SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,authname,perftitleclean,commentcclean,commentpclean) "King\'s Theatre in Paris"/1) | (@(roleclean,performerclean) "King\'s Theatre in Paris")') 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 3836 matches on Event Comments, 3153 matches on Performance Title, 3135 matches on Performance Comments, 25 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: Bellamira Or The Mistress

Performances

Mainpiece Title: Londons Triumph Or The Goldsmiths Jubilee

Performances

Mainpiece Title: The Double Marriage

Performances

Mainpiece Title: The Squire Of Alsatia

Performances

Mainpiece Title: Concert

Performances

Mainpiece Title: Londons Anniversary Festival Performed On Monday October The 29th 1688 For

Performances

Mainpiece Title: Don Sebastian

Performances

Mainpiece Title: Concert

Performances

Mainpiece Title: The English Frier Or The Town Sparks

Performances

Mainpiece Title: The Amorous Bigotte With The Second Part Of Tegue O Divelly

Performances

Mainpiece Title: The Gordian Knot Untyd

Performances

Mainpiece Title: The Rover

Performances

Mainpiece Title: The Marriage hater Matched

Performances

Mainpiece Title: The Rape Or The Innocent Impostors

Event Comment: Thomas Shadwell, the Poet Laureat, presented an Ode on the King's Birth-Day, which was published in 1692

Performances

Performances

Mainpiece Title: Concert

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the Dedication of the play is dated 15 Jan. 1696@7 suggests that it was probably first acted not later than December 1696. The play was advertised in the Post Man, 21-23 Jan. 1696@7. The music was set by John Eccles. Dedication, Edition of 1697: I make you a Present of a Play, that miscarri'd on the first Nights Performance; tho' afterwards, without any farther Discouragement, it kept it self alive till the third day was over, and then I must confess the City Lady expir'd....This I am confident on, that the like Unfortunate Accidents which attended this Comedy, wou'd have been sufficient to have Dam'd a much better Play. The tedious waiting to have the Curtain drawn, after the Prologue was spoke, occasion'd by Mr Underhill's violent Bleeding, put the Audience out of Humour, and made it susceptible of the least Disgust; and when once the Torrent of its Displeasure break bounds, nothing cou'd put a stop to his Vehemence. After Mr Underhill was no longer able to come upon the Stage, scarce any thing was done but by Halves, and in much Confusion; in the midst of which, I think my self oblig'd to applaud the Justice I receiv'd from the Incomparable Mrs Barry. I very well know that the Ode in the third Act seems to be introduc'd something unseasonably. It was made and set long since, in hopes of having it perform'd before the King, at his return from Flanders; and the Music being so finely compos'd by Mr John Eccles, I was loath it shou'd be wholly lost to the Town. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Performances

Mainpiece Title: The City Lady Or Folly Reclaimd

Performances

Mainpiece Title: Concert

Performances

Mainpiece Title: Europes Revels For The Peace

Performances

Mainpiece Title: Concert

Performances

Mainpiece Title: Concert

Performances

Mainpiece Title: The Fatal Discovery Or Love In Ruines