of the City of Mahagonny directed by John Doyle. The cast recording of Rise and Fall of the City of Mahagonny was recognized at the 51st Grammy Awards as Best Classical Album and Best Opera Recording in February 2009.

Following the Ravinia Festival production of Gypsy, LuPone and author Arthur Laurents mended a decade-long rift, and she was cast in the City Center Encores! Summer Stars production of the show. Laurents directed LuPone in Gypsy for a 22-performance run (July 9, 2007 – July 29, 2007) at City Center. This production of Gypsy then transferred to Broadway, opening March 27, 2008 at the St. James Theatre. LuPone won the Outer Critics Circle Award, Drama League Award, Drama Desk Award and Tony Award for her performance in Gypsy. It closed on January 11, 2009.

2010s
In August 2010, LuPone appeared in a three-day run of Irving Berlin's Annie Get Your Gun where she played the title role opposite Patrick Cassidy at the Ravinia Festival, directed by Lonny Price. That same year, LuPone created the role of Lucia in the original Broadway production of Women on the Verge of a Nervous Breakdown, which opened at the Belasco Theater on November 4, 2010, and closed on January 2, 2011, after 23 preview and 69 regular performances. LuPone was nominated for a Tony and Drama Desk, and an Outer Critics Circle Award for her performance.

LuPone's memoir recounting her life and career from childhood onwards, was published in September 2010 titled Patti LuPone: A Memoir.

In 2011, LuPone played the role of Joanne in a four-night limited engagement concert production of Stephen Sondheim's musical Company at the New York Philharmonic, conducted by Paul Gemignani. The production starred Neil Patrick Harris as Bobby. Harris had previously worked with LuPone in the 2000 and 2001 concert productions of Sweeney Todd. The cast of Company performed the song "Side by Side by Side" at the 65th Tony Awards on June 12, 2011.

LuPone made her New York City Ballet debut in May 2011 in a production of The Seven Deadly Sins directed and choreographed by Lynne Taylor-Corbett. A piece she had previously performed, LuPone sang the role of Anna in the Kurt Weill and Bertolt Brecht score.

LuPone concluded a 63-performance Broadway engagement of her concert with former Evita co-star Mandy Patinkin entitled An Evening with Patti LuPone and Mandy Patinkin. The run started on November 21, 2011, at the Ethel Barrymore Theater and ended on January 13, 2012.

In the fall of 2012, LuPone appeared with Debra Winger in the premiere of David Mamet's play The Anarchist. Despite the play receiving less than stellar reviews from critics, LuPone received widespread praise for her role as Cathy.

In early 2015, she returned to Los Angeles Opera to perform the role of Samira in a new production of John Corigliano's The Ghosts of Versailles, receiving positive reviews. In April 2016, an audio recording of the production was released by Pentatone (PTC 5186538, a 2-SACD album). It won the 2017 Grammy Awards for Best Classical Album and for Best Opera Recording.

In June 2015, LuPone appeared in the Douglas Carter Beane play Shows for Days at Lincoln Center Theater. In October 2015, LuPone, along with the current Fantine on the West End, joined her castmates to celebrate the 30th anniversary of Les Misérables.

In 2017, LuPone originated the role of Helena Rubinstein in the musical War Paint on Broadway, after performing the role in the summer of 2016 in the musical's world premiere at Chicago's Goodman Theatre. Performing opposite Christine Ebersole as Rubinstein's longtime competitor Elizabeth Arden, LuPone stayed with the role for War Paint 's entire run at the Nederlander Theatre, from March 7 to November 5, 2017. The show closed prematurely to allow LuPone to undergo hip surgery. LuPone disclosed in an interview that War Paint would be her last musical on stage: "I'm too old. It's been hard—it's been harder than it's ever been. I can't do it anymore."

Nevertheless, in September 2017 it was announced that LuPone would star as Joanne in the 2018 London revival of Company alongside Rosalie Craig as Bobbie in a gender-swapped production directed by Marianne Elliot. For her performance she received her second Laurence Olivier Award, this time for Outstanding Actress in a Supporting Role in a Musical. In August 2019, it was announced that the production would move to Broadway, with LuPone returning as Joanne and Katrina Lenk as Bobbie.

2020s
A transfer of the successful West End production of Company was set to open at the Bernard B. Jacobs Theatre on March 22, 2020, coinciding with Stephen Sondheim's 90th birthday, but was postponed due to the COVID-19 pandemic. The production returned, featuring LuPone starring opposite Katrina Lenk, with previews starting on November 15, 2021, before officially opening December 9, 2021. LuPone won her third Tony Award for the role.

Following the closing of Company, LuPone resigned from Actors' Equity Association, the union for professional stage managers and actors in the United States. It was announced that LuPone would return to Broadway in the Jen Silverman play The Roommate starring opposite Mia Farrow at the Booth Theatre in August 2024.

Solo concerts and tours
LuPone performs regularly in her solo shows Matters of the Heart; Coulda, Woulda, Shoulda; and The Lady With the Torch which sold out at Carnegie Hall. For example, she performed her one-woman show The Gypsy In My Soul at the Caramoor Fall Festival, New York, in September 2010.

She also appears at venues across North America in concerts with Mandy Patinkin, at such venues as the Mayo Center for the Performing Arts in September 2010.

She appeared as the inaugural act at a new cabaret space, 54 Below, in New York City in June 2012. According to The New York Times reviewer, "Nowadays Ms. LuPone generates more raw excitement than any other performer on the Broadway and cabaret axis, with the possible exception of Liza Minnelli.... And her brilliant show, conceived and directed by her long-time collaborator, Scott Wittman, deserves many lives, perhaps even a Broadway run in an expanded edition. It certifies Ms. LuPone's place in the lineage of quirky international chanteuses like Lotte Lenya, Marlene Dietrich and Edith Piaf, who, like Ms. LuPone, conquered show business with forceful, outsize personalities while playing by their own musical rules."

