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SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Court of Chancery"/1) | (@(roleclean,performerclean) "Court of Chancery")') 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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684 results for: Keyword - Court of Chancery
We found 593 matches on Event Comments, 64 matches on Performance Title, 42 matches on Performance Comments, 0 matches on Author, and 0 matches on Roles/Actors.

151
24 May 1793 @ Covent Garden

Event Comment: Benefit for Hull and Macready. 1st piece: In Act I a Grand Banquet. With the Procession [in Act IV] from the Abbey at the Coronation of Anne Bullen . To conclude with the Ceremonial of a Royal Christening. [In 2nd piece the scenes, as listed on 10 May, are indicated.] Morning Herald, 20 May: Tickets to be had of Hull, No. 7, Duke's-court, Westminster; Diary, 21 May: of Macready, No. 3, Mary-street, Charles-street, Tottenham-Court-Road. Receipts: #282 14s

Performances

Mainpiece Title: King Henry The Eighth

Afterpiece Title: The Sailor's Festival

Afterpiece Title: The Follies of A Day

Song: III: a song-Mrs Clendining

152
31 May 1797 @ Covent Garden

Event Comment: Benefit for Hull and Macready. 1st piece: In Act IV a Martial Procession with the Body of Marcus. 2nd piece [1st time: M. INT 1, author unknown. Larpent MS 1173; not published]: With appropriate Scenery and Dresses. The Music selected from Boyce, Purcell, Reeve and Shield. Morning Herald, 31 May: Tickets to be had of Hull, No. 7, Duke's-court, near Dean's-yard, Westminster; of Macready, No. 22, Charles-street, Tottenham-court-road. Receipts: #314 3s. (112.9.0; 4.14.6; tickets: 196.19.6, of which Hull sold 70.12.6, and Macready 126.7.0)

Performances

Mainpiece Title: Cato

Afterpiece Title: Cambro' Britons; or, Fishguard in an Uproar

Afterpiece Title: Animal Magnetism

Song: In 2nd piece: Together let us range the fields-Incledon, Mrs Mountain; Gallant Soldiers born to Arms, Old England will be England still-Incledon; To arms! Britons strike Home!-Incledon, Bowden

153
25 February 1799 @ Haymarket Theatre

Performances

Mainpiece Title: The Chapter Of Accidents

Afterpiece Title: Two Strings to Your Bow

Performance Comment: The parts-the private Thespian Corps from Tottenham-Court-road.
Cast
Role: The parts Actor: the private Thespian Corps from Tottenham-Court-road.
Role: the private Thespian Corps from Tottenham Actor: Court-road.
Role: Court Actor: road.

Entertainment: Imitations of Mrs Siddons in Isabella-Mrs Sumbel; Imitations of Mrs Jordan, Mrs Crawford and Mrs Martyr-Mrs Sumbel

154
02 May 1800 @ Covent Garden

Performances

Mainpiece Title: The Deserted Daughter

Afterpiece Title: The Social Songsters

Performance Comment: As18000426, but added: The Tight Little Island-Townsend; When Arthur first at Court began-Incledon, Linton, Denman; Old Towler-Incledon; Naval History-_; My Dolly was the fairest Thing-_; The Red Cross Knight-_; This Life is like a Country Dance-_.
Cast
Role: When Arthur first at Court began Actor: Incledon, Linton, Denman

Afterpiece Title: Netley Abbey

Dance: End II 1st piece: the Duchess of York's New Minuet and Waltz= (The Music composed by Alde [recte Alday], Dance by D'Egville)-Master and Miss D'Egville; In 2nd piece: Dance-Master D'Egville, Miss Packwood, Miss D'Egville

Entertainment: Monologue. End I 1st piece: Appropriate Address written on the Occasion-Mrs Mattocks

155
13 June 1800 @ Haymarket Theatre

Event Comment: [Emery was from cg. Mainpiece: Epilogue by the younger George Colman.] Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 6:00. To begin precisely at 7:00 [same throughout season]. Places for the Boxes to be taken of Rice, at the Theatre. Printed by T. Woodfall, No. 1, Cross Court, Russel Court, Drury Lane

Performances

Mainpiece Title: The Heir At Law

Afterpiece Title: The Jew and the Doctor

156
June 1660 @ Dorset Court

Event Comment: The edition of 1660, which has a Prologue and an Epilogue but no actors' names, was entered in the Stationers' Register, Aug. 1660, and apparently followed closely upon the return of Charles II. Edition of 1660: Acted Many Times with Great Applause, At the Private House in Dorset-Court

Performances

Mainpiece Title: The Rump; Or, The Mirrour Of The Late Times

157
August 1660 @ Whitehall or St. James's

Event Comment: Charles II had rope-dancers perform in the Hall at Whitehall. (See Boswell, Restoration Court Stage, p. 25.

