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Steam power during the Industrial Revolution
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Further information: Steam engine, Watt steam engine, and Timeline of steam power
Improvements to the steam engine were some of the most important technologies of the Industrial Revolution, although steam did not replace water power in importance in Britain until after the Industrial Revolution. From Englishman Thomas Newcomen's atmospheric engine, of 1712, through major developments by Scottish inventor and mechanical engineer James Watt, the steam engine began to be used in many industrial settings, not just in mining, where the first engines had been used to pump water from deep workings. Early mills had run successfully with water power, but by using a steam engine a factory could be located anywhere, not just close to water. Water power varied with the seasons and was not always available.
In 1775 Watt formed an engine-building and engineering partnership with manufacturer Matthew Boulton. The partnership of Boulton & Watt became one of the most important businesses of the Industrial Revolution and served as a kind of creative technical centre for much of the British economy. The partners solved technical problems and spread the solutions to other companies. Similar firms did the same thing in other industries and were especially important in the machine tool industry. These interactions between companies were important because they reduced the amount of research time and expense that each business had to spend working with its own resources. The technological advances of the Industrial Revolution happened more quickly because firms often shared information, which they then could use to create new techniques or products.
From mines to mills, steam engines found many uses in a variety of industries. The introduction of steam engines improved productivity and technology, and allowed the creation of smaller and better engines. After Richard Trevithick's development of the high-pressure engine, transport-applications became possible, and steam engines found their way into boats, railways, farms and road vehicles. Steam engines are an example of how changes brought by industrialization led to even more changes in other areas.
The development of the stationary steam engine was a very important early element of the Industrial Revolution, however it should be remembered that for most of the period of the Industrial Revolution the majority of industries still relied on wind and water power as well as horse and man-power for driving small machines.
Contents
[hide]
1 Thomas Savery's steam pump
2 Thomas Newcomen's steam engine
3 James Watt's steam engines
4 Development after Watt
4.1 The Corliss Engine
5 Major Applications
5.1 Blast furnace power
5.2 Moving from Water to Steam Power
5.3 The Steamboat
5.3.1 Steamboat and Water Transport
5.4 Railroad
6 References
Thomas Savery's steam pump[edit]
Main article: Thomas Savery
The industrial use of steam power started with Thomas Savery in 1698. He constructed and patented in London the first engine, which he called the "Miner's Friend" since he intended it to pump water from mines. Early versions used a soldered copper boiler which burst easily at low steam pressures. Later versions with iron boiler were capable of raising water about 46 meters (150 feet). The Savery engine had no moving parts other than hand-operated valves. The steam once admitted into the cylinder was first condensed by an external cold water spray, thus creating a partial vacuum which drew water up through a pipe from a lower level; then valves were opened and closed and a fresh charge of steam applied directly on to the surface of the water now in the cylinder, forcing it up an outlet pipe discharging at higher level. The engine was used as a low-lift water pump in a few mines and numerous water works, but it was not a success since it was limited in pumping height and prone to boiler explosions.[1]
Thomas Newcomen's steam engine[edit]
Main article: Newcomen atmospheric engine
Newcomen's atmospheric steam engine
The first practical mechanical steam engine was introduced by Thomas Newcomen in 1712. Newcomen apparently conceived his machine quite independently of Savery, but as the latter had taken out a very wide-ranging patent, Newcomen and his associates were obliged to come to an arrangement with him, marketing the engine until 1733 under a joint patent.[2] Newcomen's engine appears to have been based on Papin's experiments carried out 30 years earlier, and employed a piston and cylinder, one end of which was open to the atmosphere above the piston. Steam just above atmospheric pressure (all that the boiler could stand) was introduced into the lower half of the cylinder beneath the piston during the gravity-induced upstroke; the steam was then condensed by a jet of cold water injected into the steam space to produce a partial vacuum; the pressure differential between the atmosphere and the vacuum on either side of the piston displaced it downwards into the cylinder, raising the opposite end of a rocking beam to which was attached a gang of gravity-actuated reciprocating force pumps housed in the mineshaft. The engine's downward power stroke raised the pump, priming it and preparing the pumping stroke. At first the phases were controlled by hand, but within ten years an escapement mechanism had been devised worked by of a vertical plug tree suspended from the rocking beam which rendered the engine self-acting.
A number of Newcomen engines were successfully put to use in Britain for draining hitherto unworkable deep mines, with the engine on the surface; these were large machines, requiring a lot of capital to build, and produced about 5 hp. They were extremely inefficient by modern standards, but when located where coal was cheap at pit heads, opened up a great expansion in coal mining by allowing mines to go deeper. Despite their disadvantages, Newcomen engines were reliable and easy to maintain and continued to be used in the coalfields until the early decades of the nineteenth century. By 1729, when Newcomen died, his engines had spread to France, Germany, Austria, Hungary and Sweden. A total of 110 are known to have been built by 1733 when the joint patent expired, of which 14 were abroad. In the 1770s, the engineer John Smeaton built some very large examples and introduced a number of improvements. A total of 1,454 engines had been built by 1800.
James Watt's steam engines[edit]
Main article: Watt steam engine
A fundamental change in working principles was brought about by James Watt. With the close collaboration of Matthew Boulton, he had succeeded by 1778 in perfecting his steam engine which incorporated a series of radical improvements, notably, the use of a steam jacket around the cylinder to keep it at the temperature of the steam and, most importantly, a steam condenser chamber separate from the piston chamber. These improvements increased engine efficiency by a factor of about five, saving 75% on coal costs.
The Newcomen engine could not, at the time, be easily adapted to drive a rotating wheel, although Wasborough and Pickard did succeed in doing so in about 1780. However, by 1783 the more economical Watt steam engine had been fully developed into a double-acting rotative type with a centrifugal governor, parallel motion and flywheel which meant that it could be used to directly drive the rotary machinery of a factory or mill. Both of Watt's basic engine types were commercially very successful.
By 1800, the firm Boulton & Watt had constructed 496 engines, with 164 driving reciprocating pumps, 24 serving blast furnaces, and 308 powering mill machinery; most of the engines generated from 5 to 10 hp. An estimate of the total power that could be produced by all these engines was about 11,200 hp. This was still only a small fraction of the total power generating capacity in Britain by waterwheels (120,000 hp) and by windmills (15,000 hp); however, water and wind power were seasonably variable.[3] Newcomen and other steam engines generated at the same time about 24,000 hp.
