SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Moll Davis whom I never saw act be"/1) | (@(roleclean,performerclean) "Moll Davis whom I never saw act be")') 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 4703 matches on Event Comments, 1656 matches on Performance Comments, 1492 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: "In the scene with Salanio and Solarino after the discovery of Jessica's flight, Elliston was more noisy than impressive; and the speech "hath not a Jew eyes?" &c. was delivered with such a dreadful rant as to destroy all the beauty of the poet, as well as the effect which this part always produces when judiciously delivered...Miss DeCamp's Portia was beyond what we could possibly have expected from a person of her line of acting. It was frequently above, but never below mediocrity" (Monthly Visitor, Sept. 1797, p. 257)

Performances

Mainpiece Title: The Merchant Of Venice

Performance Comment: Shylock-Elliston (1st appearance in that character); Anthonio-Aickin; Gratiano-R. Palmer; Lorenzo (with a song)-Davies; Tubal-Waldron; Old Gobbo-Waldron Jun.; Launcelot-Suett; Duke-Davenport; Salanio-Caulfield; Solarino-Trueman; Leonardo-Lyons; Balthazar-Ledger; Bassanio-C. Kemble; Jessica (with a song)-Mrs Bland; Nerissa-Mrs Harlowe; Portia-Miss DeCamp (Their 1st appearance in those characters).

Afterpiece Title: Peeping Tom

Event Comment: Benefit for Simpson, Powel, Rees & Mrs Henley. 3rd piece [1st time; P 1]: Selected from The Rape of Proserpine, Lord Mayor's Day, Harlequin's Museum, Harlequin Skeleton, Harlequin Sorcerer, Aladin, &c. In the course of the Compilation will be introduced: The Birth and Emancipation of Harlequin from the Egg-shell-the Dying Scene-the Skeleton-His Renovation-the celebrated Gladiator Scene, &c. In particular, among many surprising Escapes, the Jump through the Tea-chest; Flight from one Balcony to the other; a Leap over twelve Soldiers with fixed Bayonets; the Flight back and Jump through a Tamborine-and (for that night only) Simpson will run perpendicular up the Wall of a House, 30 Feet High. To conclude with a View of the Grotto of Magic. There are some imitations which almost identify the originals, but [Rees's as Dromio] was a vile caricature, which would never have been recognized but for the specification in the play bills" (Monthly Mirror, June 1798, p. 371). Receipts: #269 19s. 6d. (48.19.0; 20.17.6; tickets: 200.3.0, of which Simpson took #72 5s. 6d., Powel #27 10s. 6d., Rees #36 11s., Mrs Henley #61 16s., leaving #2 to be accounted for)

Performances

Afterpiece Title: The Waterman

Afterpiece Title: The Witches Revels; or, The Birth of Harlequin

Song: In III 1st piece: song in character-Mrs Henley; Old Towler-Incledon

Entertainment: Vaudeville.As17980528; In 2nd piece: new Imitations-Rees

Event Comment: Mainpiece: Never [previously] performed at this Theatre; By permission of the Proprietor of the Theatre Royal, Hay-Market. Receipts: #115 17s. 6d. (65.2.0; 47.17.0; 2.18.6)

Performances

Mainpiece Title: The Young Quaker

Afterpiece Title: The Captive of Spilburg

Dance: As17981114

Event Comment: Afterpiece [1st time; MD 3, by Samuel Birch, adapted from Camille; ou, Le Souterrain, by Benoit Joseph Marsollier des Vivetieres, and from Les Victimes Cloitrees, by Jacques Marie Boutet de Monvel; the songs written by Thomas John Dibdin. Larpent MS 1236; not published. The playbill states that this was "Taken from the German," but London Chronicle, 12 Dec., says that its source is the same as that of The Captive of Spilburg (see dl, 14 Nov.). An examination of the MSS of these two pieces (Larpent 1230 and 1236) proves that such is unmistakably the case]: With entire new Scenes, Machinery, Dresses & Decorations. The Music composed and selected by Steibelt and Attwood. The Action of the Chorusaes, Finales, &c. under the Direction of Farley, and the Action of the Overture by Bologna Jun. A new Descriptive Overture, composed by Steibelt, on a Plan never before introduced on the English Stage, accompanied by Action. "The overture is...nothing more than music adapted to pantomime; and, in the present instance, the dumb shew is an unnecessary anticipation of the procession with which the piece opens" (Monthly Mirror, Dec. 1798, p. 369). The Scenery painted by Richards, Phillips, Lupino, Hollogan, Blackmore, &c. The Dresses by Dick and Mrs Egan. Books of the Songs to be had at the Theatre. Receipts: #338 17s. 6d. (325.14.6; 13.3.0)

