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2004 Slovenian parliamentary election

Parliamentary elections were held in Slovenia on Sunday, 3 October 2004 to elect the 90 deputies of the National Assembly. A total of 1,390 male and female candidates ran in the election, organized into 155 lists. The lists were compiled both by official political parties and the groups of voters not registered as political parties. Five candidates applied for the seat of the representative of the Hungarian "national community" (as minorities are officially called in Slovenia) and only one candidate applied for the seat of the representative of the Italian national community. In the previous election (2000), fewer than 1000 candidates on 155 lists applied.

Electoral system
In Slovenia, elections in the National Assembly are held in eight voting units, each of which further divides into 11 districts. Different candidates apply in each of the eighty-eight districts. From each of eight units, 11 deputies get elected; however, not necessarily one deputy from each district (from some districts nobody gets elected, from others up to four candidates enter the parliament). Deputy's mandates are distributed at two levels: at the level of the voting unit and at the level of the state. In practice, at the level of voting units two thirds of mandates get allotted, while one third gets allotted at the level of the state. In this manner, 88 mandates get distributed. The remaining two seats are assigned to the representatives of the Italian and Hungarian minorities, which get elected separately (in the ninth and tenth voting units) by the Borda count. Altogether, 90 deputies are elected in the parliament. The election threshold for a party to enter the parliament is four per cent.

List of parties and candidates participating in the elections

 * [Candidates listed in bold were elected to the National Assembly.]

 * AS - Active Slovenia
 * DeSUS - Democratic Party of Slovenian Pensioners
 * Democratic Party of Slovenia
 * Women's Voice of Slovenia - GŽZ, Association for Primorsko - ZZP, Union of Independents of Slovenia - ZNS, New Democracy of Slovenia - NDS.
 * June List
 * LDS - Liberal Democracy of Slovenia
 * Advance, Slovenia
 * NSi - New Slovenia - Christian People's Party
 * SEG - Party of Ecological Movements
 * SJN - Slovenia is Ours
 * SDS - Slovenian Democratic Party
 * SNS - Slovenian National Party
 * SLS - Slovene People's Party
 * SMS - Youth Party of Slovenia
 * Social and Liberal Party
 * Party of the Slovenian Nation
 * The List for Enterprising Slovenia
 * ZLSD - United List of Social Democrats
 * The United for an Independent and Just Slovenia
 * Green Party of Slovenia
 * Marko Brecelj
 * Mihael Svanjak
 * Independent candidate Stefan Hudobivnik

The candidate for the representative of Italian minority:
 * Roberto Battelli

The candidates for the representatives of Hungarian minority:
 * Mária Pozsonec
 * Jožef Kocon
 * Franc Vida
 * György Tomka
 * Janez Bogdan

Structure of the National Assembly
The structure of parties was modified in April 2007, so the following roster is different from 2004. The list can change further, because some deputies can still be promoted to ministers.

Delegation of Slovenska demokratska stranka (SDS) [Slovenian Democratic Party]

 * Cukjati France
 * Černač Zvonko
 * Dobrajc Polonca
 * Grill Ivan
 * Grims Branko
 * Homan Bojan
 * Hrovat Robert
 * Hvauc Srečko
 * Irgl Eva
 * Jazbec Franc
 * Jeraj Alenka
 * Jerovšek Jožef
 * Kovačič Dimitrij
 * Krivec Danijel
 * Ljubeljšek Mitja
 * Marinič Branko
 * Pajk Stane
 * Petan Rudolf
 * Petek Miro
 * Pojbič Marijan
 * Pukšič Franc
 * Rugelj Bojan
 * Starman Bojan
 * Sušnik Franc
 * Štebe Tomaž
 * Tanko Jože
 * Veršnik Rudi
 * Zamernik Bogomir
 * Ziherl Milenko

Delegation of Socialni demokrati (SD) [United List of Social Democrats]

 * Bevk Samo
 * Cvikl Milan M.
 * Han Matjaž
 * Horvat Franc (Feri)
 * Juri Aurelio
 * Kontič Bojan
 * Kumer Dušan
 * Lavtižar Bebler Darja
 * Pavliha Marko
 * Pečan Breda
 * Potrata Majda
 * Potrč Miran
 * Rop Anton
 * Veber Janko

Delegation of Liberalna demokracija Slovenije (LDS) [Liberal Democracy of Slovenia]

 * Anderlič Anton
 * Džuban Geza
 * Germič Ljubo
 * Gulič Aleš
 * Jerič Miran
 * Moge Rudolf
 * Petek Milan
 * Sajovic Borut
 * Slavinec Mitja
 * Školč Jožef
 * Švagan Matjaž

Delegation of Nova Slovenija (NSi) [New Slovenia]

 * Drobnič Janez
 * Horvat Jožef
 * Kokalj Anton
 * Koren Drago
 * Kucler Dolinar Mojca
 * Mikolič Martin
 * Sok Alojz
 * Testen Ciril
 * Uhan Marjetka

Delegation of Slovenska ljudska stranka (SLS) [Slovenian People's Party]

 * Bajc Josip
 * Brenčič Stanislav
 * Drofenik Marjan
 * Janc Kristijan
 * Kramberger Janez
 * Presečnik Jakob
 * Prevc Mihael

Delegation of Nepovezani poslanci (NP) [Group of unaligned deputies]

 * Gantar Pavel
 * Lahovnik Matej
 * Posedel Alojz
 * Širca Majda
 * Terčon Davorin
 * Trofenik Vili
 * Zalokar Oražem Cvetka

Delegation of Slovenska nacionalna stranka (SNS) [Slovenian National Party]

 * Barovič Bogdan
 * Jelinčič Plemeniti Zmago
 * Peče Sašo
 * Prijatelj Srečko
 * Zagorac Boštjan
 * Žgajner Tavš Barbara

Delegation of Demokratična stranka upokojencev Slovenije (DeSUS) [Democratic Party of Pensioners of Slovenia]

 * Jelen Ivan
 * Klavora Vasja
 * Rezman Vili
 * Žnidaršič Franc

Delegation of Italijanska in madžarska narodna skupnost (NS) [Representatives of the Italian and Hungarian Minority]

 * Battelli Roberto
 * Pozsonec Mária

Nepovezani poslanec (NeP) [Unaligned deputy]

 * Gaber Slavko

title: 2004 Slovenian parliamentary election


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Preston (electoral district)

Preston is a provincial electoral district in the Halifax Regional Municipality in Nova Scotia, Canada. It has existed from 1993 to 2013 and since 2021 and elects one member of the Nova Scotia House of Assembly.

The electoral district includes the majority African Nova Scotian communities of North Preston and East Preston, plus the communities of Cherry Brook, Lake Loon, Lake Echo, Mineville, Montague Gold Mines, Westphal, and part of the Tam O'Shanter Ridge neighbourhood of Dartmouth.

The electoral district was created in 1993 and was conceived to provide representation to the area's rural Black community; roughly two-thirds of the population during the district's existence was African Nova Scotian. It was the first riding in all of Nova Scotia to feature an entirely African Nova Scotian slate of candidates in the 2021 provincial election. The electoral district was abolished following the 2012 electoral boundary review when the provincial government wanted all of the province's ridings to have equal representation. It was largely replaced by the new electoral district of Preston-Dartmouth. The riding was re-created following the 2019 boundary review, mostly out of Preston-Dartmouth, but also out of parts of Waverley-Fall River-Beaver Bank, Cole Harbour-Portland Valley, Eastern Shore and a small part of Colchester-Musquodoboit Valley. The riding was reinstated after a court challenge that also re-instated the province's three protected Acadians ridings.

Geography
Preston covers 164 km2 of land area.

Members of the Legislative Assembly
The electoral district was represented by the following members of the Legislative Assembly:

title: Preston (electoral district)


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The Duchess of Malfi

The Duchess of Malfi (originally published as The Tragedy of the Dutchesse of Malfy) is a Jacobean revenge tragedy written by English dramatist John Webster in 1612–1613. It was first performed privately at the Blackfriars Theatre, then later to a larger audience at The Globe, in 1613–1614.

Published in 1623, the play is loosely based on events that occurred between 1508 and 1513 surrounding Giovanna d'Aragona, Duchess of Amalfi (d. 1511), whose father, Enrico d'Aragona, Marquis of Gerace, was an illegitimate son of Ferdinand I of Naples. As in the play, she secretly married Antonio Beccadelli di Bologna after the death of her first husband Alfonso I Piccolomini, Duke of Amalfi.

The play begins as a love story, when the Duchess marries beneath her class, and ends as a nightmarish tragedy as her two brothers undertake their revenge, destroying themselves in the process. Jacobean drama continued the trend of stage violence and horror set by Elizabethan tragedy, under the influence of Seneca. The complexity of some of the play's characters, particularly Bosola and the Duchess, and Webster's poetic language, have led many critics to consider The Duchess of Malfi among the greatest tragedies of English renaissance drama.