Development after Watt[edit]
See also: Cornish steam engine
The development of machine tools, such as the lathe, planing and shaping machines powered by these engines, enabled all the metal parts of the engines to be easily and accurately cut and in turn made it possible to build larger and more powerful engines.[4]
In the early 19th century after the expiration of the Boulton & Watt patent in 1800, the steam engine underwent great increases in power due to the use of higher pressure steam which Watt had always avoided because of the danger of exploding boilers, which were in a very primitive state of development.[4][5]
Until about 1800, the most common pattern of steam engine was the beam engine, built as an integral part of a stone or brick engine-house, but soon various patterns of self-contained portative engines (readily removable, but not on wheels) were developed, such as the table engine. Further decrease in size due to use of higher pressure came towards the end of the 18th Century when the Cornish engineer, Richard Trevithick and the American engineer, Oliver Evans, independently began to construct higher pressure (about 40 pounds per square inch (2.7 atm)) engines which exhausted into the atmosphere,although Arthur Wolf working at the Meux Brewery in London was already experimenting with higher pressure steam,in his efforts to save coal. This allowed an engine and boiler to be combined into a single unit compact and light enough to be used on mobile road and rail locomotives and steam boats.[4]
Trevithick was a man of versatile talents, and his activities were not confined to small applications. Trevithick developed his large Cornish boiler with an internal flue from about 1812. These were also employed when upgrading a number of Watt pumping engines,by this time Arthur Wolf had already produced high pressure engines whilst working at Meux brewery in London,in his efforts to improve efficiency,thus saving coal, as he had been trained by Joseph Bramah in the art of quality control,which resulted in him becoming chief engineer at Harveys of Hayle in Cornwall,by far the largest and leading manufacturer of steam engines in the world.
The Cornish engine was developed in the 1810s for pumping mines in Cornwall. It was the result of using the exhaust of a high pressure engine to power a condensing engine. The Cornish engine was was notable for its relatively high efficiency.
The Corliss Engine[edit]
Main article: Corliss steam engine
The Corliss Engine displayed at the International Exhibition of Arts, Manufactures and Products of the Soil and Mine of 1876
The last major improvement to the steam engine was the Corliss engine.[6] Named after its inventor, George Henry Corliss, this stationary steam engine was introduced to the world in 1849. The engine boasted a number of desired features, including fuel efficiency (lowering cost of fuel by a third or more), low maintenance costs, 30% higher rate of power production, high thermal efficiency, and the ability to operate under light, heavy, or varying loads while maintaining high velocity and constant speed.[7][8][9][10] While the engine was loosely based on existing steam engines keeping the simple piston-flywheel design, the majority of these features were brought about by the engine’s unique valves and valve gears. Unlike most engines employed during the era that were using mainly slide-valve gears, Corliss created his own system that used a wrist plate to control a number of different valves. Each cylinder was equipped with four valves, with exhaust and inlet valves at both ends of the cylinder.[4] Through a precisely tuned series of events opening and closing these valves, steam is admitted and released at a precise rate allowing for linear piston motion. This provided the engine’s most notable feature, the automatic variable cut-off mechanism.[11] This mechanism is what allowed the engine to maintain a set speed in response to varying loads without losing efficiency, stalling, or being damaged. Using a series of cam gears, which could adjust valve timing (essentially acting as a throttle), the engine’s speed and horsepower was adjusted. This proved extremely useful for most of the engine’s applications. In the textile industry, it allowed for production at much higher speeds while lowering the likelihood that threads would break.[8][12] In metallurgy, the extreme and abrupt variations of load experienced in rolling mills were also countered by the technology. These examples demonstrate that the Corliss engine was able to lead to much higher rates of production, while preventing costly damages to machinery and materials. It was referred to as “the most perfect regulation of speed.” [13]
Corliss kept a detailed record of the production, collective horsepower, and sales of his engines up until the patent expired.[13] He did this for a number of reasons, including tracking those who infringed on the patent rights, maintenance and upgrade details, and especially as data used to extend the patent. With this data, a more clear understanding of the engine’s influence is provided. By 1869, nearly 1200 engines had been sold, totaling 118,500 horsepower. Another estimated 60,000 horsepower was being utilized by engines that were created by manufacturers infringing on Corliss’s patent, bringing the total horsepower to roughly 180,000.[8] This relatively small number of engines produced 15% of the United States’ total 1.2 million horsepower.[14] The mean horsepower for all Corliss engines in 1870 was 100, while the mean for all steam engines (including Corliss engines) was 30. Some very large engines even allowed for applications as large as 1,400 horsepower. Many were convinced of the Corliss engine’s benefits, but adoption was slow due to patent protection. When Corliss was denied a patent extension in 1870, it became a prevalent model for stationary engines in the industrial sector.[8] By the end of the 19th century, the engine was already having a major influence on the manufacturing sector, where it made up only 10% of the sector’s engines, but produced 46% of the horsepower.[14] The engine also became a model of efficiency outside of the textile industry as it was used for pumping the waterways of Pawtucket, Rhode Island in 1878 and by playing an essential role in the expansion of the railroad by allowing for very large-scale operations in rolling mills.[6][8] Many steam engines of the 19th century have been replaced, destroyed, or repurposed, but the longevity of the Corliss engine is apparent today in select distilleries where they are still used as a power source.[15]
Major Applications[edit]
Blast furnace power[edit]
In the mid 1750s the steam engine was applied to the water power-constrained iron, copper and lead industries for powering blast bellows. These industries were located near the mines, some of which were using steam engines for mine pumping. Steam engines were too powerful for leather bellows, so cast iron blowing cylinders were developed in 1768. Steam powered blast furnaces achieved higher temperatures, allowing the use of more lime in iron blast furnace feed. (Lime rich slag was not free-flowing at the previously used temperatures.) With a sufficient lime ratio, sulfur from coal or coke fuel reacts with the slag so that the sulfur does not contaminate the iron. Coal and coke were cheaper and more abundant fuel. As a result, iron production rose significantly during the last decades of the 18th century.[16]
Moving from Water to Steam Power[edit]
Water power, the world's preceding supply of power, continued to be an essential power source even during the height of steam engine popularity.[17] The steam engine, however, provided many benefits that couldn’t be realized by relying solely on water power, allowing it to quickly become industrialised nations' dominant power source (rising from 5% to 80% of the total power in the US from 1838-1860).[18] While many consider the potential for an increase in power generated to be the dominant benefit (with the average horsepower of steam powered mills producing four times the power of water powered mills), others favor the potential for agglomeration.[19][20] Steam engines made it possible to easily work, produce, market, specialize, viably expand westward without having to worry about the less abundant presence of waterways, and live in communities that weren’t geographically isolated in proximity to rivers and streams.[8] Cities and towns were now built around factories where steam engines served as the foundation for the livelihood of many of the citizens. By promoting the agglomeration of individuals, local markets were established and often met with impressive success, cities quickly grew and were eventually urbanized, the quality of living increased as infrastructure was put in place, finer goods could be produced as acquisition of materials became less difficult and expensive, direct local competition led to higher degrees of specialization, and labor and capital were in rich supply.[7] In some counties where the establishments utilized steam power, population growths were even seen to increase.[21] These steam powered towns encouraged growth locally and on the national scale, further validating the economic importance of the steam engine.
