SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,authname,perftitleclean,commentcclean,commentpclean) "C Dibdin Jun"/1) | (@(roleclean,performerclean) "C Dibdin Jun")') 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 2329 matches on Performance Comments, 1571 matches on Event Comments, 1432 matches on Author, 229 matches on Performance Title, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: The Libertine

Performances

Mainpiece Title: Marriage A La Mode

Performances

Mainpiece Title: Doctor Faustus

Performances

Mainpiece Title: The Alchymist

Performances

Mainpiece Title: Sophonisba

Performances

Mainpiece Title: The Committee

Performances

Mainpiece Title: Aureng zebe

Performances

Mainpiece Title: Aureng zebe

Performances

Mainpiece Title: The Merry Wives Of Windsor

Performances

Mainpiece Title: The Conquest Of Granada Part I

Performances

Mainpiece Title: Sophonisba

Performances

Mainpiece Title: The Country Wit

Performances

Mainpiece Title: Othello Moor Of Venice

Performances

Mainpiece Title: Volpone Or The Fox

Performances

Mainpiece Title: Gloriana Or The Court Of Augustus Caesar

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@142, p. 81: At the Man of Mode. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 407. It is uncertain whether this is the premiere, but the licensing date of 3 June 1676 suggests that the first production may have occurred at this time. Downes (Roscius Anglicanus, p. 36): This Comedy being well Cloath'd and well Acted, got a great deal of Money. One song, As Amoret with Phyllis sat, the words by Sir Car Scroope and the music by Nicholas Staggins, is in Choice Ayres and Songs, The Second Book, 1679; another, When first Amintas charmed my heart, the music by Staggins, is in the same collection, Fifth Book, 1684. John Dennis: I remember very well that upon the first acting this Comedy, it was generally believed to be an agreeable Representation of the Persons of Condition of both both Sexes, both in Court and Town; and that all the World was charm'd with Dorimont (A Defence of Sir Fopling Flutter, 1722, p. 18). For the full text of Dennis' discussion of this play, see The Critical Works of John Dennis, ed. E. N. Hooker (Baltimore, 1943), II, 241-50

Performances

Mainpiece Title: The Man Of Mode Or Sir Fopling Flutter

Performances

Mainpiece Title: The Man Of Mode

Performances

Mainpiece Title: The Country Wife

Performances

Mainpiece Title: Tyrannic Love Or The Royal Martyr

Performances

Mainpiece Title: Philaster Or Love Lies A Bleeding

Performances

Mainpiece Title: The Virtuoso

Performances

Mainpiece Title: Aureng zebe

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@142, p. 81. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance; see VanLennep, Nell Gwyn's Playgoing, p. 407. Nell Gwyn's attendance again on Friday 9 June suggests that she attended the premiere. On that assumption, this Calendar lists the probable ten performances which Downes (Roscius Anglicanus, p. 36) alludes to: And all the Parts being admirably Acted, it lasted successively 10 Days; it got more Money than any preceding Modern Tragedy

Performances

Mainpiece Title: Don Carlos Prince Of Spain

Performances

Mainpiece Title: No Fool Like Ye Old Fool