Characters

 * The Duchess – The protagonist, sister to Ferdinand and the Cardinal. At the beginning she is a widow whose brothers take every precaution to keep from marriage, though later she secretly marries Antonio, and for this her brothers arrange to have her strangled. She is described as having a sweet countenance and noble virtue, unlike her brothers. She is also witty and clever, helping her keep up with her brothers' banter, and has a tenderness and warmth which they lack. She has three children, two sons and a daughter by Antonio. (There is an inconsistency surrounding earlier children by her deceased husband, put down to a careless mistake by Webster.) Based on Giovanna d'Aragona, Duchess of Amalfi
 * Antonio Bologna – Antonio returned from France, full of scorn for the Italian courtiers whom he sees as more corrupt than the French. Antonio is the steward of the Duchess of Malfi's palace. His honesty and good judgment of character are traits well known to the other characters. He accepts the Duchess' proposal of marriage because of her disposition rather than her beauty. Her marrying beneath her status is a problem, however, and their marriage has to remain a secret, as Antonio shares neither her title nor her money.
 * Delio – A courtier, who tries to woo Julia. Based on Matteo Bandello's self-depiction under this name, his purpose is to be the sounding board for his friend Antonio. Because he asks so many pertinent questions, he serves as a source of important information to the audience, and is privy to the secrets of Antonio's marriage and children.
 * Daniel de Bosola – A former servant of the Cardinal, now returned from a sentence in the galleys for murder. Publicly rejected by his previous employer the Cardinal, he is sent by Ferdinand to spy on the Duchess as her Provisor of Horse. (Ferdinand hopes to keep her away from marriage.) Bosola is involved in the murder of the Duchess, her children, Cariola, Antonio, the Cardinal, Ferdinand, and a servant. Witnessing the nobility of the Duchess and Antonio facing their deaths, he finally feels guilty, and seeks to avenge them. This change of heart makes him the play's most complex character. A malcontent and cynic, he makes numerous critical comments on the nature of Renaissance society. (He is based on the historical Daniele de Bozolo, about whom little is known.)
 * The Cardinal – The brother to the Duchess and Ferdinand. A corrupt, icy cardinal of the Roman Catholic Church who keeps a mistress. He has arranged a spy (Bosola) to spy upon his sister – all this on the quiet, however, leaving others ignorant of his plotting. Of remorse, love, loyalty, or even greed, he knows nothing, and his reasons for hating his sister are a mystery. (Historically, his name was Luigi d'Aragona.)
 * Ferdinand – The Duke of Calabria and twin brother of the Duchess. Unlike his rational brother the Cardinal, Ferdinand has rages and violent outbursts disproportionate to the perceived offence. As a result of his regret for hiring Bosola to kill the Duchess, he gradually loses his sanity—he believes he is a wolf and digs up graves (lycanthropia). (In reality, his name was Carlo, Marquis of Gerace.)
 * Castruchio (Castruccio) – An old lord. His name plays on the word "castrated", suggesting impotence. He's the conventional elderly man with a young, unfaithful wife (Julia). He is genial and easygoing, attempting to stay on good terms with all.
 * Roderigo – A courtier
 * Grisolan – A courtier
 * Silvio – A courtier
 * Pescara – A marquis, possibly Fernando d'Avalos
 * Cariola – The Duchess's waiting-woman who is privy to her secrets. She witnesses the Duchess's wedding and delivers her children. She dies tragically by strangling following the murder of the Duchess and the youngest children. Her name plays on the Italian carriolo, meaning "trundle-bed", where personal servants would have slept.
 * Julia – Castruchio's wife and the Cardinal's mistress. She dies at the Cardinal's hands from a poisoned Bible.
 * Malateste – A hanger-on at the Cardinal's court. The name means 'headache'. Referred to as a "mere stick of sugar candy" by the Duchess, he is yet another interchangeable courtier serving the sycophantic court.
 * Doctor – Sent for to diagnose Ferdinand's madness and his supposed "lycanthropia".

There are also minor roles including courtiers, servants, officers, a mistress, the Duchess's children, executioners, etc.

Synopsis
The play is set in the court of Malfi (Amalfi), Italy, from 1504 to 1510. The recently widowed Duchess falls in love with Antonio, a lowly steward. Her brothers, Ferdinand and the Cardinal, forbid her from remarrying, seeking to defend their inheritance and desperate to avoid a degrading association with a social inferior. Suspicious of her, they hire Bosola to spy on her. She elopes with Antonio and bears him three children secretly. Bosola eventually discovers that the Duchess is pregnant but does not know who the father is.

Ferdinand, shown by now to be a depraved lunatic, threatens and disowns the Duchess. In an attempt to escape, she and Antonio concoct a story that Antonio has swindled her out of her fortune and must flee into exile. The Duchess takes Bosola into her confidence, unaware that he is Ferdinand's spy, and arranges for him to deliver her jewellery to Antonio at his hiding-place in Ancona. She will join them later, while pretending to make a pilgrimage to a nearby town. The Cardinal hears of the plan, instructs Bosola to banish the two lovers, and sends soldiers to capture them. Antonio escapes with their eldest son, but the Duchess, her maid, and her two younger children are returned to Malfi and die at the hands of Bosola's executioners, who are under Ferdinand's orders. This experience leads Bosola to turn against the brothers, and he decides to take up the cause of "revenge for the Duchess of Malfi" (5.2).

The Cardinal confesses his part in the killing of the Duchess to his mistress, Julia, then murders her with a poisoned Bible. Bosola overhears the Cardinal plotting to kill him, so he visits the darkened chapel to kill the Cardinal at his prayers. Instead, he mistakenly kills Antonio, who has just returned to Malfi to attempt a reconciliation with the Cardinal. Bosola then stabs the Cardinal, who dies. In the brawl that follows, Ferdinand and Bosola stab each other to death.

Antonio's elder son by the Duchess appears in the final scene and takes his place as the heir to the Malfi fortune. The son's decision is in spite of his father's explicit wish that he "fly the court of princes", a corrupt and increasingly deadly environment.

The conclusion is controversial for some readers because they find reason to believe the inheriting son is not the rightful heir of the Duchess. The play briefly mentions a son who is the product of her first marriage and would therefore have a stronger claim to the duchy. Other scholars believe the mention of a prior son is just a careless error in the text.

Act 1

 * Scene 1—The Duchess's palace in Malfi: Antonio and Delio are discussing the former's return from France, and discussing how the French king runs his court, comparing it to an easily poisoned fountain. They are interrupted by the entry of Bosola and the Cardinal. Antonio and Delio hold their conversation, stepping to the background to watch as Bosola angrily tries to gain the Cardinal's pardon, speaking of the time he has spent in the galleys in penal servitude, and in the service of the Cardinal. Bosola declares that he is surely done with service, but the Cardinal is not interested in Bosola's new merit and takes his leave. Bosola compares himself to Tantalus, never able to acquire the thing he most desires, like an injured soldier who can only depend on his crutches for support of any kind. When he leaves, Antonio and Delio comment on his past offence, and how he will surely come to no good if he is kept in neglect. Ferdinand comes into the palace, talking to his courtiers about a tournament that Antonio has just won. When the Cardinal, Duchess, and Cariola enter to speak with Ferdinand, Antonio and Delio have a moment to themselves to discuss the Cardinal's character; he is found to be a very dishonest, disagreeable person, as is his brother, Ferdinand. Only their sister, the Duchess, earns the approval of everyone, a very pleasant and gracious woman. After the two gentlemen leave, Ferdinand petitions his sister to make Bosola the manager of her horses; when everyone else leaves, Ferdinand and the Cardinal reveal that it is because Bosola is to spy on their sister. When Bosola is brought in and made aware of this plan, he at first refuses, but ultimately is given no choice. The Cardinal and Ferdinand then turn their attention to their sister, urging her not to marry again, now that she is a widow, going so far as to threaten her with death, in Ferdinand's case. She refuses to be bullied, and once her brothers are out of sight, she proposes to Antonio by giving him her wedding ring. Having Cariola, the Duchess's maid, as their witness, this private ceremony is legally binding and the Duchess and Antonio become husband and wife.

Act 2

 * Scene 1—The Duchess's palace in Malfi, nine months later: Bosola and Castruchio enter, Bosola criticising his companion's appearance, and telling him that he would make a ridiculous judge. When an old woman intrudes on their conversation, Bosola's insults turn on her, calling her hideous to the point that no amount of make-up would help. He also accuses her of being too like a witch; the old lady and Castruchio leave Bosola alone to muse on the mysterious way the Duchess is acting of late. He believes she is pregnant (no one but Delio and Cariola know that the Duchess and Antonio are married), and aims to prove it by using apricots both to spark her pregnant appetite and to induce labour, as apricots were believed to do. The Duchess, when she enters, accepts the fruit from Bosola, and quickly starts going into labour. She then retires to her chamber claiming to be ill, with a worried Antonio following in her wake.
 * Scene 2—Same place and time as the previous scene: Bosola, alone, realises that the Duchess is indeed pregnant. After accosting the hapless old lady again, he watches as Antonio and the servants in a commotion about a Swiss mercenary who had invaded the Duchess's room, and the loss of several jewels and gold utensils. Even with all the uproar, Antonio is not distracted from his wife's "illness"; she is actually in labour. Cariola, the lady's maid, enters with good news once Antonio is alone—he is the father of a son.
 * Scene 3—Same place and time as the previous scene: Bosola re-enters the now empty room, having heard a woman (the Duchess) shriek. Antonio discovers him and questions his purpose in being there, since everyone had been commanded to keep to their rooms. Antonio tells him to stay away from the Duchess since he doesn't trust Bosola. In Antonio's agitation, he accidentally drops a horoscope for his son's birth, which Bosola retrieves. He realises what it means, and resolves to send it to the Duchess's brothers with Castruccio.
 * Scene 4—The Cardinal's rooms: The Cardinal and his mistress, Julia, are discussing their rendezvous when a messenger calls the Cardinal away with an important message. Delio enters to find Julia alone. He was once a suitor of hers and offers her money. Julia leaves to meet her husband, Castruccio, and Delio fears that her husband's arrival means Antonio's secret marriage is about to be revealed.
 * Scene 5—Rome, in Ferdinand's private apartments: An enraged Ferdinand, with the letter from Bosola, and his brother the Cardinal, meet to discuss what they think is an awful treachery by their sister. Ferdinand is angry to the point of shouting about his sister's "whorish" behaviour (he knows of the child, but not of the marriage), and the Cardinal struggles to control his brother's temperamental outburst. Ferdinand resolves to discover the man his sister is seeing, threatening all and sundry.