The Steamboat[edit]
Main article: Steamboat
This period of economic growth, which was ushered in by the introduction and adoption of the steamboat, was one of the greatest ever experienced in the United States. Around 1815, steamboats began to replace barges and flatboats in the transport of goods around the United States. Prior to the steamboat, rivers were generally only used in transporting goods from east to west, and from north to south as fighting the current was very difficult and often impossible.[22] Non-powered boats and rafts were assembled up-stream, would carry their cargo down stream, and would often be disassembled at the end of their journey; with their remains being used to construct homes and commercial buildings.
Steamboat on the Yukon River in 1920
Following the advent of the steamboat, the United States saw an incredible growth in the transportation of goods and people, which was key in westward expansion. Prior to the steamboat, it could take between three and four months to make the passage from New Orleans to Louisville, averaging twenty miles a day.[22] With the steamboat this time was reduced drastically with trips ranging from twenty-five to thirty-five days. This was especially beneficial to farmers as their crops could now be transported elsewhere to be sold. The steamboat also allowed for increased specialization. Sugar and Cotton were shipped up north while goods like poultry, grain and pork were shipped south. Unfortunately, the steamboat also aided in the internal slave trade.[23]
With the steamboat came the need for an improved river system. The natural river system had features that either wasn't compatible with steamboat travel or was only available during certain months when rivers were higher. Some obstacles included rapids, sand bars, shallow waters and waterfalls. To overcome these natural obstacles, a network of canals, locks and dams were constructed. This increased demand for labor spurred tremendous job growth along the rivers.[24]
The economic benefits of the steamboat extended far beyond the construction of the ships themselves, and the goods they transported. These ships led directly to growth in the coal and insurance industries, along with creating demand for repair facilities along the rivers.[25] Additionally the demand for goods in general increased as the steamboat made transport to new destinations both wide reaching and efficient.
Steamboat and Water Transport[edit]
After the first steamboat was invented and achieved a number of successful trials, it was quickly adopted and led to an even quicker change in the way of water transport. In 1814, the city of New Orleans recorded 21 steamboat arrivals, but over the course of the following 20 years that number exploded to more than 1200. The steamboat’s role as a major transportation source was secured.[26] The transport sector saw enormous growth following the steam engine's application, leading to major innovations in canals, steamboats, and railroads. The steamboat and canal system revolutionized trade of the United States. As the steamboats gained popularity, enthusiasm grew for the building of canals. In 1816, the US had only 100 miles of canals. This needed to change, however, as the potential increase in traded goods from east to west convinced many that canals were a necessary connection between the Mississippi-Ohio waterways with the Great Lakes.
Railroad[edit]
The use of steam engines on railroads proved to be extraordinary in the fact that now you could have large amounts of goods and raw materials delivered to cities and factories alike. Trains could deliver these to places far away at a fraction of the cost traveling by wagon. Railroad tracks, which were already in use in mines and various other situations, became the new means of transportation after the first locomotive was invented.
References[edit]
Jump up ^ Jenkins, Ryhs (1971) [1936]. Links in the History of Engineering and Technology from Tudor Times. Cambridge (1st) , Books for Libraries Press (2nd): The Newcomen Society at the Cambridge University Press. ISBN 9780836921670<The Collected Papers of Rhys Jenkins, Former Senior Examiner in the British Patent Office>
Jump up ^ Hulse, David H: The Early Development of the Steam Engine; TEE Publishing, Leamington Spa, UK, 1999 ISBN 1-85761-107-1
Jump up ^ Hills, Rev. Dr. Richard (2006), James Watt Vol 3: Triumph through Adversity, 1785-819, Ashbourne, Derbyshire, England: Landmark Publishing, p. 217, ISBN 1-84306-045-0
^ Jump up to: a b c d Hunter, Louis C. (1985). A History of Industrial Power in the United States, 1730–1930, Vol. 2: Steam Power. Charolttesville: University Press of Virginia.
Jump up ^ James Watt Monopolist
^ Jump up to: a b Hunter, Louis (1979). A History of Industrial Power in the US, 1780-1930, Vol I. The University Press of Virginia.
^ Jump up to: a b Rosenberg, Nathan; Trajtenberg, Manuel (2004). "A General Purpose Technology at Work: The Corliss Steam Engine in the late 19th Century US". The Journal of Economic History. 64 (1): 61–99. |access-date= requires |url= (help)
^ Jump up to: a b c d e f Hunter, Louis (1985). A History of Industrial Power in the United States, 1780-1930, Vol. II: Steam Power. Charlottesville: The University Press of Virginia.
Jump up ^ Tribe, J (1903). Compound Corliss Engines. Milwaukee, Wisconsin: Milwaukee, Tribe.
Jump up ^ Burn, D. L. (January 1931). "The Genesis of American Engineering Competition, 1850-1870". Economic History Review.
Jump up ^ Thompson, Ross (2009). Structures of Change in the Mechanical Age: Technological Invention in the United States 1790-1865. Baltimore, MD: The Johns Hopkins University Press. ISBN 978-0-8018-9141-0.
Jump up ^ Sheldon, F. F. (1892). Power and Speed in Cotton Mills, Proceedings of the 27th Annual Meeting of the Northeast Cotton Manufacturers Association. Boston.