She also appeared as the inaugural act at the Sharon L. Morse Entertainment Center in The Villages, Florida on April 30, 2015, to a sold-out audience of residents mainly 55 years-of-age and older.

Film and television work
Among LuPone's film credits are Fighting Back, Witness, Steven Universe: The Movie, Just Looking, The Victim, Summer of Sam, Driving Miss Daisy, King of the Gypsies, 1941, Wise Guys, Nancy Savoca's The 24 Hour Woman and Savoca's Union Square, Family Prayers, and City by the Sea. She has also worked with playwright David Mamet on The Water Engine, the critically acclaimed State and Main, and Heist. In 2011, the feature film Union Square, co-written and directed by the Sundance Film Festival's Grand Jury Award Winner, Nancy Savoca, was premiered at the Toronto International Film Festival. In it, LuPone co-starred with Mira Sorvino, Tammy Blanchard, Mike Doyle, Michael Rispoli and Daphne Rubin-Vega.

She played Lady Bird Johnson in the TV movie, LBJ: The Early Years (1987). LuPone played Libby Thatcher on the television drama Life Goes On, which ran on ABC from 1989 to 1993. In the 1990s she had a recurring role as defense attorney Ruth Miller on Law & Order. She has twice been nominated for an Emmy Award: for the TV movie The Song Spinner (1995, Daytime Emmy Award nominee), and for Outstanding Guest Actress in a Comedy Series on Frasier in 1998. She had a cameo as herself that year on an episode of Saturday Night Live hosted by Kelsey Grammer.

LuPone's TV work also included a recurring role on her cousin Tom Fontana's HBO series in its final season, Oz (2003). She appeared as herself on a February 2005 episode of Will & Grace. She also appeared on the series Ugly Betty in March 2007 as the mother of Marc St. James (played by Michael Urie). LuPone had a recurring guest role as Frank Rossitano's mother on 30 Rock. LuPone appeared as herself in the season two finale of the television series Glee.

LuPone guest starred on Army Wives on July 8, 2012. She reunited with fellow guest star Kellie Martin as her mother once again. LuPone appeared in the 2013 film Parker, an action-thriller. She voiced the character Yellow Diamond in the animated series Steven Universe (2013–2019) and Steven Universe Future (2019–2020).

In 2013, LuPone was cast in the third season of the FX series American Horror Story as Joan Ramsey, a religious mother with a hidden past, and played herself in the third season of HBO's Girls. In 2015, she appeared in several episodes of the Showtime horror series Penny Dreadful as a cantankerous yet powerful white witch. She returned to the show in 2016 in the role of Dr. Seward, an alienist aiding Eva Green's character. Seward is an adaptation of John Seward from Bram Stoker's Dracula, and claims to be a descendant of Joan Clayton, the character LuPone portrayed in the second season. Also in 2016, she began appearing in Steven Universe as the voice of Yellow Diamond, reprising the role in the movie and the epilogue series Steven Universe Future. In 2019, LuPone played an antagonistic role in Pose, appearing in second season of the series. The following year she teamed up with social media star Randy Rainbow to perform a duet song criticizing Donald Trump three weeks before the 2020 US election.

In 2023 she played Beau's mother, Mona, in the Ari Aster surrealist horror film Beau Is Afraid. The film stars Joaquin Phoenix, Nathan Lane, Richard Kind, and Amy Ryan. LuPone received critical acclaim for her performance with David Rooney of The Hollywood Reporter writing "[the film] features fabulous performances...most of all, LuPone in all her magnificent, scenery-chomping glory." Anthony Lane of The New Yorker also praised LuPone performance, comparing her role of an imperious mother to that of Angela Lansbury's in The Manchurian Candidate (1962).

In 2023, LuPone revealed that she will play the role of Lilia Calderu in the Marvel Cinematic Universe's upcoming Disney+ series Agatha: Darkhold Diaries. Calderu is a Romani character in the comics.

Views on theater conduct
LuPone has expressed concern about the conduct and etiquette of some theatergoers. "Where's the elegance?" she asked in a blog post on her official site. "I mean, I'm glad they show up because God knows it's a dying art form and I guess I'm glad they're all comfortable, sleeping, eating and drinking, things they should be doing at home and in a restaurant. But it's just not done in the theater or shouldn't be." LuPone has been the subject of some controversy due to the bluntness of her statements on the matter, which on some occasions have risen to her directly admonishing audience members for their behavior during performances.

2009 incident
At the penultimate performance of Gypsy on January 10, 2009, LuPone, irritated by an attendee taking flash photography in apparent violation of theater policy, stopped in the middle of "Rose's Turn" and demanded that the miscreant be removed from the theater. After he was removed, LuPone restarted her number. The audience applauded her stance. The event was recorded by another audience member, who released it on YouTube. She later stated that such distractions drive "people in the audience nuts. They can't concentrate on the stage if, in their peripheral vision, they're seeing texting, they're seeing cameras, they're listening to phone calls. How can we do our job if the audience is distracted?", and also mentioned that "the interesting thing is I'm not the first one that's done it".

