SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,authname,perftitleclean,commentcclean,commentpclean) "John Roberts"/1) | (@(roleclean,performerclean) "John Roberts")') 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 11806 matches on Author, 2649 matches on Performance Comments, 1393 matches on Event Comments, 416 matches on Performance Title, and 0 matches on Roles/Actors.
Event Comment: For Occasional Prompter XXI (on Cibber and King John), see Daily Journal, 11 Feb

Performances

Mainpiece Title: The Tempest

Related Works
Related Work: The Tempest Author(s): John Dryden
Related Work: The Tempest; or, The Enchanted Island Author(s): John Philip Kemble

Afterpiece Title: The King and the Miller of Mansfield

Event Comment: Benefit a Gentleman who has wrote for the Stage. [Professor John B. Shipley of the University of Colorado has called to my attention a letter written by James Ralph to Thomas Birch, dated 14 February 1741, in which he states that this benefit is to be for Ralph. See B.M. Add. MSS. 4317, fol. 94.

Performances

Mainpiece Title: Julius Caesar

Performance Comment: As17401219, but Octavius-Havard; Caska-Winstone; Trebonius-_; Citizens-Johnson, Macklin, Chapman, Vaughan, Marten, Hough.

Afterpiece Title: The King and the Miller of Mansfield

Dance: LLa Tambourine-Mlle Chateauneuf; Shepherds and Shepherdesses-Muilment, Mlle Chateauneuf

Event Comment: Mainpiece: Performed but once [on 14 Apr. 1787]. With new Dresses, Decorations, &c. [Prologue by Edmond Malone; Epilogue by John Courtenay (see text). Afterpiece in place of The First Floor, advertised on playbill of 10 Dec.] Receipt2: #223 10s. (195.13.0; 27.8.6; 0.8.6)

Performances

Mainpiece Title: Julia Or The Italian Lover

Afterpiece Title: The Humourist

Event Comment: The United Company. The date of this Performance is stated as 16 Feb. (L. C. records) or 17 Feb. (Peregrine Bertie), but as Lent began on Wednesday 17 Feb., the performance probably occurred on Shrove Tuesday. This performance is on the L. C. list, 5@147, P. 125. See also Nicoll, Restoration Drama, p. 350. Peregrine Bertie to the Countess of Rutland, 17 Feb. 1685@6: To night will be the last play at court, they tell mee 'tis the Mocke Astrologer (HMC, 12th Report, Appendix, Rutland MSS., Part V, p. 105). John Povey to Sir Robert Southwell, 18 Feb. 1685@6: Sir, the enclosed had been sent last post, had it not been detained late by a play at Court which ended our Carnival. The night before the King and Queen were entertained by the Lord President at a ball or masque in Lady Portsmouth's lodgings. The Masquers were twelve couples whose habits were of several nations' and prescribed by a picture sent to each of them from the Queen, and the least habit cost !bove a hundred Pounds, and some above three hundred pounds, besides jewels of which Mrs Fox and some others had above thirty thousand pounds value each (Savile-Finch Correspondence, Add. Mss. 28,569; I owe this quotation to Professor John Harold Wilson)