Act 3

 * Scene 1—The Duchess's palace in Malfi, after some time has passed: Antonio greets the returning Delio, who has come from Rome with Ferdinand. Antonio reveals that the Duchess has had two more children in the time Delio was gone. Antonio fears the wrath of the recently arrived Ferdinand, and Delio tells him the ordinary people think the Duchess is a whore. While they talk, the Duchess and Ferdinand enter. He tells her that he has found a husband for her, the Count Malateste. She disregards this, as she is already married (still secretly of course) to Antonio. When left alone, Ferdinand consults with Bosola to discover the father of the three seemingly illegitimate children; Bosola has acquired a skeleton key to the Duchess's room, which Ferdinand takes, telling him to guess what will happen next.
 * Scene 2—The Duchess's bedchamber: Antonio comes up to the Duchess's bedroom to spend the night, and they banter back and forth about the point of lovers just sleeping together. Antonio and Cariola leave to allow the Duchess to complete her night-time preparations, but she is not alone; Ferdinand sneaks in and startles her. He gives her a knife, intending her to kill herself, and his fury increases when she tells him she is married without his knowledge. Ferdinand leaves, declaring he will never see her again. He exits just in time, for Antonio bursts in brandishing a pistol, but the Duchess forces him to leave again when Bosola knocks at the door. Bosola informs the Duchess that Ferdinand has left for Rome again, and she tells him that Ferdinand's bills of exchange (he has so far dealt with her accounts) will no longer work, since Antonio has been false with her accounts. This is, of course, a trick to get Antonio out of Malfi; she calls Antonio back in (once Bosola exits) to tell him to flee to Ancona, where she will send him all her treasure and valuables. The couple puts on a show argument for the benefit of the returning Bosola and officers, where she criticises his faulty record keeping and banishes him. Bosola does not believe the Duchess was justified in banishing Antonio, and tells her that Antonio is a good, honest man. This speech prompts the Duchess to confide the secret marriage to Bosola. He is then left on stage to lament his role as a spy, for now he must reveal all to Ferdinand.
 * Scene 3—A room in a palace at Rome: The Cardinal, Ferdinand, Malateste, Pescara, Silvio and Delio are discussing the new fortifications that are being made in Naples. Ferdinand and his men, leaving the Cardinal and Malateste to speak privately, are very harsh in their critique of Malateste, considering him too cowardly to fight in an upcoming battle. Bosola, meanwhile, interrupts the Cardinal's private conference with news of his sister. The Cardinal leaves to petition for her and her family's exile from Ancona, while Bosola goes to tell the Duchess's first child (from her first husband) what has happened with his mother. Ferdinand goes to find Antonio.
 * Scene 4—The shrine of Our Lady of Loreto, Italy, in the Ancona province: Two pilgrims are visiting the shrine in Ancona, and witness the Cardinal being symbolically prepared for war. The Cardinal then proceeds to take the Duchess's wedding ring, banish her, Antonio, and their children, while the pilgrims muse over the reason for what they have just seen.
 * Scene 5—Near Loreto: The newly banished family, and the maid Cariola, enter Loreto. Shortly after their arrival, Bosola comes and presents the Duchess with a letter from Ferdinand, which indirectly states that Ferdinand wants Antonio dead. Antonio tells Bosola that he will not go to Ferdinand, and the Duchess urges him to take the oldest child and go to Milan to find safety, which he promptly does. Bosola and masked guards then take the Duchess and her remaining children captive, on the orders of her brothers.

Act 4

 * Scene 1—A prison (or the Duchess's lodgings serving as a prison) near Loreto: Ferdinand comes in with Bosola, who is describing to him how the Duchess is dealing with her imprisonment. It seems she is not affected to Ferdinand's satisfaction, and he leaves angrily. Bosola greets the Duchess, telling her that her brother wishes to speak with her, but will not do so where he can see her. She agrees to meet with her brother in the darkness. Once the lights are out, Ferdinand returns. He presents her with a dead man's hand, leading her to believe that it is Antonio's, with her wedding ring on it. He then exits, leaving Bosola to show the Duchess lifelike figures of her husband and children, made to appear as though her family was dead. The Duchess believes them to be the genuine articles, and resolves to die—her despair is so deep it affects Bosola. When she leaves, Ferdinand re-enters; Bosola pleads with him to send his sister to a convent, refusing to be a part of the plot any more. Ferdinand is beyond reason at this point, and tells Bosola to go to Milan to find the real Antonio.
 * Scene 2—Same place and time as the previous scene: The Duchess and her maid, Cariola, come back, distracted by the noises being made by a group of madmen (Ferdinand brought them in to terrorise her). A servant tells her that they were brought for sport, and lets in several of the madmen. Bosola, too, sneaks in with them, disguised as an old man, and tells the Duchess that he is there to make her tomb. When she tries to pull rank on him, executioners with cords and a coffin come in. Cariola is removed from the room, leaving Bosola and the executioners with the Duchess. The Duchess makes a brave show, telling the executioners to "pull, and pull strongly", welcoming her strangulation. Cariola is brought back, and after struggling fiercely, she too is strangled. Ferdinand comes to view the scene, and is also shown the bodies of his sister's children, who were murdered as well. Ferdinand reveals that he and the Duchess were twins, and that he had hoped, if she had remained a widow, to inherit all her wealth. Bosola, sensing that Ferdinand is ready to turn on him next, demands payment for his atrocities. Ferdinand, distracted, leaves him alone with the bodies. Astonishingly, the Duchess is not dead. A shocked Bosola has no time to call for medicine; he manages to tell the Duchess that Antonio is not really dead; that the figures she saw were fake, before she finally dies. Bosola, remorseful at last, takes her body to the care of some good women, planning to leave immediately thereafter for Milan.

Act 5

 * Scene 1—Outside Ferdinand and the Cardinal's palace in Milan: Antonio returns to see if he can reconcile with Ferdinand and the Cardinal, but Delio is dubious as to the wisdom of this. Delio asks Pescara, a marquis, to give him possession of Antonio's estate for safekeeping, but Pescara denies him. Julia presents Pescara with a letter from the Cardinal, which states that she should receive Antonio's property, and which Pescara grants to her. When Delio confronts him about this, Pescara says that he would not give an innocent man a property that was taken from someone by such vile means (the Cardinal took the property for himself once Antonio was banished), for it will now become an appropriate place for the Cardinal's mistress. This statement impresses the hidden Antonio. When Pescara leaves to visit an ill Ferdinand, Antonio decides to pay a night-time visit to the Cardinal.
 * Scene 2—Inside the same palace: Pescara, come to visit Ferdinand, is discussing his condition with the doctor, who believes Ferdinand may have lycanthropia: a condition whereby he believes he is a wolf. The doctor thinks there is a chance of a relapse, in which case Ferdinand's diseased behaviour would return; namely, digging up dead bodies at night. Pescara and the doctor make way for the mad Ferdinand, who attacks his own shadow. The Cardinal, who has entered with Ferdinand, manages to catch Bosola, who has been watching Ferdinand's ravings. The Cardinal assigns Bosola to seek out Antonio (by following Delio) and then slay him. After the Cardinal leaves, Bosola does not even make it to the door before he is stopped by Julia, who is brandishing a pistol. She accuses him of having given her a love potion, and threatens to kill him to end her love. Bosola manages to disarm her and convince her to gather intelligence for him about the Cardinal. Bosola then hides while Julia uses all of her persuasive powers to get the Cardinal to reveal his part in the death of his sister and her children. The Cardinal then makes Julia swear to keep silent, forcing her to kiss the poisoned cover of a bible, causing her to die almost instantly. Bosola comes out of hiding to confront the Cardinal, although he declares that he still intends to kill Antonio. Giving him a master key, the Cardinal takes his leave. However, once he is alone, Bosola swears to protect Antonio, and goes off to bury Julia's body.
 * Scene 3—A courtyard outside the same palace: Delio and Antonio are near the Duchess's tomb; as they talk, an echo from the tomb mirrors their conversation. Delio leaves to find Antonio's eldest son, and Antonio leaves to escape the distressing echo of his wife's resting place.
 * Scene 4—The Cardinal's apartments in Milan: The Cardinal enters, trying to dissuade Pescara, Malateste, Roderigo and Grisolan from staying to keep watch over Ferdinand. He goes so far as to say that he might feign mad fits to test their obedience; if they come to help, they will be in trouble. They unwillingly exit, and Bosola enters to find the Cardinal planning to have him killed. Antonio, unaware of Bosola, sneaks in while it is dark, planning to seek audience with the Cardinal. Not realising who has entered, Bosola attacks Antonio; he is horrified to see his mistake. He manages to relate the death of the Duchess and children to the dying Antonio, who is glad to be dying in sadness, now that life is pointless for him. Bosola then leaves to bring down the Cardinal.
 * Scene 5—The same apartments, near Julia's lodging: The Cardinal, unaware of what has just happened, is reading a book when Bosola enters with a servant, who is bearing Antonio's body. He threatens the Cardinal, who calls for help. Help is not forthcoming, for the gentlemen from the beginning of the previous scene, while they can hear him calling, have no desire to go to his aid (because of his previous order to not at any cost try to help Ferdinand). Bosola kills the servant of the Cardinal first, and then stabs the Cardinal. Ferdinand bursts in, also attacking his brother; in the fight, he accidentally wounds Bosola. Bosola kills Ferdinand, and is left with the dying Cardinal. The gentlemen who heard the cries now enter the room to witness the deaths of the Cardinal and Bosola. Delio enters too late with Antonio's eldest son, and laments the unfortunate events that have passed.

Corruption
A vein of corruption runs throughout the play, notably in the character of the deadly Cardinal, a man ready to employ lesser beings (such as Bosola) to commit murders for him, then cast them aside as rotten fruit. He is no stranger to murder himself, however, as he slays his own mistress by making her kiss a poisoned bible. Antonio describes him thus:

"The spring in his face is nothing but the engend'ring of toads; where he is jealous of any man, he lays worse plot for them than ever was impos'd on Hercules, for he strews in his way flatterers, panders, intelligencers, atheists, and a thousand such political monsters. He should have been Pope; but instead of coming to it by the primitive decency of the church, he did bestow bribes so largely and so impudently as if he would have carried it away without heaven's knowledge. Some good he hath done."

The Cardinal gambles, keeps the wife of one of his courtiers as a mistress, and fights duels. Conspiracy and intrigue are the air he breathes. Duke Ferdinand is his brother's willing conspirator in villainy, and at times his rages shock even the Cardinal's sense of decorum. The Duke's corruption in the end destroys his sanity: incestuous desire for his own sister. Realizing she has married and borne children by Antonio, his rage drives him to do everything in his power to bring his sister to despair, madness and death, but in the end he is driven mad himself.

These two perverse villains destroy or poison all that is within their reach, all semblance of warmth or human affection.

Abuse of power
The brothers repeatedly abuse their power. Ferdinand is caught committing adultery but is not punished. The Cardinal abuses his ecclesiastical powers to have Antonio's property confiscated and to have the Duchess and her family banished from the state of Ancona. Ferdinand and the Cardinal order the death of the Duchess without any proper judgement passed by a court of law.

