SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Don Juan Bernalte de los Cavellos"/1) | (@(roleclean,performerclean) "Don Juan Bernalte de los Cavellos")') 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 1046 matches on Performance Title, 595 matches on Performance Comments, 177 matches on Event Comments, 158 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: The Eccentric Lover

Afterpiece Title: Raymond and Agnes

Cast
Role: Don Felix Actor: Cranfield

Dance: Afterpiece to conclude with: Dance of Savoyards-Platt, Miss Cranfield, Mlle St.Amand

Performances

Mainpiece Title: Hannah Hewit; Or, The Female Crusoe

Afterpiece Title: The Inconstant

Afterpiece Title: The Son-in-Law

Song: End I 1st piece: The Sailor's Consolation- made into a Song and Chorus

Performances

Mainpiece Title: The Italian Monk

Performance Comment: Schedoni-Palmer; Vivaldi-C. Kemble; Ansaldo-Aickin; Spalatro-R. Palmer; Paullo-Suett; Stiletto-Caulfield; Corvino-Evans; Familiars-Trueman, Maddocks; Marchioness-Mrs Powell (1st appearance in that character); Olivia (1st time)-Mrs Sparks; Abbess-Miss Tidswell; Ellena de Rosalba-Miss DeCamp; Margaritone-Miss Arne; Gradisca (1st time)-Mrs Walcot; Fioresca-Mrs Bland.
Cast
Role: Schedoni Actor: Palmer

Afterpiece Title: The Follies of a Day

Afterpiece Title: Blue-Beard

Performances

Mainpiece Title: The Italian Monk

Performance Comment: Schedoni-Barrymore (1st appearance in that character); Vivaldi-C. Kemble; Ansaldo-Aickin; Spalatro-R. Palmer; Paullo-Suett; Familiars-Trueman, Abbot; Stiletto-Caulfield; Corvino-Waldron Jun.; Priest-Usher; Guards-Ledger, Chippendale; Marchioness-Mrs Harlowe; Olivia-Miss Heard; Ellena de Rosalba-Miss DeCamp; Abbess-Mrs Hale; Gradisca-Mrs Davenport; Margaritone-Mrs Edward; Fioresca-Mrs Bland; The General Chorus [of Assassins and Nuns]-Linton, Brown, Lyons, Aylmer, Little, Willoughby, Dibble, Kenrick, Caulfield Jun., Ms Menage, Ms Butler, Ms Benson, Ms Masters, Ms Norton, Ms Gawdry, Ms Leserve.
Cast
Role: Schedoni Actor: Barrymore

Afterpiece Title: My Grandmother

Performances

Mainpiece Title: As You Like It

Afterpiece Title: Feudal Times

Song: V: a song-Mrs Bland

Performances

Mainpiece Title: The Child Of Nature

Afterpiece Title: Blue-Beard

Dance: End: a new Scotch Ballet, The Return of Jemmy. Jemmy-Mlle Parisot, Jenny Sga Bossi DelCaro, Lady Margaret Miss DeCamp; With a Pas de Trois, Peggy's Love-; In afterpiece: a new Pas Seul-Mlle Parisot

Ballet: End I: The Agreeable Surprise. Lindor-Mlle Parisot; the Harp-Mlle Parisot; the Piano Forte-Mlle Parisot; Rosine-Sga Bossi DelCaro; Susane-Miss DeCamp; Pas de Deux-Miss DeCamp, Mlle Parisot; Allemande a Trois-Miss DeCamp, Sga Bossi DelCaro, Mlle Parisot

Performances

Mainpiece Title: The Siege Of Belgrade

Dance: End I: an entire New Ballet (composed by J. D'Egville), Les Vendangeurs-by the Dancers from the king's Theatre (by permission of the Proprietor): Didelot, Laborie, Mme Rose Didelot, Mme Laborie, Mme Hilligsberg; in which the Pas de Trois of La Fille Mal Gardee-; Minuet of Four, Honi Soit qui mal y Pense-

Ballet: End Opera: Telemaque. Telemachus-Didelot; Mentor-D'Egville; Calypso-Mme Rose Didelot; Venus-Mme Laborie; Zelie-Mme D'Egville; Cupid-Master Menage; Clytie-Miss J. Hilligsberg; Eucharis-Mme Hilligsberg; Nymphs, Attendants on Calypso-The Corps de Ballet , from the Opera House

