SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Mr Vernon much Applause Hopkins Diary Benefit for Vernon Paid Mr Bar"/1) | (@(roleclean,performerclean) "Mr Vernon much Applause Hopkins Diary Benefit for Vernon Paid Mr Bar")') 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 15926 matches on Event Comments, 2626 matches on Performance Comments, 639 matches on Performance Title, 35 matches on Author, and 0 matches on Roles/Actors.
Event Comment: London Gazette, No 3348, 9-13 Dec. 1697: The Song which was Sung on St Cecilia's Day will be performed in York-Buildings, on Thursday next being the 16th Instant, with an Addition of a new Pastoral on the Peace, Composed by Mr Jeremiah Clark, and for the Benefit of Mr La Riche only. The Musick begins at Eight. [See 22 Nov. 1697 and 9 Dec. 1697.

Performances

Mainpiece Title: Concert

Event Comment: At the Desire of Isaac Bickerstaffe, Esq.; for the Benefit of his cousin John Bickerstaffe

Performances

Mainpiece Title: Don Quixote Part Ii

Dance: Harlequin-Layfield, Miss Santlow; With other comical Dances originally in the play-

Entertainment: As17100202

Event Comment: By Command of His Royal Highness the Prince of Wales. Benefit the Brave and Unfortunate Crew, belonging to Captain Peddie...[and] the Widow of the Boatswain killed in the Engagement

Performances

Mainpiece Title: The Tempest

Afterpiece Title: The Intriguing Chambermaid

Song: V: Lowe, During which the whole Crew will appear and return their humble Thanks to the Generous Audience

Event Comment: For the Entertainment of the...Masons. Benefit Blakes and Miss Hippisley

Performances

Mainpiece Title: The Miser

Afterpiece Title: Lethe

Song: Miss Medina, Mrs Jones; the Masons' Songs-Hemskirk

Dance: DDrunken Peasant-Chettle; Hornpipe-Yates, others

Event Comment: GGreat Theatrical Booth, Bowling Green. By Permission. Benefit of Legar and Boaman. A Concert, etc. At the particular Desire of several of the Subscribers. Stage 5s. Tickets for the Orphan will be taken

Performances

Mainpiece Title: The Busy Body

Afterpiece Title: Flora or Hob in the Well

Event Comment: For the Benefit and Increase of a Fund establish'd for the Support of decay'd Musicians and their Families. [Prices as usual.

Performances

Mainpiece Title: Entertainment Of Vocal And Instrumental Musick

Event Comment: CCross: Benefit for ye Author. Mr Garrick order'd ye foundling to be given out for Sat: & as you like it for Mon: But ye Pit rose, & insisted ye Foundling shou'd be given out again for Monday, wch was done, tho; ye Lords who oppos'd it were in ye House. [Horace Walpole's account of the affair Foundling to Sir Horace Mann, in a letter of 11 March 1748 (ed. Cunningham, II, 106) runs as follows: "There has been a new comedy call'd The Foundling; far from good, but it took. Lord Hobart and some young men made a party to damn it, merely for the love of damnation. The Templars espoused the play, and went aamed with syringes charg'd with stinking oil, and with sticking plaisters for Bubby's fair hair; but it did not come to action. Garrick was impertinent, and the pretty men gave over their plot the moment they grew to be in the right."] Receipts: #170 (Cross); house charges #63 (Powel); cash #168 10s. 6d.; tickets #18 5s. (Clay MS)

Performances

Mainpiece Title: The Foundling

Cast
Role: Sir Charles Raymond Actor: Barry
Event Comment: At the Desire of several Eminent Citizens. A concert, etc. Benefit for Stevens (bookseller). Mainpiece: Written by E. Young, author of the Midnight Thoughts. Boxes 5s. Pit 2s. 6d. Gallery 1s. 6d