Status of women and responsibility for the tragedy
The ideal quality her brothers would foist on the Duchess is that of being submissive to (their) male control, though ironically widowhood was often the first time women might be independent of the control of husbands or male relatives. However, the Duchess went against her brothers' wishes and remarried. Her assertion of her freedom of choice is best illustrated in her soliloquy following her conversation with her brothers when they strictly advise her to not even think about remarrying. Immediately after telling her brothers that she will never remarry, she says to herself: "If all my royal kindred / Lay in my way unto this marriage, / I'd make them my low foot-steps." The central conflict of the play involves the Duchess' desire to marry for love and her brothers' desire to prevent her from remarrying (either to inherit her estate and control her choices, or perhaps out of Ferdinand's potentially incestuous love for his sister). Throughout, she refuses to submit to her brothers' attempts at control and even asserts her identity and self-control at the moment of her death, announcing "I am Duchess of Malfi still" (4.2).

The internal struggle faced by the Duchess when fighting her brothers and hiding her marriage was all part of Webster's intention to reflect and refer to the Roman paradigms and Senecan tragedies. This is compelled through the Duchess's speech and actions.

Cruelty
The relationship between the Duchess and her brothers is rooted in cruelty. The brothers often try to manipulate her and drive her mad. This cruelty is first evident when the Cardinal and Ferdinand lock the Duchess in her own home. Ferdinand deceives the Duchess into thinking that he cares: "I come to seal my peace with you. / Here's a hand, / To which you have vowed much love. / The ring upon't / You gave"(4.1 42–44). In the darkness, the Duchess thinks that Ferdinand is asking for her forgiveness when he reaches out his hand, and so she kisses it; when the lights come on she sees the dead bodies of her husband and children, and believes she just kissed her husband's severed hand. But in reality, Ferdinand used wax figures to trick her into thinking her family is dead. This deception and cruelty cause the Duchess physical and emotional torment throughout the play. At the end of the play, the Duchess is strangled at the request of her brothers.

Class
The Duchess argues that high class is not an indicator of a good man. At the time, Italy was moving into capitalism and one no longer needed to be born into wealth to obtain it. Though the Duchess and her brothers are aware of this, her brothers, concerned with wealth and honour, nevertheless strive to dismantle her marriage to Antonio while disapproving of their sister's love life. Ferdinand is particularly obsessed with the idea of inheriting the fortune to which his sister is entitled, because it would protect his social and financial status. Ultimately the Duchess is put to death for remarrying into a lower class.

Objectification
The Duchess is often criticised (Clifford Leech condemned her for her 'irresponsible overturning of a social code') for stepping out of the societal expectations of a widow in sixteenth century England. As a widow, the Duchess gains a new power and independence, which angers her brothers. As a female in a position of power, she is expected to hold the throne and obey the patriarchal figures in the court, specifically her two brothers, the Cardinal and Ferdinand. The Cardinal and Ferdinand are in line to receive the inheritance if the Duchess does not have any children, so controlling her sexual affairs becomes their singular focus. Rather than respecting her autonomy and wishes, they aim to control her sexuality and diminish her independence. In Act I, Scene I, Ferdinand makes this clear when he states, "Nay, / I mean the tongue: variety of courtship. / What cannot a neat knave with a smooth tale / Make a woman believe? Farewell, lusty widow" (1.1.247–250). He is solely focused on preserving her chastity, so he views her as an object, rather than a human being. The continued objectification of the Duchess from her brothers conveys males' perceived ability to control a woman's body in the society of the 16th century.

Theatrical devices
The play makes use of various theatrical devices, some of them derived from Senecan Tragedy which includes violence and bloodshed on the stage. Act III, Scene IV is a mime scene, in which a song is sung in honour of the Cardinal, who gives up his robes and invests himself with the attire of a soldier, and then performs the act of banishing the Duchess. The whole scene is commented upon by two pilgrims, who condemn the harsh behaviour of the Cardinal towards the Duchess. That the scene is set against the backdrop of the Shrine of Our Lady of Loretto, a religious place, adds to its sharp distinction between good and evil, justice and injustice.

Act V, Scene iii, features an important theatrical device, echo, which seems to emanate from the grave of the Duchess, in her voice. In its totality, it reads: "Deadly accent. A thing of sorrow. That suits it best. Ay, wife's voice. Be mindful of thy safety. O fly your fate. Thou art a dead thing. Never see her more." The echo repeats the last words of what Antonio and Delio speak, but is selective. It adds to the sense of the inevitability of Antonio's death, while highlighting the role of fate.

Historical staging
Set and props: As this play would have first been produced in the Globe, the set would probably been a bare stage with movable set pieces such as tables, stools, beds, hangings, and altars, all of which would have been stock pieces used in every show. Props would also have been minimal, with essentials like swords, pistols, and candles, and dummies. The traveller and future translator of Castiglione's Cortegiano, Thomas Hoby, together with his friend Peter Whitehorne, translator of Machiavelli's Art of War, were lavishly entertained by a subsequent Duchess of Malfi and her son, Innico, in the Castello di Amalfi in 1550. Hoby was clearly very impressed by the decor, by implication superior to what he was used to in England, describing the chamber in which they were accommodated as: 'hanged with clothe of gold and vellett, wherein were two beddes, th'one of silver worke and the other of vellett, with pillowes bolsters and the shetes curiouslie wrowght with needle worke.'

Lighting: Lighting for a theatre like the Globe is completely dependent upon the sun. Performances would occur in the afternoon so as to see the performers, since no other sources of lighting were accessible. However, indoor playhouses would have been lit with candles.

Costumes: This was the Jacobean era, and Renaissance clothing, often hand-me-downs from noble patrons, would have been appropriate during this time. Especially since this play takes place among wealthy, prestigious characters who belong to The Royal Court, there would have been long dresses with elaborate sleeves and headpieces for most female characters, and doublets for most of the men as a general rule. Men would wear hose and codpieces, very royal members of The Court might wear doublets and jerkins and both men and women would be able to wear clothing with some type of colour to it. Due to the sumptuary laws, deep purple was restricted to the nobility of the times. During this period, and until the Restoration (1660) women were not generally accepted on stage. Because of this, the roles of women were played by apprentice boys or the younger men. Padding would be built into their costumes, their heads would be adorned with wigs, and extra make-up would be applied to their faces.

The 1623 quarto
The Duchess of Malfi was first performed between 1613 and 1614 by the King's Men, an acting group to which Shakespeare belonged. The printer was Nicholas Okes and the publisher was John Waterson. However, the play was not printed in quarto (a smaller, less expensive edition than the larger folio) until 1623. The title page of this particular edition tells us that the play was printed privately. The title page also informs readers that the play text includes numerous passages that were cut for performance. The 1623 quarto is the only substantive version of the play in circulation today, and modern editions and productions are based on it. Notable is that, on the title page of the 1623 quarto, a clear distinction is drawn between the play in performance and the play as a text to be read.

Reception and performance history
The play was written for and performed by the King's Men in 1613 or 1614. The double cast lists included in the 1623 quarto suggest a revival around 1619. Contemporary reference also indicated that the play was performed in 1618, for in that year Orazio Busino, the chaplain to the Venetian ambassador to England, complained of the play's treatment of Catholics in the character of the Cardinal.

The quarto's cast list allows more precision about casting than is usually available. Richard Burbage and Joseph Taylor successively played Ferdinand to Henry Condell's Cardinal. John Lowin played Bosola; William Ostler was Antonio. Boy player Richard Sharpe played the title role not in the original 1612 production, presumably due to his age, but in the revival of 1619–23. Nicholas Tooley played Forobosco, and Robert Pallant doubled numerous minor roles, including Cariola.

The quarto title page announces that the play was performed at both the Globe Theatre and at Blackfriars; however, in tone and in some details of staging (particularly the use of special lighting effects) the play is clearly meant primarily for the indoor stage. Robert Johnson, a regular composer for Blackfriars, wrote incidental music for the play and composed a setting for the "madmen's song" in Act 4.

The play is known to have been performed for Charles I at the Cockpit-in-Court in 1630; there is little reason to doubt that it was performed intermittently throughout the period.

The play remained current through the first part of the Restoration. Samuel Pepys reports seeing the play several times; it was performed by the Duke of York's company under Thomas Betterton.

By the early eighteenth century, Webster's violence and sexual frankness had gone out of taste. In 1733, Lewis Theobald wrote and directed an adaptation, The Fatal Secret; the play imposed neoclassical unities on the play, for instance by eliminating the Duchess's child and preserving the Duchess at the end. By mid-century, the play had fallen, with Webster, out of the repertory, where it stayed until the Romantic revival of Charles Lamb and William Hazlitt. In 1850, after a generation of critical interest and theatrical neglect, the play was staged by Samuel Phelps at Sadler's Wells, with Isabella Glyn in the title role. The text was adapted by Richard Henry Horne. The production was favourably reviewed by The Athenaeum; George Henry Lewes, however, registered disapproval of the play's violence and what he termed its shoddy construction: "Instead of 'holding the mirror up to nature,' this drama holds the mirror up to Madame Tussauds." These would become the cornerstones of criticisms of Webster for the next century. Still, the play was popular enough for Glyn to revive her performance periodically for the next two decades.

Shortly after, Duchess came to the United States. Working with Horne's text, director James Stark staged a production in San Francisco; this version is noteworthy for a sentimental apotheosis Stark added, in which the Duchess and Ferdinand are reunited in heaven. The most popular American productions, however, were produced by Wilmarth Waller and his wife Emma.

William Poel staged the play at the Opera Comique in 1892, with Mary Rorke as the Duchess and Murray Carson as Bosola. Poel's playscript followed Webster's text closely apart from scene rearrangements; however, reaction had set in, and the production received generally scathing reviews. William Archer, England's chief proponent of Ibsen's new drama, took advantage of the occasion to lambast what he saw as the overestimation of Elizabethan theatre in general.

In 1919, the Phoenix Society revived the play in London for the first time in two decades. The production featured Cathleen Nesbitt as the Duchess; Robert Farquharson played Ferdinand. The production was widely disparaged. For many of the newspaper critics, the failure indicated that Webster had become a "curio"; T. S. Eliot, conversely, argued that the production had failed to uncover the elements that made Webster a great dramatist—specifically his poetry. A 1935 production at the Embassy Theatre received similarly negative reviews; Ivor Brown noted that the audience left "rather with superior smiles than with emotional surrender." In 1938, a production was broadcast on BBC television; it was no better received than the previous two stage productions.

