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"malaprop" Definitions
  1. malapropism (def. 2).
"malaprop" Synonyms
framis bafflegab doublespeak gibberish patter word salad nonsense mumbo jumbo malapropism error solecism infelicity misapplication misusage misuse wrong word slip of the tongue

65 Sentences With "malaprop"

How to use malaprop in a sentence? Find typical usage patterns (collocations)/phrases/context for "malaprop" and check conjugation/comparative form for "malaprop". Mastering all the usages of "malaprop" from sentence examples published by news publications.

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It's simulator-as-malaprop, made to emphasize all the ways game simulations distort the world.
Malaprop would view this theme, which manifests in five across and two down entries, with acrimony.
Malaprop (Barbara Kingsley) said after a longish pause to let some screaming sirens pass, whereupon a helicopter flew over.
Malaprop, when she shall treat me, as long as she chooses, with her select words so ingeniously misapplied, without being mispronounced. Mrs.
Malaprop is a character in the 18th-century Irish play The Rivals who delights in elaborate, polysyllabic words and constantly misuses them.
The potentially tiresome character of the constable Dogberry is reconceived as a malaprop-prone American filmmaker who goes by the name Dog Berry.
But the silly, malaprop-prone Amy blossoms fully into her horridness, becoming an excellent foil for Jo, the pants-wearing hero we root for as obstacles pile up.
Barry is pulled in one direction by Monroe Fuches, a facile blowhard who books Barry's hits and works every angle to keep him killing, and by NoHo Hank, a timid, malaprop-prone Chechen mobster besotted with Barry's lethal skills.
Louisa Lane Drew as Mrs. Malaprop in an 1895 production of The Rivals The word "malapropism" (and its earlier variant "malaprop") comes from a character named "Mrs. Malaprop" in Richard Brinsley Sheridan's 1775 play The Rivals. Mrs. Malaprop frequently misspeaks (to comic effect) by using words which do not have the meaning that she intends but which sound similar to words that do.
Malaprop, Julia is reconciled to Faulkland, and Acres invites everyone to a party.
Malaprop, Lydia, Julia, and Sir Anthony of the duel, and they all rush off to stop it. Sir Lucius explains the cause of his challenge, but Lydia denies any connection to him, and admits her love for Jack. Mrs. Malaprop announces that she is Delia, but Sir Lucius recoils in horror, realising that he has been hoaxed. Sir Anthony consoles Mrs.
Other malapropisms spoken by Mrs. Malaprop include "illiterate him quite from your memory" (instead of "obliterate"), "he is the very pineapple of politeness" (instead of pinnacle) and "she's as headstrong as an allegory on the banks of the Nile" (instead of alligator).There are not alligators on the banks of the Nile, although there are crocodiles. Malapropisms appeared in many works before Sheridan created the character of Mrs. Malaprop.
American humorist Benjamin Penhallow Shillaber (1814–1890), who often wrote under the guise of his fictional character Mrs. Ruth Partington, the American version of Mrs. Malaprop, is a possible source.
In spite of these statements, which earned him the nickname "The Master of the Malaprop", he was honored by the Baseball Hall of Fame with the Ford Frick Award, their lifetime achievement award for announcers.
She annoys Mrs. Malaprop by loudly professing her eternal devotion to "Beverley" while rejecting "Jack Absolute". Jack's friend Faulkland is in love with Julia, but he suffers from jealous suspicion. He is constantly fretting himself about her fidelity.
Norman Lawrence Crosby (born September 15, 1927) is an American comedian sometimes associated with the Borscht Belt who often appeared on television in the 1970s. He is known for his use of malapropisms and is often called "The Master of Malaprop".
Cummin in Little Miss Cummin with Marie Lohr at the Playhouse Theatre, and the same year, she was Mrs. Malaprop in The Rivals, by Richard Brinsley Sheridan at the Lyric Theatre. The next year, among other roles, she was Mrs.
