SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,authname,perftitleclean,commentcclean,commentpclean) "New Theatre in the Hay Market"/1) | (@(roleclean,performerclean) "New Theatre in the Hay Market")') 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 5014 matches on Event Comments, 2830 matches on Performance Title, 1764 matches on Performance Comments, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: A New Comic Opera of Two Acts written by Mr Bate--Much hissing and Crying out no more no more!--Mr Reddish was desired to give out the Play as soon as Matilda was over--but he with his usual politeness ran up and undress'd himself as fast as he could so that the play was not given out till the End of the Farce as soon as the Blackamoor was given out for the next Night they kept a great Noise and call'd for another Farce to be given out--at length they began to be more appeas'd and went away vowing Vengeance on it the next Night (Hopkins Diary). The Overture and Music of the afterpiece entirely New. Books of the Songs &c. to be had at the Theatre. New Scenes, Dresses, &c. [This is Larpent MS 400. Sir Oliver Oddfish distrusts his servants and is about to replace them with blacks, giving his nephew the chance to introduce Frederick , his daughter Julia 's lover, in disguise as a blackamoor, and to effect an elopement. Act I criticizes Londoners and concludes with the comment, "O that I should ever live to see the day when white Englishmen must give place to foreign blacks." MacMillan's note from Kemble differs slightly.] Paid the late Mr Johnston's bill to his executors #44 18s. 6d. (Treasurer's Book). [Afterpiece reviewed in three columns in the Westminster Magazine for Feb. Reviewer thought it had been produced well in all departments, music, scenery, costume, and acting, but concluded it a theatrical trifle giving not much credit to its author.] Receipts: #166 13s. 6d. (Treasurer's Book)

Performances

Mainpiece Title: Matilda

Afterpiece Title: The Blackamoor Washd White

Event Comment: Afterpiece [1st time; P 2(?), by James Messink and Carlo Antonio Delpini. Not in Larpent MS; synopsis of action in London Chronicle, 26 Nov.]: The Scenery, Machinery, &c. painted new by Carver, Greenwood and Garvey. The Overture and the rest of the Music composed new by Fisher. Nothing under Full Price will be taken. Books of the Songs to be had at the Theatre. Account-Book, 3 Feb. 1778: Paid Fisher for composing songs, &c. in The Tempest [see 27 Dec. 1776], and other pieces, as per bill, #131 11s. Receipts: #190 16s. (182.18; 7.18)

Performances

Mainpiece Title: Sir Thomas Overbury

Afterpiece Title: The Norwood Gypsies

Performance Comment: Principal Characters-Lee Lewes, Rayner, Delpini, Messink, Miss Matthews, Miss Cranfield, Sga Tinte; Pastoral-Reinhold, Miss Dayes; Rest of Vocal Parts-Battishill, Mahon, Baker. [Partial cast from Morning Chronicle, 26 Nov.: Harlequin-Lee Lewes; Clown-Delpini; Colombine-Sga Tinde. Airs (no pub., 1777) lists no cast, no act division; has songs sung by Justice, Constable, Colin, Lucy, Gypsies. For parts see17800506.] has songs sung by Justice, Constable, Colin, Lucy, Gypsies. For parts see17800506.]

Dance: Afterpiece: Dancing-Aldridge, Dagueville, Miss Besford, Miss Valois

Event Comment: 1st piece [1st time; CO I, by Charles Dibdin, based on Rose et Colas, by Michel Jean Sedaine]. 3rd piece [1st time; CO I, by Charles Dibdin, based on Les Femmes Vengees, by Michel Jean Sedaine]: With new Scenery [Public Advertiser, 19 Sept.: by Richards] and Decorations. Both the Musical Pieces, with new Overtures, composed by Dibdin. Books of the new Musical Pieces to be had at the Theatre. Places for the Boxes to be taken of Brandon (only) at the Stage Door. No Money to be taken at the Stage Door, nor any Money to be returned after the Curtain is drawn up. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. The Doors to be opened at 5:15. To begin at 6:15 [see 21 Sept.]. Public Advertiser, 18 Sept.: This Afternoon at Three will be published Rose and Colin and The Wives Revenged (each 6d.). "At this season of the year the little company upon the Ton, who are in town, seldom rise from the table till after the beginning of the play; in order, therefore, to obviate the disturbance that the fracas in the boxes usually makes towards the close of the first act, or the beginning of the second, this comic opera [Rose and Colin] was prefaced. It at the same time affords these late comers an opportunity of seeing the play [i.e. the mainpiece] complete" (Town and Country Magazine, Sept. 1778, p.453)