In 1937, it was performed in Dublin, Ireland, at the Abbey Theatre, with incidental music composed by Arthur Duff.

In the aftermath of World War II, George Rylands directed a production at the Haymarket Theatre that at last caught the public mood. John Gielgud, as Ferdinand, accentuated the element of incestuous passion in that character's treatment of the Duchess (played by Peggy Ashcroft). Cecil Trouncer was Bosola. Edmund Wilson was perhaps the first to note that the play struck an audience differently in the wake of the revelation of the Holocaust; this note is, from 1945 on, continually struck in discussions of the appropriateness of Webster for the modern age. A 1946 production on Broadway did not fare as well; Rylands attempted to duplicate his London staging with John Carradine as Ferdinand and Elisabeth Bergner as the Duchess. W. H. Auden adapted Webster's text for the modern audience. However, the production's most notable innovation was in the character of Bosola, which was played by Canada Lee in whiteface. The production received savage reviews from the popular press, and it fared little better in the literary reviews.

The first successful postwar performance in America was staged at the off-Broadway Phoenix Theatre in 1957. Directed by Jack Landau, who had earlier staged a brief but well-reviewed White Devil, the production emphasised (and succeeded as) Grand Guignol. As Walter Kerr put it, "Blood runs right over the footlights, spreads slowly up the aisle and spills well out into Second Avenue."

Ashcroft returned as the Duchess in a 1960 production at the Aldwych Theatre. The play was directed by Donald McWhinnie; Eric Porter played Ferdinand and Max Adrian the Cardinal. Patrick Wymark played Bosola. The production received generally favourable but lukewarm reviews. In 1971, Clifford Williams directed the play for the Royal Shakespeare Company. Judi Dench took the title role, with Geoffrey Hutchings as Bosola and Emrys James as the Cardinal. Dench's husband Michael Williams played Ferdinand, casting which highlighted the sexual element of the play's siblings.

In 1980, Adrian Noble directed the play at the Royal Exchange Theatre, Manchester. This production received excellent notices; it was transferred to London, where it won the London Drama Critic's Award for best play. Helen Mirren played the title role; Mike Gwilym played Ferdinand, and Bob Hoskins played Bosola. Pete Postlethwaite was Antonio. Mirren's performance received special acclaim.

The actor-centred troupe led by Ian McKellen and Edward Petherbridge chose Webster's play as one of their first productions. The production opened in January 1986 in the Lyttelton Theatre of the Royal National Theatre and was directed and designed by Philip Prowse. The staging was highly stylised, the scenic backdrop segmented, and the actors' movements tightly controlled. The result, as Jarka Burian noted, was "a unified, consistent mise-en-scene...without enough inner turbulence to create a completely satisfying theatre experience." Eleanor Bron played the Duchess; McKellen played Bosola, Jonathan Hyde Ferdinand, and Petherbridge the Cardinal.

In 1995, Juliet Stevenson and Simon Russell-Beale played the Duchess and Ferdinand respectively in a production at Greenwich Theatre, directed by Philip Franks.

In 2010, the production was staged for Stage on Screen at the Greenwich Theatre, London. It was directed by Elizabeth Freestone and starred Aislin McGuckin in a production that set the play in the first half of the twentieth century. In The Guardian, the reviewer noted that 'Much of the pleasure of this revival lies in re-encountering Webster's language...full of savage poetry.' The production is now available on DVD.

In July 2010, English National Opera and Punchdrunk collaborated to stage the production, which had been commissioned by the ENO from composer Torsten Rasch. The production was staged in a promenade style and performed at a mysterious vacant site at Great Eastern Quay in London's Royal Albert Basin.

From March to June 2012, London's Old Vic Theatre staged a production, directed by Jamie Lloyd and starring, amongst others, Eve Best.

In January 2014, Shakespeare's Globe staged a production directed by Dominic Dromgoole and starring Gemma Arterton as the Duchess, James Garnon as the Cardinal, David Dawson as Ferdinand, Alex Waldmann as Antonio, and Sean Gilder as Bosola. It was the first production performed in the Globe's Sam Wanamaker Playhouse. The production was filmed and broadcast on BBC4 on 25 May 2014. This production coincided with a representation of the aforementioned Theobald text of 1736 as part of the Globe's Read Not Dead series – directed by David Oakes.

In 2018, a production was staged in Stratford-upon-Avon by the Royal Shakespeare Company.

In 2024, Shakespeare's Globe staged a production at the Sam Wanamaker Playhouse, with Francesca Mills as the Duchess. This production was a part of the Sam Wanamaker Playhouse 10th Anniversary collection, the 2014 production opening the theatre 10 years prior.

Media adaptations

 * Opera – Stephen Oliver's The Duchess of Malfi, staged at Oxford in 1971.
 * Opera - Stephen Douglas Burton's The Duchess of Malfi, completed in 1978
 * Television – In 1972, produced by the BBC
 * Television – A Question of Happiness #1: A Question About Hell, an adaptation by Kingsley Amis in which the names of all the characters are changed
 * Audio – In 1980, produced by the BBC.
 * Radio – on BBC Third Programme, 16 May 1954, with Peggy Ashcroft as the Duchess and Paul Scofield as Ferdinand.
 * Radio – In 1988 on Australia's ABC, with Fay Kelton as the Duchess.
 * Radio – on BBC Radio 3, 8/11/1992, with Fiona Shaw in the title role, Roger Allam and John Shrapnel.
 * Radio – on BBC Radio 3, 12/10/2008, with Sophie Okonedo as the Duchess.
 * Radio – on BBC Radio 3, 11/07/2021, with Pippa Nixon as the Duchess.
 * Recording – (excerpts only) In 1952, read by Dylan Thomas by Caedmon
 * Recording – (full dramatisation) In 1969 by Caedmon starring Barbara Jefford as the Duchess, Alec McCowen as Ferdinand, Robert Stephens as Bosola and Jeremy Brett as Antonio.
 * DVD – 2010, Stage on Screen, with Aislin McGuckin (Duchess), Tim Treloar (Bosola), Tim Steed (Ferdinand) and Mike Hadfield (Cardinal).
 * Television – 2014. BBC, starring Gemma Arterton, David P. Dawson, James Garnon, Sean Gilder, Alex Waldmann, Denise Gough.
 * Film - Upcoming film will stars Morfydd Clark and Sam Riley

In popular culture

 * Sleeping Murder by Agatha Christie (Williams, Collins Sons & Co Ltd. 1976) uses the lines Cover her face; mine eyes dazzle; she died young as the novel's central refrain.
 * A fragment of Scene 2, Act 4 of the play, with Struan Rodger as Ferdinand and Donald Burton as Bosola, is shown in the 1987 BBC TV film version of Agatha Christie's detective novel Sleeping Murder.
 * Cover Her Face by P. D. James (initial copyright 1962) uses the first part of the quote as the title and as a comment made by the first witness on the scene of a young murdered woman.
 * The Skull Beneath the Skin by P. D. James centres around an aging actress who plans to perform The Duchess of Malfi in a Victorian castle theatre. The novel takes its title from T. S. Eliot's famous characterisation of Webster's work in his poem 'Whispers of Immortality'.
 * In the culmination of John le Carré's Call for the Dead, Smiley is reported to have been quoting from The Duchess of Malfi in his delirium – "I bade thee when I was distracted of my wits go kill my dearest friend, and thou hast done it", according to Peter Guillam.
 * Queen of the Damned by Anne Rice uses the lines Cover her face. Mine eyes dazzle. She died young, as a quote from Lestat to his vampire child, Claudia.
 * Stephen Fry's novel The Stars' Tennis Balls takes its title from Bosola's line in the play.
 * Hotel by Mike Figgis involves a film crew trying to make a Dogme film of The Duchess of Malfi. The actors playing the Duchess, Antonio and Bosola are played by Saffron Burrows, Max Beesley and Heathcote Williams. The play is abbreviated and made into a 'McMalfi' script by Heathcote Williams.
 * In the novel Too Many Clients by Rex Stout, a character that does not want to tell his name quotes Other sins only speak; murder shrieks out. The quotation allows Nero Wolfe to find him.
 * In the Oxford University Film Foundation's 1982 film Privileged, the students produce and rehearse lines from the play.
 * Echo & the Bunnymen mentioned this play along with John Webster and The White Devil in their song "My White Devil" on their Porcupine album.
 * Volume 2 of Anthony Powell's A Dance to the Music of Time includes a visit to a performance of the play, where the minor character Moreland is in love with the actress playing Julia.
 * In T. H. White's novel The Once and Future King (1958), the character Cully quotes from the play: "Why, but two nights since, one met the duke 'bout midnight in a lane behind Saint Mark's Church, with the leg of a man upon his shoulder: and he howled fearfully."
 * Angela Carter drew inspiration for her werewolf stories, The Company of Wolves and Wolf-Alice, in The Bloody Chamber from The Duchess of Malfi, most notably the line "hairy on the inside", but also "the howling of the wolf is music to the screech-owl", and "I'll go hunt the badger by owl-light. 'Tis a deed of darkness."
 * In "Death's Shadow," season 2, episode 1 of Midsomer Murders, Detective Chief Inspector Barnaby's actress daughter, Cully, rehearses lines from the play.
 * In Ngaio Marsh's 1959 novel Singing in the Shrouds, Mr. Merryman, a retired school teacher and one of several passengers suspected of being a serial killer, argues that The Duchess of Malfi is better than Hamlet or Macbeth and that Othello is much better than all of them.
 * The first collection of New Zealand poet Alistair Te Ariki Campbell, published in 1950, was titled Mine Eyes Dazzle. The first part of the collection was a long poem for a friend who had died young, and the collection also features love poems about unattainable and beautiful women; the title of the book combined both themes, having been taken from the line: "Cover her face; mine eyes dazzle; she died young".
 * Laura Purcell's novel The Whispering Muse, with its strong theme of theatrical tragedy, features troubled actress Lilith starring in a performance of The Duchess of Malfi.
 * In Michael Blakemore's novel "Next Season" a small company is staging a production of The Duchess of Malfi, with the protagonist playing the supporting role of the Doctor.

title: The Duchess of Malfi


text:
Bell X-14

The Bell X-14 (Bell Type 68) is an experimental VTOL aircraft flown in the United States in the 1950s. The main objective of the project was to demonstrate vectored thrust horizontal and vertical takeoff, hover, transition to forward flight, and vertical landing.