2015 incident
On July 8, 2015, during the second act of Shows for Days at the Lincoln Center Theater, LuPone grabbed an audience member's cellphone while leaving the stage as the audience member had been using their phone during the play. It was returned after the show. LuPone stated:"We work hard on stage to create a world that is being totally destroyed by a few, rude, self-absorbed and inconsiderate audience members who are controlled by their phones. They cannot put them down. When a phone goes off or when a LED screen can be seen in the dark it ruins the experience for everyone else – the majority of the audience at that performance and the actors on stage. I am so defeated by this issue that I seriously question whether I want to work on stage anymore. Now I'm putting battle gear on over my costume to marshal the audience as well as perform."

2022 incident
On May 10, 2022, during a live conversation with the American Theatre Wing and her Company co-stars, LuPone called out at audience members who were not wearing their face masks "properly" during the event and not adhering to the COVID-19 safety protocols implemented by The Broadway League yelling, "Put your mask over your nose. That's why you're in the theater ... That is the rule. If you don't want to follow the rule, get the fuck out. I'm serious. Who do you think you are if you do not respect the people sitting around you?" When an audience member called out in response, "I pay your salary," LuPone replied "You pay my salary? Bullshit. Chris Harper [the producer of Company] pays my salary". After the incident, a spokesperson for the show said in a statement: "We stand with Patti [...] support her efforts to keep our entire community—from patrons to ushers, cast to stage crew—safe and healthy so we can keep Broadway open". This also resulted in the League extending the mask guideline end date from May 31 to June 30, 2022.

In an interview, LuPone later explained that prior to her dispute with the patron, the patron had already been approached by the theater's COVID safety manager and been asked to wear the mask over her nose and mouth, and that the patron had responded mockingly by placing the mask over her eyes in a dismissive manner. It was the entirety of the patron's disrespectful behavior, not just the manner in which she was wearing her mask, that LuPone was responding to in her outburst.

Personal life
LuPone is married to Matthew Johnston. The couple's wedding ceremony was on the stage of the Vivian Beaumont Theater at the Lincoln Center on December 12, 1988, after filming the TV movie LBJ; Johnston was a cameraman. They have one child. They reside in Edisto Beach, South Carolina, and Kent, Connecticut.

Theatre
Sources: Playbill Vault; Internet Broadway Database; Internet Off-Broadway Database

Film
Sources: TCM; AllMovie

Television
Sources: TCM; AllMovie

Discography
Selected recordings include:
 * The Baker's Wife (Original cast recording)
 * Evita (Original Broadway cast recording)
 * The Cradle Will Rock (The Acting Company recording)
 * Les Misérables (Original London Cast recording)
 * Anything Goes (New Broadway Cast Recording)
 * Heat Wave (John Mauceri conducting the Hollywood Bowl Orchestra)
 * Patti LuPone Live (Solo Album)
 * Sunset Boulevard (World Premiere/Original London Cast Recording)
 * Matters of the Heart (Solo Album)
 * Sweeney Todd (New York Philharmonic recording)
 * Sweeney Todd (2005 Broadway Cast recording)
 * The Lady with the Torch (Solo Album)
 * The Lady With the Torch...Still Burning (Solo Album)
 * To Hell and Back (Philharmonia Baroque Orchestra World Premier recording)
 * Gypsy (2008 Broadway Revival Cast Recording)
 * Patti LuPone At Les Mouches (Live Solo Recording of 1980 club act)
 * Women on the Verge of a Nervous Breakdown (Original Broadway Cast Recording)
 * Far Away Places (Solo Album)
 * Company (New York Philharmonic recording)
 * War Paint (Original Broadway cast recording)
 * Don't Monkey with Broadway (Solo Album)
 * Company (Revival London cast recording)

Her live performance of "Don't Cry for Me Argentina" at the Grammy Awards was released on the 1994 album Grammy's Greatest Moments Volume IV.

In 2009, LuPone's 1985 recording of "I Dreamed a Dream" reached No. 45 on the UK Singles Chart It also reached the Billboard magazine Hot Digital Songs and Hot Singles Recurrents charts in the US.

LuPone recorded a duet with Seth MacFarlane (who was in character as Glenn Quagmire) on the 2005 album Family Guy: Live In Vegas.

A live concert special film, An Evening with Patti LuPone, was filmed in July 2012 and released in November 2012 on SethTv.com with 104 minutes of Patti LuPone songs and stories with host Seth Rudetsky.

A new CD of one of her shows, The Lady with the Torch, was released in 2006 on Sh-K-Boom Records. In December she released bonus tracks for that CD only available on iTunes and the Sh-K-Boom website.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Patti LuPone


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Medical fetishism

Medical fetishism refers to several sexual fetishes in which participants derive sexual pleasure from medical scenarios including objects, practices, environments, and situations of a medical or clinical nature. In sexual roleplay, a hospital or medical scene involves the sex partners assuming the roles of doctors, nurses, surgeons and patients to act out specific or general medical fetishes. Medical fantasy is a genre in pornography, though the fantasy may not necessarily involve pornography or sexual activity.

Medical fetishism may involve sexual attraction to respiratory therapy involving oxygen supplied via nasal cannula or any sort of mask, medical practitioners, medical uniforms, hospital gowns, anesthesia, intimate examinations (such as rectal examination, gynecological examination, urological examination, andrological examination, rectal temperature-taking), catheterization, diapering, enemas, injections, insertion (such as suppository insertion, menstrual-cup insertion, and prostatic massage), auscultation, medical devices (such as orthopedic casts and orthopedic braces; see also "abasiophilia"), dental objects (such as dental braces, retainers, and headgear), medical restraints, and medical gags.

Anything that involves health, wellness, and the need for a doctor or nurse could potentially play into medical fetishism. Such a diversity makes medical fetishism a common form of BDSM, sexual roleplay, or extreme play for all levels.

