Georgia Brown

Stage Actress

Georgia Brown was born in Whitechapel, England, United Kingdom on October 21st, 1933 and is the Stage Actress. At the age of 58, Georgia Brown biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

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Other Names / Nick Names
Lillian Klot
Date of Birth
October 21, 1933
Nationality
United Kingdom
Place of Birth
Whitechapel, England, United Kingdom
Death Date
Jul 5, 1992 (age 58)
Zodiac Sign
Libra
Profession
Film Actor, Singer, Stage Actor
Georgia Brown Height, Weight, Eye Color and Hair Color

At 58 years old, Georgia Brown has this physical status:

Height
Not Available
Weight
Not Available
Hair Color
Black
Eye Color
Not Available
Build
Average
Measurements
Not Available
Georgia Brown Religion, Education, and Hobbies
Religion
Not Available
Hobbies
Not Available
Education
Not Available
Georgia Brown Spouse(s), Children, Affair, Parents, and Family
Spouse(s)
Gareth Wigan, ​ ​(m. 1974; div. 1981)​
Children
1
Dating / Affair
Not Available
Parents
Not Available
Georgia Brown Career

During an initial performing career as a nightclub singer, she adopted the professional name Georgia Brown with reference to two of her favourite repertoire items: "Sweet Georgia Brown" and "Georgia on My Mind". At the age of 17, she appeared at the Embassy Club in London in April 1951 to mixed reviews and she then went into a number of stage presentations at the Empire, Leicester Square for three months. Brown made her first records “A Friend of Johnny’s” and “Sweet Georgia Brown” for Decca and they were released in May 1951. She returned to cabaret work at the Washington Club in London in January 1952 before recording thirteen shows for the American Forces Network in Germany.

Brown was a flatmate of singer Annie Ross with whom she formed half of a vocal quartet known as Lambert, Hendricks, Ross & Brown. Brown then left the quartet, which became the famed trio Lambert, Hendricks & Ross.

Brown maintained a low profile until she returned to the UK show business scene when she appeared on the BBC-TV show Variety Parade on February 5, 1955. Successful appearances in variety followed and she made another record for Decca, “My Crazy Li'l Mixed Up Heart”. Brown moved on into musical theatre and her breakout role was playing Lucy in the 1956 West End revival of The Threepenny Opera at the Royal Court Theatre, a role she repeated the following year when she joined the cast of the highly successful off-Broadway production.

Her breakthrough role was Nancy in Oliver!, a role she created in the original 1960 London production. When she first came in to audition for the musical's author and composer, Lionel Bart, he recognized her as a childhood neighbour, and greeted her as "Lily Klot". Her subsequent audition caused him to award her the role of Nancy. Bart had conceived that role in hopes of singer Alma Cogan playing it. However, it was reported that after he had cast Brown as Nancy, he then composed the Oliver! numbers "As Long as He Needs Me" and "It's a Fine Life" specifically with her in mind. She created the role of Nancy in the 1963 Broadway production of Oliver!, earning a Tony Award nomination for her performance, and her voice is heard on both the original West End and Broadway cast recordings.

On 9 February 1964, she appeared on The Ed Sullivan Show with 18-year-old Davy Jones (pre-Monkees) recreating two scenes from the musical then showing on Broadway. This happened to be the same evening that the Beatles made their first live US appearance on the show. The role of Nancy in the film version went to Brown's friend Shani Wallis.

After a stint in Bart's Maggie May in 1965, Brown concentrated on screen work for more than a decade. She appeared as a singer in A Study in Terror (1965), followed by a number of films, including The Fixer (1968), Lock Up Your Daughters (1969), The Raging Moon (1971, for which she was nominated for a BAFTA Award), Running Scared (1972), Nothing But the Night (1973), Tales That Witness Madness (1973), Galileo (1975), The Seven-Per-Cent Solution (1976) and The Bawdy Adventures of Tom Jones (1976). She also appeared in several television dramas, including the BBC's highly acclaimed The Roads to Freedom, a 1970 adaptation of Jean-Paul Sartre's trilogy for which she sang the theme song "La route est dure".