Design and development
Bell constructed the X-14 as an open-cockpit, all-metal (duralumin) monoplane for the USAF. It was powered by two Armstrong Siddeley Viper turbojet engines equipped with thrust deflectors sited at the aircraft's centre of gravity. The engines are fixed in position; transition from vertical to horizontal flight is achieved with a system of movable vanes that control the direction of engine thrust. Top speed was 180 mph with a service ceiling of 20,000 ft. The X-14 was designed using existing parts from two Beechcraft aircraft: wings, ailerons, and landing gear of a Beech Bonanza and the tailcone and empennage of a Beech T-34 Mentor.

Operational history
The X-14 first flew on 19 February 1957 as a vertical takeoff, hover, then vertical landing. The first transition from hover to horizontal flight occurred on 24 May 1958. In 1959, its Viper engines were replaced with General Electric J85 engines. That year the aircraft was delivered to the NASA Ames Research Center as the X-14A. During the development of the P.1127, Hawker test pilots Bill Bedford and Hugh Merewether visited NASA Ames to fly the X-14 and acquaint themselves with jet V/STOL aircraft handling prior to the first flights of the prototype P.1127. It served as a test aircraft with NASA until 1981.

The X-14 project provided a great deal of data on VTOL (Vertical Take-Off and Landing) type aircraft and flight control systems.

In 1971, the X-14A was fitted with new engines (General Electric J85-GE-19) and redesignated the X-14B. An onboard computer and digital fly-by-wire control system were also installed to enable emulation of landing characteristics of other VTOL aircraft.

The aircraft was obtained by NASA and repurposed as a Moon-landing simulator. Neil Armstrong flew the aircraft on numerous occasions, running out of fuel more than once.

The X-14B was used in this test role until it was damaged beyond repair in a landing accident on 29 May 1981. At the time, there were plans to develop an X-14C with an enclosed cockpit. There were also plans for an X-14T trainer. None of these further versions got beyond the planning stage.

During all of its years of service, the X-14 was flown by numerous pilots with no serious incidents or injuries.

Aircraft serial numbers
Although there was only one airframe, it changed serial numbers with every major upgrade.
 * X-14 - USAF 56-4022
 * X-14A - NASA 234 (N234NA)
 * X-14B - NASA 704 (N704NA)

Surviving aircraft

The X-14B was rescued from the scrap yard in 1991 and is undergoing renovation as part of the Ropkey Armor and Aviation Museum.

title: Bell X-14


text:
Dick Enberg

Richard Alan Enberg (January 9, 1935 – December 21, 2017) was an American sportscaster. Over the course of an approximately 60-year career, he provided play-by-play of various sports for several radio and television networks, including NBC (1975–1999), CBS (2000–2014), and ESPN (2004–2011), as well as for individual teams, such as UCLA Bruins basketball, Los Angeles Rams football, and California Angels and San Diego Padres baseball.

Enberg was well known for his signature on-air catchphrases "Touch 'em all" (for home runs) and "Oh, my!" (for particularly exciting and outstanding athletic plays). He also announced or hosted the Tournament of Roses Parade for many years, sometimes with the help of family members. Enberg retired from broadcasting in 2016, after seven seasons as the Padres' primary television announcer.

Early life and education
Enberg was born on January 9, 1935, in Mount Clemens, Michigan, as the first child to Belle Elizabeth (Weiss) and Arnie Enberg. His paternal grandparents were Finnish immigrants, whose original name was Katajavuori, which means juniper mountain. Before they lived in America, they changed their name to the Swedish-sounding Enberg. His mother was of English, French, German and Native American descent. He had a younger brother, Dennis. Enberg's family first moved to Bridgeport, Connecticut, when he was two years old, then to southern California in 1940 for several years, and then back to a farm near Armada, Michigan.

Following high school in Armada, Enberg attended Central Michigan University, where he played college baseball and earned a bachelor's degree in 1957. In his senior year at Central Michigan, Enberg was elected president of the student body. During this time, he was employed at WSAM in Saginaw, Michigan, then a Detroit Tigers radio affiliate. Enberg then went on to graduate school at Indiana University Bloomington, where he earned master's and doctorate degrees in health sciences. While at Indiana, Enberg voiced the first radio broadcast of the Little 500, the bicycle racing event popularized in the film Breaking Away.

He was also the play-by-play announcer for Indiana Hoosiers football and basketball games and in 1961 called his first NCAA basketball tournament event, the championship game between Cincinnati and Ohio State. From 1961 to 1965, he was an assistant professor and baseball coach at Cal State Northridge, then known as San Fernando Valley State College. Enberg was also a member of the Phi Sigma Kappa fraternity.

Career in Los Angeles
In the late 1960s, Enberg began a full-time sportscasting career in Los Angeles, working for KTLA television (anchoring a nightly sports report and calling UCLA Bruins basketball) and KMPC radio (calling Los Angeles Rams football and California Angels baseball). After every Angels victory, he would wrap up his broadcast with "And the halo shines tonight" in reference to the "Big A" scoreboard at Anaheim Stadium and the halo at the top, which would light up for everyone in the area to see, particularly from the adjacent freeway. Enberg was named California Sportscaster of the Year four times during this period.

In the 1960s, Enberg announced boxing matches at L.A.'s Olympic Auditorium. Enberg also presided over the Trophy presentation for Super Bowl VII in 1973.

In 1968, Enberg was recommended by UCLA athletic director J.D. Morgan to be the national broadcaster for the syndicated TVS Television Network to cover the "Game of the Century" between the Houston Cougars, led by Elvin Hayes, and the UCLA Bruins, led by Lew Alcindor (later Kareem Abdul-Jabbar).

In the 1970s, Enberg called the 1979 NCAA Championship game between Michigan State, led by Magic Johnson, and Indiana State, led by Larry Bird. He also hosted the syndicated television game show Sports Challenge and co-produced the Emmy Award-winning sports-history series The Way It Was for PBS.

NBC Sports (1975–1999)
In 1973, Enberg hosted the game show Baffle, which lasted just a year before being cancelled in 1974. A year later, producer Monty Hall hired Enberg to host the shorter-lived Three for the Money.

In 1975, Enberg joined NBC Sports. For the next 25 years, he broadcast a plethora of sports and events for NBC, including the National Football League, Major League Baseball, the National Basketball Association, the U.S. Open golf championship, college football, college basketball, the Wimbledon and French Open tennis tournaments, heavyweight boxing, Breeders' Cup and other horse racing events, and the Olympic Games.

Enberg replaced Curt Gowdy as lead play-by-play announcer for the NFL on NBC in 1979, and on the network's telecast of the Rose Bowl in January 1980. He was in the booth in Pasadena for nine straight years, until ABC took over the broadcast in 1989.

The NFL on NBC
While on The NFL on NBC, Enberg called eight Super Bowls (alongside such former NFL players Merlin Olsen, Bob Trumpy, Phil Simms, and Paul Maguire), the last being Super Bowl XXXII in January 1998. Enberg also anchored NBC's coverage of Super Bowl XIII (called by Curt Gowdy) in 1979. He also called three Canadian Football League games in 1982 during the NFL strike.

Among the notable games called by Enberg was the 1986 Week 3 51–45 shootout between the New York Jets and Miami Dolphins and the 1987 AFC Championship Game between the Denver Broncos and Cleveland Browns.

"Well, and so the end of the 1997 NFL season and for NBC Sports, Super Bowl XXXII is the end of our 32 years covering AFL, NFL action. NBC's been there from the start, from Joe Namath all the way to John Elway, from Curt Gowdy to those of us who had the honor of calling this game tonight, and on behalf of all of our crew, all the men and women who have brought you the sights and sounds of NFL football here on NBC since 1960, we want to thank you for your effort, and those of you who have watched, and we congratulate the Super Bowl champions. The underdogs have won.  The 13 years of defeat have been erased at least for tonight as Denver wins it, 31-24.  Don't wander away, more to come from San Diego.  Greg Gumbel will be back after station identification.  Denver Broncos are Super Bowl champs."

Major League Baseball on NBC
In 1977, Enberg provided play-by-play for Game 2 of the American League Championship Series and Game 4 of the National League Championship Series Series alongside Don Drysdale. Two years later, Enberg teamed with Wes Parker and Sparky Anderson to call the ALCS for NBC. And then in 1981, Enberg alongside Tom Seaver, called the National League Division Series between the Montreal Expos and Philadelphia Phillies and then, the NLCS between Montreal and the Los Angeles Dodgers.

According to his autobiography, Oh My!, Enberg was informed by NBC that he would become the lead play-by-play voice of Major League Baseball Game of the Week beginning with the 1982 World Series (for which he served as pregame host and shared play-by-play duties with Joe Garagiola alongside analyst Tony Kubek) and through subsequent regular seasons. He wrote that on his football trips, he would read every Sporting News to make sure he was current with all the baseball news and notes. Then he met with NBC executives in September 1982, and they informed him that Vin Scully was in negotiations to be their lead baseball play-by-play man (teaming with Garagiola while Kubek would team with Bob Costas) and would begin with the network in the spring of 1983.

According to the book, Enberg wasn't pleased about the decision (since he loved being the California Angels' radio and television voice in the 1970s and was eager to return to baseball) but the fact that NBC was bringing in Scully, arguably baseball's best announcer, was understandable. Enberg added that NBC also gave him a significant pay increase as a pseudo-apology for not coming through on the promise to make him the lead baseball play-by-play man. Enberg returned to the Angels' radio booth to call 40 games in 1985, citing a desire to reconnect with the sport, which he has described as having been "in my DNA since I was in diapers".

Enberg hosted NBC's pregame shows of the 1985 National League Championship Series with Joe Morgan. It was Enberg who broke the news to most of the nation that Vince Coleman was injured before Game 4. NBC even aired an interview with one of the few people who actually saw the incident, a Dodger batboy. Enberg was also in Toronto to do the pregame for Games 1 and 7 of the 1985 American League Championship Series alongside Rick Dempsey (who was still active with Baltimore at the time).