Performances

Mainpiece Title: Laugh When You Can

Afterpiece Title: Albert and Adelaide; or, The Victim of Constancy

Performance Comment: Principal Characters-Incledon, Fawcett, H. Johnston, Betterton, Townsend, Simmons, Miss Webb (1st appearance), Follett; Miss Wheatley, Miss Walcup, Mrs Whitmore, Mrs Johnson. [Cast from Songs (T. Rickaby [1798]): Henrico-Incledon; Jocelin-Fawcett [in Songs: Emery (see17981214)]; Albert-H. Johnson; Rudolph-Betterton; Bertolt-Townsend; Gariga-Simmons; Adolphus-Miss Webb; Rosella-Miss Wheatley; Cicely-Miss Walcup; Algonde-Mrs Whitmore; Adelaide-Mrs Johnson; unassigned-Follett; Chorus of Soldiers and Followers in the Black Forest-Oddwell, Clarke, Sawyer, Curties, Little, Thomas, Everett, J. Linton, Smith, Lee, Powers, Lewiss; Chorus of Guards in the Castle-Linton, Gray, Street, Abbot, Kenrick, Silvester, Jones, Fairclough, Tett, Russel.

Dance: In afterpiece: Procession and Dance of Swabian Peasants-Blurton, Dyke, Wilde, L. Bologna, T. Cranfield, Platt, Masters, Slape, Ramage, Goodwin, Little, Ms Watts, Ms Iliff, Ms Norton, Ms Castelle, Ms Leserve, Miss Gray, Ms Bologna, Ms Masters, Ms Burnett, Ms Gilbert, Ms Lloyd, Ms Blurton, Ms Ward

Performances

Mainpiece Title: Acis And Galatea; Grand Selection 0

Music: End I: Ode on St. Cecilia's Day-[(never before performed text by the Rev. Samuel Wesley]), set to music by Samuel Wesley; Introductory to the Ode: [Handel's 3rd organ concerto-Samuel Wesley

Performance Comment: Cecilia's Day-[(never before performed text by the Rev. Samuel Wesley]), set to music by Samuel Wesley; Introductory to the Ode: [Handel's 3rd organ concerto-Samuel Wesley.
Event Comment: "[Allegranti] in an evil hour came again to England, and reappeared in Cimarosa's Matrimonio Segreto. Never was there a more pitiable attempt: she had scarcely a thread of voice remaining, nor the power to sing a note in tune: her figure and acting were equally altered for the worse, and after a few nights she was obliged to retire, and quit the stage altogether...But she was at least remembered to have had a voice, and was looked upon only with compassion" (Mount-Edgcumbe, 39-40). "The opera of last night was also enriched by the first appearance, on any stage, of a young lady, a daughter of Signor Rovedino...She was received with the warmest applause" (Morning Chronicle, 10 Apr.)

Performances

Mainpiece Title: Il Matrimonio Segreto

Dance: As17990330

Event Comment: Benefit for Miss Leak. 3rd piece: Never performed here [see cg, 10 NoV. 1788]. Morning Chronicle, 25 Apr.: Tickets to be had of Miss Leak, Upper Mews Gate, Castle-street, Leicester-square. Receipts: #550 19s. 6d. (114.4.6; 70.12.6; 0.11.0; odd money: 5.13.6; tickets: 359.18.0) (charge: #211 5s.)