Performances

Mainpiece Title: An Evenings Love Or The Mock Astrologer

Related Works
Related Work: An Evening's Love; or, The Mock Astrologer Author(s): John Dryden
Event Comment: Betterton's Company. The date of the first performance is not certain, but the evidence points toward this day. On Thursday 19 Nov. 1696, Robert Jennens reported that the two pieces had been acted four or five days together. If that day saw the fifth performance, the premiere probably occurred on 14 Nov. 1696. The Single Songs and Dialogue in Mars and Venus, set by John Eccles (Acts I and II) and Godfrey Finger (Act III), was published separately in 1697. The pieces for whom a performer is indicated are as follows: Prologue. The first Song Sung by Mrs Hudson, set by Finger: Come all, with moving songs [it is reproduced opposite page 300 in Wiley, Rare Prologues and Epilogues]. Love alone can here alarm me, sung by Mrs Ayloffe. Scorn tho' Beauty frowns to tremble, sung by Mrs Hudson. To double the sports, sung by Mrs Ayloffe. To treble the pleasures with regular measures, sung by Mrs Ayloffe. To meet her, May, the Queen of Love comes here, set by John Eccles and sung by Mrs Hudson. See Vulcan, Jealousie, Jealousie appears, set by Finger and sung by Mrs Hudson. Yield, no, no, sung by Mrs Bracegirdle and Bowman. Gildon, English Dramatick Poets, p. 115: This Play met with extraordinary Success having the Advantage of the excellent Musick of The Loves of Mars and Venus perform'd with it. Downes, Roscius Anglicanus, pp. 44-45: The Anatomist, or Sham Doctor, had prosperous Success, and remains a living Play to this Day; 'twas done by Mr Ravenscroft. A Comparison Between the Two Stages (1702), p. 20: I remember the success of that was owing to the Musick

Performances

Mainpiece Title: The Anatomist Or The Sham Doctor

Afterpiece Title: The Loves of Mars and Venus

Related Works
Related Work: The Loves of Mars and Venus Author(s): John Weaver
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

Cast
Role: Sir John Actor: Garrick, 1st time
Related Works
Related Work: The Provok'd Wife Author(s): John Vanbrugh

Dance: Muilment

Event Comment: The King's Company. The date of the premiere is most uncertain. The play was apparently finished in July 1671-see C. E. Ward, The Life of John Dryden (Chapel Hill, North Carolina, 1961), p. 83-and the play may have been acted before April 1672. For the possibilities see Macdonald, Bibliography of Dryden, p. 110, and Nicoll, Restoration Drama, pp. 404-5. The Prologue and Epilogue are in Covent Garden Drollery, 1672. The song, Whilst Alexas lay prest, the music by Nicholas Staggins, was printed in Westminster Drollery (entered in the Stationers' Register, 3 June 1672) and in Choice Songs and Ayres, The First Book, 1673. Another song, Why should a foolish Marriage Vow, set by Robert Smith, is also in Choice Songs and Ayres, 1673

Performances

Mainpiece Title: Marriage A La Mode

Related Works
Related Work: Marriage A La Mode Author(s): John Dryden
Related Work: Marriage à la Mode Author(s): John Dryden
Event Comment: Benefit for Roberts. No building on Stage

Performances

Mainpiece Title: The Provokd Wife

Related Works
Related Work: The Provok'd Wife Author(s): John Vanbrugh

Afterpiece Title: Damon and Phillida

Song: Roberts

Dance: IItalian Peasants, as17531120

Event Comment: Benefit fo r Roberts. No Building on stage

Performances

Mainpiece Title: The Relapse

Related Works
Related Work: The Relapse; or, Virtue in Danger Author(s): John Vanbrugh

Afterpiece Title: The Cheats of Scapin

Song: II: Roberts; IV: A Song-Roberts; accompanied on the Welsh harp-Rice

Dance: V: Comic Dance-Granier and Mrs Granier

Performances

Mainpiece Title: The Confederacy

Related Works
Related Work: The Confederacy Author(s): John Vanbrugh

Afterpiece Title: The Tears and Triumphs of Parnassus

Dance: II: Reviv'd the Pantomime Dance, call'd The Prussian Camp The Prussian Soldiers by the Comedians, the Characters of the Dance-Grimaldi, Miss Baker

Music:

Song: n Ode for Music, call'dThe Tears and Triumphs of Parnassus-. The Music compos'd by Stanley

Event Comment: Benefit for Palmer, Pit doorkeeper, Shawford, Berrisford, and Roberts. Tickets deliver'd by Wallis will be taken

Performances

Mainpiece Title: The Confederacy

Related Works
Related Work: The Confederacy Author(s): John Vanbrugh

Afterpiece Title: The Englishman in Paris

Dance: II: Hornpipe-Wallis; V: New Hornpipe-Miss Dawson

Event Comment: Benefit for Miss Stede, Pilfold and others. Tickets deliver'd by Shuter, Norbury, Roberts, Frensdorff, Miller, Bassan and Stephenson will be taken