NBC planned to use Enberg as one of its announcers for The Baseball Network coverage in 1994, but the players' strike that year ended the season before he had the opportunity to call any games.

Wimbledon Championships
As NBC's voice of the Wimbledon Tennis Championships, the last tournament for him being in 1999 (alongside Bud Collins and, later, John McEnroe), Enberg regularly concluded the network's coverage of the two-week event with thematically appropriate observations accompanied by a montage of video clips.

CBS Sports (2000–2014)
Enberg was hired by CBS Sports in 2000, serving as a play-by-play announcer for the network's NFL, college basketball, and US Open Tennis coverage. For several years he also contributed to CBS's coverage of The Masters and PGA Championship golf as an interviewer and essayist.

Enberg during his tenure at CBS, was notably on the call alongside Dan Dierdorf for an NFL game between the New England Patriots and New York Jets on September 23, 2001. It was during this game that New York linebacker Mo Lewis injured the Patriots' starting quarterback Drew Bledsoe. Bledsoe's injury resulted in Tom Brady becoming New England's quarterback, beginning the Brady–Belichick era for the Patriots that saw them enjoy nearly two decades of dominance and win six Super Bowl titles. As a result, Lewis' hit on Bledsoe is often noted for its impact on NFL history.

One of the more notable games Enberg also called was the 2005 AFC Divisional matchup between the Pittsburgh Steelers and Indianapolis Colts that saw the Steelers go on to upset the Colts 21-18 en route to their victory in Super Bowl XL in what is considered one of the biggest upsets in NFL history. Coincidentally, Enberg also called a previous playoff game between the two teams for NBC, the 1995 AFC Championship Game, a 20-16 Steelers victory that is often marked as one of the NFL's greatest games.

Another enduring element of Enberg's broadcasting legacy was his ability to provide warm and poignant reflections on the sporting events he covered. Enberg Essays, as they came to be known, were a regular feature of CBS's coverage of college basketball's Final Four.

On March 27, 2010, Enberg called his final college basketball game for CBS, an East Regional tournament final featuring the Kentucky Wildcats versus the West Virginia Mountaineers. After becoming the Padres' play-by-play announcer, Enberg said he hoped to continue calling late-season NFL games for CBS, but his name was omitted from the network's announcing roster for 2010. He continued to call the US Open for CBS through 2011.

Enberg returned to call one match and serve as an essayist during the 2014 US Open, to help commemorate CBS's last year covering the event before ESPN took over in 2015.

On September 14, 2009, Juan Martín del Potro defeated Roger Federer to win the Men's US Open Championship. Enberg hosted the post-match ceremony during which del Potro requested to address his fans in Spanish. Enberg declined the request saying that he was running out of time but went on to list the corporate sponsored prizes del Potro won. A couple of minutes later, Del Potro made the same request again and only then Enberg relented saying "Very quickly, in Spanish, he wants to say hello to his friends here and in Argentina". An emotional del Potro finally spoke a few sentences in Spanish to a cheering crowd. Many viewers expressed disappointment with Enberg and CBS over the interview. A CBS executive later defended Enberg, noting that the contract with the United States Tennis Association required that certain sponsors receive time during the ceremony.

ESPN (2004–2011)
Beginning in 2004, Enberg served as a play-by-play announcer for ESPN2's coverage of the Wimbledon and French Open tennis tournaments, adding the Australian Open the following year. Enberg came to ESPN on lease from CBS, where he already called the US Open, the one Grand Slam tournament not covered by ESPN until 2009. At the 2004 French Open, Enberg called a match per day and also provided his "Enberg Moments". At Wimbledon in 2004, he participated in a new one-hour morning show called Breakfast at Wimbledon. ESPN asked CBS for permission to use Enberg during the summer of 2004 at both the French Open and Wimbledon. Enberg then surprised his new bosses by volunteering for the 2005 Australian Open in January 2005. "I've never been to Australia," he said. "At my age then [69], to be able to work a full Grand Slam is something I'd like to have at the back of my book." Enberg stopped calling the French Open after 2009 due to his Padres commitments, though he continued to call the Wimbledon and Australian Open tournaments over the next two years. In June 2011, it was reported that his ESPN contract had ended and that the 2011 Wimbledon tournament would be his final one for the network.

San Diego Padres
In December 2009, Enberg was hired as a television play-by-play announcer by the San Diego Padres, signing a multi-year deal to call 110–120 games a season for channel 4SD. Enberg primarily teamed with Mark Grant on the Padres' telecasts.

In his debut season as a Padres broadcaster, Enberg took some criticism from fans over a perceived lack of enthusiasm for the home team. Told that he was regarded by some viewers as getting "too excited" over plays by opposing players, Enberg responded, "I find that a real compliment." He did move to placate the critics, however, by limiting the use of his signature home run call of "Touch 'em all!" to Padres home runs.

In 2012, Enberg returned as play-by-play voice of the Padres as they moved their telecasts from 4SD to Fox Sports San Diego, in the first year of a 20-year deal between the team and the newly formed network. On September 23, 2015, Enberg indicated he would call Padres games for one more season in 2016, then retire.

On May 21, 2016, Enberg served as a special guest play-by-play broadcaster for the Detroit Tigers in their home game with the Tampa Bay Rays, calling the game on Fox Sports Detroit alongside analyst Kirk Gibson. The Tigers were Enberg's boyhood team, as he lived in the Detroit area. Enberg also called a weekend series for the Tigers post retirement, an interleague series between the Tigers and the Dodgers, August 18–20, 2017 for FSD and one game for FS1.

Enberg's last game with the Padres was October 2, 2016. In his last week on air, he made a guest appearance with Los Angeles Dodgers announcer Vin Scully, who also was retiring at the end of the baseball season, after a 67-year career.

Other appearances
In 2006 and 2007, Enberg called Thursday night and postseason NFL games for Westwood One radio. Also in 2006, he began narrating a documentary style television series for Fox Sports Net called In Focus on FSN. For Fox Sports Net, he called his final college basketball game on November 11, 2012, aboard the USS Midway (CV-41) alongside Steve Kerr.

In addition to his career in sports broadcasting, Enberg hosted three game shows besides the aforementioned Sports Challenge: The Perfect Match in 1967, Baffle on NBC from 1973 through 1974, and Three for the Money on NBC in 1975. He also lent his voice to the animated CBS cartoon series Where's Huddles? (1970), the film Rollerball (1975), and the American-dubbed version of the animated UK Christmas special Robbie the Reindeer: Hooves of Fire (2002); made appearances in the films Two-Minute Warning (1976), Gus (1976), Heaven Can Wait (1978), The Longshot (1986), The Naked Gun (1988), and Mr. 3000 (2004); and appeared as himself in episodes of such television programs as The King of Queens and CSI: NY. In addition, Enberg was seen in a series of commercials for GTE during the 1980s and early 1990s, and was the voice of the announcer in the classic Talking Football tabletop game from Mattel.

Film roles

 * Another Nice Mess (1972) - Olympics Announcer (voice)
 * Rollerball (1975) - Pregame Announcer (uncredited)
 * Hustle (1975) - Radio Announcer (voice, uncredited)
 * Gus (1976) - Atoms' Announcer
 * Two-Minute Warning (1976) - Himself
 * Murder at the World Series (1977) - Radio Announcer
 * Heaven Can Wait (1978) - TV Interviewer
 * The Longshot (1986) - Radio Announcer
 * The Naked Gun: From the Files of Police Squad! (1988) - The Baseball Announcer #2
 * Mr. 3000 (2004) - Brewers Sportscaster

Career timeline

 * 1957–1961: Indiana Hoosiers football play-by-play
 * 1957–1961: Indiana Hoosiers men's basketball play-by-play
 * 1961–1965: assistant professor and baseball coach for the Matadors of California State University, Northridge
 * 1966–1977: UCLA Bruins men's basketball play-by-play
 * 1966–1977: Los Angeles Rams radio play-by-play
 * 1967–1968: The Perfect Match host
 * 1969–1978, 1985: California Angels play-by-play
 * 1971–1979 Sports Challenge host
 * 1973–1974: Baffle host
 * 1975: Three for the Money host
 * 1975–1981: NCAA Basketball on NBC play-by-play
 * 1977–1998: NFL on NBC play-by-play
 * 1977–1982: MLB on NBC play-by-play
 * 1979, 1981–1999: Wimbledon play-by-play (NBC)
 * 1980–1988: Rose Bowl play-by-play (NBC)
 * 1983–1989: MLB on NBC studio host
 * 1984–1990: Breeders' Cup host (NBC)
 * 1988: 1988 Summer Olympics Gymnastics play-by-play (NBC)
 * 1990–1999: NBA on NBC play-by-play
 * 1992: 1992 Summer Olympics host (NBC)
 * 1995–1999: PGA Tour on NBC host
 * 1996: 1996 Summer Olympics contributor (NBC)
 * 1998–1999: Notre Dame Football on NBC play-by-play
 * 2000–2009: NFL on CBS play-by-play (2000–2005 #2) (2006–2009 #3)
 * 2000–2010: NCAA Basketball on CBS play-by-play
 * 2000–2011, 2014: US Open (tennis) play-by-play (CBS)
 * 2000–2006: The Masters contributor (CBS)
 * 2000–2006: PGA Championship contributor (CBS)
 * 2004–2011: Wimbledon and Australian Open play-by-play (ESPN2)
 * 2004–2009: French Open play-by-play (ESPN2)
 * 2006–2007: Westwood One Thursday Night Football play-by-play
 * 2006: In Focus on FSN narrator
 * 2010–2016: San Diego Padres TV play-by-play

Honors
Enberg garnered many awards and honors over the years, including 13 Sports Emmy Awards (as well as a Lifetime Achievement Emmy), nine National Sportscaster of the Year awards from the National Sportscasters and Sportswriters Association (and induction into that organization's Hall of Fame), five Sportscaster of the Year awards from the American Sportscasters Association (which also ranked Enberg tenth in its 2009 listing of the Top 50 Sportscasters of All Time ), the Pete Rozelle Award from the Pro Football Hall of Fame, the Curt Gowdy Award from the Basketball Hall of Fame, the Ford Frick Award from the National Baseball Hall of Fame, and a star on the Hollywood Walk of Fame. Enberg is the only sportscaster thus far to win Emmys in three categories (broadcasting, writing, and producing), and in 1973 became the first U.S. sportscaster to visit the People's Republic of China.