Performances

Mainpiece Title: Rose And Colin

Afterpiece Title: She Woud and She Woud Not

Afterpiece Title: The Wives Revenged

Event Comment: Mainpiece [1st time; CO 3, by Richard Tickell, some of the songs attributed to Richard Brinsley Sheridan; synopsis of plot in Public Advertiser, 18 Dec. Songs (no pub., 1781) omits several [i.e. all the non-singing] characters. MS not in Larpent; not published]: With entirely new Music and a new Overture [by Thomas Linley Sen.]. To conclude with a View of St. Mark's Place, and a grand Representation of the Carnival. With new Scenes, Dresses, and Decorations, designed by De Loutherbourg, and executed under his Direction. Books of the Songs to be had at the Theatre. Public Advertiser, 19 Dec. 1781: This Day are published the Songs in The Carnival of Venice (6d.). Account-Book, 11 Jan. 1782: Received from Miss Giles for 1,550 Books of the Songs in the Carnival #31. Receipts: #225 18s. 6d. (216/4/0; 9/14/6; 0/0/0)

Performances

Mainpiece Title: The Carnival Of Venice

Afterpiece Title: The Apprentice

Event Comment: A new Serious Opera in 2 acts [1st rime; author unknown]; the music by several eminent composers, under the direction of Bertoni. Books of the Opera [which are entitled Giunio Bruto], with an account of the new Dance, to be had at the Theatre. [Sga Macchierini was from the Opera, Cremona.] Public Advertiser, 14 Jan.: Pacchierotti sang "in a Stile the most superior--superior to any Singer heard in this country since Farinelli--superior to Pacchierotti himself!"

Performances

Mainpiece Title: Junius Brutus

Dance: End of Act I Divertisement Dance, as17811117; End of Act II Le Triomphe de l'Amour Conjugal, as17820110

Event Comment: Mainpiece [1st time; CO 3, by John O'Keeffe, altered from his The Banditti (see 28 Nov. 1781). Text in his Dramatic Works, Vol. 1 (T. Woodfall, 1798)]: With new Scenes [by Carver (O'Keeffe, u, 38)], Dresses, and a new Overture. The Selected Airs by Handel, Vento, Giordani, Giardini, Bertoni, Dr Arne, and Carolan, the Irish Bard. The Overture and New Airs composed by Dr Arnold. Books of the Songs to be had at the Theatre. [This was Sga Sestini's 1st appearance on the English-speaking stage. For several preceding seasons she had been a member of the Italian opera company performing at the King's.] "Sestini . . . was handsome, sprightly, and a good actress, if great exuberance of gesticulation, activity of motion, and affected Italian smorfie could make her one; but her voice was gritty and sharp (something like singing through a comb), and she was nothing of a singer, except for lively comic airs. Yet she was . . . long a favourite with the mass of the public, though not with the connoisseurs" (Mount-Edgcumbe, p. 33). Account-Book, 30 June 1783: Paid O'Keeffe in full for The Castle of Andalusia #368 18s. 6d. Receipts: #166 2s. 6d. (165/9/0; 0/13/6)

Performances

Mainpiece Title: The Castle Of Andalusia

Performance Comment: Principal Characters by Mattocks, Reinhold, Quick, Edwin, Wilson, Brett, Fearon, Stevens, Davies, Thompson, Mahon; Miss Harper, Mrs Kennedy, Mrs Wilson, Miss Platt, Sga Sestini (1st appearance on the English stage). [Cast from Songs (T. Cadell, 1782): Don Fernando [in later seasons, usually Ferdinand]-Mattocks; Ramirez [beginning with season of 1787-88 called Don Caesar]-Reinhold; Spado-Quick; Pedrillo-Edwin; Don Scipio-Wilson; Philippo-Brett; Don Juan-Fearon; Vasquez-Stevens; Rapino-Davies; Calvette-Thompson; Sanguino-Mahon; Lopez-Ledger; Don Alphonso-Mrs Kennedy; Victoria-Miss Harper; Catalina-Mrs Wilson; Dame Isabel-Miss Platt; Lorenza-Sga Sestini.] hathi. hathi.