Performances

158
07 August 1660 @ no theater listed

Event Comment: On this date John Rogers petitioned the King concerning his right to keep the peace at the playhouses. In Herbert, Dramatic Records, p. 84, three companies, those at the red bull, cockpit, and salisbury court, are named as currently performing

Performances

159
20 August 1660 @ no theater listed

Event Comment: A draft of a proposed order, i Hotson, Commonwealth and Restoration Stage, p. 201, specifies the companies acting at this time: Forasmuch as wee are advertis'd, that divers persons, and Companies have assembled, and doe dayly assemble themselves together at the Play-Houses called the red bull, in St. Johns Street, the cockpit in Drury Lane, and a certaine Play-House in Salisbury Court, and at other places within our Citty of London and County of Middlesex, without the least Colour of Authority, and doe there act, performe and shew in publique, Comedies, Tragedies, and other Entertainments of the Stage

Performances

160
13 September 1660 @ Southwark Fair

Event Comment: Evelyn, Diary: I saw in Southwark at St Margarites faire...we saw also Monkyes & Apes daunce, & do other feates of activity on the high-rope, to admiration: They were galantly clad alamode, went upright, saluted the Company, bowing & pulling-off their hatts: They saluted one another with as good grace as if instructed by a Dauncing Master. They turned heales over head, with a bucket of Eggs in it, without breaking any: also with Candles (lighted) their their hands, & on their head, without extinguishing them, & with vessells of water, without spilling a drop; I also saw an Italian Wench daunce to admiration, & performe all the Tricks of agility on the high rope, all the Court went to see her: (likewise here was her Father) who tooke up a piece of Yron Canon of above 400 pounds weight, with the haires of his head onely

Performances

Mainpiece Title: Entertainments

161
13 September 1660 @ no theater listed

Event Comment: The death of the Duke of Gloucester on this day apparently closed the theatres for a short time. Andrew Newport, writing on 15 Sept. 1660 to Sir Richard Leveson, stated: The court is in deep mourning and will continue so for 6 weeks (Sutherland MSS., HMC, 5th Report, Appendix, 1876, p. 156), but it is not until 27 Sept. 1660 that Rugg reported: playes are for present forbiden because of the death of the Duke of Gloucester (BM Add. Mss. 10116, folio 90v). The theatres may have opened on Monday 8 Oct. 1660; certainly they were acting by 11 Oct. 1660

Performances

162
08 November 1660 @ Theatre in Vere Street

Event Comment: See Herbert, Dramatic Records, p. 116. This was the King's Company (Killigrew's), now removed from the red bull to Gibbons' Tennis Court in Vere Street. Probably Clun acted Falstaff. (See An Elegy Upon the Most Execrable Murther in A Little Ark, ed. G. Thorn-Drury, pp. 30-31.

Performances

Mainpiece Title: Henry The Fourthe Part I

163
15 November 1660 @ Salisbury Court

Event Comment: Possibly Davenant opened Salisbury Court on this date, but no certain evidence exists. (See Spencer, Shakespeare Improved, pp. 37-39; Nicoll, Restoration Drama, p. 300.)

Performances

164
20 November 1660 @ Theatre in Vere Street

Event Comment: See Herbert, Dramatic Records, p. 116. The King's Company. Pepys, Diary: Mr Shepley and I to the new Play-house near Lincoln's-Inn-Fields (which was formerly Gibbon's tennis-court), where the play of Beggar's Bush was newly begun; and so we went in and saw it, it was well acted: and here I saw the first time one Moone [Mohun], who is said to be the best actor in the world, lately come over with the King, and indeed it is the finest play-house, I believe, that ever was in England

Performances

Mainpiece Title: The Beggar's Bush

165
06 December 1660 @ Theatre in Vere Street

Event Comment: See Herbert, Dramatic Records, p. 117. The King's Company. Andrew Newport to Sir Richard Leveson, 6 Dec. 1660: Plays at court every week (HMC, 5th Report, Part I, 1876, p. 158)