Performances

Mainpiece Title: Busiris King Of Egypt

Song: IV: A Cantata-Doorsming, who never appeared in public

Dance: V: Drunken Peasant-Matthews

Event Comment: [See Occasional Prologue spoken at cg by Mr Barry (28 Sept. 1750): @When vice and folly overruns the state,@Weak politicians lay the blame on fate...@If Shakespeare's Passion, or if Johnson's art@Can fire your fancy, or can warm your heart,@That task be ours;--but if you damn, their scenes@And heroes must give way to Harlequins.@We too can have recourse to Mime and Dance@Nay there I think we have the better chance;@And should the town grow weary of the Mute@Why--we'll produce--a Child upon the flute@ This infant piper referred to again satirically in a Guide to the Stage, 2nd ed., 1751, p. 7.] Rec'd of Mr Warner for arrears at his Benefit 16 May last, #5 14s. As this belong'd to last season's Account, I shall make an allowance, and accordingly subtract it from the sum total (Powel). Receipts: #70 (Cross); #92 12s. (Powel)

Performances

Mainpiece Title: She Woud And She Woud Not Or The Kind Imposter

Afterpiece Title: The Lottery

Music: I: Concerto on Flute-a Child five years of age (1st time of his appearing on any stage); III: Another piece of music-the Child

Event Comment: For one Night Only. Benefit for the Author [John Slade]. A New Tragedy, never acted before. To begin 7 p.m. Places for the Boxes to be had of Varney at the Stage Door

Performances

Mainpiece Title: Love And Duty

Event Comment: By Particular Desire of the Ancient and Honorable Society of Free Masons, and By Authority. Benefit for Brother Lauder. Tickets at Berwick St., at the Black Boy, near the Hermitage Bridge. To begin at Seven. Boxes 5s. Pit 3s. Gallery 2s

Performances

Mainpiece Title: The Gentle Shepherd

Event Comment: By Special License from the Lord Chamberlain, For One Night Only. Benefit for Lee. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. To begin at 6:00 p.m. Both pieces By Particular Desire. Present, the King of Denmark. Receipts: #244 7s. 6d. (Account Book)

Performances

Mainpiece Title: The Rehearsal

Afterpiece Title: Damon and Phillida

Event Comment: By Authority. Benefit Miss Rose (near six Years old), who for her surprising capacity and Theatrical Abilities is most deservedly celebrated. Tickets for 18 March will be taken. To begin at 7 p.m. N.B. No person on any pretence whatever to be admitted behind the Scenes unless those few possess'd of tickets for that purpose. Those Ladies and Gentlemen who chuse entire Boxes are most humbly requested to secure them immediately

Performances

Mainpiece Title: The Distressd Mother

Performance Comment: Andromache-Miss Rose's Mamma (who never appeared on any stage); Hermione (and a new Epilogue)-Miss Rose; Pyrrhus, Orestes-Two Gentlemen who never appeared on any stage before Occasional Prologue-Mas. Frank.

Afterpiece Title: The Author

Performance Comment: Cadwallader, original Prologue in Imitation of Mr Foote-Mas. Frank; Mrs Cadwallader, in imitation of Mrs Gardner-Miss Rose(with the Lines written for and spoke before their Majesties and their Royal Offspring by Miss Rose in the character of Tom Thumb.).
Event Comment: Mainpiece: By Particular Desire. Benefit for King. Part of pit will be laid into Boxes. The Entertainment By Desire and for the only night this season. Receipts: #254 6s. 6d. Charges: #65 12s. Profit to King: #188 14s. 6d. (Treasurer's Book)

Performances

Mainpiece Title: The Rehearsal

Performance Comment: Bayes-King; Smith-J. Aickin; Johnson-Jefferson; Others-Weston, Mrs W. Palmer, Miss Collett, Baddeley, Palmer, W. Palmer, Hurst, Parsons, Moody, Jacobs, Bransby, Wheeler, Ackman, Kear, Keen, Fawcett, Johnston, Wrighten, Wright, Rooker, Miss Platt, Mrs Davies; With an Additional Reinforcement of Mr Bayes's New Rais'd Troops-.