Afterpiece Title: Cross Purposes

Event Comment: Afterpiece [1st time; P 2, by John O'Keeffe. MS: Larpent 608; not published. CG playbill of 16 Nov. 1795 has a detailed synopsis of the action]: Intermixed with Songs and Dialogue. With new Music, Scenes, Dresses, Machinery, and Decorations. The new Music composed by Shield. The new Scenes designed by Richards, and executed by Richards, Hodgins, and assistants. To conclude with a Representation of the Lord Mayor's Show on the Water. Books of the Songs to be had at the Theatre. Nothing under Full Price will be taken. "As to the Pantomime it wanted nothing on the first Night but Abbreviations . . . [which should be] omission of the Doctors, the two Women of the Town, and the whole of Edwin's Character" (Public Advertiser, 27 Nov.). Gentleman's Magazine, Jan. 1783, pp. 29-31, contains a detailed synopsis of the procession, and adds, "The personages of this procession were all dressed in the characters of the time in which they lived, and before each of them a label, a scroll, or a pageant was carried, bearing their name, or some allusion of the poets to their occupation. The figures in transparency were all painted as large as the life, and had a most grand and beautiful effect . . . The idea of the paintings was furnished by Mr Richards and Mr Smirk [sic], and all of them executed by the latter in a style of so much taste and excellence that it is a matter of some wonder to us, where an artist of Mr Smirk's abilities has been so long concealed . . . The glee introduced with so much applause is the composition of the late Dr Rogers (who lived in 1600); the other airs in the pantomime and procession arc by Handel, Lord Kelly, Abel, Stamitz and Shield, and have very great merit. The expense of preparing this splendid spectacle must have been very great, and the cost of continuing its representation cannot be inconsiderable, since more than 200 supernumeraries are employed to walk in the procession." Receipts: #215 3s. (206/3; 9/0)

Performances

Mainpiece Title: Zara

Afterpiece Title: Lord Mayors Day or A Flight from Lapland

Performance Comment: Cast not listed. [Cast from London Chronicle, 26 Nov.: Captain-Bannister; Sailor-Brett; Gobble-Wilson; Ballad Singer-Wewitzer; Serjeant-Davies; Barber-Mills; Glazier-Darley; Vintner-Booth; Hatter-Doyle; Clod-Edwin; Whalebone-Stevens; Lucretia-Mrs Wilson; Polly-Miss Morris; Aerial Spirit-Mrs Martyr. Larpent MS adds the following parts: Harlequin, O'Flannegan, Ulan, Man with Books, Doctors, Taylors, Servants, Mob; Mrs Gobble, Visitors, Jenny, Colombine, Servant Maids.] hathi. Mrs Gobble, Visitors, Jenny, Colombine, Servant Maids.] hathi.
Event Comment: Afterpiece [1st time; P 2, by John O'Keeffe and Charles Bonnor; later (see 29 Jan. 1784) altered as Harlequin Rambler. MS: Larpent 642; not published; synopsis of action in Public Advertiser, 24 Dec]: The Overture and all the Music new, with entire new Scenery, Machinery, Dresses, Decorations and New Performers. The Pantomime invented by O'Keeffe, the Music composed by Shield, the Scenery designed by Richards and Carver, and executed by them, Hodgins, and others. Nothing under Full Price will be taken. Books of the Songs (T. Cadell, 1783) [which list no cast] to be had at the Theatre. Receipts: #288 1s. (277/18; 10/3)

Performances

Mainpiece Title: The Winters Tale

Related Works
Related Work: The Sheep-Shearing Author(s): George Colman, the elder

Afterpiece Title: Friar Bacon or Harlequins Adventures in Lilliput Brobdignag c

Performance Comment: Cast not listed. [Partial cast from Morning Chronicle and from Morning Herald, both 24 Dec: Friar Bacon-Reinhold; Friar Bungay-Bannister; Harlequin-Chalmers; Boy in Brobdignag-Edwin; Girl in Brobdignag-Miss Stewart; Colombine-Mrs Chalmers. Other parts from Larpent MS and from Morning Chronicle, 24 Dec.: Head, Councillors in Lilliput, Cryer, Lord Mayor, Alderman, Clerk, Lawyer, Judge, Sailor, Country Squire, Watchman, Clown, Father; Old Woman.] hathi. Old Woman.] hathi.
Event Comment: Mainpiece: 14th Night [i.e. in continuation of the reckoning for the previous season]. With new Music [consisting of 6 new songs (Gazetteer, 2 Oct.)], Scenes and Dresses. The new Music and Accompaniments to the adapted Airs by Shield. The Overture by Baumgarten. The Words of the Songs to be had at the Theatre. [It was "represented in an altered state . . . The second act is almost newly written, and the language of the whole opera amended and pointed with great neatness" {London Magazine, Oct. 1784, p. 315).] "At the end of the first act [of mainpiece], Davies came forward and informed the audience that Mrs Kennedy was of a sudden taken dangerously ill, and hoped that Cubitt might be permitted to read the remainder of her part; a request that was immediately complied with" (London Chronicle, 13 Oct.). [Afterpiece in place of The Positive Man, announced on playbill of 11 Oct.]