^ Jump up to: a b Corliss, G. H. (1870). In the Matter of the Petition of George H. Corliss for an Extension of His letters Patent for Improvements in Steam Engines. Providence: Providence Press Company.
^ Jump up to: a b Trowbridge, W. P. (1880). Reports on the Water-power of the United States: Statistics of Power and Machinery Employed in Manufactures. 10th U.S. Census.
Jump up ^ Rasmussen, M. "Corliss Engine Group Gear Mechanisms Corliss Steam Engine". Archive.org. Retrieved 19 June 2014.
Jump up ^ Tylecote, R. F. (1992). A History of Metallurgy, Second Edition. London: Maney Publishing, for the Institute of Materials. ISBN 978-0901462886.
Jump up ^ Atack, J; Bateman, F; Weiss, T (1980). "The Regional Diffusion and Adoption of the Steam Engine in American Manufacturing". The Journal of Economic History. 40 (2): 281–308. doi:10.1017/s0022050700108216.
Jump up ^ Fenichel, A. H. (1966). "Growth and Diffusion of Power in Manufacturing 1839-1919. In Output, Employment and Productivity in the United States after 1800". National Bureau of Economic Research, Studies in Income and Wealth. 30: 443–478.
Jump up ^ Atack, J (1979). "Fact in Fiction? Relative Costs of Steam and Water Power: A Simulation Approach". Explorations in Economic History. 16: 409–437. doi:10.1016/0014-4983(79)90029-9.
Jump up ^ Temin, P (June 1966). "Steam and Waterpower in the Early Nineteenth Century". Journal of Economic History.
Jump up ^ Krugman, P (1991). Geography and Trade. MIT Press.
^ Jump up to: a b Zimmer, David (1982). The Ohio River; Gateway to Settlement. Indiana Historical Society. p. 72.
Jump up ^ Camfield, Gregg. "Economic Development; Mark Twain's Mississippi". Mark Twain's Mississippi. Archived from the original on 2014-10-08. Retrieved 2014-06-23.
Jump up ^ Hedeen, Jane. "The Economic Impact of the Steamboat" (PDF). Indiana Historical Society. Retrieved 2014-06-23.
Jump up ^ Williams, L.A. (1882). History of the Ohio Falls Cities and their Counties: With illustrations and bibliographical sketches. Cleveland: L.A. Williams and Company. p. 220.
Jump up ^ "History of Steamboat on the Mississippi River". Mississippi River Cruises. Retrieved July 23, 2014.
General
The Growth of the Steam-engine. Robert H. Thurston, A. M., C. E., New York: D. Appleton and Comithcmpany, 1878.
Burstall, Aubrey F. (1965). A History of Mechanical Engineering. The MIT Press. ISBN 0-262-52001-X.
Hills, Richard L. (1989). Power from Steam. Cambridge University Press. ISBN 0-521-45834-X.
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text:
The Good Companions
From Wikipedia, the free encyclopedia
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For other uses, see The Good Companions (disambiguation).
The Good Companions
First edition
Author
J. B. Priestley
Country
United Kingdom
Language
English
Publisher
William Heinemann Ltd
Publication date
1929
Media type
Print (hardback)
Followed by
Angel Pavement
The Good Companions is a novel by the English author J. B. Priestley.
Written in 1929 (in Deal, Kent), it focuses on the trials and tribulations of a concert party in England between World War I and World War II. It is arguably Priestley's most famous novel, and the work which established him as a national figure. It won the James Tait Black Memorial Prize and was adapted twice into film.
Contents
[hide]
1 Plot summary
2 Literary significance and reception
3 Dramatic adaptations
3.1 1931 theatrical adaptation
3.2 1933 film version
3.3 1957 film version
3.4 1974 Musical
3.5 1980 TV version
3.6 1995 Stage Musical
3.7 2009 Musical
3.8 2010 Radio adaptation
4 References
5 External links
Plot summary[edit]
Judi Dench in "The Good Companions"
The novel is written in picaresque style, and opens with the middle aged, discontented Jess Oakroyd in the fictional Yorkshire town of Bruddersford. He opts to leave his family and seek adventure "on t'road" (throughout the novel Priestley uses dialect for all non-RP speakers of English). He heads south down the Great North Road.
Intertwined with the story of Oakroyd's travels are those of Elizabeth Trant and Inigo Jollifant, two similarly malcontented individuals. Miss Trant is an upper-middle class spinster and Jollifant is a teacher at a down-at-heel private school. All three ultimately encounter each other when a failing concert troupe ('The Dinky Doos') are disbanding as a result of their manager's running off with the takings. The independently wealthy Miss Trant, against the advice of her relatives, decides to refloat the troupe, now known as 'The Good Companions'. Inigo plays piano, Oakroyd is the odd-job man, and other assorted characters including members of the original troupe: including Jimmy Nunn, Jerry Jerningham and Susie Dean, along with Mr Morton Mitcham (a travelling banjo player whom Inigo met earlier on his own odyssey) have various adventures round the shires of middle England.
After a sabotaged performance, the troupe disband: Jerry marries Lady Partlit, a fan; Susie and Inigo become successful and famous in London; Miss Trant gets married to a long lost sweetheart; Jess Oakroyd emigrates to Canada and the other performers carry on with their life on the road.
Literary significance and reception[edit]
The Good Companions was an instant hit on publication, but was not particularly well regarded by critics. Despite this, it remained popular for over forty years. It then fell out of favour, not only because the novel was written from a (rather old fashioned) middle class perspective but also because it deals with a phenomenon (a travelling music hall troupe) which no longer exists.
Nonetheless, Priestley's ear for dialectal foibles is keen, and many of his constructions (e.g. 'Unkerlathur' for 'Uncle Arthur') are acutely observed. More recently there has been a reappraisal of this and other Priestley works: a new edition of The Good Companions appeared in October 2007 with a foreword by Dame Judi Dench, accompanying a reappraisal of the various versions by Ronald Harwood, André Previn and Alan Plater amongst others.
Dramatic adaptations[edit]
1931 theatrical adaptation[edit]
Priestley collaborated with Edward Knoblock on a stage version of his novel, which opened at His Majesty's Theatre, London on 14 May 1931. It ran for nine months, with Edward Chapman, Edith Sharpe and John Gielgud in the cast.