Performances

Mainpiece Title: The Confederacy

Related Works
Related Work: The Confederacy Author(s): John Vanbrugh

Afterpiece Title: Thomasand Sally

Dance: IV: A Minuet-Fishar, Miss Stede (his scholar)

Performances

Mainpiece Title: Londons Glory Represented By Time Truth And Fame

Related Works
Related Work: London's Glory Represented by Time, Truth, and Fame Author(s): John Tatham

Performances

Mainpiece Title: The Relation Of His Majesties Entertainment Passing Through The City Of London To His Coronation With A Description Of The Triumphal Arches And Solemnity

Related Works
Related Work: The Relation of His Majesties Entertainment Passing Through the City of London, to His Coronation: With a Description of the Triumphal Arches, and Solemnity Author(s): John Ogilby

Performances

Mainpiece Title: The Storm

Related Works
Related Work: The Storm Author(s): John Fletcher
Related Work: The Sea Voyage Author(s): John Fletcher

Performances

Mainpiece Title: Philaster Or Love Lies A Bleeding

Related Works
Related Work: Philaster Author(s): John Fletcher

Performances

Mainpiece Title: The Assignation Or Love In A Nunnery

Related Works
Related Work: The Assignation; or, Love in a Nunnery Author(s): John Dryden

Performances

Mainpiece Title: Amboyna

Related Works
Related Work: Amboyna Author(s): John Dryden

Performances

Mainpiece Title: The Tempest Or The Enchanted Island

Related Works
Related Work: The Tempest Author(s): John Dryden
Related Work: The Tempest; or, The Enchanted Island Author(s): John Philip Kemble

Performances

Mainpiece Title: The Spanish Fryar Or The Double Discovery

Related Works
Related Work: The Spanish Fryar; or, The Double Discovery Author(s): John Dryden

Performances

Mainpiece Title: The Indian Queen

Related Works
Related Work: The Indian Queen Author(s): John Dryden

Music: With the Original Vocal and Instrumental Musick , composed by that famous English Master Mr Henry Purcell; The principal Parts-Randall, Renton, Teno, Burkhead, Mrs Willis, Mrs Mills, Miss Booth

Dance:

Performances

Mainpiece Title: The Indian Queen

Related Works
Related Work: The Indian Queen Author(s): John Dryden

Music: As17150719

Dance:

Performances

Mainpiece Title: The Indian Queen

Related Works
Related Work: The Indian Queen Author(s): John Dryden

Music: As17150719

Performances

Mainpiece Title: The Committee

Performance Comment: As17200115, but Careless-Mills; Obadiah-Johnson.
Cast
Role: Obadiah Actor: Johnson.

Afterpiece Title: The Loves of Mars and Venus

Related Works
Related Work: The Loves of Mars and Venus Author(s): John Weaver

Song: The Boy

Related Works
Related Work: The Charity Boy Author(s): John Cartwright Cross

Performances

Mainpiece Title: The Tempest

Performance Comment: Parts-Mills, Johnson, Miller, Harper, Norris, Shepard, W. Mills, Cibber, Miss Teno, Miss Lindar; The Dance of the Winds-Roger, Lally, Essex, Boval; The Grand Devils Dance: Chief Fury-Houghton; The Dance of Watermen-Harper, others; With a Masque of Neptune and Amphitrite-.
Related Works
Related Work: The Tempest Author(s): John Dryden
Related Work: The Tempest; or, The Enchanted Island Author(s): John Philip Kemble

Afterpiece Title: The Strolers

Related Works
Related Work: The Strolers Author(s): John Breval
Related Work: The Play is the Plot Author(s): John Breval

Dance: End I: The Muzette-Young Rainton, Miss Robinson; III: Whitson Holidays-Boval, Miss Tenoe

Ballet: End Farce: The Cobler's Jealous Wife. As17270505