Sheridan presumably chose her name in humorous reference to the word malapropos, an adjective or adverb meaning "inappropriate" or "inappropriately", derived from the French phrase mal à propos (literally "poorly placed"). According to the Oxford English Dictionary, the first recorded use of "malapropos" in English is from 1630, and the first person known to have used the word "malaprop" in the sense of "a speech error" is Lord Byron in 1814. The synonymous term "Dogberryism" comes from the 1598 Shakespeare play Much Ado About Nothing in which the character Dogberry utters many malapropisms to humorous effect. Though Shakespeare was an earlier writer than Sheridan, "malaprop/malapropism" seems an earlier coinage than "Dogberryism", which is not attested until 1836.
Malaprop in The Rivals. She was noticeably ill and weak during her performance and was unable to stand to receive her applause at the end of the play. Instead, the curtain rose to reveal Glover seated, surrounded by the rest of the cast. She died days later on 16 July 1850.
Like the character of Mrs. Malaprop in Sheridan's play The Rivals, the name Simon Pure soon became a noun for a quality in a person. In Mrs. Malaprop's case, that quality was incorrect usage of a word by substituting a similar-sounding word with different meaning, usually with comic effect.
Lydia, who reads a lot of popular novels of the time, wants a purely romantic love affair. To court her, Jack pretends to be "Ensign Beverley", a poor army officer. Lydia is enthralled with the idea of eloping with a poor soldier in spite of the objections of her guardian, Mrs. Malaprop, a moralistic widow. Mrs.
Sir Lucius pays Lucy to carry love notes between him and Lydia (who uses the name "Delia"), but Lucy is swindling him: "Delia" is actually Mrs. Malaprop. As the play opens, Sir Anthony arrives suddenly in Bath. He has arranged a marriage for Jack, but Jack demurs, saying he is in love already. They quarrel violently.
Sir Lucius leaves, Jack arrives, and Acres tells him of his intent. Jack agrees to deliver the note to "Beverley", but declines to be Acres' second. Mrs. Malaprop again presents Jack to Lydia, but this time with Sir Anthony present, exposing Jack's pose as "Beverley". Lydia is enraged by the puncturing of her romantic dreams, and spurns Jack contemptuously.
Passages from King Philip are combinations and adaptations of lines from numerous actual Shakespeare plays. The dialogue and narrative also contains many references and phrases taken from Shakespeare's plays. One such example is the supporting character Walter Strawberry, a bumbling, malaprop-spewing policeman who appears to be modeled after Constable Dogberry from Much Ado About Nothing.
In the early 1940s, Gardner worked as a director, writer, and producer for radio programs. In 1941, he created a character for This Is New York, a program that he was producing. The character, which Gardner played, became Archie of Duffy's Tavern. He found fame on radio with Duffy's Tavern, portraying the wisecracking, malaprop-prone barkeeper Archie.
A malapropism (also called a malaprop, acyrologia, or Dogberryism) is the mistaken use of an incorrect word in place of a word with a similar sound, resulting in a nonsensical, sometimes humorous utterance. An example is the statement by baseball player Yogi Berra, "Texas has a lot of electrical votes", rather than "electoral votes".Examples of Malapropism. Examples.yourdictionary.com (2015-10-09).
In 1962, a radio production by R. D. Smith for the BBC Third Programme featured Fay Compton as Mrs Malaprop, Baliol Holloway as Sir Anthony Absolute, Fenella Fielding as Lydia Languish, Hugh Burden as Captain Absolute and John Hollis as Thomas. It was repeated on 23 December 1963 on the Home Service as part of the "National Theatre of the Air" series.
Her theatre roles included Lady Bracknell in The Importance of Being Earnest at Birmingham Rep, Madame Arcati and Mrs Malaprop in touring productions of Blithe Spirit and The Rivals respectively and a touring production of the comedy Sailor, Beware!, as well as two West End plays: the farce Two into One and comedy When We Are Married, and many pantomimes.
A Traitor's Kiss: The Life and Works of Richard Brinsley Sheridan (London: Granta Books, 1998) p.105 John Quick, who had proved himself as a great actor of Sheridan's comic characters as Bob Acres in The Rivals and Doctor Rosy in St. Patrick's Day, was given the part of the equally ridiculous Isaac Mendoza; Mrs. Green, the original Mrs Malaprop, was given the role of the duenna.