1933 film version[edit]
Main article: The Good Companions (1933 film)
The first film version appeared hard on the heels of the play. Produced by Gaumont, it starred John Gielgud as Ingo Jollifant, Jessie Matthews as Susie Dean and Edmund Gwenn as Jess Oakroyd.
1957 film version[edit]
Main article: The Good Companions (1957 film)
A Technicolor remake was directed by J. Lee Thompson for Associated British Picture Corporation, and starred Eric Portman as Oakroyd, Celia Johnson as Miss Trant, Joyce Grenfell as Lady Partlit, Janette Scott as Susie Dean, John Fraser as Inigo Jollifant and Rachel Roberts as Elsie and Effie Longstaff. This version updates the narrative and music to the late 'fifties (with a score by Laurie Johnson) when touring shows were in decline. It did not replicate the success of the book, and signified the end of the novel's popular success. It came to be typified by the contemporaneous Angry Young Men of British stage and screen as the kind of unrealistic depiction of working class Britain they were struggling to be free of.
1974 Musical[edit]
Main article: The Good Companions (musical)
On 11 July 1974 a musical adaptation, directed by Braham Murray with a libretto by Ronald Harwood, music by André Previn and lyrics by Johnny Mercer (in his last show) opened at Her Majesty's Theatre in London – the same venue of the stage play over forty years earlier (having had its world premiere at the Palace Theatre in Manchester). The cast included John Mills as Oakroyd, Judi Dench as Miss Trant and Marti Webb as Susie Dean. It was revived in 2000 at the Eureka Theater in San Francisco. In October 2001 it was performed at the York Theatre in New York City as part of the York's "Musicals in Mufti" reading series.
1980 TV version[edit]
A Yorkshire Television series appeared in 1980, adapted by Alan Plater. It starred Judy Cornwell as Elizabeth Trant and John Stratton as Jess Oakroyd. (Music composed by David Fanshawe. Executive Producer – David Cunliffe, Producer – Leonard Lewis, Directors – Leonard Lewis and Bill Hays.[1])
1995 Stage Musical[edit]
Peter Cheeseman commissioned Bob Eaton (Book and Lyrics) and Sayan Kent (Book and Music) to write a new stage musical version for the New Vic Theatre, Newcastle Under Lyme. It was directed by Bob Eaton. It has since been performed at the Theatre by the Lake, Keswick in 2002, directed by Ian Forrest, the New Wolsey Theatre Ipswich in 2003 directed by Peter Rowe and in 1998 it was the 40th Anniversary production at the Belgrade Theatre Coventry, where Bob Eaton was Artistic Director (1996 to 2003).
2009 Musical[edit]
The Bristol Old Vic Theatre School produced an all new musical version, at the Bristol Old Vic Studio in November 2009. Directed by the school's Artistic Director Sue Wilson, it featured a new script and score by Malcolm McKee, design by Sue Mayes and choreography by Gail Gordon.
2010 Radio adaptation[edit]
From 25 to 27 May 2010, BBC Radio 7 broadcast a three-part dramatisation of Priestley's novel by Eric Pringle, with Helen Longworth as Suzie Dean, Philip Jackson as Jess Oakroyd, Jemma Churchill as Elizabeth Trant and Nicholas Boulton as Inigo Jolliphant. The production was directed by Claire Grove and was originally broadcast on BBC Radio 4 on 4th, 11 and 18 August 2002.
References[edit]
Jump up ^ 1980 TV version: IMDB.com website. Retrieved on 10 March 2008.
External links[edit]
The Good Companions (1933) on IMDb
The Good Companions (1957) on IMDb
The Good Companions (1980) on IMDb
[show]
v
t
e
Works by J. B. Priestley
Novels
Benighted (1927)
Adam in Moonshine (1927)
Farthing Hall (1929 with Hugh Walpole)
The Good Companions (1929)
Angel Pavement (1930)
Faraway (1932)
I'll Tell You Everything (1932 with Gerald Bullett)
Wonder Hero (1933)
They Walk in the City: The Lovers in the Stone Forest (1936)
The Doomsday Men (1938)
Let the People Sing (1939)
Blackout in Gretley (1942)
Daylight on Saturday (1943)
Three Men in New Suits (1945)
Bright Day (1946)
Jenny Villiers (1947)
Festival at Farbridge (1951)
Low Notes on a High Level (1954)
The Magicians (1954)
Saturn Over the Water (1961)
The Shapes of Sleep (1962)
Sir Michael & Sir George (1964)
Lost Empires (1965)
Salt Is Leaving (1966)
It's an Old Country (1967)
London End (1968)
Out Of Town (1968)
Snoggle (1971)
Over The Long High Wall (1972)
Found, Lost, Found (1976)
Short stories
"The Town Major of Miracourt" (1930)
Short story collections
The Other Place (1953)
The Carfitt Crisis (1974)
Plays
Time Plays series
Dangerous Corner (1932)
The Roundabout (1932)
Eden End (1934)
Laburnum Grove (1934)
Cornelius (1935)
Duet in Floodlight (1935)
Bees on the Boatdeck (1936)
Time and the Conways (1937)
I Have Been Here Before (1937)
People at Sea (1937)
Mystery of Greenfingers (1937)
Music at Night (1938)
When We Are Married (1938)
Johnson Over Jordan (1939)
The Long Mirror (1940)
Goodnight Children (1942)
Desert Highway (1944)
They Came to a City (1944)
An Inspector Calls (1945)
The Long Mirror (1947)
The Rose and Crown (1947)
The Linden Tree (1948)
Home is Tomorrow (1949)
Bright Shadow (1950)
Summer Day's Dream (1950)
Dragon's Mouth (1952)
Mother's Day (1953)
Private Rooms (1953)
Treasure on Pelican (1953)
The Scandalous Affair of Mr. Kettle and Mrs. Moon (1956)
The Glass Cage (1957)
Poetry
The Chapman of Rhymes (1918)
Screenplays
Sing As We Go (1934)
Jamaica Inn (1939)
Britain at Bay (1940)
Last Holiday (1950)
Non-fiction
Brief Diversions (1922)
Papers from Lilliput (1922)
Open House (1927)
Self-selected Essays (1932)
English Journey (1934)
Midnight on the Desert (1937 autobiography)
We Live In Two Worlds (1937 documentary)
Rain Upon Godshill (1939 autobiography)
British Women Go To War (1943)
Margin Released (1962 autobiography)
Man and Time (1964)
The Edwardians (1970)
Particular Pleasures (1975)
Instead Of The Trees (1977 autobiography)
Film & TV adaptations
An Inspector Calls (1954 film)
Out of the Unknown: "Level Seven" (1966 sci-fi series)
An Inspector Calls (1982 film)
Lost Empires (1986)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Good_Companions&oldid=802824894"
Categories:
1929 British novels
Novels by J. B. Priestley
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I Didn't Know What Time It Was
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This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2008) (Learn how and when to remove this template message)
"I Didn't Know What Time It Was"
Song from Too Many Girls
Published
1939
Songwriter(s)
Lorenz Hart
Composer(s)
Richard Rodgers
"I Didn't Know What Time It Was" is a popular song. The music was written by Richard Rodgers and the lyrics by Lorenz Hart for the musical Too Many Girls (1939). Early hit versions included Benny Goodman and Artie Shaw. The Crampton Sisters 1964 revival for the DCP label was a Hot 100 entry.