Performances

Mainpiece Title: Robin Hood

Afterpiece Title: St

Event Comment: Mainpiece: Not acted these 4 years [acted 28 Dec. 1787. Toms is identified in Morning Herald, 22 Sept. 1795: A Mr Toms made a probationary essay last night in the character of Romeo. The bills erroneously announced it as his first appearance on this stage [cg]; for his unsuccessful attempt in Young Norval [i.e. Douglas], about five years ago, on the same boards, is perfectly within our recollection. London Chronicle, 22 Sept. 1795, also refers to Toms as Douglas. European Magazine, Oct. 1790, p. 305, gives the name as Turner, but in Oct. 1795, p. 273, states that Toms performed on one night only "a few years since."]. Afterpiece [1st time; BALL. P 2 (?), by James Byrne, based partly on his Nootka Sound, and in May 1793 agin altered as The Shipwreck; or, French Ingratitude. Not in Larpent MS; not published; synopsis of action in Diary, 5 Oct.]: A Ballet Pantomime, with new Scenes, Dresses, and Decorations. The Overture and Music compiled by Byrne, from Haydn, Rochefort, Pleyel, Gyrowetz, Reeve, Pieltain, Dibdin. The new Music by Shield. On account of some Scenes which are introduced from the Entertainment of Nootka Sound (performed last Season [on 4 June 1790]) Half Price will be taken. [This alludes to the custom of not llowing half-price during the run of entirely new pantomimes.] Paid Brodie, for Stoves for the Theatre, #19 8s. Receipts: #207 8s. 6d. (201.16.0; 5.12.6)

Performances

Mainpiece Title: Douglas

Afterpiece Title: The Provocation

Event Comment: Afterpiece [1st time; BALL. P 1, by James Byrne. MS of Songs only: Larpent MS 919; synopsis of action in Universal Magazine, Oct. 1791, p. 308]: Taken from Ossian. With new Music, Airs, Chorusses, new Scenery, Dresses, and Decorations. The Ballet composed by Byrne. The new Music composed, and the Ancient Scots Music selected and adapted by Shield. The Overture by Reeve. The Scenery by Richards, Hodgins, Pugh, &c. &c. The Dresses by Dick. Books of the Songs, &c. to be had at the Theatre. [For Harp and Pipes see 24 Oct.] Account-Book, 22 Nov.: Paid Byrne for Oscar & Malvina #50; 8 Dec.: Paid Mad. St.Amand expenses from Paris to London #14 6s. 8d. Receipts: #182 16s. 6d. (177.13.6; 5.3.0)

Performances

Mainpiece Title: The Conscious Lovers

Afterpiece Title: Oscar and Malvina or The Hall of Fingal

Performance Comment: Characters in the Ballet-Byrne, Mlle St.Amand (from the Opera House, Paris; 1st appearance on this stage), and the rest of the Performers. Musical Characters by Munden, Darley, Marshall, Cubitt, Gray, Williamson, Linton, Tett, Kenrick, Little, Street, Mrs Mountain, Miss Broadhurst, Mrs Harlowe, Miss Stuart, Miss Barnett, Mrs Arnold, Miss Leserve, Mrs Martyr. Cast from Songs (T. Cadell, 1791): Oscar-Byrne; Carrol-Follett; Morven-Farley; Draco-Cranfield; Fingal-Blurton; Dermoth-King; Malvina-Mlle St.Amand; Pedlar-Munden; Farmer-Cubitt; Bards, Peasantry-Darley, Marshall, Gray, Williamson, Mrs Mountain, Miss Broadhurst, Miss Stuart, Mrs Martyr; Linton, Tett, Kenrick, Little, Street, Mrs Harlowe, Miss Barnett, Mrs Arnold, Miss Leserve. Linton, Tett, Kenrick, Little, Street, Mrs Harlowe, Miss Barnett, Mrs Arnold, Miss Leserve.