Performances

Mainpiece Title: The Belle's Stratagem

Afterpiece Title: Sylvester Daggerwood

Afterpiece Title: The Miser

Song: In IV 1st piece: Masquerade Scene-; Orphan Bess the Beggar Girl (the Musick by Hook)-; End 1st piece: A Musical Address (accompanied on the harp by Weippert, the Musick by Dr Arnold)-Miss Leak; In 2nd piece: The Country Club-Bannister Jun

Performances

Mainpiece Title: The Heir At Law

Afterpiece Title: The Reviv'd Anacreontics [i

Performance Comment: e. The Sons of Anacreon]. President (with the Anacreontic Song)-Incledon; The Tight Little Island-Townsend; From Night till Morn I take my Glass-Johnstone, Incledon; A Favorite Comic Song-Fawcett; The Red Cross Knight-Incledon, Linton, Denman; The Awkward Recruit (never performed)-Munden; Beviamo-Incledon, Johnstone, Townsend, Linton.

Afterpiece Title: The Castle of Sorrento

Song: End II 1st piece: The Witches, as18000415, but added: Denman, +Street

Event Comment: By Desire of His Excellency The Turkish Ambassador [Ismail Ferrouh Effendi]. Benefit for Miss Leak. ["His Excellency never made his appearance during the whole evening" (Dramatic Censor, II, 238).] Afterpiece: By permission of the Proprietor of the Theatre Royal, Covent Garden. Morning Chronicle, 22 May: Tickets to be had of Miss Leak, Upper Mews-gate, Castle-street. Receipts: #445 9s. (101.11; 64.1; 2.14; tickets: 277.3) (charge: #212 3s. 5d.)

Performances

Mainpiece Title: She Wou'd And She Wou'd Not

Performance Comment: As18000515, but Rosara (with a new song, composed by deLanza)-Miss Leak (1st appearance in that character); Diego-_.

Afterpiece Title: Robin Hood

Song: End: a new song (composed by Dr Arnold,)-Miss Leak; accompanied on the Tamborine-Miss Leak

Ballet: After Singing: The Scotch Ghost. As17991202

Event Comment: Pepys, Diary: We met with Mr Salisbury, who took Mr Creed and me to the cockpitt to see The Moore of Venice, which was well done. Burt acted the Moore; by the same token, a very pretty lady that sat by me, called out, to see Desdemona smothered. Possibly Clun acted Iago. Pepys (6 Feb. 1668@9) refers to his playing that role, and a reference to Clun as Iago appears in A Most Execrable Murther in A Little Ark, ed. G. Thorn-Drury, pp. 30-31. See also entry of 14 Aug. 1660

Performances

Mainpiece Title: The Moore Of Venice

Performances

Mainpiece Title: The Alchemist

Performance Comment: Downes (Roscius Anglicanus, pp. 4-5) lists a cast, a part of which may have acted in the play at this time: Face-Mohun; Sir Epicure-Cartwright; Surly-Burt; Ananias-Lacy; Wholesome-Bateman; Downes also lists Wintersel for Subtil, but since Clun acted it on 3 Aug. 1664, he may have done so at this time. Subtil-Clun?; Prologue to the Reviv'd Alchemist-.
Event Comment: On this day (L. C. 5@137,p. 343) Davenant was granted a warrant to act the following plays: Tempest, Measures for Measures, Much Adoe About Nothing, Romeo? and Juliet, Twelfe Night, The Life of King Henry the Eyght, The Sophy, Kinge Lear, The Tragedy of Mackbeth, The Tragedy of Hamlet Prince of Denmark, and The Dutchesse of Malfy. In addition, he was to have exclusive right for two months to The Mad Lover, The Mayde in Ye Mill, The Spanish Curate, The Loyall Subject, Rule a Wife and have a Wife, and [Pericles] Persiles Prince of Tyre. Davenant also received the right to act his own plays

Performances

Event Comment: See Herbert (Dramatic Records, p. 117) for The Mayd in the Mill acted in May and A Wife for a Monthe and The Bondman acted by the King's Company at an unspecified time following May

