SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Mr Vernon much Applause Hopkins "/1) | (@(roleclean,performerclean) "Mr Vernon much Applause Hopkins ")') 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 4657 matches on Event Comments, 2583 matches on Performance Comments, 628 matches on Performance Title, 35 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: The Double Gallant Or The Sick Ladys Cure

Afterpiece Title: Robin Hood

Dance: As17910507

Performances

Mainpiece Title: The Heiress

Afterpiece Title: No Song No Supper

Entertainment: Monologue. End: The Picture of a Play@House, or, Bucks have at ye all-R. Palmer

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: No Song No Supper

Performances

Mainpiece Title: Ill Tell You What

Afterpiece Title: The Agreeable Surprise

Performances

Mainpiece Title: The Young Quaker

Afterpiece Title: The Minor

Performances

Mainpiece Title: Venice Preservd

Afterpiece Title: Taste or Diversion in the Morning

Dance: I afterpiece: Mock Minuet-Alderman, Lady Pentweazel

Song: End: The Tobacco Box-Johnson, Miss Chatterley

Entertainment: Monologues After Singing: British Loyalty[; or, A Squeeze to St. Paul's-Wilkinson; End II afterpiece: Bucks have at Ye All-a Gentleman (1st appearance on any stage [unidentified])

Music: Between Acts: several pieces of Martial Music-his Royal Highness the Duke of Gloucester's Band(, in full uniform, by Permission)

Event Comment: Mainpiece: In 5 Acts, altered from the Dramatic Romance by David Garrick, Esq. With a new Overture and new additional Musick by Storace [on 2 Jan. 1792 and thereafter, added: Shaw] and other Eminent Masters. Entirely new Scenery by Greenwood, and new Dresses, Decorations and Machinery. To conclude with a Grand Procession of the Hundred Knights of Chivalry, and the Representation of an Ancient Tournament. [These were included in all subsequent performances.] Books of the Songs to be had at the Theatre. Morning Post, 3 Jan. 1792, prints a full description of the Procession of over 100 persons: 1st, Anglo-Saxon Knights and banners; then ancient British knights, Norman knights, Indians, Turks, Scythians, Romans, a dwarf, a giant; at end, "soldiers drawing a superb picture of St. George, knights in chain mail, a cupid leading a knight covered with a silver net, Hymen, piping fauns, bands of cupids drawing an altar--flame burning, cupids hovering over it, and others feeding doves below, a troop of Arcadian shepherds drawing the car of Cymon and Sylvia, characters of the drama, and chorus." "At the conclusion of the procession, a tournament took place of both horse and foot, between several combatants in armour, who fought with lances, swords and battle-axes: three of Hughes' horses [from the Royal Circus] were introduced, and managed with much dexterity; the Prince of Wales' Highlander made one of the procession, and entered the lists as a champion, fighting with an enormous club; against him a small female warrior was opposed, by whom he was subdued. It was by far the grandest spectacle ever seen upon the stage. Many of the characters were taken from Sir Philip Sydney's Arcadia, in which the scene of the piece was laid; and the dresses of the knights, armour, &c. from the drawings and descriptions of the best antiquarians" (Oulton, 1796, II, 215). [This was Edmund Kean's 1st appearance on the stage; he was about four years old. He personated a cupid lying in Cymon and Sylvia's car (Kelly, Reminiscences, II, 21-22).] Account-Book, 13 Jan. 1792: Paid Hughes for his Horses #16 19s. 10d.; 23 Jan.: Paid Gough for his Greyhounds in Cymon #5 19s. 6d. Receipts: #420 6s. (385.0; 35.5; 0.1)

Performances

Mainpiece Title: Cymon

Afterpiece Title: All the Worlds a Stage

Performances

Mainpiece Title: King Richard The Third

Afterpiece Title: The Waterman

Performances

Mainpiece Title: Fashionable Levities

Afterpiece Title: A Peep behind the Curtain or The New Rehearsal

Afterpiece Title: Robin Hood

Performances

Mainpiece Title: Richard Iii

Afterpiece Title: The Citizen

Performances

Mainpiece Title: The Child Of Nature

Afterpiece Title: The Soldiers Festival or The Night before the Battle

Afterpiece Title: The Intrigues of a Morning or An Hour in Paris

Afterpiece Title: The Wives Revenged

Performances

Mainpiece Title: The Fugitive

Cast
Role: Mrs Manly Actor: Mrs Hopkins

Afterpiece Title: High Life below Stairs

Performances

Mainpiece Title: The Road To Ruin

Afterpiece Title: Oscar and Malvina

Music: As17920125

Performances

Mainpiece Title: The Winters Tale

Afterpiece Title: The Irishman in London

Afterpiece Title: The Golden Pippin

Song: In 2nd piece: As17920421; End II: a Selection of the most favourite Catches and Glees from Harrison and Knyvett's Vocal Concert-; O let the merry peal go on-(Danby); When Arthur first in Court began-(Callcott); Tweedside What beauties does Flora-(Corfe); Come let us all a Maying go-(Hilton)

Performances

Mainpiece Title: Ill Tell You What

Afterpiece Title: Young Men and Old Women

Performances

Mainpiece Title: Hail Fellows Well Met

Afterpiece Title: Ways and Means

Afterpiece Title: The Rehearsal

Afterpiece Title: The Rights of Women

Performances

Mainpiece Title: Cross Partners

Afterpiece Title: The Family Compact

Performances

Mainpiece Title: At Kings The Inconstant Or The Way To Win Him

Afterpiece Title: The Waterman

Performances

Mainpiece Title: At Kings The Heiress

Afterpiece Title: The Cave of Trophonius

Song: II: a song-Mrs Crouch

Performances

Mainpiece Title: The Gentle Shepherd Or Patie And Roger

Afterpiece Title: Wits Last Stake

Dance: End III: a new dance The Caledonian Cottagers; or, Scotch Wedding-Allison, Allison's Pupils

Song: End IV: The Cries of Edinburgh-Shaw

Entertainment: Monologue Probably end: An Occasional Address-Walker

Performances

Mainpiece Title: King Richard The Third

Afterpiece Title: Harlequins Museum and see17921220

Dance: In afterpiece: the Burlesque Pas de Russe-Byrn, Miss Smith; Hornpipe-Holland; rest of the Dances-Byrn, Ratchford, Cranfield, Rayner, Platt, Jackson, Wilde, Mrs Watts, Miss Francis, Mrs Ratchford, Mrs Lloyd, Mrs Crowe, Mrs Bayzand, Mme Rossi

Performances

Mainpiece Title: At Kings Cymon

Afterpiece Title: The Deaf Lover

Performances

Mainpiece Title: Every One Has His Fault

Afterpiece Title: The Midnight Wanderers

Performances

Mainpiece Title: Every One Has His Fault

Afterpiece Title: The Midnight Wanderers

Performances

Mainpiece Title: Lallegro Ed Il Penseroso Part I Only Grand Selection 0

Afterpiece Title: Acis and Galatea

Afterpiece Title: A New Grand Selection

Song: In 1st piece: Sweet bird-Mrs Ferguson (her 1st performance); accompanied on the violin-Shaw; End 2nd piece: an Italian Scena-Mrs Ferguson