Jane Ace (October 12, 1897 – November 11, 1974) was the high-voiced, malaprop- mastering wife on the legendary, low-keyed American radio comedy Easy Aces (1930–45). Playing herself opposite her real-life husband and the show's creator-writer, Goodman Ace (1899–1982), she delivered clever malapropisms over the air in each episode of the urbane serial comedy, and many became part of the American vernacular.
She was David Garrick's Ophelia in his first season at Goodman's Fields; as Miss Hippisley, the original Kitty Pry in the Lying Valet; Biddy in Miss in Her Teens; and as Mrs. Green, which name she took in 1747–1748, was the first Mrs. Malaprop. It is suggested that she took the name of Mrs. Green to conceal the illegitimate birth of a son.
137 The following year she played in a West End revival of Heartbreak House, this time playing Hesione Hushabye. She toured for ENSA in Britain, Europe and India in 1944 and 1945. Returning to London, at the end of the war she played Mrs Malaprop in The Rivals. The production was not liked by the critics, and Evans's performance drew respectful rather than ecstatic reviews.
So this is 'a good violent murder with lots of blood.' But there is, on the other hand, another departure from Mrs Christie's earlier stories which must be regretted. M. Poirot in his retirement is becoming too much of a colourless expert. One feels a nostalgic longing for the days when he baited his 'good friend' and butt, Hastings, when he spoke malaprop English and astonished strangers by his intellectual arrogance.
Malaprop is the chief comic figure of the play, thanks to her continual misuse of words that sound like the words she intends to use, but mean something completely different (the term malapropism was coined in reference to the character). Elsie Leslie as Lydia Languish in The Rivals, 1899. Photograph by Zaida Ben-Yusuf. Lydia has two other suitors: Bob Acres (a somewhat buffoonish country gentleman), and Sir Lucius O'Trigger, an impoverished and combative Irish gentleman.
Michael Billington wrote of this performance in 2015: "It is easy to play the word-mangling Mrs Malaprop as a comic buffoon. But the whole point of McEwan's performance was that she took language with fastidious seriousness, fractionally pausing before each misplaced epithet as if ransacking her private lexicography. As I said at the time, it was like watching a demolition expert trying to construct a cathedral." For this role, McEwan won the Evening Standard Award for Best Actress.
The novella was written by Jim Theis, a St. Louis, Missouri science fiction fan, at age 16. The work was first published in 1970 in OSFAN 10, the fanzine of the Ozark Science Fiction Association. Theis was "a malaprop genius, a McGonagall of prose with an eerie gift for choosing the wrong word and then misapplying it," according to David Langford in SFX. Many of Theis's words were also misspelled in the fanzine, which was poorly typed.
Malaprop, which he would reuse frequently throughout his career. In 1851, Shillaber became the founding editor of The Carpet-Bag with his business partner Charles G. Halpine. The Boston-based humor magazine was one of the country's first comic publications. Though it would only survive for two years, it soon earned a national reputation and enticed contributions from humorist like George Derby and others, as well as serious writers who used pseudonyms like Enoch Fitzwhistle, Peter Snooks, and John P. Squibob.
Malaprop'; Studio Legend Exploded: Famous Director's English is Found to Be Better Than Chroniclers; Likes Simple Stories", Pittsburgh Press, August 23, 1942, p. 21 However, he also felt that even with the same story, any five different directors would produce five distinctive versions. "No two would be alike," he said, as each director's "work is reflection of himself." Film historian Peter Wollen says that throughout Curtiz's career, his films portrayed characters who had to "deal with injustice, oppression, entrapment, displacement, and exile.
She played an officious headmistress in The Happiest Days of Your Life at the Apollo Theatre in 1948 and classical roles such as Madame Desmortes in Ring Round the Moon (Globe Theatre, 1950), Lady Wishfort in The Way of the World (Lyric Hammersmith, 1953 and Saville Theatre, 1956) and Mrs. Candour in The School for Scandal (Haymarket Theatre, 1962). Her final stage performance came in 1966 when she played Mrs. Malaprop in The Rivals at the Haymarket Theatre, alongside Sir Ralph Richardson.
With the same company she played Queen Margaret in Richard III in 1957, to the Richard of Robert Helpmann, and Lady Bracknell in The Importance of Being Earnest in 1959. At the first Chichester Festival, July to September 1962, Compton played Grausis in The Broken Heart, and Marya in Uncle Vanya. Her other stage roles of the 1960s included Mrs Malaprop in The Rivals, and her last Barrie role, the Comtesse in What Every Woman Knows. Compton was awarded the CBE in 1975.