Song: II: song-Incledon

Event Comment: [In mainpiece the playbill omits Anna, but "Mrs Rock was a wretched Anna" (Thespian Magazine, Feb. 1793, p. 195). Miss Morris is identified in European Magazine, Jan. 1793, p. 69; and see 14, 16 Nov.] Afterpiece [1st time; P 2(?), author unknown. Text (i.e. synopsis of action), For the Booksellers, 1793. Larpent MS 964 contains Songs only]: Partly New, and partly a Selection of Scenery, Machinery, Tricks, and Business, from the most approved Pantomimic Productions of Lunn, Rich, Woodward, Messink, Rosamond [i.e. Rosoman], Lalauze, &c. The Music chiefly compiled [by Thomas Goodwin] from Pepusch, Galliard, Dr Arne, Vincent, Dibdin, Dr Arnold, Fisher, the rest by Shield. The selected Scenery and Machinery re-painted, and the several new ones designed and executed by Hodgins, Pugh, Walmsley, Lupino, &c. The Dances by Byrn, who will for the first time introduce a Burlesque Pas de Russe. With new Dresses, Machinery and Decorations. Books of the Songs to be had at the Theatre. [In afterpiece the playbill lists Follett, but he "having received an injury at the morning's rehearsal, afforded that excellent actor, Munden, the opportunity of giving the Public an additional proof of the versatility of his talents: -he undertook the part of the Clown [i.e. Clodpole ], and performed it so well that he will probably be obliged to retain it" (Morning Herald, 21 Dec.). He was probably omitted from the Vocal Characters (see 21 Dec.).] Receipts: #258 10s. 6d

Performances

Mainpiece Title: Douglas

Afterpiece Title: Harlequins Museum or Mother Shipton Triumphant

Event Comment: 2nd piece [1st time; MD 3, by Thomas Morton]: With new Scenery, Dresses and Decorations. The Overture, Chorusses, and new Musick by Dr Arnold. The new Scenery by Rooker, Marinari, &c. Books of the Songs to be had at the Theatre. Morning Chronicle, 1 July 1795: This Day is published Zorinski (2s.)

Performances

Mainpiece Title: The Deaf Lover

Afterpiece Title: Zorinski

Event Comment: Afterpiece [1st time; MD 2, by George Colman, ynger, based on Raoul Barbe Bleue, by Michel Jean Sedaine (although, in the 1st edition of the play, this denied by Colman). Text (Cadell and Davies, 1798)]: The Scenery, Machinery, Dresses, and Decorations entirely new. The Musick composed and selected [from Paisiello] by Kelly. The Scenes designed and executed by Greenwood? Jun, Chalmers, and others. The Machinery, Decorations, and Dresses designed and under the direction of Johnston, and executed by him, Underwood, Gay, and Miss Rein. Books of the Songs to be had in the Theatre. Times, 8 Feb. 1798: This Day is published Blue Beard (1s. 6d.). "In the course of the representation, many blunders in working the scenery, which are unavoidable in a first representation of this nature, occurred, and the delays which took place were frequently very great...It was twelve o'-clock before the curtain dropped...The Expense of getting it up is said to be not less than #2,000" (London Chronicle, 18 Jan.). Proud swells the tide, with loads of capering heels, And vacant Folly shouts applause in peals; Hoards, even beyond th miser's wish, are thrown, To deck some sham farago for the town...Money for dresses, money for new scenes, New music, decorations, and machines; The cost of these, including every freak, Would pay ten decent players four pounds a week. Anthony Pasquin (pseud. for John Williams), "Innovation," in The Devil [1787], II, no. 2, 46. Receipts: #319 14s. 6d. (216.17.6; 102.2.0; 0.15.0)