Physical examination
Some people eroticize intimate examinations as part of a medical fetish, and as such are a common service offered by professional dominants.

An intimate examination can form part of a scene in medical play where the nurse or doctor (or even or a nun) inflicts one or more embarrassing and humiliating quasi-medical procedures on the patient. Often, frozen or heated objects are introduced to the patient's body to simulate the uncomfortable sensations that can occur during a real examination. Examinations may include an examination and intrusion of the anus, urethra, or vagina, as well as handling and manipulation of the penis, testicles, clitoris, and nipples. Quite often, strap-on play is also incorporated, as this can heighten the intimacy and the sensations of the "patient" (recipient). This may be a prelude to masturbation or administration of an enema. Before examination, the patient can be placed in physical restraints and gagged, and wear some form of embarrassing clothing.

Temperature-taking fetishism
Temperature-taking fetish is a sexual fetish for oral and rectal thermometers. This may include the sexual attraction to the equipment, processes, environments, or scenarios/situations. The fetish is characterized by sexual arousal from the desire to take another person's temperature or have one's temperature taken. Although there is also an interest in oral temperature taking, rectal temperature-taking is more prominent and often precedes enema play.

Enema fetishism
Enema fetishism is a sexual fetish for enemas and is a type of klismaphilia, the general enjoyment of enemas, and hence those enjoying enemas are referred to as klismaphiliacs. This fetish includes not only giving and receiving enemas but also sexual attraction to the equipment, processes, environments, situations, or scenarios,. Some may be sexually aroused by the preparations, such as by the feel and smell of a latex rubber or plastic syringe, by the smell of soapsuds enema solution, or by preparing the recipient. Roleplaying often accompanies these activities.

Enemas can cause sexual arousal in both women and men because the bulbospongiosus muscle which starts in front of the anus contributes, in women, to clitoral erection and the contractions of orgasm, and closing the vagina. In men, this muscle correlates to erections, the contractions of orgasm, and ejaculation. Sexual sensation results from distention of the rectum by filling and dilating it with the volume of an enema which in women, puts pressure on the back of the vagina, and in men stimulates the prostate and seminal vesicles. Also, contractions of muscles throughout the abdomen caused by expulsion of an enema can stimulate, in women, the uterus and vagina, and in men, the prostate, seminal vesicle, and internal penis.

Because enemas involve at least partial nudity and the exposure and probing of the anus, many people find them embarrassing. An erotic enema holds the possibility of acting out vulnerability in a primal form. Among the attractions to enema play are psychodrama, power exchange, erotic humiliation, discipline, and so on. BDSM punishment scenes can use extra-large volumes or highly irritating substances to produce pain and cramps. Klismaphiliacs often discover their fetish for enemas after having one administered.

Medical restraints
Medical fetishism can also include the use of medical restraints, including straitjackets, historically associated with the treatment of mentally ill people.

Anesthesia fetishism
Anesthesia fetishism is a sexual fetish for anesthesia. This may include the sexual attraction to the equipment, processes, substances, effects, environments or situations. Sexual arousal from the desire to administer anesthesia, or the sexual desire for oneself to be anesthetized are two forms in which an individual may exist as an arbiter of the fetish. Older-style anesthesia masks of black rubber, still in occasional use today, are one of the more common elements fetishized, and have earned the nickname Black Beauty by many fetishists.

Acts, behaviour and rituals
Anesthesia fetish is considered edgeplay, as when realized outside the boundaries of fantasy may result in various degrees of harm, or death. Fantasies are elaborated by the viewing of images and reading of stories of anesthetic inductions. Edgeplay may involve obtaining and scening with various anesthesia-related paraphernalia—usually anesthesia masks for breathplay, the acquisition of anesthetics for anesthetizing others or being anesthetized oneself, and the occupation of a medical setting or environment for the same practice.

Some anesthesia fetishists who seek to be anesthetized may feign or induce medical conditions in an attempt to obtain general anesthesia from medical personnel. This is considered safer than playing with anesthetic agents outside of a medical setting.

Internet influence
The Internet has enabled people with this relatively rare paraphilia to discuss the subject and exchange anesthesia-related multimedia. Anesthesia fetishism has been a relatively obscure fetish for a long time. However, with the advent of the internet, individuals with this fetish have been able to connect with each other and share their experiences and interests. Online forums and discussion boards dedicated to the subject have popped up, allowing individuals to engage in conversations and exchange multimedia related to anesthesia fetishism.

title: Medical fetishism


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Self-contained breathing apparatus

A self-contained breathing apparatus (SCBA) is a respirator worn to provide an autonomous supply of breathable gas in an atmosphere that is immediately dangerous to life or health from a gas cylinder. They are typically used in firefighting and industry. The term self-contained means that the SCBA is not dependent on a remote supply of breathing gas (e.g., through a long hose). They are sometimes called industrial breathing sets. Some types are also referred to as a compressed air breathing apparatus (CABA) or simply breathing apparatus (BA). Unofficial names include air pack, air tank, oxygen cylinder or simply pack, terms used mostly in firefighting. If designed for use under water, it is also known as a scuba set (self-contained underwater breathing apparatus).

An open circuit SCBA typically has three main components: a high-pressure gas storage cylinder, (e.g., 2216 to 5500 psi, about 150 to 374 atmospheres), a pressure regulator, and a respiratory interface, which may be a mouthpiece, half mask or full-face mask, assembled and mounted on a framed carrying harness.

A self-contained breathing apparatus may fall into one of three categories: open-circuit, closed-circuit, or continuous-flow.