Brown made a memorable one-off appearance as a Bloomsbury radical in a 1971 episode of Upstairs, Downstairs, portrayed music hall singer Marie Lloyd in the 1972 serial The Edwardians, and took the role of Mrs Peachum in The Rebel, a 1975 biographical drama, one of four about Benjamin Franklin.

Despite her success in such roles, Brown was unhappy with the relative paucity of significant parts for women in television drama. She expressed her dissatisfaction to the BBC and was told to identify a series she would like to be in. Discussions followed between Brown and script editor Midge Mackenzie, and the pair devised the idea for a drama chronicling the struggle for women's suffrage in late 19th- and early 20th-century Britain. Brown enlisted the help of producer Verity Lambert, and the three women got approval from the BBC. In the course of realising the project, Brown and her colleagues found they had to remove a number of misconceptions and inaccuracies from the scripts written by male writers. Brown referred to these as "the male point of view".

Shoulder to Shoulder was first broadcast in six parts in 1974. Brown (and others) sang the theme song for the series, "The March of the Women", and she took the role of working class activist Annie Kenney, alongside Siân Phillips and Angela Down, as Emmeline and Sylvia Pankhurst, respectively.

The episode dealing most closely with Annie Kenney was written by Alan Plater, who had written the 1972 drama about Marie Lloyd (played by Brown) and her involvement in the 1907 music hall artistes' strike, in The Edwardians. Shoulder to Shoulder remains highly regarded as an attempt to convey an important episode both of feminist history and of Britain's history of dissent and civil disobedience.

In 1974, she appeared on BBC TV's The Good Old Days, recreating more music hall performances; in 1961, she had recorded an album of music hall songs, A Little of What You Fancy, with the Ted Heath Band.

Brown returned to Broadway to join the cast of the long-running revue Side by Side by Sondheim in October 1977, replacing Bonnie Schon. In 1979, she created the title role in Alan Jay Lerner and Burton Lane's unsuccessful musical Carmelina, which ran on Broadway for 17 performances.

She toured Britain in Georgia Brown and Friends, then brought the revue to Broadway at the Nederlander Theatre for a limited run from 15 October 1982 to 21 October 1982.

In 1984, she took the lead role of Dorothy Brock in the musical 42nd Street at Theatre Royal, Drury Lane, London. In 1987, the Gilbert Becaud musical Roza, under the direction of Hal Prince, closed after only 12 performances. Her performance of Mrs. Peachum in the 1989 Broadway revival of The Threepenny Opera earned her another Tony Award nomination. Brown can be heard on the charity tribute CD Mack & Mabel in Concert (1988) in which she sings "Time Heals Everything".

In her later years, she limited herself to concerts, cabaret appearances, and guest spots on television series such as Great Performances, Murder, She Wrote and Cheers; she earned an Emmy Award nomination for her role as Carla Tortelli's spiritual adviser Madame Lazora in 1990, and reprised the role in 1991. She made two appearances in Star Trek: The Next Generation ("New Ground" and "Family") portraying Helena Rozhenko, Worf's adoptive mother.

In addition to a number of original cast albums, Brown recorded several solo albums, including Georgia Brown Sings Kurt Weill (Decca LK4509, accompaniment directed by Ian Fraser) and Georgia Brown Sings Gershwin.

Source

Maria Carey does not squeak! Scientists debunk the theory that high-pitched singers have to make noises like rodents to hit the top notes

www.dailymail.co.uk, June 19, 2024
Singers hitting the highest notes in Opera - and Maria Carey - do not whistle, report scientists in Munich and Vienna. It had been thought that to get the highest notes singers adopt style of singing similar to the way mice and rats make their high-pitched squeaks. In normal singing, the vocal folds in the voicebox vibrate to make the sound - but in rodents they are held still to create a pipe-like shape that makes the whistle. But the new research into opera singers suggest that even though high treble notes sound like whistling, the sopranos are singing in a conventional way.