The song was introduced by Richard Kollmar and Marcy Westcott in the musical Too Many Girls. It was performed by Trudy Erwin – dubbing for Lucille Ball in the 1940 film version produced by RKO – and interpolated into the score of the 1957 film Pal Joey, where it was sung by Frank Sinatra.
Recorded versions[edit]
Bob Ackerman
Jackie Allen
Karrin Allyson
Laurindo Almeida
Maria Anadon (2007)
Ernestine Anderson
Lew Anderson Big Band
Julie Andrews (1970)
Louise Baranger
Count Basie
Tony Bennett (1960)
Brook Benton
Art Blakey
Ruby Braff
Donna Brooks
Les Brown and His Band of Renown
Dave Brubeck
Betty Carter (1970)
Carmen Cavallaro
Ray Charles (1969 chart single)
June Christy (1949), (2000)
Sonny Clark
Nat King Cole (1956)
Barbara Cook (1959)
Gloria Cooper
Chick Corea
Eddie Costa
Gal Costa
Crampton Sisters (1964 chart single)
Dorothy Dandridge
Dardanelle
Bobby Darin (1961)
Courtenay Day
Doris Day (1955)
Diane Delin
Matt Dennis
Dena de Rose
Jimmy Dorsey and His Orchestra, vocal: Bob Eberly (1939)
Kenny Drew
Christian Escoudé (1993)
Dean Elliot
Eileen Farrell
Al Ferguson
Sergio Franchi – The Songs of Richard Rodgers (1965)
Ella Fitzgerald - Ella Fitzgerald Sings the Rodgers & Hart Songbook (1956)
Nnenna Freelon (2005)
Ayşe Gencer (2011)
Stan Getz - Getz Meets Mulligan (1957)
Benny Goodman and His Orchestra, vocal: Louise Tobin (1939)
Gogi Grant (1959)
Gryphon Quintet (1983)
Ted Heath and His Orchestra (1955)
Billie Holiday – Songs for Distingué Lovers (1957)
Shirley Horn
Joni James (1962)
Louis Jordan
Nancy LaMott (2005)
Peggy Lee (1953)
Julie London (1967)
Carmen Lundy – Old Devil Moon (1997)
Carmen McRae (1963)
Brad Mehldau – The Art of the Trio Vol. 1 (1997)
Dudley Moore
Anita O'Day (1954)
Charlie Parker – with Strings (1950)
Oscar Peterson
Irene Reid (2004)
Cécile McLorin Salvant – Woman Child (2013)
Little Jimmy Scott (1963)
Cathy Segal-Garcia
Artie Shaw and His Orchestra (1939)
George Shearing (1949)
Dinah Shore
Wayne Shorter – Second Genesis (1960)
Kaz Simmons (2005)
Frank Sinatra, featured in the film Pal Joey (1957)
Jimmy Smith
Melvin Sparks (1970)
Jo Stafford
Barbra Streisand recorded the song for her 2016 album Encore: Movie Partners Sing Broadway
The Supremes – The Supremes Sing Rodgers & Hart (1967)
Art Tatum
James Taylor
Jack Teagarden
Kiri Te Kanawa
Bobby Timmons – In Person (1962)
McCoy Tyner - Time For Tyner (1969)
Dawn Upshaw
Sarah Vaughan
Bea Wain (1939)
Margaret Whiting
Cassandra Wilson – Blue Skies (1988)
Lester Young (1956)
Timi Yuro (2005)
Cécile McLorin Salvant - "WomanChild" (2013)
See also[edit]
List of 1930s jazz standards
[hide]
v
t
e
Rodgers and Hart
Musicals
The Garrick Gaieties
Dearest Enemy
The Girl Friend
Peggy-Ann
A Connecticut Yankee
Present Arms
Ever Green
Simple Simon
America's Sweetheart
Jumbo
On Your Toes
Babes in Arms
I'd Rather Be Right
The Boys from Syracuse
I Married an Angel
Too Many Girls
Higher and Higher
Pal Joey
By Jupiter
Songs
"Manhattan"
"Mountain Greenery"
"Here in My Arms"
"Blue Room"
"My Heart Stood Still"
"Thou Swell"
"To Keep My Love Alive"
"You Took Advantage of Me"
"With a Song in My Heart"
"A Ship Without a Sail"
"Dancing on the Ceiling"
"Ten Cents a Dance"
"He Was Too Good to Me"
"I've Got Five Dollars"
"Isn't It Romantic?"
"Lover"
"Mimi"
"Blue Moon"
"It's Easy to Remember (And So Hard to Forget)"
"The Most Beautiful Girl in the World"
"My Romance"
"Little Girl Blue"
"There's a Small Hotel"
"Glad to Be Unhappy"
"Slaughter on Tenth Avenue"
"Where or When"
"I Wish I Were in Love Again"
"My Funny Valentine"
"Johnny One Note"
"The Lady Is a Tramp"
"Have You Met Miss Jones?"
