Pleasure lifts the shiveringof ducks and drakes To vanishing abovearachnoid infrareds of light.
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But it unmistakably signifies that the icons of soccer fans nationwide are wallowing in such prodigious wealth that they can play ducks and drakes with money.
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The Guv'nor finding this was playing ducks and drakes with his theatrical plans had a 'nuptial clause' inserted in every contract... Debutantes were competing with the other girls to get into the Gaiety chorus while upper-class youths were joining the ranks of the chorus boys.
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Bonnet was born 1902 in Watford, Hertfordshire, England. His father was a bank manager in London's Chancery Lane; his mother was one of the Dudleys, a Staffordshire farming family"Pa-na-ta of ducks and drakes", by J.C. Griffith Jones. WESTERN MAIL, June 1961. He succeeded in winning a scholarship to Watford Boys Grammar School, from where he proceeded to St Catharine's College, Cambridge University, in 1920.
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In April 1974, Gough said that in retrospect it was a mistake for the Conservative Party to have forced Sir Alec Douglas-Home out of the leadership in 1965. He lived to see the release of the film A Bridge Too Far, which he described as "[playing] ducks and drakes with historical facts in order to dish up an extravaganza fit for the American massed cinema market".
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An Aylesbury duckling incubates in the egg for 28 days. Until eight weeks after hatching, the time of their first moult, ducks and drakes (females and males) are almost indistinguishable. After moulting, males have two or three curved tail feathers and a fainter, huskier quack than the female. By one year of age, females and males grow to an average weight of respectively, although males can reach around .
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Ducks and Drakes is a 1941 comedy play by the Irish writer Molly Keane. The plot revolves around the wives of three brothers, all living on a farm while their husband are away due to the war. It premiered at the Theatre Royal, Bath before transferring to the West End. It ran for 23 performances at the Apollo Theatre, directed by John Geilgud, with a cast that included Judy Campbell, Ronald Squire, Nora Swinburne, Kathleen Harrison, Mary Jerrold and Lilian Braithwaite.
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He then told Harry Meakin "I want you to join me on the new project, but my contract precludes me from poaching staff from Brymbo. So you will have to get yourself dismissed." According to Harry Meakin's son Frank: "My father - who was 32 years old at the time - then played ducks and drakes at Brymbo for six months until they were forced to sack him." Harry Meakin then moved to Scunthorpe and joined John Darby again, whereupon he took charge of designing the new steelworks.
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His appearances include The Rocking Horse Winner, The Million Pound Note and Mike Todd's lavish 1956 version of Around the World in 80 Days. He died 16 November 1958 aged 72, after being taken ill at his home in Great Ormond Street, London. He made numerous appearances in West End plays alongside his film career. These included performances in On Approval, The Bread-Winner, All Rights Reserved, Ducks and Drakes, While the Sun Shines, Jane, The Way Things Go and A Touch of the Sun.
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The following year she appeared in London's West End for the first time as Winnie in The Cage at the Savoy Theatre. Her subsequent West End plays included A Damsel in Distress, Happy Families, The Merchant and Venus, Lovers' Meeting, Line Engaged, Night Must Fall—also acting in the 1937 film version—Flare Path, Ducks and Drakes, The Winslow Boy and Watch It Sailor!. She had already made her film debut with a minor role in Our Boys (1915), when she appeared in the film Hobson's Choice (1931). Another 50 films followed, including Gaslight (1940), In Which We Serve (1942) and Caesar and Cleopatra (1945), before making her name in later films.
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After Connie Gilchrist and Rosie Boote had started the fashion a score of the Guv'nor's budding stars left him to marry peers or men of title while other Gaiety Girls settled for a banker or a stockbroker. The Guv'nor finding this was playing ducks and drakes with his theatrical plans had a 'nuptial clause' inserted in every contract.... Debutantes were competing with the other girls to get into the Gaiety chorus while upper-class youths were joining the ranks of the chorus boys.Information about the stagedoor Johnnie marriages The building was demolished in 1903 as part of the road widening of the East Strand and the new Aldwych-Kingsway road development, and Edwardes quickly built the New Gaiety Theatre at the corner of Aldwych and the Strand. The Orchid (1903) opened the new theatre, followed by The Spring Chicken (1905), The Girls of Gottenberg (1907), Our Miss Gibbs (1909), Peggy (1911), The Sunshine Girl (1912), The Girl on the Film (1913), Adele (1914), and After the Girl (1914).
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Wodehouse at Work to the End (revised edition, 1976), pp. 132-33; and Wodehouse, P. G. (1933) Heavy Weather, passim. Alan Hyman, an expert on burlesque theatre who penned the 1972 book The Gaiety Years, wrote: > At the old Gaiety in the Strand the chorus was becoming a matrimonial agency > for girls with ambitions to marry into the peerage and began in the nineties > when Connie Gilchrist, a star of the Old Gaiety, married the 7th Earl of > Orkney and then in 1901, the 4th Marquess of Headfort married Rosie Boote, > who had charmed London the previous year when she sang Maisie in The > Messenger Boy. After Connie Gilchrist and Rosie Boote had started the > fashion a score of the Guv'nor's budding stars left him to marry peers or > men of title while other Gaiety Girls settled for a banker or a stockbroker. > The Guv’nor finding this was playing ducks and drakes with his theatrical > plans had a 'nuptial clause' inserted in every contract.... Debutantes were > competing with the other girls to get into the Gaiety chorus while upper- > class youths were joining the ranks of the chorus boys.
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