Closed-circuit
The closed-circuit type, also known as a rebreather, operates by filtering, supplementing, and recirculating exhaled gas. It is used when a longer-duration supply of breathing gas is needed, such as in mine rescue and in long tunnels, and going through passages too narrow for a big open-circuit air cylinder. Before open-circuit SCBA's were developed, most industrial breathing sets were rebreathers, such as the Siebe Gorman Proto, Siebe Gorman Savox, or Siebe Gorman Salvus. An example of modern rebreather SCBAs would be the SEFA.

As of 1987 (30 CFR Part 11)
Duration of closed-circuit SCBAs is somewhere between 1-4 hours. A closed-circuit SCBA system is negative-pressure, increasing the risk of leaks.

There are two types of closed-circuit SCBA according to NIOSH: To reduce pressure buildup from use, a pressure-relief valve with saliva trap is included. Closed-circuit SCBAs are also noticeably smaller than open-circuit ones.
 * Uses compressed oxygen.
 * Uses an oxygen-generating solid. This involves a chemical reaction between potassium superoxide with exhaled water and carbon dioxide. A chlorate candle has to be struck to start the device.

Self-contained self-rescue devices are also closed-circuit SCBAs, working on the same principles, being designed for emergency use in mines, and lasting about one hour.

As of 1987 (30 CFR Part 11)
An open-circuit SCBA does not recirculate air; it instead allows respired air to be exhausted outside. While 30 CFR 11 does not restrict the gas that can be used (although compressed air is usually chosen), use of compressed oxygen is not allowed due to the system's exposure to outside air. Duration is usually limited to 30-60 minutes.

There are two types of open-circuit SCBA according to NIOSH:
 * Demand: 2000 psi to the regulator from the main valve, plus a bypass valve in case of failure, with a two-stage regulator reducing pressure to 50-100 psi.
 * Pressure-Demand: Similar to demand, but with a spring in the diaphragm, which holds the admission valve open, for continuous air flow to the facepiece.

NIOSH emphasizes that facepieces between both SCBA types cannot be interchanged, but certain SCBAs can be switched to both 'demand' and 'pressure-demand' operation. However, both modes require different training.

Continuous-flow
Escape SCBAs, also known as ESCBAs, come with hoods, are meant for escapes only, and are operated in continuous flow mode.

Escape only SCBAs, designed for escape from IDLH situations, regardless of type, are usually limited to 3-10 minutes.

Facepiece
SCBAs usually come with full-facepieces, but can also come with half-mask or mouthpiece in demand or pressure-demand mode, though use of mouthpieces are limited to escapes only, as of 1987.

Hoods and helmets are limited to continuous flow mode only, and are also used in air-line respirators in addition to escape-only SCBAs.

Usage
There are two major application areas for SCBA: firefighting, and industrial use in confined spaces.

Regulation and standards
In the United States and Canada, SCBAs used in firefighting must meet guidelines established by the National Fire Protection Association, NFPA Standard 1981. If an SCBA is labeled as "1981 NFPA compliant", it is designed for firefighting. The current version of the standard was published in 2018. These standards are revised every five years. Similarly, the National Institute for Occupational Safety and Health (NIOSH) has a certification program for SCBA that are intended to be used in chemical, biological, radiological, and nuclear (CBRN) environments.

Any SCBA supplied for use in Europe must comply with the requirements of the Personal Protective Equipment Directive (89/686/EEC). In practice this usually means that the SCBA must comply with the requirements of the European Standard EN 137:2006. This includes detailed requirements for the performance of the SCBA, the marking required, and the information to be provided to the user. Two classes of SCBA are recognised, Type 1 for industrial use and Type 2 for firefighting. Any SCBA conforming to this standard will have been verified to reliably operate and protect the user from -30 °C to +60 °C under a wide range of severe simulated operational conditions.

Human factors
SCBA is intended to be personal protective equipment, but its use is not without cost. The weight of the unit and work of breathing affect the work capacity and agility of the wearer, and the full-face mask, while protecting the face and eyes from heat, smoke, and toxic gases, also reduces peripheral vision and awareness of the surroundings. The weight and harness straps may limit tidal volume, ventilation rate, and oxygen consumption, and heart rate may increase in comparison with the same exercise levels without the equipment. Shoulder harness straps of heavy SCBA can reduce free motion of the thorax which affects breathing.

title: Self-contained breathing apparatus


text:
User:Zero0000

Hello, for various professional reasons I'm using a pseudonym. My relevant interests are history (especially 20th century Middle-Eastern and European including Holocaust), and to a lesser extent political, religious and cultural issues. I do not have a personal connection, either by family, descent, or religion, with the people and places I write about in Wikipedia.

Self portrait with feet

Countries I have visited (sometimes before they existed)
Australia (all states), Austria, Barbados, Belgium, Brazil, Bulgaria, Canada (6 provinces), China (mainland and Hong Kong), Czech Republic, Denmark, Fiji, Finland, France, Germany (East, West, and reunified), Hungary, India, Indonesia, Iran, Israel, Italy, Japan, South Korea, Liechtenstein, Luxembourg, Malta, Mexico, Netherlands, New Zealand (both islands), Oman, Palestine (West Bank and Gaza), Poland, Portugal, Russia (when it was part of the USSR), Serbia (when it was part of Yugoslavia), Singapore, Slovakia (when it was in Czechoslovakia and afterwards too), Slovenia, South Africa, Spain, Sweden, Switzerland, Taiwan, Thailand, Turkey, United Kingdom (England, Scotland and Wales), United States of America (40 states), Vatican City

Some links for my own convenience

 * Administrators' how-to guide
 * Template messages
 * Administrator's discussion   Incidents
 * WikiEN-l mailing list archive
 * My edit count
 * ARBPIA talk page notice: or
 * ARBPIA edit notice: or
 * ARBPIA rulings compilation
 * User ARBPIA alert: a-i
 * Talk:Mandatory_Palestine/FAQ/Sources
 * UN Doc template
 * WP:WikiProject Geographical coordinates

A test account I have
is used by me to test aspects of Wikipedia's protection/authorization system that I cannot test from an administrator's account.