Enberg was inducted into Central Michigan University's Athletics Hall of Fame in 1993. The university named an academic center for him in 2007. A student-athlete award in Enberg's name is presented annually to a Central Michigan student.

Enberg was raised in Armada, Michigan and was responsible for the naming of the Armada High School yearbook, the Regit (Tiger spelled backwards), a name it has to this day. A hallway in the Macomb Academy of Arts and Sciences, which is run by Armada school district and shares the building with its administration office, was named after him.

UCLA named its Media Center in Pauley Pavilion after Enberg in 2017 in his honor.

Indiana University awarded Enberg an honorary doctorate of humane letters in 2002. He would be inducted into the Indiana University Intercollegiate Athletics Hall of Fame in the fall of 2006.

Enberg also received honorary doctorates of humane letters from his alma mater Central Michigan University in 1980 and Marquette University in 2009, and gave the addresses at both universities' May commencement ceremonies.

In 1997, the College Sports Information Directors of America (CoSIDA) honored Enberg with an award in recognition of his longtime support of the organization's Academic All-America program. The Dick Enberg Award is given annually to a person whose actions and commitment have furthered the meaning and reach of the Academic All-America Teams Program and/or the student-athlete while promoting the values of education and academics. Past recipients include Gerald Ford, Mike Krzyzewski, Pat Summitt, and Joe Paterno. Enberg continued to be an avid supporter of the program, often lending his voice to video presentations related to CoSIDA's annual Academic All-America Hall of Fame ceremony.

In 2006, Enberg was Awarded the Ambassador Award of Excellence by the LA Sports & Entertainment Commission for his involvement in the community.

For his contributions to the Rose Bowl game and parade through the years, Enberg was inducted into the Rose Bowl Hall of Fame on December 31, 2011.

The National Baseball Hall of Fame named Enberg the 2015 recipient of the Ford C. Frick Award for excellence in baseball broadcasting. He was presented with the award in a ceremony during the Hall's induction weekend on July 25, 2015. Enberg was the second American sportscaster (after Curt Gowdy) to be selected for broadcasting awards from each of the Halls of Fame in professional football, basketball and baseball.

On August 20, 2017, the Detroit Sports Media (formerly Detroit Sports Broadcasters Association) named Enberg the 2017 recipient of the DSM Ernie Harwell Lifetime Contribution Award for a lifetime of service to the sports broadcasting community.

Personal life
Although Enberg was Finnish on his paternal side, his surname was of Swedish origin. During an ESPN television broadcast from the Wimbledon tennis championships on June 24, 2010, Enberg said his father was born in Finland, and changed his name from the Finnish "Katajavuori" to the Swedish equivalent Enberg on arrival in the U.S. as he felt it would be a simpler name. The surname means "juniper mountain." Enberg said it pleased him that Jarkko Nieminen was doing so well as Finland is close to his heart and it is a small nation with few tennis facilities.

While working at Saginaw, Michigan radio station WSAM early in his career, Enberg considered changing his name professionally to "Dick Breen" after being told that "Enberg" was too Jewish-sounding. The story of his surname is also detailed in his autobiography, Oh My!

Enberg was the father of actor Alexander Enberg, actor-musician Andrew Enberg, and daughter Jennifer Enberg by former wife Jeri Taylor. At the time of his death, he was married to his second wife, Barbara (née Almori), with whom he had one son, Ted Enberg (also a sportscaster), and two daughters, Nicole and Emily.

Ted Enberg is a play-by-play broadcaster for ESPN, Pac-12 Network and called the U.S. Open Tennis Championships in 2017. Ted currently resides in San Diego and has a sports podcast with PodcastOne entitled, Sound of Success. He is married to Sara Elizabeth Miller. Ted would ultimately portray his father in the 2022 HBO series Winning Time: The Rise of the Lakers Dynasty.

Enberg penned a one-man theatrical play titled COACH, as a tribute to his former television broadcast partner and late friend, Al McGuire, the extraordinary college basketball coach and commentator. It debuted at Marquette University's Helfaer Theater in 2005. It drew positive reviews as an accurate portrayal of the eccentric coach. At the 2007 NCAA Final Four in Atlanta, Enberg presented three performances of COACH at the Alliance Theater. Those attending the April 1 matinée included Hall of Famers coach Dean Smith (whom McGuire defeated in the 1977 NCAA Championship in Atlanta) and former UCLA All-American center Bill Walton. The play was then performed at Hofstra University, near Al's old neighborhood on Long Island in New York. It has since been booked in San Diego, Los Angeles, Las Vegas, Chicago, Portland, Maine, North Carolina and Indiana. The most recent performance was at the New York Athletic Club in Manhattan. Actor Cotter Smith portrayed McGuire in the one-man show.

Enberg served as Chairman of the American Sportscasters Association from 1983 until 2017. He was also a Board Member for the Lott IMPACT Trophy, which is named after Pro Football Hall of Fame defensive back Ronnie Lott and is given annually to college football's Defensive IMPACT Player of the Year.

Death
Enberg died on December 21, 2017, in La Jolla, California, from a suspected heart attack. He was 82.

title: Dick Enberg


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Internet Broadway Database

The Internet Broadway Database (IBDB) is an online database of Broadway theatre productions and their personnel. It was conceived and created by Karen Hauser in 1996 and is operated by the Research Department of The Broadway League, a trade association for the North American commercial theatre community.

History
Karen Hauser, research director for the Broadway League, developed the Internet Broadway Database which launched in 1996 or 2001. Prior to that, she served as the League's media director. She has written on the economic health of Broadway and how it contributes to New York City's economy as well as that of the cities that touring productions visit. Hauser co-produced the 2000 production of Keith Reddin's The Perpetual Patient.

Overview
This comprehensive history of Broadway provides records of productions from the beginnings of New York theatre in the 18th century up to today. Details include cast and creative lists for opening night and current day, song lists, awards and other interesting facts about every Broadway production. Other features of IBDB include an extensive archive of photos from past and present Broadway productions, headshots, links to cast recordings on iTunes or Amazon, gross and attendance information.

Its mission was to be an interactive, user-friendly, searchable database for League members, journalists, researchers, and Broadway fans.

The League recently added Broadway Touring shows to the database for ease of tracking shows that play in theatres across the country.

It is managed by Michael Abourizk of the Broadway League.

title: Internet Broadway Database


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Tony Warren

Anthony McVay Simpson (8 July 1936 – 1 March 2016) publishing under pen name Tony Warren, was an English television screenwriter and actor, best known for creating the ITV soap opera Coronation Street. He created other television dramas and wrote critically acclaimed novels.

Early life
Warren was born in Harrogate but raised at 3 Wilton Avenue, Pendlebury, Lancashire. He attended Clarendon Road Primary School and Eccles Grammar School. He trained at the Elliott-Clarke theatre school in Liverpool. He adopted Warren as a stage name in his early acting career. He became a regular on BBC Radio Children's Hour and acted in many radio plays, performing with many actors who later became household names through Coronation Street, most notably Violet Carson who played Ena Sharples and Doris Speed who played Annie Walker.

In his memoirs, Over the Airwaves, Children's Hour producer Trevor Hill explains how Warren was an excitable young teenager at rehearsals, so much so that on one occasion Violet Carson warned "If that boy doesn't shut up, I'll smack his bottom!" During a later unexpected transmission break from London while performing at the Leeds studio, Carson played and sang to the children a dialect song called "Bowtons Yard" in which the storyteller speaks about his neighbours. Starting at Number 1 and ending at Number 12, the storyteller describes each person in turn and Warren later admitted this is what gave him the inspiration for Coronation Street.

Career
Warren acted on stage and in several early ITV Plays of the Week.

According to BBC producer Olive Shapley who had worked with Warren on Children's Hour, the idea for Florizel Street (which became Coronation Street) came to him late one night in 1959 while they were returning to Manchester by train. Shapley recalled:

At about Crewe, after a long period of silence, Tony suddenly woke me up saying, "Olive, I've got this wonderful idea for a television series. I can see a little back street in Salford, with a pub at one end and a shop at the other, and all the lives of the people there, just ordinary things and ..." I looked at him blearily and said "Oh. Tony, how boring! Go back to sleep." ... Tony has never let me forget my error of judgement.

In 1960, Harry Elton at Granada commissioned a script from Warren for a show about "a street out there". Warren wrote all 13 episodes of the serial that ITV initially decided to air. When the show became a success, as creator of the show, he continued to write scripts until 1968, after which he moved on to other fields. However, he continued to write occasional scripts until the late-1970s. He was also retained by ITV Studios as a consultant to Coronation Street. "Created by Tony Warren" appears in the closing credits of every Coronation Street episode to this day.

Warren made a cameo appearance in the 50th anniversary live episode of Coronation Street in December 2010. He was played by David Dawson in the BBC drama The Road to Coronation Street in September that year.

In the 1990s he wrote a series of critically acclaimed novels: The Lights of Manchester (1991), Foot of the Rainbow (1993), Behind Closed Doors (1995) and Full Steam Ahead (1998).

He was the subject of a This Is Your Life television programme on 11 October 1995.

Awards and honours
Warren won a number of awards, all in relation to devising Coronation Street. He received a Special Achievement Award in Soap at the 2000 British Soap Awards and the National Television Landmark Award in 2005. At the Royal Television Society awards, he was honoured with a Lifetime Achievement Award. The society described the show as "the most successful television programme in British history".

In 1994, Warren was appointed a Member of the Order of the British Empire. In 2008 he was awarded an honorary degree from Manchester Metropolitan University "in recognition for his contribution to ground-breaking television and creative writing which has helped put Manchester and Salford on the cultural map". In 2016, following his death, the British Soap Awards announced that they would be renaming their Outstanding Achievement Award (Off Screen) award to the Tony Warren Award.

Personal life
Warren was openly gay from his early years of Coronation Street, at a time when homosexual acts were illegal. Warren battled with drug and alcohol addiction before attending rehabilitation.

He lived in Swinton, Salford, for over thirty years.

Death
Warren died on 1 March 2016 after a short illness, aged 79. His death was announced on Coronation Street Twitter account.

title: Tony Warren