Afterpiece Title: The Register Office

Dance: The Sailors Revels, as17730928

Monologue: End: Linco's Travels. Linco-King; Old Woman-Mrs Bradshaw

Event Comment: By Authority [of the Lord Chamberlain]. Benefit for the Westminster New Lying-In Hospital

Performances

Mainpiece Title: The Clandestine Marriage

Performance Comment: Lord Ogleby-Hertford (1st appearance); Sterling-Massey; Sir John Melvil-West; Lovewell-Cooke; Brush-Creswick; Canton-Holtom; Miss Sterling-Mrs Robinson; Fanny-Mrs Dawes; Betty-Mrs West; Mrs Heidelberg-Mrs Roach; Prologue by Hertford-West; Epilogue-Creswick [as17780323 .as17780323 .
Cast
Role: Lord Ogleby Actor: Hertford
Role: Prologue by Hertford Actor: West

Afterpiece Title: The Old Maid

Song: End III: a new Cantata, suitable to the occasion, composed by Barthelemon,-Mrs Barthelemon

Music: End: concerto on the violin-Barthelemon; in which Grammacree with variations-

Event Comment: By Authority of the Lord Chamberlain. Benefit for Stewart. Mainpiece: New Dresses and Decorations. [Authors of Prologues unknown.] The doors to be opened at 5:00. To begin precisely at 6:00

Performances

Mainpiece Title: The Gentle Shepherd Or Patie And Roger

Performance Comment: Sir William-A Gentleman [unidentified]; Patie-M'Donald; Roger-Barret; Symon-Pentland; Glaud-Riddle; Bauldy-Stewart; Madge-Mr Wilson; Mause-Mr Hamilton; Jenny-Miss Campbell; Peggy-A Young Lady (from the Theatre Royal, Edinburgh [unidentified]); A New Prologue-.
Cast
Role: Roger Actor: Barret

Afterpiece Title: The Students or The Humours of St

Song: End IV: Hooly and Fairlyin character-M'Donald

Music: Between the Acts: proper Scotch Music-; a new Scotch Overture-

Event Comment: [Extra night] By Permission [of the Lord Chamberlain]. Benefit for Massey. Tickets delivered by Painter, Kenny, Mrs Lefevre will be admitted

Performances

Mainpiece Title: The Beggars Opera

Dance: In Act III of mainpiece a Hornpipe [performer not listed]; In afterpiece, as17820826

Song: In afterpiece The Tobacco Box by Brett and Miss Morris

Event Comment: By Permission of the Lord Chamberlain. Benefit for Mrs Greville. Tickets and places to be had of Mrs Greville, No. 1, Queen's-court, King-street, Covent-garden. [This was Mrs Pinto's last appearance on the stage (but see 12 May 1786).]

Performances

Mainpiece Title: The Suspicious Husband

Afterpiece Title: The Irish Widow

Song: End of mainpiece The Soldier tired of War's Alarms by Mrs Pinto

Monologue: 1785 04 26 End of Act II of mainpiece Collins's Ode on the Passions by Mrs Walcot. imitations. End of Act I of afterpiece, as 17 Sept. 1784, but An entire new dialogue in the Shades between Foote and Weston; added: Prospero (in the manner of Mossop); omitted: Prologue to Barbarossa

Performance Comment: imitations. End of Act I of afterpiece, as 17 Sept. 1784, but An entire new dialogue in the Shades between Foote and Weston; added: Prospero (in the manner of Mossop); omitted: Prologue to Barbarossa .
Event Comment: By Permission of the Lord Chamberlain. Benefit for Mrs Greville and Mrs Hunter. The Doors to be opened at 5:30. To begin at 6:30. Tickets delivered for the 7th and by L'Estrange will be taken