Some tasks that need doing

 * Jenin — the historical background, especially ancient identifications, is very poor. TellJenin03.pdf is a good guide.
 * Jewish_views_on_marriage — this does not very well correspond to the historical facts, especially for the Middle East and North Africa.
 * Abdullah_I_of_Jordan — details are confused and sources are poor. Wilson and Anu Nowar are better sources. Adam Matthew has UK report.
 * 1099 Jerusalem massacre in several articles misquotes sources
 * Missing history in Jewish National Fund, incl influence of Prussian Settlement Commission
 * The story of Shatta
 * Haavara Agreement elides the boycott movement even though it features prominently in all the sources.
 * Check if the doctored quotation from the Village Statistics in Walid Khalidi appears in Brawer's review.
 * The origin story at The Protocols of the Elders of Zion no longer has the discredited version from the Berne trial, but that version has now disappeared entirely. Write a section explaining the history of the origin story. Levy has a good summary.
 * Berne Trial needs more from Hagemeister.
 * Levy's assessment of the actual significance of the Protocols is worthy of reporting.
 * Fix Sami al-Jundi "quotation" from proper source, such as Kedourie, Arabic Political Memoirs and Other Studies, p200.
 * Finish the Buraq Mosque article already.
 * Rewrite Tel Aviv and Jaffa deportation, renamed something like 1917 evacuation of Gaza and Jaffa primarily using Mazza, Ben-Bassat and Friedman.
 * Add better description to Tegart's Wall based on the sources mentioned on the talk page. Especially fix the false claim that the fence was on the border.
 * Harris on Ziklag.
 * Moshe Pearlman needs fleshing out.
 * More on how Israel presented the Eichmann operation to the world.
 * Joseph Schechtman needs more on his refugee writing.
 * Shadmi's interview on the Kfar Qassem massacre.
 * Role of Nation Associates in the creation of Israel.
 * Shneur Zalman of Liadi's views on gentiles.
 * Material from Levine about the Tel Aviv sand-dunes myth.
 * Azmi Bishara is a mess.
 * Constitution of Mandatory Palestine, see talk page.
 * Ben Barka summary is bad.
 * Petah Tikva history from Marom
 * More on Michael Dov Weissmandl from Paldiel
 * Moshava translation
 * 13th Waffen Mountain Division of the SS Handschar (1st Croatian) multiple problems noted on the talk pages
 * Flag of Mandatory Palestine the rules about the ensign, more from Sorek
 * Wilson's Arch (Jerusalem) is a mess
 * American Palestine Committee - the history is terrible, see talk page
 * Palestinian Citizenship Order, 1925 — add more details and a link to the full text
 * Avraham Stern — add material from Bishop
 * Jewish revolt against Heraclius follows many sources by hiding what the ancient sources actually say
 * Kerem Avraham expand from Finn and Polley
 * Clean up Tiberias. Avni is a good start
 * Expand Ezuz. Map ElKossaima-Sinai-1914.jpg would be good.
 * Palestine/Israel summer time started in 1940. Gazette 1010 suppl 1, "Time Determination Ordinance".
 * Druze in Mandatory Palestine needs statistics
 * Make a map for Wadi Qana
 * Yehudai's book has a large amount of material suitable for Yerida
 * The conversion of Moshe Schneersohn, from Assaf's book
 * The poor state of Malaria in Mandatory Palestine

title: User:Zero0000


text:
Bertrand Meyer

Bertrand Meyer (born 21 November 1950) is a French academic, author, and consultant in the field of computer languages. He created the Eiffel programming language and the concept of design by contract.

Education and academic career
Meyer received a master's degree in engineering from the École Polytechnique in Paris, a second master's degree from Stanford University, and a PhD from the Université de Nancy. He had a technical and managerial career for nine years at Électricité de France, and for three years was a member of the faculty of the University of California, Santa Barbara.

From 2001 to 2016, he was professor of software engineering at ETH Zürich, the Swiss Federal Institute of Technology, where he pursued research on building trusted components (reusable software elements) with a guaranteed level of quality. He was Chair of the ETH Computer Science department from 2004 to 2006 and for 13 years (2003–2015) taught the Introduction to Programming course taken by all ETH computer science students, resulting in a widely disseminated programming textbook, Touch of Class (Springer).

He remains Professor emeritus of Software Engineering at ETH Zurich and is currently Professor of Software Engineering and Provost at Constructor Institute (previously Schaffhausen Institute of Technology (SIT)), a new research university in Schaffhausen, Switzerland.

He has held visiting positions at the University of Toulouse (Chair of Excellence, 2015–16), Politecnico di Milano, Innopolis University, Monash University and University of Technology Sydney. He is also active as a consultant (object-oriented system design, architectural reviews, technology assessment), trainer in object technology and other software topics, and conference speaker. For many years Meyer has been active in issues of research and education policy and was the founding president (2006–2011) of Informatics Europe, the association of European computer science departments.