Performances

Event Comment: The Duke's Company. Pepys, Diary: To Sir William Davenant's Opera; this being the fourth day that it hath begun, and the first that I have seen it. To-day was acted the second part of The Siege of Rhodes. We staid a very great while for the King and the Queen of Bohemia. And by the breaking of a board over our heads, we had a great deal of dust fell into the ladies' necks and the men's hair, which made good sport. The King being come, the scene opened; which indeed is very fine and magnificent, and well acted, all but the Eunuch, who was so much out tha he was hissed off the stage

Performances

Mainpiece Title: The Siege Of Rhodes, Part Ii

Event Comment: On the assumption that the run began on 28 June and extended twelve days (as Downes states), it would continue through 11 July. On 3 July a group of players entitled the Red Bull Company began a series of performances at Oxford. The performances are known through the entries in Anthony Wood's journal. For a discussion of the problems as to what actors these were, see Sybil Rosenfeld, "Some Notes on the Players in Oxford, 1661-1713", Review of English Studies, XIX (1943), 366. On this day the players acted Tu Quoque, in which, according to Richard Walden (Io Ruminans, 1662) Anne Gibbs acted Gertrude

Performances

Mainpiece Title: The Siege Of Rhodes, Part I

Event Comment: 'It is not certain what company played at this theatre ont his day Pepys, Diary: To Salisbury Court play house, where was acted the first time 'Tis pity Shee's a Whore, a simple play and ill acted, only it was my fortune to sit by a most pretty and ingenious lady, which pleased me much

Performances

Mainpiece Title: 'tis A Pity She's A Whore

Event Comment: Possibly this was acted by the King's Company, which had given it on 16 Nov. 1660 and 8 Jan. 1661. Evelyn, Diary: This Night was acted before his Majestie the Widow, a lewd play

Performances

Mainpiece Title: The Widow

Event Comment: The King's Company. This marks the opening of the new Theatre Royal in Bridges Street, Drury Lane, to which Killigrew moved his company from Vere Street. Downes erroneously gives the opening date as 8 April, a fact which led to the creation of the famous spurious playbill for Bridges Street, Thursday, 8 April 1663. See Montague Summers, The Restoration Theater (London, 1934), p. 15. Pepys, Diary: This day the new Theatre Royal begins to act with scenes the Humorous Lieutenant, but I have not time to see it, nor could stay to see my Lady Jemimah lately come to town, and who was here in the house. Downes (p. 3): Note, this Comedy was Acted Twelve Days Successively

Performances

Mainpiece Title: The Humorous Lieutenant

Event Comment: The Duke's Company. The date of performance is uncertain. The play was entered in the Stationers' Register, 15 Feb. 1663@4, and its publication noted in The Newes, 3 March 1663@4. Katherine Philips, writing from Cardigan, Wales to Lady Temple in London, 24 Jan. 1663@4: I beleive er'e this you have seen the new Pompey either acted or written & then will repent your partiallity to ye other, but I wonder much what preparations for it could prejudice Will Davenant when I heare they acted in English habits, & yt so aprope yt Caesar was sent in with his feather & Muff, till he was hiss'd off ye Stage & for ye Scenes I see not where they could place any yt are very extra-ordinary, but if this play hath not diverted ye Cittizens wives enough Sr W: D: will make amends, for they say Harry ye 8th & some later ones are little better then Puppett-plays. I understand ye confederate-translators are now upon Heraclius, & I am contented yt Sr Tho. Clarges (who hath done that last yeare) should adorn their triumph in it, as I have done in Pompey (Harvard Theatre Collection)

Performances

Mainpiece Title: Pompey The Great

Performance Comment: Edition of 1664: wo actors' names. Prologue At the House-; Epilogue at the House-; Epilogue to the King at Saint James's-; Epilogue To the Dutchess at Saint James's-; [One Epilogue was written by Sir Edward Deering.] [At the end: After which a grand Masque [is Danc'd before Caesar and Cleopatra[, made (as well as the other Dances and the Tunes to them) by Mr John Ogilby-.
Event Comment: The King's Company. For Mrs Corey as Dol Common, see 27 Dec. 1666. For the murder of Clun, see An Elegy Upon the Most Execrable Murther of Mr Clun (1664), and the reprint in A Little Ark, ed. G. Thorn-Drury, pp. 30-31. Pepys, Diary, 4 Aug.: Clun, one of their [King's] best actors, was, the last night, going out of towne (after he had acted the Alchymist, wherein was one of his best parts that he acts) to his country-house, set upon and murdered; one of the rogues taken, an Irish fellow. It seems most cruelly butchered and bound. The house will have a great miss of him

