The West End production opened on February 11, 1953 at Her Majesty's Theatre and ran for 477 performances.

Her episodes featured musical interludes showcasing her singing performances.

Her early performances brought her immediate success in Britain, but she remained largely unknown in other parts of the world until the release of Gone with the Wind.

The 1958 European premiere at the Manchester Opera House transferred to London, where it opened at Her Majesty's Theatre in the West End on Friday December 12, 1958 and ran until June 1961 with a total of 1, 039 performances.

Her live performances of the song throughout the decade began to take on a theatrical intensity not present on the album's single.

It was first performed in England on 24 May 1856 in Italian at Her Majesty's Theatre in London, where it was considered morally questionable, and " the heads of the Church did their best to put an injunction upon performance ; the Queen refrained from visiting the theatre during the performances, though the music, words and all, were not unheard at the palace ".

Her performances in Seventh Heaven ( the first of twelve movies she would make with actor Charles Farrell ) and both Sunrise, directed by F. W. Murnau, and Street Angel ( in 1927, also with Charles Farrell ) earned her the first Academy Award for Best Actress in 1928.

Next, it had a run of 76 performances at Her Majesty's Theatre, in London, beginning on 26 December 1865, in an adaptation by J. R. Planché.

Her recent public performances have included charitable functions to promote products such as Zamu.

Her occasional acting ventures were limited to theater and included performances on Broadway and in London in The Irregular Verb to Love ( 1963 ); The Kingfisher ( 1978 ) in which she co-starred with Rex Harrison, and Frederick Lonsdale's Aren't We All?

The musical's original West End production opened on April 14, 1949, at Her Majesty's Theatre, running for 685 performances.

Her background and performances earned her the nickname " the Flying Housewife ".

Her performances often featured elaborate show-dance choreography, and she made many appearances on French and Italian TV.

Her revue, with future TV pioneer Danny Thomas as her opening act, included songs from her films, performances on her musical saw ( a skill she had originally acquired for stage appearances in Berlin in the 1920s ), and a pretend " mindreading " act.

Her performances in the Broadway musical Black and Blue earned Brown a Tony Award, and the original cast recording won a Grammy Award.

Her big screen debut was in Hue and Cry, in 1947, followed with performances in Nicholas Nickleby, The Winslow Boy, The History of Mr Polly, Scott of the Antarctic, Mother Riley Meets the Vampire and Dickens ' The Pickwick Papers.

Her late career includes Oscar-nominated performances in the independent films Afterglow ( 1997 ) and Away from Her ( 2006 ).

Her first televised performances were in the mid-and late 1950s with the Drinkard Singers on local television stations in New Jersey and New York City.

Her Royal Shakespeare Company performances are:

Her National Theatre performances have included:

Her stage experience enhanced many of her film performances when the " silents " segued to the " talkies ".

Her productions were plagued by controversy and other problems, although the controversy ensured that West stayed in the news and most of the time this resulted in packed performances.

Her impromptu performances impressed The Beatles and others.

Her eyes were glazed as if she didn't hear or even see him.

Her blond hair was frowzy, her dress torn in several places, and her shoes were so completely worn out that they were practically no protection.

Her legs were the full, sexy kind, full bodied like a rare wine and just as tantalizing to the appetite ; ;

Her glance swung past the trailer where the two drivers were standing.

Her long thin arms moved in a slow rhythmical gesture over the family possessions which were placed in front of her.

Her quarters were on the right as you walked into the building, and her small front room was clogged with heavy furniture -- a big, round, oak dining table and chairs, a buffet, with a row of unclaimed letters inserted between the mirror and its frame.

Her thoughts were not discrete.

Her eyebrows were definite and heavy and formed two lines moving upward toward a high forehead and a great head of brown hair that fell to her shoulders.

Her services to the School for many years were of a very high character, and I have often thought that one of the buildings should be named for her ''.

Her eyes were bright with anticipation.

Her `` Rockabye Your Baby '' was as good as it can be done, and her really personal songs, like `` The Man That Got Away '' were deeply moving.

Her hesitation was only momentary and she hoped he didn't notice it, as she settled herself, asked quickly how Miss Jenny and the babies were getting on.

Her nose was higher of bridge, her complexion so pale as to be quite susceptible to sunburn, and the fish and vegetable diet of her forebears had given her teeth that were white and regular and strong.

Her bright eyes were twinkling.

Her hair never seemed to be in place and her skirts were never quite the correct length.

Her eyes were wild.

Her dark cool caresses were sweeter than any woman's ; ;

Her eyes were smiling, too, but so sadly, and there was tiredness and infinite wisdom in them.

Her extendibles were diverted, connected or augmented and the final, delicate-beyond-description brain taps were completed while Helva remained anesthetically unaware of the proceedings.

Her book titles, changed by American publishers, for example Ten Little Niggers to Ten Little Indians, were kept the same across the Atlantic, after bushels of fan mail.

Her two children by Philip II, Philip, count of Clermont ( died 1234 ), and Mary, who married Philip I of Namur, were legitimized by the pope in 1201 at the request of the king.

Her remaining children were raised between her, Livia Drusilla and Germanicus ’ mother Antonia Minor.

Her reputed last words, uttered as the assassin was about to strike, were " Smite my womb ", the implication here being she wished to be destroyed first in that part of her body that had given birth to so " abominable a son.