Computer languages
Meyer pursues the ideal of simple, elegant and user-friendly computer languages and is one of the earliest and most vocal proponents of object-oriented programming (OOP). His book Object-Oriented Software Construction is one of the earliest and most comprehensive works presenting the case for OOP. Other books he has written include Eiffel: The Language (a description of the Eiffel language), Object Success (a discussion of object technology for managers), Reusable Software (a discussion of reuse issues and solutions), Introduction to the Theory of Programming Languages, Touch of Class (an introduction to programming and software engineering) and ''Agile! The Good, the Hype and the Ugly'' (a tutorial and critical analysis of agile methods). He has authored numerous articles and edited over 60 conference proceedings, many of them in the Springer LNCS (Lecture Notes in Computer Science) series.

He is the initial designer of the Eiffel method and language and has continued to participate in its evolution, and is the originator of the Design by Contract development method.

His experiences with object technology through the Simula language, as well as early work on abstract data types and formal specification (including the Z notation), provided some of the background for the development of Eiffel.

Contributions
Meyer is known among other contributions for the following:
 * The concept of Design by Contract, highly influential as a design and programming methodology concept and a language mechanism present in such languages as the Java Modeling Language, Spec#, the UML's Object Constraint Language and Microsoft's Code Contracts.
 * The design of the Eiffel language, applicable to programming as well as design and requirements.
 * The early publication (in the first, 1988 edition of his Object-Oriented Software Construction book) of such widely used design patterns as the command pattern (the basis for undo-redo mechanisms, i.e. CTRL-Z/CTRL-Y, in interactive systems) and the bridge pattern.
 * The original design (in collaboration with Jean-Raymond Abrial and Steven Schuman) of the Z specification language.
 * His establishment of the connection between object-oriented programming and the concept of software reusability (in his 1987 paper Reusability: the Case for Object-Oriented Design).
 * His critical analysis of the pros and cons of agile development and his development of software lifecycle and management models.

Awards
Meyer is a member of Academia Europaea and the French Academy of Technologies and a Fellow of the ACM. He has received honorary doctorates from ITMO University in Saint Petersburg, Russia (2004) (returned in 2022) and the University of York, UK (2015).

He was the first "senior award" winner of the AITO Dahl-Nygaard award in 2005. This prize, named after the two founders of object-oriented programming, is awarded annually to a senior and a junior researcher who has made significant technical contributions to the field of OOP.

He is the 2009 recipient of the IEEE Computer Society Harlan Mills award "for practical & fundamental contributions to object-oriented software engineering".

He is an IFIP fellow, as part of the first group to receive this distinction in 2019, and received in 2017 the ACM SIGSOFT Software Engineering Educator Award. He was the recipient of an ERC (European Research Council) Advanced Investigator Grant (2012-2017).

In 2006, Meyer received the ACM Software System Award of the for "impact on software quality" in recognition of the design of Eiffel.

Wikipedia hoax
On 28 December 2005, an anonymous user falsely announced Meyer's death on the German Wikipedia's biography of Meyer. The hoax was reported five days later by the Heise News Ticker and the article was immediately corrected. Many major news media outlets in Germany and Switzerland picked up the story. Meyer went on to publish a positive evaluation of Wikipedia, concluding "The system succumbed to one of its potential flaws, and quickly healed itself. This doesn't affect the big picture. Just like those about me, rumors about Wikipedia's downfall have been grossly exaggerated."

title: Bertrand Meyer


text:
Jack Dee

James Andrew Innes Dee (born 24 September 1961), known professionally as Jack Dee, is an English stand-up comedian, actor, presenter and writer known for his sarcasm, irony and deadpan humour. He wrote and starred in the sitcom Lead Balloon and hosts the panel show I'm Sorry I Haven't A Clue.

His UK television appearances include being a team captain on Shooting Stars and hosting Jack Dee: Live at the Apollo, which was nominated for a BAFTA in 2006. He also presented The Jack Dee Show, Jack Dee's Saturday Night and Jack Dee's Happy Hour. He won Celebrity Big Brother 1 in 2001.

Early life and education
Jack Dee is the youngest of three children born to Rosemary ( Stamper) and Geoffrey Dee, after Joanna Innes Dee and David Simon Innes Dee. He was born in the Municipal Borough of Bromley, Kent (now within the London Borough of Bromley) and grew up in Petts Wood before moving with his family to Winchester when he was young. His father was a printer and his mother was the daughter of two repertory actors, Henry Lionel Pope Stamper (1906–1985) and Edna May Howard Innes (1904–1969).

Dee was educated at both private and state schools. His first school, The Pilgrims' School, a preparatory school in Winchester, was followed by the state Montgomery of Alamein School for his secondary education, and for a period he attended Frensham Heights School. He took his A-levels at Peter Symonds' College, and left with a D and an F grade. Following this, he planned to attend drama college, but his plans were scuppered when his mother persuaded him to get a vocation, and so he entered the catering industry and became a waiter.

Career
Dee's first public act was an open-mic gig in 1986 at The Comedy Store, which he went to one evening after work.

Since the 1990s, he has performed sell-out acts at many high-profile venues (including the London Palladium and the Hammersmith Apollo). After he won the British Comedy Award for Best Stage Newcomer in 1991, Dee was offered his own show; The Jack Dee Show first went out on Channel 4 in February 1992. His combination of stand-up routines on television continued with Jack Dee's Saturday Night on ITV, Jack Dee's Happy Hour in 1997 and later Jack Dee Live at the Apollo in 2004 on BBC One.

In 1996, he starred alongside Jeremy Hardy in Jack and Jeremy's Real Lives, a collection of mockumentaries similar to their previous collaboration, Jack and Jeremy's Police 4. Each episode focuses on the pair playing bizarre characters from a particular profession. Shot on film and featuring no laugh track, the show failed to catch on. After three episodes, it was moved to air after midnight. Aside from his stand-up career, Dee has made appearances acting in television series. He played the part of Doug Digby in the Grimleys pilot (1997) before the role was recast for the series, and made guest appearances on such programmes as Silent Witness, Dalziel and Pascoe and Jonathan Creek.