Performances

Mainpiece Title: Rollo, Duke Of Normandy

166
29 January 1661 @ Salisbury Court

Event Comment: The Duke's Company. Pepys, Diary: To Blackfryars [presumably a slip for Whitefriars, Salisbury Court] (the first time I ever was there since plays begun), and there after great patience and little expectation, from so poor beginning, I saw three acts of The Mayd in ye Mill, acted to my great content. But it begin late, I left the play

Performances

Mainpiece Title: The Maid In The Mill

167
12 February 1661 @ Theatre in Vere Street

Event Comment: The King's Company. Pepys, Diary: we went by water to Salisbury Court play-house, where not liking to sit, we went out again, and by coach to the Theatre, and there saw The Scornful Lady, now done by a woman, which makes the play appear much better than ever it did to me

Performances

Mainpiece Title: The Scornful Lady

168
25 February 1661 @ Whitehall or St. James's

Event Comment: The Countess of Derby to the Duchess de la Tremoille, 25 Feb. 1660@1: Plays are often acted at court, and the King and their Royal Highnesses have been present at two this evening, at the Duchess of Buckingham's (Madame Guizot de Witt, The Lady of Latham [London, 1869], p. 268)

Performances

169
02 March 1661 @ Salisbury Court

Event Comment: The Duke's Company. Pepys, Diary: And so to Salisbury Court, where the house as full as could be; and it seems it was a new play, The Queen's Maske, wherein there are some good humours: among others, a good jeer to the old story of the Siege of Troy, making it to be a common country tale. But above all it was strange to see so little a boy as that was to act Cupid, which is one of the greatest parts in it

Performances

Mainpiece Title: The Queen's Mask

170
25 March 1661 @ Salisbury Court

Event Comment: The Duke's Company. See 2 March 1661. Pepys, Diary: I and Captain Ferrers to Salisbury Court, by water, and saw part of the Queen's Maske

Performances

Mainpiece Title: The Queen's Mask

171
26 March 1661 @ Salisbury Court

Event Comment: The Duke's Company. Pepys, Diary: Mrs Pierce and her husband and I and my wife to Salisbury Court, where coming late he and she light of Col. Boone that made room for them, and I and my wife sat in the pit, and there met with Mr Lewes and Tom Whitton, and saw The Bondman done to admiration

Performances

Mainpiece Title: The Bondman

172
06 April 1661 @ Salisbury Court

Event Comment: The Duke's Company. Pepys, Diary: Then by water, Creed and I, to Salisbury Court and there saw Love's Quarrell acted the first time, but I do not like the design or words

Performances

Mainpiece Title: Love's Quarrel

173
05 May 1661 @ no theater listed

Event Comment: On Sunday Charles, Duke of Cambridge, the son of the Duke of York, died. On 7 May 1661, Francis Newport wrote to Sir Richard Leveson: The Duke of Cambridge dyed on Sunday in the afternoon and was buryed yesternight without any solemnity, noe mourning in the Court for him (HMC, Sutherland MSS, 5th Report, Appendix, 1876, p. 151). If the theatres were closed because of this death, the closure was for not more than ten days

Performances

174
16 August 1661 @ Theatre in Vere Street

Event Comment: Sixtus Petri Arnoldinus, a Dutchman, visiting in London, saw at the King's Playhouse this day a delightful "Courting-Comedy." See N. W. Zwager, A Visitor to England in 1661, Tijdschrift voor Taal en Letteren, XXVII (1939), 286

Performances

175
30 August 1661 @ The Cockpit in Drury Lane

Event Comment: Pepys, Diary: Then my wife and I to Drury Lane to the French comedy, which was so ill done, and the scenes and company and everything else so nasty and out of order and poor, that I was sick all the while in my mind to be there. See also Boswell (Restoration Court Stage, p. 280). W. J. Lawrence (Early French Players in England, The Elizabethan Playhouse and Other Studies (1912), pp. 139-40) argues that the play was Chapoton's Le Mariage d'Orphee et d'Eurydice. See also The Description of the Great Machines of the Descent of Orpheus into Hell. Presented by the French Comedians at the cockpit in Drury Lane. The Argument Taken out of the Tenth and Eleventh Books of Ovid's Metamorphosis (1661). Rugg's Diurnal the French players (BM Add. Mss. 10116, f243v)

Performances

Mainpiece Title: A French Comedy