Mrs. John Drew as Mrs. Malaprop in an all-star Broadway revival of The Rivals (1895) Louisa Lane was born in London, England, the daughter of Eliza Trentner (1796–1887), a singer and actress, Thomas Frederick Lane (1796–1825), and actor and theatre manager.Billboard June 6, 1942 Louisa and her mother came to America when she was six years old. She proved to be a child prodigy playing five different adult roles within one play at the age of eight in 1828.
During an interview in the height of the steroids scandal in 2005, Coleman stated, "If I'm emperor, the first time 50 games, the second time 100 games and the third strike you're out", referring to how baseball should suspend players for being caught taking steroids. After the 2005 World Series, Major League Baseball put a similar policy in effect. Coleman was known as the "Master of the Malaprop" for making sometimes embarrassing mistakes on the microphone, but he was nonetheless popular.
Her mother appeared with Henry Siddons at the New Theatre Royal on Leith Walk and she went on to play character roles like Mrs Malaprop. In 1819 she and her mother were chosen to perform in an operatic adaptation of the novel Rob Roy for the first time in Edinburgh. Her mother played the role of Jean McAlpine and she took the role of Mattie.Playbill of 17 Feb 1819, Theatre Royal, National Libraries of Scotland, retrieved 12 February 2015 When George IV saw Rob Roy they were still in these roles.
Mary Jane Seaman was an actress who played in the provinces before playing Mrs Wellington de Boots in Joseph Stirling Coyne's comedy Everybody's Friend at the Theatre Royal, Manchester in October 1859. Under the name Miss Snowdon she made her first London appearance playing Mrs Malaprop in The Rivals at the Haymarket Theatre in 1863.Joseph Knight, ‘Chippendale, William Henry (1801–1888)’, rev. Nilanjana Banerji, Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 1 Nov 2009 In 1866 she married her fellow Haymarket actor William Henry Chippendale.
Among his notable credits in London are Jack Absolute in The Rivals, with Michael Hordern as his father and Geraldine McEwan as Mrs Malaprop, and Lord Goring in Peter Hall's An Ideal Husband. He has acted on many British television shows since the mid-1970s including Lillie, Romeo and Juliet, The Professionals, Minder, Rumpole of the Bailey, Lovejoy, Coming Home and Holby City. In 1986 he appeared in the Doctor Who serial The Trial of a Time Lord in the Mindwarp segment. He was one of the lead characters in the BBC TV comedy series The High Life playing Captain Hilary Duff.
The fictional Mrs. Malaprop in Sheridan's play The Rivals utters many malapropisms. In Act 3 Scene III, she declares to Captain Absolute, "Sure, if I reprehend any thing in this world it is the use of my oracular tongue, and a nice derangement of epitaphs!" This nonsensical utterance might, for example, be corrected to, "If I apprehend anything in this world, it is the use of my vernacular tongue, and a nice arrangement of epithets", —although these are not the only words that can be substituted to produce an appropriately expressed thought in this context, and commentators have proposed other possible replacements that work just as well.
" Written by Goodman Ace, who cast himself as a harried real estate salesman and the exasperated but loving husband of the scatterbrained, malaprop-prone Jane ("You've got to take the bitter with the better"; "Time wounds all heels"), Easy Aces became a long- running serial comedy (1930–1945) and a low-keyed legend of old-time radio for its literate, unobtrusive, conversational style and the malaprops of the female half of the team. The show was never a rating blockbuster, but according to Dunning it "was always a favourite of Radio Row insiders. Like Fred Allen and Henry Morgan, Ace was considered an intelligent man's wit. His show limped along [but] . . .
Clay's lampoons of black Philadelphians were more biting, and ridiculed the supposed fancy dress, pretentious manners, snobbery, and malaprop-filled "black speech" of the city's small but visible black middle class.Kenneth Finkel, Philadelphia ReVisions: The Print Department Collects (Library Company of Philadelphia, 1983), p. 22. "The cartoons were so popular that the term ' _Life in Philadelphia_ ' became a standard phrase to refer to fashions, trends, and-- most especially--black Philadelphians' social practices and sartorial choices." Clay's cartoons were indicative of both the white supremacy and class insecurity of the Jacksonian Era, a time when abolitionism and free blacks were perceived as threats to both American slaveholders and the white working class.
J. Gilliland, "Nicol, Sarah Bezra (d. in or after 1834)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, May 2007 accessed 8 Feb 2015 By 1807 she was the character actress of choice for old woman roles at the Theatre Royal in Edinburgh, and in the following year she had her first benefit performance. Mrs Nicol appeared with Henry Siddons at the New Theatre Royal on Leith Walk and she went on play character roles like Mrs Malaprop. She was in the company chosen to perform in an operatic adaptation of the novel Rob Roy for the first time in the city.
113 From 1906 to 1910 Lewis Waller was based at the Lyric, in plays ranging from Shakespeare to romantic costume drama and classic comedy in The Rivals with Kate Cutler as Lydia and Lottie Venne as Mrs Malaprop."Drama of the Month", The Playgoer and Society Illustrated, April 1910, p. 3 In 1910 the Lyric presented The Chocolate Soldier, a musical version of Bernard Shaw's Arms and the Man, with music by Oscar Straus; Shaw detested the piece and called it "that degradation of a decent comedy into a dirty farce",Holroyd, p. 306 but the public liked it, and it ran for 500 performances.
In November 1847 and January 1848, Cowden-Clarke played Mrs. Malaprop in three amateur productions of The Rivals. These private theatricals led to an introduction through Leigh Hunt to Charles Dickens, who persuaded her to perform in the amateur company which, under his direction, gave representations in London and several provincial towns in aid of the establishment of a perpetual curatorship of Shakespeare's birthplace at Stratford-on-Avon. Cowden-Clarke's roles included Dame Quickly in The Merry Wives of Windsor at the Haymarket, on 15 May 1848, Tib in Every Man in his Humour, and Mrs. Hillary in Kenney's Love, Law, and Physic on 17 May.
The play was scheduled to make its world premiere in the Olivier Theatre at the National Theatre in London from 15 April for a limited run until 25 July 2020 with the performance on Thursday 23 July to be captured live and broadcast to cinemas through National Theatre live. However, due to the ongoing COVID-19 pandemic, all performances have been cancelled and the production has been postponed. The production was due to be directed by Thea Sharrock, designed by Mark Thompson, lighting designed by Bruno Poet, music composed by Adrian Johnston with a cast including Caroline Quentin as Mrs Malaprop, James Fleet as Sir Anthony Absolute and Richard Fleeshman as Dudley Scunthorpe.
Easy Aces is an American serial radio comedy (1930–1945). It was trademarked by the low-keyed drollery of creator and writer Goodman Ace and his wife, Jane, as an urbane, put-upon realtor and his malaprop-prone wife. A 15-minute program, airing as often as five times a week, Easy Aces wasn't quite the ratings smash that such concurrent 15-minute serial comedies as Amos 'n' Andy, The Goldbergs, Lum and Abner, or Vic and Sade were. But its unobtrusive, conversational, and clever style, and the cheerful absurdism of its storylines, built a loyal enough audience of listeners and critics alike to keep it on the air for 15 years.
He renovated the interior, receiving praise from The Sunday Times: Among Clarke's productions was a revival of Sheridan's The Rivals, featuring Mrs Stirling as Mrs Malaprop and Clarke as Bob Acres; it ran for more than 50 performances, an unheard-of run at the time for an old classic. In 1874 Lydia Thompson starred in H. B. Farnie's burlesque Blue Beard, in which she had played in the US nearly 500 times;"Charing-Cross Theatre", The Morning Post, 21 September 1874, p. 6 her co-stars were Lionel Brough and Willie Edouin. The following year the theatre featured Kate Santley in a series of comic operas, and later Virginie Déjazet in a French season.
Midnight Louie is the name of a slightly overweight (20 pounds) fictional black cat in a series of mystery novels by author Carole Nelson Douglas, and is the general title for the same series. Each volume of the series is told from the point of view of the cat's "roommate", Temple Barr, a freelance public relations consultant, and from the point of view of Midnight Louie, the cat himself. Midnight Louie's chapters are written in what the author describes as a style reminiscent of Damon Runyon, generic gumshoe, and Mrs. Malaprop. As the Las Vegas-set series continues, three other main human characters have points of view: a hard-boiled female homicide detective, C.R. Molina; Matt Devine, an ex-priest; and Max Kinsella, a stage magician.
McEwan took the lead role in an adaptation for Scottish Television of Muriel Spark's The Prime of Miss Jean Brodie (1978).Alasdair Steven "Obituary: Geraldine McEwan, actress", The Scotsman, 2 February 2015 She was Spark's favourite in the role and came the closest to the character as Spark had imagined it; Brodie has also been portrayed on stage and screen by Vanessa Redgrave and Maggie Smith. Her other work for television in this period included roles in The Barchester Chronicles (1982) and Mapp and Lucia (1985–86) with Prunella Scales as Mapp and McEwan as Lucia. In 1983, McEwan played Mrs Malaprop in a production of Sheridan's The Rivals at the National Theatre by Peter Wood which also featured Michael Hordern as Sir Anthony Absolute.
After McEwan died, The Guardians Michael Billington wrote of this performance: "At the time Olivia tended to be played as a figure of mature grief: McEwan was young, sparky, witty and clearly brimming with desire for Dorothy Tutin's pageboy Viola."Michael Billington "Geraldine McEwan: mischievously witty, from Mrs Malaprop to Miss Marple", The Guardian, 1 February 2015 McEwan's performance, according to Dominic Shellard, split contemporary critical opinion between those observers who considered it "heretical" and others who thought it "revolutionary".Dominic Shellard British Theatre Since the War, New Haven & London: Yale University Press, 1999 [2008], p. 96See also Peter Hall's autobiography Making an Exhibition of Myself: the autobiography of Peter Hall, London: Oberon Books, 2000, p. 145. Originally published by Sinclair Stevenson (London) in 1993.
Sam Berman's caricature of Ed Gardner as the bartender Archie on Duffy's Tavern was published in NBC's 1947 book promoting the network's top stars. Duffy's Tavern was an American radio situation comedy that ran for a decade on several networks (CBS, 1941–42; NBC-Blue Network, 1942–44; and NBC, 1944–51), concluding with the December 28, 1951, broadcast. The program often featured celebrity guest stars but always hooked them around the misadventures, get- rich-quick schemes and romantic missteps of the title establishment's malaprop-prone, metaphor-mixing manager, Archie, portrayed by Ed Gardner, the writer/actor who co-created the series. Gardner had performed the character of Archie, talking about Duffy's Tavern, as early as November 9, 1939, when he appeared on NBC's Good News of 1940.
In the 1961-1962 television season, Lembeck played a theatrical agent, Jerry Roper, in the ABC sitcom The Hathaways, starring Peggy Cass and Jack Weston as "parents" to the performing Marquis Chimps. He appeared twice as "Al" in "Variations on a Theme" and "Music Hath Charms" (both 1961) on another ABC sitcom, The Donna Reed Show. Having spent a great deal of his adult life in uniform, Lembeck once again donned Navy togs in the 1962-1963 season to co-star with Dean Jones in the NBC sitcom Ensign O'Toole. He co- starred with Steve McQueen in Love with the Proper Stranger and then spent part of the early 1960s playing the lovable bad guy malaprop Eric Von Zipper in six American International beach party films, with Frankie Avalon and Annette Funicello.
Those columns eventually yielded three anthologies: The Book of Little Knowledge: More Than You Want to Know About Television, The Fine Art of Hypochondria, or How Are You and The Better of Goodman Ace. In 1970, Ace surprised and delighted old Easy Aces fans when he published a book with eight complete Easy Aces scripts and essays about living with, working with and loving the malaprop queen, plus a seven-inch flexidisc that extracted from the original radio performance of one of those scripts, "Jane Sees a Psychiatrist." The book was named for the show's standard introduction: Ladies and Gentlemen--Easy Aces. He also held a regular slot for humorous commentaries on New York station WPAT for a few years before spending the rest of his life as a writer and lecturer.