In 2001, he won Celebrity Big Brother (then linked to fundraising for Comic Relief). He has subsequently said that he dislikes the treatment of the housemates by the show and its producers, and has refused all permission for any of the clips to be shown again.

In 2004, he played the role of Steven Sharples MP, the self-styled 'Deputy Home Secretary', alongside Warren Clarke and Dervla Kirwan in The Deputy. Dee's performance was praised, though the film itself received a lukewarm response. Later that year he starred in another one-off drama, Tunnel of Love. He was the celebrity advocate in Britain's Best Sitcom for Fawlty Towers and presented an hour-long documentary about the series.

In 2005, he co-hosted Comic Aid, a one-off gathering of comedians that aimed to raise money for the Asian Tsunami Appeal. In May of the same year he appeared on the "Star in a Reasonably-Priced Car" segment of the BBC Two series Top Gear, achieving a lap time of 1:53.5 (52nd on the Suzuki Liana leader board). His series Lead Balloon, which he also co-wrote, began on BBC Four on 4 October 2006. Described as "Britain's answer to Curb Your Enthusiasm", Lead Balloon sees Dee play the semi-biographical role of Rick Spleen. A second series of eight episodes was commissioned and was broadcast on BBC Two in 2007, with a third series debuting on Thursday 13 November 2008. A fourth series finished on the BBC on 5 July 2011. He also starred as Harry in the 2005 film Short Order.

In February 2009, it was announced that Dee would be one of a trio of hosts to replace the late Humphrey Lyttelton for the summer series of I'm Sorry I Haven't a Clue (the others being Stephen Fry and Rob Brydon). He subsequently became the permanent host from the 52nd series onwards. He is also a frequent guest on QI and Have I Got News for You, which he has guest-presented ten times, and he hosts segments of the BBC's biennial Comic Relief telethon. He starred in advertisements for John Smith's Bitter in the 1990s, becoming known as "the midget with the widget". He made his stage debut in 1998, playing Yvan in Yasmina Reza's Olivier award-winning Art. He later returned as Serge for a 13-week run at the request of the director.

In 2008, Dee took part in the 15th anniversary special of Shooting Stars where he replaced Will Self as captain of Team A. The show aired on 30 December 2008 on BBC2. Dee returned as team captain in series 6 of Shooting Stars on 26 August 2009, and again for the 7th series. Over Christmas 2009, Dee played the role of John Tweedledum in The News at Bedtime.

In 2010, Dee took part in Channel 4's Comedy Gala, a benefit show held in aid of Great Ormond Street Children's Hospital, filmed live at the O2 Arena in London on 30 March. In 2013, Dee joined Dara Ó Briain, Chelsee Healey, Greg James, Melanie C and Philips Idowu in Through Hell and High Water, a Comic Relief challenge which involved British celebrities canoeing the most difficult rapids of the Zambezi River. They raised more than £1 million for the charity.

In 2017, Dee co-wrote and starred in Bad Move, a sitcom about a middle-aged man and his wife (played by Kerry Godliman) who move from the city to a country cottage in search of the rural dream, which becomes more of a nightmare. A second series was broadcast in 2018.

In May 2024, Dee was announced as a contestant in the eighteenth series of Taskmaster.

Personal life
Dee met Susan Jane Hetherington in 1986, when he was working as a waiter in Fulham and she was a receptionist at a nearby hotel. They married in Winchester, Hampshire, in 1989. The couple divide their time between a family home in Wandsworth, London and a holiday house near Chichester, West Sussex. Together, they have four children.

Dee suffers from depression, and he has claimed that his work is the best therapy for his condition, saying "if you have the impulse to be creative, you ignore it at your peril".

In his twenties, Dee worked at the Ritz in Central London and started drinking heavily. He attended church and attempted to become a priest. After he realised that was not for him he gave it up, and never quit drinking, although he would later describe his condition as "alcohol abuse" rather than alcoholism, which was the diagnosis at the time. Since the 1990s, he has advertised John Smith's Bitter, becoming known as "the midget with the widget". Following his appearance on Celebrity Big Brother, he had a relapse, though did not attend AA meetings because he did not want paparazzi photographing him leaving the meetings.

In 2007, the Daily Express reported that he was in negotiations with publishers to release his autobiography. He signed with Doubleday in 2008 and the book, Thanks for Nothing: The Jack Dee Memoirs, was released in October 2009, along with an audiobook of the same title which he narrates. According to Dee, "it's really the story of how I got into comedy... It's kind of an autobiography but isn't, as it stops about 25 years ago. It goes right up to the first time I do stand up."

In February 2009, Dee and several other entertainers wrote an open letter to The Times supporting Baháʼí leaders, then on trial in Iran.

Dee is a director of Open Mike Productions, co-founded with Addison Cresswell, which produces shows for television and radio including Michael McIntyre's Comedy Roadshow and Alan Carr: Chatty Man.

Books

 * Thanks for Nothing (Doubleday, 2009) ISBN 9780385615488
 * What is Your Problem? (Quercus, 2021) ISBN 9781529413366

Stand-up VHS & DVDs

 * Live at the Duke of York's Theatre  (1992)
 * Live at the London Palladium (10 October 1994)
 * Live in London (10 November 1997)
 * Live and Uncut (13 December 1999) [extended version of Live in London]
 * Live at the Apollo (18 November 2002)
 * Live Again (14 November 2005)
 * So What? Live (18 November 2013)

title: Jack Dee