Performances

Mainpiece Title: The Jealous Wife

Afterpiece Title: The Ephesian Matron

Afterpiece Title: The Irish Widow

Dance: End I 3rd piece: Hornpipe-Alison

Event Comment: By Permission of the Lord Chamberlain. Benefit for Berry. Afterpiece: Written by the late Samuel Foote, Esq. The Doors to be opened at 5:30. To begin at 6:30. Tickets to be had at Mrs Richman's@Masquerade@Warehouse, Oxford-street; of Berry, at the George in the Haymarket; and of Rice at the Theatre, where Places for the Boxes may be taken. No Money to be returned

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: By Permission of the Lord Chamberlain. Benefit for Walker

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

Event Comment: Mainpiece [1st time; C 5, by Frederick Reynolds. Prologue by James Boaden. Epilogue by Edward Topham (see text). For this play Reynolds and the cg manager made a new plan for payments to the author. Benefits for the author on the 3rd, 6th and 9th nights were abandoned; instead he received #33 6s. 8d. for each of the first nine nights and #100 on the 20th night. "This was the foundation of that bargain between manager and author which, I believe, exists to the present period [1826]" (Reynolds, II, 182-83)]. Morning Chronicle, 19 Jan. 1795: This Day is published The Rage! (2s.). Receipts: #259 13s. 6d. (255.17.6; 3.16.0)

Performances

Mainpiece Title: The Rage

Performance Comment: Principal Characters by Lewis, Quick, Holman, Munden, Fawcett, Bernard, Middleton, Davenport, Cross, Rees, Mrs Mattocks, Mrs Mountain, Mrs Pope. [Cast from text (T. N. Longman, 1795): Gingham-Lewis; Sir Paul Perpetual-Quick; Darnley-Holman [in text: Pope]; Flush-Munden; The Hon. Mr Savage-Fawcett; Signor Cygnet-Bernard; Sir George Gauntlet-Middleton; Ready-Davenport; Servants-Cross, Abbot, Ledger, Wilde; Waiter-Rees; Groom-Simmons; Lady Sarah Savage-Mrs Mattocks; Clara Sedley-Mrs Mountain; Mrs Darnley-Mrs Pope; Prologue-Holman; Epilogue-Mrs Mattocks. [These were spoken, as here assigned, at the 1st 24 performances only (see17941213).]These were spoken, as here assigned, at the 1st 24 performances only (see17941213).]

Afterpiece Title: Cymon

Dance: Afterpiece to conclude with: a Dance-

Event Comment: The United Company. The date of the first performance is not known. The January issue of the Gentleman's Journal, wnich did not appear until some time in February, stated: Mr Congreve...hath written a Comedy, which will be acted in a little time, and is to be call'd, The Old Batchelor (p. 28). The Gentleman's Journal, February 1692@3 (issued in March 1693): The success of Mr Congreve's Old Batchelor has been so extraordinary, that I can tell you nothing new of that Comedy; you have doubtless read it before this, since it has been already printed thrice. And indeed the Wit which is diffus'd through it, makes it lose but few of those Charms in the Perusal, which yield such pleasure in the Representation. Mr Congreve will in some time give us another play; you may judge by this how acceptable it will be (p. 61). In addition, a reference in the Epilogue indicates that it was produced during Lent, ano since the third edition was advertized in the London Gazette, No. 2856, 23-27 March 1693, early March seems the most likely date for the premiere. According to The Female Wits (ca. 1696), The Old Batchelor was acted fourteen days successively. John Barnard of Yale University states that Narcissus Luttrell's copy of The Old Batchelor in the Newberry Library bears the notation: "10d Mar. 16 1692@3." BM Add. Mss. 4221 (341) Memoirs Relating to Mr Congreve Written by Mr Thomas Southern (in Macdonald, Bibliography of Dryden, p. 54n): When he began his Play the Old Batchelor haveing little Acquaintance with the traders in that way, his Cozens recommended him to a friend of theirs, who was very usefull to him in the whole course of his play, he engag'd Mr Dryden in its favour, who upon reading it sayd he never saw such a first play in his life, but the Author not being acquainted with the stage or the town, it woud be pity to have it miscarry for want of a little Assistance: the stuff was rich indeed, it wanted only the fashionable cutt of the town. To help that Mr Dryden, Mr Arthur Manwayring, and Mr Southern red it with great care, and Mr Dryden putt it in the order it was playd, Mr Southerne obtained of Mr Thos. Davenant who then governd the Playhouse, that Mr Congreve should have the privilege of the Playhouse half a year before his play was playd, wh. I never knew allowd any one before. The music for the play was composed by Henry Purcell. See Purcell's Works, Purcell Society, XXI (1917), iii-v

Performances

Mainpiece Title: The Old Batchelor

Performance Comment: Edition of 1693: Prologue intended for the Old Batchelor [sent to the Author, by an unknown Hand-; Prologue-Mrs Bracegirdle; Epilogue-Mrs Barry; Heartwell-Betterton; Bellmour-Powel; Vainlove-Williams; Sharper-Alexander [Verbruggen]; Sir Joseph-Bowen; Bluff-Hains; Fondlewife-Dogget; Servant-Underhill; Araminta-Mrs Bracegirdle; Belinda-Mrs Mountfort; Laetitia-Mrs Barry; Sylvia-Mrs Bowman; Lucy-Mrs Leigh.
Cast
Role: Epilogue Actor: Mrs Barry
Role: Belinda Actor: Mrs Mountfort
Role: Laetitia Actor: Mrs Barry
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

Event Comment: Rich's Company. The date of the first production is not known, but A Comparison between the Two Stages (1702) (pp. 21-23) implies that this work preceded Rinaldo and Armida (performed at lif probably in November 1698). The Island Princess was not published until 1699 (the Masque being advertised in the Post Boy, 7-9 Feb. 1698@9, and the Opera in the Flying Post, 7-9 March 1698@9). A Comparison between the Two Stages (1702), pp. 21-22: Sullen: The old House have a Bawble offer'd 'em, made out of Fletcher's Island Princess, sometime after alter'd by Mr Tate, and now erected into an Opera by Motteux: The Actors labour at this like so many Galley Slaves at an Oar, they call in the Fiddle, the Voice, the Painter, and the Carpenter to help 'em; and what neither the Poet nor the Player cou'd do, the Mechanick must do for him:...but as I was saying-the Opera now possesses the Stage, and after a hard struggle, at length it prevail'd, and something more than Charges came in every Night: The Quality, who are always Lovers of good Musick, flock hither, and by almost a total revolt from the other House, give this new Life, and set it in some eminency above the New; this was a sad mortification to the old Stagers in Lincolns-Inn-fields. For a poem, The Confederates; or the first Happy Day of the Island Princess, see Poem on Affairs of State, 1703, II, 248-50

Performances

Mainpiece Title: The Island Princess Or The Generous Portuguese

Performance Comment: The performers are listed in Add. MSS. 15, 318, and in a printed version, The Four Seasons; or, Love in every Age (1699). These two sources are essentially similar, but as they occasionally supplement each other, the following is a composite of the two sources: Prologue-Mr Powell; The Epilogue-Penkethman, Mrs Rogers; Prologue to The Four Seasons-Mr Leveridge; Armusia-Powell; Ruidias-Mills; Piniero-Thomas; King of Tidero-Evans; Governor or Tyrant-Johnson; King of Bokam-Bullock; Prince of Syana-Mrs Kent; Quisara-Mrs Rogers; Panura-Mrs Wilkins; Act II: A Masque The Music by Daniel Purcel. The Words fitted to the Notes by the Author-Leveridge, Freeman, Pate, Miss Campion, Magnus's Boy, Miss Lindsey; Act III: A Song set by Daniel Purcell-; Act IV: A Dialogue between a Clown and his Wife set by Leveridge-Pate, Leveridge; An Incantation set by Mr D. Purcell-Bowen, Freeman, Pate; The Enthusiastick Song Set by Mr Leveridge-Mr Leveridge; Act V: The Four Seasons Set by Mr Jeremy Clarke-Leveridge, Freeman, Miss Campion, Magnus's Boy, Miss Lindsey, Pate, Crossfield.