Performances

Mainpiece Title: The Italian Monk

Performance Comment: Schedoni-Barrymore; Vivaldi-C. Kemble; Ansaldo-Aickin; Spalatro-R. Palmer; Paullo-Suett; Familiars-Trueman, Abbot; Stiletto-Caulfield; Corvino-Chippendale; Priest-Usher; Guards-Ledger, Lyons; Marchioness-Mrs Harlowe; Olivia-Miss Chapman (1st appearance in that character); Ellena de Rosalba-Miss DeCamp; Abbess-Mrs Hale; Gradisca-Mrs Davenport; Margaritone-Mrs Edward; Fioresca-Mrs Bland; General Chorus [of Assassins and Nuns]-Linton, Brown, Lyons, Aylmer, Little, Willoughby, Dibble, Kenrick, Caulfield Jun., Ms Menage, Ms Butler, Ms Benson, Ms Masters, Ms Norton, Ms Gawdry, Ms Leserve.
Cast
Role: Schedoni Actor: Barrymore

Afterpiece Title: Fortune's Frolick

Performances

Mainpiece Title: As You Like It

Afterpiece Title: High Life below Stairs

Dance: II afterpiece: Mock Minuet-Palmer, Miss Pope

Song: In V: song-Mrs Bland

Performances

Mainpiece Title: The Haunted Tower

Afterpiece Title: The Sultan

Song: In afterpiece: The Blue Bell of Scotland, as18000512; accompanied on the Lute, as18000512; II: song-Master Suett

Performances

Mainpiece Title: Greek Words Universal Motion

Event Comment: In London Jacques Thierry and Will Schellinks saw: de France Comedij Andromeda (Seaton, Literary Relationships, pp. 333-34). The theatre is not known. This play may be Corneille's Andromede

Performances

Mainpiece Title: Andromeda

Event Comment: The Duke's Company. Downes (Roscius Anglicanus, p. 31) lists it as one of several plays whose runs expired on the third day. Pepys, Diary: To the Duke of York's playhouse, but the house so full, it being a new play, The Coffee House, that we could not get in...The Journals of John Lauder Lord Fountainhall (ed. Donald Crawford, 1900), pp. 174-75: heir is the Dukes playhouse, wheir we saw Tom Sydserfes Spanish Comedie Tarugo's Wiles, or the Coffee House, acted....He could not forget himselfe: was very satyricall sneering at the Greshamers for their late invention of the transfusion of blood, as also at our covenant, making the witch of Geneva to wy it and La Sainte Ligue de France togither

Performances

Mainpiece Title: Tarugo's Wiles; Or, The Coffee House

Event Comment: The King's Company. This performance is on the L. C. list, 5@12, p. 17: King here. See also Nicoll, Restoration Drama, p. 344. See Noyes, Ben Jonson on the English Stage, p. 307, for a letter to Lady Sunderland on this performance, and, p. 308, for an anecdote from The Life of the Late Famous Comedian, Jo. Haynes, concerning Haynes and Hart in a scene. For another allusion to the action, see Henri Ferneron, Louise de Keroualle, Duchess of Portsmouth (London, 1807), p. 179n. Pepys, Diary: 15 Jan. 1668@9: It is about my Lady Harvy's being offended at Doll Common's [Mrs Corey's] acting of Sempronia, to imitate her; for which she got my Lord Chamberlain, her kinsman, to imprison Doll: when my Lady Castlemayne made the King to release her. Mrs John Evelyn to Mr Terryll, 10 Feb. 1668@9: There has not been any new lately revived and reformed, as Catiline, well set out with clothes and scenes (Diary and Correspondence of John Evelyn, ed. William Bray, IV, 14). See also 7 and 11 Dec. 1667

Performances

Mainpiece Title: Catiline's Conspiracy

Performances

Mainpiece Title: The Tempest

Event Comment: See a note from the Marquis Cattaneo to the Duke of Modena (in Campana de Cavelli, Les derniers Stuarts [Paris and London, 1871], I, 171), in which he states that the entire court went three or four times to see The Man of Mode

Performances

Performances

Mainpiece Title: The French Conjuror

Event Comment: The Earl of Arran to the Duchess of Ormond, 19 Jan. 1677@8: I met her Lord [Lord Cavendish] last night at the French play (HMC, Ormonde MSS., New Series, 1906, IV, 90). Henri Forneron, Louise de Keroualle, Duchess of Portsmouth (London, 1887): [The Duchess of Portsmouth] was at the last extremity when a slight change for the better took place, and she got up, had herself dressed, and dragged herself to her Sedan chair, to be carried to the French play, where she heard the king was to be with Madame Mazarin. The players had come to London for a short time, and Charles attended all their representations (pp. 197-98). Forneron apparently drew this information from a letter dated 20 Jan. 1677@8