Advertisement for the Seyler Hannen Company Although better known as a stage actress - she first appeared on the stage in 1909 - she made her film debut in 1921, and became known for playing slightly dotty old ladies in many British films from the 1930s to the 1960s. In 1933, Seyler together with Nicholas Hannen, took a company which included Hannen's daughter by his first marriage, Hermione Hannen, on a well received tour of the Far East and Australia.Sydney Morning Herald, 6 May 1933, p8 Her most memorable stage credits included Mrs Malaprop in The Rivals, Lady Bracknell in The Importance of Being Earnest and a double-act, with her good friend Dame Sybil Thorndike, as the murderous spinster sisters in Arsenic and Old Lace. Her film and television career lasted into the 1960s, and included roles in The Citadel (1938), Night of the Demon (1957) and The Avengers (1964, 1965).
El Brendel and Yola d'Avril in Hot for Paris (1929) In 1926, he signed a contract with Famous Players Film Company and appeared in eight films there over the next two years, most memorably as the comic relief in Wings (1927) with Clara Bow and Buddy Rogers, a film which won the first Academy Award for Outstanding Production (an award that is comparable to today's Best Picture Oscar.) Brendel played the character Herman Schwimpf, a German-American whose patriotism is at first questioned when he volunteers for service in the U.S. Air Force. Brendel left Paramount Pictures in 1927 to return to the vaudeville stage before being coaxed back to Hollywood in 1929, signing a contract with Fox Film Corporation. Brendel's star immediately rose at the studio, largely in part due to the advent of sound. His "simple Swede" character now had a voice, and his malaprop-ridden dialogue gave his character new appeal.
He is better remembered for the language of his speeches than for his politics--they were riddled with mixed metaphors ("Mr Speaker, I smell a rat; I see him forming in the air and darkening the sky; but I'll nip him in the bud"), malapropisms and other unfortunate turns of phrase ("Why we should put ourselves out of our way to do anything for posterity, for what has posterity ever done for us?"). Roche may have been Richard Brinsley Sheridan's model for Mrs Malaprop. While arguing for a bill, Roche once said, "It would surely be better, Mr. Speaker, to give up not only a part, but, if necessary, even the whole, of our constitution, to preserve the remainder!" While these Irish bulls have led many writers to portray Roche as a buffoon, other biographers have interpreted them not as blunders, but as calculated attempts to disarm opposition to ministerial policies through humour.
16 From 1971-72 Mount starred in the television comedy Lollipop Loves Mr. Mole with Hugh Lloyd and Pat Coombs. Her character in this series was still formidable, but gentler than many of her characteristic earlier roles. On BBC radio Mount appeared as Mistress Otter in Ben Jonson's The Silent Woman (1972), Opinionated Alice in Stargazy on Zummerdown (1978) and Madame Arcati in Noël Coward's Blithe Spirit (1983). In the 1970s Mount appeared in several touring productions, prominent among which was her Mrs Malaprop in Sheridan's The Rivals. From 1976 to 1979, she was a member of the National Theatre company. Her Donna Pasqua in Il Campiello by Carlo Goldoni (1976) gained good notices, as did her Mrs Hewlett in Ben Travers's Plunder (1978). Among her most praised performances was the title role of Brecht's Mother Courage at the Birmingham Repertory Theatre in 1977. The Guardian called her portrayal "exceptional" and "perfectly Brechtian".
In 1927 she joined Lilian Baylis' Old Vic company; for her first season she played in Ibsen, Shakespeare (as Viola in Twelfth Night, Lady Macbeth opposite John Laurie, Mistress Page in The Merry Wives of Windsor and Gertrude in Hamlet) and Sheridan's Mrs Malaprop. In 1931 she joined the Greyhound Theatre, Croydon, as artistic director, a position she held for two years before returning to the West End in a company headed by Tyrone Guthrie, with a long run in Dorothy Massingham's The Lake. Later in 1933 she again performed Gertrude, in William Bridges-Adams's production of Hamlet at the Shakespeare Memorial Theatre, opposite Anew McMaster. Regular London acting engagements, including some film work, continued until October 1936 when, at Baylis's invitation, she returned to the Old Vic to direct Michael Redgrave and Edith Evans in a celebrated production of As You Like It. This was followed by Ghosts, an Old Vic production staged at the Vaudeville Theatre, which was presented for television later that year.

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