SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "C Cibber Esq"/1) | (@(roleclean,performerclean) "C Cibber Esq")') GROUP BY eventid ORDER BY weight() desc, eventdate asc OPTION field_weights=(perftitleclean=100, commentpclean=75, commentcclean=75, roleclean=100, performerclean=100, authnameclean=100), ranker=sph04

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We found 2807 matches on Performance Comments, 2743 matches on Author, 1917 matches on Event Comments, 121 matches on Performance Title, and 0 matches on Roles/Actors.
Event Comment: The New Theatre in the Haymarket will speedily be open'd with Shakespeare's Romeo and Juliet, by Permission, according to Act of Parliament. This Piece, it's said, has not been played these hundred years. The character of Juliet is to be acted by Miss Jenny Cibber, a young daughter of Mr Cibber, by his first wife....A new Comedy, call'd the Prodigal; or, Recruits for the Queen of Hungary, will soon after be brought on that Stage.-Daily Advertiser

Performances

Performances

Mainpiece Title: The Distressed Mother

Performance Comment: Orestes-Delane; Pyrrhus-Giffard; Pylades-Havard; Hermione-Mrs Giffard; Andromache-Mrs Cibber, 1st appearance at dl in 9 years; Phenix-Winstone; Cephisa-Mrs Cross; Cleone-Mrs Bennet.

Afterpiece Title: The Amorous Goddess; or, Harlequin Marry'd

Performances

Mainpiece Title: The Conscious Lovers

Performance Comment: See17441004, but Tom-Cibber; Indiana-Miss Jenny Cibberrest omitted.

Afterpiece Title: The Gardener's Wedding

Music: II: German Flute-Thumoth

Song: WWas ever Nymph Like Rosamund?-Mrs Hill

Performances

Mainpiece Title: The Fair Penitent

Performance Comment: Horatio-Sheridan, 1st appearance here; Calista-Mrs Cibber; Lothario-Delane; Sciolto-Bridges; Alamont-Havard; Rossano-Blakes; Lavinia-Miss Budgell; Lucilla-Mrs Bennet.

Afterpiece Title: The Amorous Goddess

Performances

Mainpiece Title: Venice Preserved; Or, A Plot Discovered

Performance Comment: Jaffier-Delane; Pierre-Sheridan; Belvidera-Mrs Cibber; Renault-Berry; Duke-Winstone; Bedamour-Blakes.

Afterpiece Title: The Amorous Goddess

Performances

Mainpiece Title: The Conscious Lovers

Performance Comment: As17440927, but Indiana-Mrs Cibber; Humphry-Turbutt.

Afterpiece Title: Columbine Courtezan

Performances

Mainpiece Title: The Orphan; Or, The Unhappy Marriage

Performance Comment: Castalio-Havard; Chamont-Garrick; Polydore-Delane; Monimia-Mrs Cibber; Acasto-Bridges; Chaplain-Turbutt; Page-Miss Wright; Serina-Mrs Ridout; Florella-Mrs Bennet.
Related Works
Related Work: The Rival Fools Author(s): Colley Cibber
Related Work: The Fair Orphan Author(s): Colley Cibber

Afterpiece Title: Columbine Courtezan

Performances

Mainpiece Title: Deborah

Performance Comment: Deborah-Signora Francesina; Barak-Miss Robinson; Jael-Mrs Cibber; Sisera-Beard; Abinoam-Reinhold; Priest-Corfe (Dean, Handel's Dramatic Oratorios, p. 238).

Performances

Mainpiece Title: Tamerlane

Performance Comment: Tamerlane-Sheridan; Bajazet-Delane; Moneses-Giffard; Arpasia-Mrs Cibber; Axalla-Havard; Prince of Tanais-Blakes; Dervise-Winstone; Omar-Turbutt; Stratocles-Woodburn; Haly-Green; Azama-Ray; Selima-Mrs Giffard; With the Usual Prologue-.

Afterpiece Title: The Fortune Tellers

Event Comment: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov

Performances

Mainpiece Title: The Provoked Wife

Dance: Muilment

Performances

Mainpiece Title: The Relapse; Or, Virtue In Danger

Performance Comment: Foppington-Cibber (1st time there in 4 years); Loveless-Ryan; Worthy-Hale; Young Fashion-Woodward; Coupler-Hippisley; Sir Tunbelly-Marten; Lory-Chapman; Amanda-Mrs Pritchard; Berinthia-Mrs Horton; Hoyden-Mrs Clive.

Afterpiece Title: Orpheus and Eurydice

Performances

Mainpiece Title: Hercules

Performance Comment: See17450105, but Lichas-Mrs Cibber.

Performances

Mainpiece Title: Comus

Performance Comment: Comus-Delane; 1st Spirit-Mills; Nymph, Sabrina-Mrs Arne, 1st Appearance in England for three years; Lady (with the song of Sweet Echo)-Mrs Cibber; Elder Brother-Giffard; Younger Brother-Havard; 2nd Spirit-Woodburn; Euphrosyne-Miss Young; Bacchanal-Lowe; The Dance-Muilment, Sga Bettini, Baudouin, Shawford, Pelling, Miles, Miss Story, Mrs Miles, Mrs Pritchard, Mrs Annesley.