"I'll Tell the Man in the Street"
"Spring Is Here"
"Falling in Love with Love"
"This Can't Be Love"
"Sing for Your Supper"
"I Like to Recognize the Tune"
"I Didn't Know What Time It Was"
"Give It Back to the Indians"
"You're Nearer"
"It Never Entered My Mind"
"I Could Write a Book"
"Bewitched, Bothered and Bewildered"
"Ev'rything I've Got"
"Wait till You See Her"
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Didn%27t_Know_What_Time_It_Was&oldid=810513203"
Categories:
Songs with music by Richard Rodgers
Songs with lyrics by Lorenz Hart
Ella Fitzgerald songs
1939 songs
1930s jazz standards
Benny Goodman songs
Mildred Bailey songs
Carmen McRae songs
Songs from Pal Joey (film)
Ray Charles songs
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This page was last edited on 15 November 2017, at 18:43.
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List of Britain's Got Talent finalists
From Wikipedia, the free encyclopedia
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Britain's Got Talent is a British talent reality television series that first aired in 2007. As of 31 May 2016, there have been ten completed series. The show has been spun off around the world under the Got Talent franchise. The competition is open to people of all ages who possess a talent. After the initial rounds of auditions, successful contestants are narrowed down by the judges.
In the first series, 24 contestants made it into the three semi-finals, and in subsequent series this has been increased to 40 (45 in series 6-10) contestants across five live shows. The act which receives the most public votes in each semi-final goes through to the final, with the second finalist being decided by the judges from the second and third most popular contestants. In series 6, a "wildcard" element was introduced. This is where judges pick an eliminated act from the semi-finals, and that act is sent through to the final. In series 6, the wildcard act selected was The Mend. In series 7, the wildcard was Steve Hewlett and in series 8,al Jon Clegg. Series 9 featured a second wildcard, voted for by the public from the five acts who lost the judges' vote in the semi-finals.[1] The judges' wildcard was Boyband and the public's wildcard was Jessie-Jane McParland.
In the final, each of the finalists perform again, but this time the result is determined purely from the public vote, with the winner receiving £250,000 (£100,000 in series 1–5, £500,000 in series 6) and the chance to perform their act at the Royal Variety Performance.
Opera singer Paul Potts won the first series of the competition in 2007, street dancer George Sampson won the second series in 2008, dance troupe Diversity won the third series in 2009, gymnast troupe Spelbound won the fourth series in 2010, singer Jai McDowall won the fifth series in 2011, dancing dog act Ashleigh and Pudsey won the sixth series in 2012, shadow theatre group, Attraction won the seventh series in 2013, classical singers Collabro won the eighth series in 2014, and musical canine freestyle act Jules O'Dwyer & Matisse won the ninth series in 2015. Magician Richard Jones won the tenth series in 2016. Pianist Tokio Myers won the eleventh series in 2017.
Contestants[edit]
For more details on each of the contestants, see the relevant series article.
Name
Series
Act
Finished
Ref
2 Grand 3 Singing duo 10 !10th
100 Voices of Gospel 10 Gospel choir 08 !8th [2][3]
Alex Magala 10 Sword-swallower 09 !9th [2][3]
Aquabatique 6 Synchronised swimmers 10 !10th
Arisxandra 7 Singer 08 !8th
Asanda 7 Singer 11 !11th
Ashleigh and Pudsey 6 Dancing dog act 01 !1st
Attraction 7 Shadow theatre group 01 !1st
The Addict Initiative 8 Dance troupe 10 !10th
Balance Unity 10 Dancer 10 !10th [2][3]
Bar Wizards, TheThe Bar Wizards 1 Juggling Finalist
Bars & Melody 8 Singing/rapping duo 03 !3rd
Beau Dermott 10 Musical theatre singer 05 !5th [2][3]
Boogie Storm 10 Dance troupe 03 !3rd [2][3]
Boyband 9 Dance troupe 12th [4]
Boyle, SusanSusan Boyle 3 Singer 02 !2nd
Burling, PaulPaul Burling 4 Impressionist 05 !5th
Calum Scott 9 Singer 06 !6th [5]
Jack Carroll 7 Stand-up comedian 02 !2nd
Daliso Chaponda 11 Stand-up comedian 03 !3rd [6]
Cheeky Monkeys 2 Child dance duo Finalist
Jon Clegg 8 Impressionist 07 !7th
Côr Glanethwy 9 Welsh choir 03 !3rd [5]
Collabro 8 Classical singers 01 !1st
Collings, MichaelMichael Collings 5 Singer/guitarist 05 !5th [7][8]
Connected[A] 4 Child singers 08 !8th
Craig Ball 10 Impressionist singer 06 !6th [2][3]
Cursons, BessieBessie Cursons 1 Musical theatre performer Finalist
Cutler, JaneyJaney Cutler 4 Singer 09 !9th
Danny Posthill 9 Impressionist 07 !7th [5]
Darcy Oake 8 Magician 05 !5th
Davis, AidanAidan Davis 3 Streetdancer 05 !5th
Diversity 3 Streetdance troupe 01 !1st
DNA 11 Mentalists 11 !11th [6]
Matt Edwards 11 Comedy magician 04 !4th [6]
Entity Allstars 9 Dance troupe 11 !11th [5]
Escala 2 String quartet Finalist
Flawless 3 Streetdance troupe 08 !8th
Francine Lewis 7 Impressionist 10 !10th
Gabz 7 Singer/rapper 07 !7th
Gaffney, KieranKieran Gaffney 4 Drummer 03 !3rd
Gbegbaje, PaulPaul Gbegbaje 5 Pianist 06 !6th [7][9]
Gibson, LesLes Gibson 5 Impressionist 09 !9th [7][10]
Gogonea, RazyRazy Gogonea 5 Breakdancer/Body-Popping 04 !4th [7][8]
Hall, StevenSteven Hall 5 Comedy dancer 07 !7th [7][11]
Hewlett, SteveSteve Hewlett 7 Ventriloquist 04 !4th
Isaac Waddington 9 Pianist 05 !5th [5]