Performances

Mainpiece Title: The Alchymist

Event Comment: The King's Company. Pepys, Diary, 23 Jan.: Knipp made us stay in a box and see the dancing preparatory to to-morrow for The Goblins, a play of Suckling's, not acted these twenty-five years; which was pretty. Pepys, Diary, 24 Jan.: And, anon, at about seven or eight o'clock, comes Mr Harris, of the Duke's playhouse, and brings Mrs Pierce with him, and also one dressed like a country-mayde with a straw hat on; which, at first, I could not tell who it was, though I expected Knipp: but it was she coming off the stage just as she acted this day in "The Goblins"; a merry jade

Performances

Mainpiece Title: The Goblins

Event Comment: The Duke's Company. Pepys, Diary: I alone out and to the Duke of York's play-house, where unexpectedly I come to see only the young men and women of the house act; they having liberty to act for their own profit on Wednesdays and Fridays this Lent; and the play they did yesterday, being Wednesday, was so well-taken, that they thought fit to venture it publickly to-day; a play of my Lord Falkland's called The Wedding Night, a kind of tragedy, and some things very good in it, but the whole together, I thought, not so. I confess I was well enough pleased with my seeing it: and the people did do better, without the great actors, than I did expect, but yet far short of what they do when they are there, which I was glad to find the difference of

Performances

Mainpiece Title: The Marriage Night

Performance Comment: See16670320 young actors of the company.

Performances

Mainpiece Title: The Schoole Of Complements

Performance Comment: [Love Tricks, by James Shirley.] Edition of 1667: The Prologue-; [No actors' names. Epilogue-. [As it is now Acted by His Royal Highnesse the Duke of York's Servants at the Theatre in Little Lincolns Inn Fields.As it is now Acted by His Royal Highnesse the Duke of York's Servants at the Theatre in Little Lincolns Inn Fields.
Event Comment: The Duke's Company. It is not certain this is the first performance, but it may well have been. This performance is on the L. C. list, 5@139, p. 125. See also Nicoll, Restoration Drama, p. 346. Pepys, Diary: Sir W. Pen and I to the Duke's house, where a new play. The King and Court there: the house full, and an act begun. And so went to the King's. Downes (p. 28): Sir Martin Marral, The Duke of New-Castle, giving Mr Dryden a bare translation of it, out of a Comedy of the Famous French Poet Monseur Moleire: He adapted the Part purposely for the Mouth of Mr Nokes, and curiously Polishing the whole....All the Parts being very Just and Exactly perform'd, specially Sir Martin and his Man, Mr Smith, and several others since have come very near him, but none Equall'd, nor yet Mr Nokes in Sir Martin: This Comedy was Crown'd with an Excellent Entry. In the Last Act at the Mask, by Mr Priest and Madam Davies; This, and Love in a Tub, got the Company more Money than any preceding Comedy

Performances

Mainpiece Title: Feign'd Innocence; Or, Sir Martin Marall

Performance Comment: Edition of 1668: No actors' names. Prologue-; Epilogue-; Downes (Roscius Anglicanus, p. 28): Sir Martin Marall-Nokes; Sir John Swallow-Smith; Lord Dartmouth-Young; Old Moody-Underhill; Warner-Harris; Lady Dupe-Mrs Norris; Mrs Millisent-Mrs Davies.
Event Comment: The Duke's Company. Pepys, Diary: To the Duke of York's playhouse; but there Betterton not being yet well, we would not stay, though since I hear that Smith do act his part in The Villaine, which was then acted, as well or better than he, which I do not believe

Performances

Mainpiece Title: The Villain