Performances

Mainpiece Title: The Double Dealer

Performance Comment: Maskwell-Quin; Lady Touchwood-Mrs Pritchard; Sir Paul-Hippisley; Lady Froth-Mrs Clive; Careless-Ryan; Mellefont-Hale; Lord Touchwood-Bridgwater; Lord Froth-Gibson; Lady Plyant-Mrs Mullart; Cynthia-Mrs Vincent; Brisk-Cibber.

Afterpiece Title: Orpheus and Eurydice

Performances

Mainpiece Title: The Drummer; Or, The Haunted House

Performance Comment: Trueman-Ryan; Lady Trueman-Mrs Horton; Vellum-Hippisley; Fantom-Hale; Butler-Marten; Coachman-Woodward; Gardner-James; Mrs Abigail-Mrs Mullart; Tinsell-Cibber.

Afterpiece Title: Orpheus and Eurydice

Performances

Mainpiece Title: The Conscious Lovers

Performance Comment: As17441128, but Tom-Cibber; Phyllis-Mrs Clive; in Act II a Song-Beard.

Afterpiece Title: Pyramus and Thisbe

Performances

Mainpiece Title: The Provoked Wife

Performance Comment: As17450201, but Lady Brute-Mrs Cibber; Belinda-Mrs Woffington.

Afterpiece Title: Rosamond

Dance: II: Serious Dance-Muilment; III: Grand Dance, as17450108; IV: Peasant Dance-Muilment

Performances

Mainpiece Title: The Country Wife

Performance Comment: Pinchwife-Bridges; Sir Jasper-Macklin; Sparkish-Yates; Country Wife-Mrs Cibber; Horner-Mills; Harcourt-Havard; Dorilant-Blakes; Quack-Turbutt; Lady Fidget-Mrs Mills; Alithea-Mrs Cross; Mrs Dainty Fidget-Mrs Horsington; Lucy-Mrs Bennet.

Afterpiece Title: Rosamond

Dance: II: Sga Bettini; III: Shepherd's Dance-Muilment

Performances

Mainpiece Title: Othello, Moor Of Venice

Performance Comment: Othello-Garrick (1st time); Iago-Macklin; Cassio-Havard; Brabantio-Berry; Roderigo-Yates; Desdemona-Mrs Cibber; Emelia-Mrs Macklin; Duke-Winstone; Lodovico-Blakes; Montano-Mozeen; Gratiano-Woodburn; Senator-Simpson; Officer-Green.

Performances

Mainpiece Title: Don Sebastian

Performance Comment: As17441027, but Antonio-Cibber Jun.; Morayma-Mrs Clive; Merchant-Bencraft.

Afterpiece Title: The Devil to Pay

Related Works
Related Work: The Devil to Pay; or, The Wives Metamorphos'd Author(s): Theophilus Cibber

Song: I: (by particular Desire) The Charms of Polly Willis-Mrs Clive; IV: Beard

Dance: III: Cooke, Sga Campioni; V: LaLauze, Sga Campioni

Performances

Mainpiece Title: The Way Of The World

Performance Comment: As17441211, but Witwou'd-Cibber.

Afterpiece Title: The Lottery

Dance: Cooke, Sga Campioni

Performances

Mainpiece Title: 2 Henry Iv

Performance Comment: As17441109, but Pistol-Cibber; Hostess-Mrs James; Lord Bardolph-Ridout; Poins-_.

Afterpiece Title: 2 The Virgin Unmask'd

Performances

Mainpiece Title: The Relapse

Afterpiece Title: The Mock Doctor

Performance Comment: As17441003, but Mock Doctor-Cibber; Sir Jasper-Arthur; Dorcas-Mrs Clive.

Dance: I: Serious Dance-Cooke; II: Cooke, LaLauze, Picq; III: Le Gondalier-Cooke; V: a Ball Dance call'd the Louvre-; concluding with: a Minuet-Cooke, Mrs Delagarde

Song: IV: Beard

Performances

Mainpiece Title: The Silent Woman

Performance Comment: Sir John Daw-Cibber; Morose-Bridgwater; Truewit-Hale; Dauphin-Cashell; Clerimont-Ridout; Capt Otter-Marten; Cutbeard-James; Silent Woman-Mrs Pritchard; Lady Haughty-Mrs Hale; Mrs Centaure-Mrs Bland; Mrs Doll-Miss Hippisley; Mrs Otter-Mrs James; Sir Amorous La Fool-Woodward.

Afterpiece Title: The Rape of Proserpine

Performances

Mainpiece Title: Timon Of Athens; Or, Man-hater

Performance Comment: Apemantus-Quin; Timon-Hale; Phaeax-Hippisley; Poet-Cibber; Alcibiades-Cashell; Melissa-Mrs Clive; Aelius-Chapman; Isander-Woodward; Nicias-Marten; Cleon-Arthur; Demetrius-Ridout; Isidore-Dunstall; Thrasilus-Rosco; Diphilus-Hayman; Jeweller-Anderson; Painter-James; Old Man-Gibson; Chloe-Miss Hippisley; Thais-Mrs Bland; Phrynias-Mrs Rowley; Evandra-Mrs Pritchard.

Afterpiece Title: Orpheus and Eurydice

Dance: SScotch Dance, as17441012

Song: II: A Duet-Beard, Miss Edwards