Sarah Ikumu 11 Singer 07 !7th [6]
Hobley, JamesJames Hobley 5 Dancer 08 !8th [7][10]
Jamie Raven 9 Magician 02 !2nd [5]
Jafargholi, ShaheenShaheen Jafargholi 3 Child Singer 07 !7th
Jasmine Elcock 10 Singer 04 !4th [2][3]
Jessie-Jane McParland 9 Martial artist 08 !8th [5]
Jonathan and Charlotte 6 Opera duo 02 !2nd
Johnston, AndrewAndrew Johnston 2 Child Soprano 03 !3rd
Kai and Natalia 6 Ballroom dancers 11 !11th
Kate and Gin 2 Musical canine freestyle Finalist
Lucy & Trip Hazard 10 Dancing dog 07 !7th [2][3]
Lucy Kay 8 Opera singer 02 !2nd
Kelly, SamSam Kelly 6 Singer/guitarist 09 !9th
Kombat Breakers 1 Dance troupe Finalist
Lettice Rowbotham 8 Violinist 08 !8th
Loveable Rogues 6 Acoustic vocal group 04 !4th
Luminites 7 Vocal group 05 !5th
McDowall, JaiJai McDowall 5 Singer 01 !1st [7][11]
Jules O'Dwyer & Matisse 9 Musical canine freestyle 01 !1st [5]
Jordan O'Keefe 7 Singer/guitarist 06 !6th
Liam McNally 4 Child Soprano 10 !10th
Martyn, JeanJean Martyn 5 Organist 10 !10th [7][12]
Mead, TobiasTobias Mead 4 Dancer 06 !6th
Mend, TheThe Mend 6 Boy band 07 !7th
Mel & Jamie 10 Singers 12 !12th [2][3]
MerseyGirls 11 Dancers 09 !9th [6]
Missing People Choir 11 Choir 08 !8th [6]
Andrew Muir 2 Singer Finalist
Tokio Myers 11 Pianist 01 !1st [6]
The Neales 9 Vocal group 09 !9th [5]
Nemesis 2 Dance troupe Finalist
New Bounce 5 Child Singers 03 !3rd [7][12]
Nu Sxool 6 Dance troupe 08 !8th
Old Men Grooving 9 Dance troupe 04 !4th [5]
Only Boys Aloud 6 Male choir 03 !3rd
Paddy & Nico 8 Salsa dancers 09 !9th
Richard and Adam 7 Opera duo 03 !3rd
O'Shaughnessy, RyanRyan O'Shaughnessy 6 Singer-songwriter/guitarist 05 !5th
Jack Pack 8 Singing group 04 !4th
Parke, RonanRonan Parke 5 Child Singer 02 !2nd [7][9]
The Pensionalities 11 Singers 05 !5th [6]
Potts, PaulPaul Potts 1 Opera Singer 01 !1st
Rainford, MollyMolly Rainford 6 Singer 06 !6th
Richard Jones 10 Close-up magician 01 !1st [2][3][13]
Sampson, GeorgeGeorge Sampson 2 Streetdancer 01 !1st
Scott, DamonDamon Scott 1 Puppeteer Finalist
Pre Skool 7 Dance troupe 09 !9th
Shannon & Peter 10 Contemporary dancers 11 !11th [2][3]
Signature 2 Bhanghra dancers 02 !2nd
Issy Simpson 11 Child magician 02 !2nd [6]
James Smith 8 Singer 06 !6th
Smith, FarylFaryl Smith 2 Classical Singer Finalist
Smith, JulianJulian Smith 3 Saxophonist 03 !3rd
Smith, ShaunShaun Smith 3 Child Singer 09 !9th
Spelbound 4 Gymnastic troupe 01 !1st
Stavros Flatley 3 Comedy dance duo 04 !4th
Steel, HollieHollie Steel 3 Child singer/dancer 06 !6th
Stone, ChristopherChristopher Stone 4 Singer 07 !7th
Strike 2 Martial arts demo Finalist
Talbot, ConnieConnie Talbot 1 Child Singer Finalist
Kyle Tomlinson 11 Singer 06 !6th [6]
UDI 9 Electronic light dance troupe 10 !10th [5]
Woodward, WayneWayne Woodward 10 Swing singer 02 !2nd [2][3]
Ned Woodman 11 Child Stand-up comedian 10 !10th [6]
Yanis Marshall, Arnaud & Mehdi 8 Dance troupe 11 !11th
Tina and Chandi 4 Dancing Dog act 04 !4th
Twist and Pulse 4 Dance duo 02 !2nd
Jump up ^ Connected split up shortly after the competition. Brothers Harry and Max Mondryk, along with friend Matt Fitzgerald, reformed as ReConnected. The remaining members, Myles and Connor Ryan, came together under the name Myles and Connor and have signed a recording contract.
References[edit]
Jump up ^ "Round-up! There was plenty of drama on Friday's show". ITV. 29 May 2015. Retrieved 27 June 2015.
^ Jump up to: a b c d e f g h i j k l "Meet your Britain's Got Talent 2016 Grand Finalists!". ITV. 27 May 2016. Retrieved 29 May 2016.
^ Jump up to: a b c d e f g h i j k l "Britain's Got Talent 2016 voting percentages revealed!". ITV. 28 May 2016. Retrieved 29 May 2016.
Jump up ^ "Britain's Got Talent - Boyband". ITV. 31 May 2015. Retrieved 27 June 2015.
^ Jump up to: a b c d e f g h i j k "Meet the Britain's Got Talent finalists". ITV. 30 May 2015. Retrieved 27 June 2015.
^ Jump up to: a b c d e f g h i j k "Britain's Got Talent 2017 voting percentages revealed!". ITV. 3 June 2017. Retrieved 5 June 2017.
^ Jump up to: a b c d e f g h i j "Jai McDowall beats Ronan Parke". BBC News. 5 June 2011. Retrieved 7 June 2011.
^ Jump up to: a b "Razy Gogonea and Michael Collings through to BGT final: Semi-final 5 round-up". stv. 3 June 2011. Retrieved 7 June 2011.
^ Jump up to: a b Hogan, Michael (30 May 2011). "Britain's Got Talent: Simon returns, review". The Daily Telegraph. Retrieved 7 June 2011.
^ Jump up to: a b Hogan, Michael (1 June 2011). "Britain's Got Talent, third semi-final:review". The Daily Telegraph. Retrieved 7 June 2011.
^ Jump up to: a b Hogan, Michael (2 June 2011). "Britain's Got Talent, fourth semi-final: review". The Daily Telegraph. Retrieved 7 June 2011.
^ Jump up to: a b Hogan, Michael (31 May 2011). "Britain's Got Talent, second semi-final: review". The Daily Telegraph. Retrieved 7 June 2011.
Jump up ^ "Richard Jones is your Britain's Got Talent 2016 winner!". ITV. 28 May 2016. Retrieved 28 May 2016.
External links[edit]
Official website
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Britain's Got Talent
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Series
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8
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Paul Potts
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Diversity
Spelbound
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contestants
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