Performances

Event Comment: The King's Company. The date of the first performance is not known. Wilson (Six Restoration Play-Dates, pp. 222-23) argues from a number of references (principally in the Epilogue) to events of early 1681 which point to a premiere near May 1681: to the dissolution of Parliament, 28 March 1681; to the comet which appeared in November 1680 and disappeared in January 1680@1; to the Hatfield Maid; to William Lilly, the astrologer, who is referred to as though alive, thus suggesting a premiere before his death, 9 June 1681. It is possible that the premiere may have been earlier than this. In 1681 was published Poeta de Tristibus; or, The Poet's Complaint, whose author had obviously read the Prologue and Epilogue to The Unhappy Favourite. He represents himself as a disappointed dramatist whose tragedy has been rejected by both houses because "their Summer-store@Will all this Winter last." With the work entered in the Term Catalogues in 1682 and a copy purchased by Narcissus Luttrell with his note "4d 1681 12 Nov" (see A Bibliography of John Dryden, ed. Macdonald, pp. 235-36), his quotations from the Epilogue to The Unhappy Favourite and references to the Prologue would offer no difficulties if it were not that the "Author's Epistle" in which the references are made is dated "at Dover the Tenth day of January 1680@1," thus suggesting that he had seen the Prologue and Epilogue before that date. Nevertheless, some of the references in the Epilogue (to Heraclitus Ridens, beginning on 1 Feb. 1680@1, and Democritus Ridens, beginning on 14 March 1680@1) preclude a January premiere for the Prologue and Epilogue. Possibly the dating of the "Author's Epistle" is in error

Performances

Mainpiece Title: The Unhappy Favourite; Or, The Earl Of Essex

Event Comment: The United Company. Newdigate newsletters, 28 Nov. 1682: This day was Acted a new play called the Duke of Guise by Mr Dryden it was formerly forbidd as reflecting upon the D of Monmouth but by ye supplication of ye Author its now allowed to be acted (Wilson, Theatre Notes from the Newdigate Newsletters, p. 81). The Prologue and Epilogue, separately printed, bear Luttrell's date of acquisition (Huntington Library) as 4 Dec. 1682, but above this date Luttrell has written: "30 Nov." The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 149-52. Dedication, Edition of 1683: In the Representation itself, it was persecuted with so notorious Malice by one side, that it secur'd us the Partiality of the other. In a report from the Abbe Rouchi, in London, 14 Dec. 1682, it is stated that the Duke of Guise was acted three times (Campana de Cavelli, Les Derniers Stuarts [Paris and London, 1871], I, 398). One song, Tell me Thyrsis all your anguish, with music by Captain Pack, is in the edition of 1683 and also in Choice Ayres and Songs, The Fourth Book, 1683

Performances

Mainpiece Title: The Duke Of Guise

Event Comment: Rich's Company. The date of the premiere is not known, but the second edition (1700) states: The first appearance of this Play was on a Wednesday in Lent; for then (it seems) the Town look for a bad Entertainment. [As the play was advertised in the Flying Post, 2 April 1700, the first performance probably occurred in early March.] A Prologue by Sir Charles Sedley which may have been intended for this play is in Sedley's Works, ed. V. de Sola Pinto (London, 1928), I, 46-47, 288-89. A song in this play, separately printed ca. 1700, indicates that the music was composed by Daniel Purcell and that the song was sung by Mrs Erwin

Performances

Mainpiece Title: The Reform'd Wife

Performances

Mainpiece Title: Almyna; Or, The Arabian Vow

Performances

Mainpiece Title: The Committee

Afterpiece Title: The Cheats of Scapin

Event Comment: Benefit Mrs Fitzgerald. For the Entertainment of His Excellency Don Bentura de Zari, the Emperor of Morocco's Ambassador. Tickets 2s. 6d. At 6 p.m

Performances

Mainpiece Title: Concert

Music: Vocal and Instrumental Music Italian and English-; [Note, At the Desire of several Gentlemen, Mrs Fitzgerald's voice accompanied by] Trumpet and German Flute-Mr Grano; [The Consort opening with an entire new Trumpet Sonata-

Performances

Mainpiece Title: Les Fourberies D'arlequin; Ou, L'etourdye

Afterpiece Title: Le George Dandin

Dance: