' Her face, with its glamour-gorgon makeup, softens, as Madame Armfeldt seems to melt into memory itself, and the wan stage light briefly appears to borrow radiance from her.

Her first appearance on the stage was at Haymarket in 1755 as Miranda in Mrs Centlivre's play, Busybody.

Her stage name derives from Mitch Ryder, a soul and rock singer her father happened to be listening to when her agent called and asked how she wanted to appear on the credits of her first film.

Her house on Mustique, designed by her husband's uncle the stage designer Oliver Messel, was her favourite holiday destination.

Her early acting pursuits led her to the stage, most notably a Broadway debut in Strindberg's The Father alongside Raymond Massey.

Her physical condition may have limited her mobility on the stage, but the charm of her voice, which had altered little with age, ensured her triumphs.

Her performance was kept secret from former Czech Republic President Havel until the moment she appeared on stage.

Her older sister, Amber, sings cabaret under the stage name Maude Maggart.

Her benefactors gone, and her own health in decline, she made her last appearance on the stage in Edinburgh in 1785.

Her final stage performance came in 1966 when she played Mrs Malaprop in The Rivals at the Haymarket Theatre, alongside Sir Ralph Richardson.

Her mother Georgette, from whom she acquired her stage name, was a French Catholic.

Her stage work in the late 1950s laid the foundation for her film career in the 1960s.

Her stage name is derived from her obsession with fluids.

Her father was a cattle baron and orange farmer, and her mother was a well-known opera singer who gave up the stage to marry and raise a family.

Her performance as Ulrica in Giuseppe Verdi's Un ballo in maschera at the Met was the only time she sang an opera role on stage.

Her story was also put to the stage in the verse tragedy Canace ( 1588 ), by Italian playwright Sperone Speroni.

Howard is reported to have had an affair with Tallulah Bankhead when they appeared on stage ( in the UK ) in Her Cardboard Lover ( 1927 ); Merle Oberon, while filming The Scarlet Pimpernel ( 1934 ) and Conchita Montenegro, with whom he had appeared in the film Never the Twain Shall Meet ( 1931 ).

Her mother uses the stage name " Catrine Dominique " for the music videos in which she has appeared.

Her stage work remained a priority and continued with Ann Veronica ( Piccadilly, 1949 ), which was another collaboration with Gow, who wrote the play with his wife as leading lady.

Her father, Walter Augustus de Havilland ( 31 August 1872 – 23 May 1968 ; aged 95 ), was a patent attorney with a practice in Japan, and her mother, Lilian Augusta ( née Ruse ; 11 June 1886 – 20 February 1975 ; aged 88 ) was a stage actress who had left her career after going to Tokyo with her husband – she would return to work after her daughters had already won fame in the 40s, with the stage name of Lillian Fontaine.

Her first stage appearance was when her mother brought her on stage in costume for the curtain call of the short-lived Broadway play The Leaf People.

Her earliest professional stage appearances were as a chorus girl on tour with Guido Thielscher's Girl-Kabarett, vaudeville-style entertainments, and in Rudolf Nelson revues in Berlin.

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 first day at work she was puzzled by an entry in the doctor's notes on an emergency case.

Her conclusion has been borne out in the experience of many practitioners: `` short-contact interviewing is neither a truncated nor a telescoped experience but is of the same essential quality as the so-called intensive case work ''.

Her husband, who is the son of Alton John Mason of Shreveport, La., and the late Mrs. Henry Cater Parmer, was president of Alpha Tau Omega and a member of Delta Sigma Pi at Lamar Tech, and did graduate work at Rhodes University in Grahamstown, South Africa, on a Rotary Fellowship.

Her first published work was a critical evaluation of D. H. Lawrence called D. H. Lawrence: An Unprofessional Study, which she wrote in sixteen days.

Her husband left her no money, so she has tried different kinds of work, and now hopes to find some work that is not too strenuous.

Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the " rejected " Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley.

Her work is only now being properly evaluated.

Her work in choreographing the landmark 1986 production of Lully's 1676 tragedie-lyrique Atys was part of the national celebration of the 300th anniversary of Lully's death.

Her later work was more introspective in its lyrics as opposed to aggressive ; Hole's Celebrity Skin and Love's solo album, America's Sweetheart, focused more on celebrity life, Hollywood, and drug addiction, while also carrying on past themes of vanity and body image, and Nobody's Daughter was lyrically reflective of Love's past relationships and her struggle to sobriety, with the majority of its lyrics having been written while Love was in rehab in 2006.

Her other major work is The Dialogue of Divine Providence, a dialogue between a soul who " rises up " to God and God himself, and recorded between 1377 and 1378 by members of her circle.

Her final work was a poem eulogizing Joan of Arc, the peasant girl who took a very public role in organizing French military resistance to English domination in the early 15th century.

In 1975, Day released her autobiography, Doris Day: Her Own Story, an " as-told-to " work with A. E. Hotchner.

Her work has earned her four Grammy Awards and an Academy Award nomination.

Her health broke under the stress of the 17-hour work day and she returned home in April 1839.

Her work involves children's adventure stories, and fantasy, sometimes involving magic.

Her work has been translated into nearly 90 languages.

Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value.

Her 1872 work, Middlemarch, has been described as the greatest novel in the English language by Martin Amis and by Julian Barnes.

" Her fiction has been nominated for nine Nebula and three Hugo Awards, and her genre-related scholarly work was recognized with a Pilgrim Award in 1988.

Her work is widely taught in courses on science fiction and feminism throughout the English speaking world.

Some of her best-regarded work can be found in the collection Her Smoke Rose Up Forever, available in paperback as of 2004.

* " Her stories and novels are humanistic, while her deep concern for male-female ( even human-alien ) harmony ran counter to the developing segregate-the-sexes drive amongst feminist writers ; What her work brought to the genre was a blend of lyricism and inventiveness, as if some lyric poet had rewritten a number of clever SF standards and then passed them on to a psychoanalyst for final polish.

Her work at Jericho, from 1952 until 1958, made her world famous and established a lasting legacy in the archaeological methodology of the Levant.

Her father eventually allowed her to work in the temple, but asked the monks to give her the toughest chores in order to discourage her.