Performances

Mainpiece Title: The Country Girl

Cast
Role: Alithea Actor: Mrs Goodall

Afterpiece Title: Blue Beard or Female Curiosity

Performance Comment: Abomelique (Blue-Beard)-Palmer; Ibrahim-Suett; Selim-Kelly; Shacabac-Bannister Jun.; Hassan-Hollingsworth; Mustapha-Webb; Aladin-Davis; Spahis-Sedgwick, Bannister, Dignum, Wathen, Trueman, Maddocks; Janizaries-Danby, Wentworth, Brown, Tett, Denman, Atkins, Phillimore, Fisher, Meyers, Peck, Bardoleau, Walker, Cook, J. Fisher, Dibble, Simpson; Male Peasants-Grimaldi, Gregson, Gallot, Aylmer, Potts, Willoughby, Evans; Male Slaves-Roffey, Thomson, Whitmell, Wells, Male, Garman, W. Banks, Nicolini; Fatima-Mrs Crouch; Irene-Miss DeCamp; Beda-Mrs Bland; Female Peasants-Ms Arne, Ms Roffey, Ms Wentworth, Ms Jackson, Ms Maddocks, Ms Menage; Principal Dancer-Mlle Parisot (1st appearance this season); Female Slaves-Ms Brooker, Ms Daniels, Ms Brigg, Ms Haskey, Ms Hillingsworth [recte Illingham], Ms Byrne, Ms Willis, Ms Vining.recte Illingham], Ms Byrne, Ms Willis, Ms Vining.
Related Works
Related Work: Blue-Beard; or, Female Curiosity! Author(s): George Colman, the younger
Event Comment: The King's Company. This day marks the resumption of acting by the King's Company after the disastrous fire at Bridges Street, Drury Lane; the players turned to the theatre in Lincoln's Inn Fields which the Duke's Company had recently left. The Prologue was printed in Covent Garden Drollery, 1672. Sloane MS. 4455 folio 26 verso: The Prologue of a Play entitled Witt without Money-Spoken at the Dukes old Theatre (after the Kings was burnt) by the King's players, Feb. 26 1671. The Curtaine being drawne up all the Actors were discover'd on the stage in Melancholick postures, & Moone [Mohun] advancing before the rest speaks as follows, addressing chiefly to ye King then [present]. Langbaine (English Dramatick Poets, p. 216): Wit Without Money: a Comedy which I have seen acted at the Old House in little Lincolns-Inn-Fields with very great Applause: the part of Valentine being Play'd by that compleat Actor Major Mohun deceas'd. This was the first Play that was acted after the Burning the King's House in Drury-lane: a New Prologue being writ for them by Mr Dryden

Performances

Mainpiece Title: Wit Without Money

Performance Comment: Valentine-Mohun; The Prologue by John Dryden-Mohun.
Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 116. See also Nicoll, Restoration Drama, p. 345. There is no certainty that this is the premiere, but the frequency of performance of The Tempest during September-October-November would make November 1674 a suitable time for a burlesque of this sort. A small quarto, The Songs & Masque in the New Tempest (in the Huntington Library, 122925), without a title page, contains what are apparently the songs and concluding masque of the play. It may have been issued during the run of the play and sold at the theatre. It does not name any performers. Langbaine (English Dramatick Poets, p. 177): This Play was to draw the Town from the Duke's Theatre, who for a considerable time had frequented that admirable reviv'd Comedy call'd The Tempest

Performances

Mainpiece Title: The Mock tempest Or The Enchanted Castle

Performance Comment: Edition of 1675: The Introduction-Mr Hains, Mrs Mackarel; Prologue-Mr Hains.
Event Comment: The United Company. Newdigate newsletters, 20 Jan. 1682@3: Yesterday was acted at the Theatre Royall the first of a new play Entituled the City Politiques the novelty of wch drew a Confluence of Spectators under both Qualifications of Whigg and Tory to hear and behold a Ld Mayor Sheriffs & some Aldermen with their wives in yr usuall formalityes buffoond & Reviled a great Lawyer with his young Lady Jeared and Intreagued Dr Oates pfectly represented berogued & beslaved the papist plott Egregiously Rediculed the Irish Testemonyes Contradictiorily disproved & befoold the Whiggs totally vanquished & undon Law & property men oreruld & there wanted nothing of Artifice in behaviour and discourse to render all those obnoxious & dispised in fine such a medly of occurences intervened that twas a question whether more of Loyalty designe or Rhetorique prvailed but there were mighty clappings among the poeple of both partyes in Expressing either their sattisfaction or displeasure (Wilson, Theatre Notes from the Newdigate Newsletters, p. 81). The Prologue and Epilogue, separately Printed, have 20 Jan. 1682@3 as Luttrell's date of acquisition (Huntington Library) and are reprinted in Wiley's Rare Prologues and Epilogues, pp. 166-69. John Dennis, To Mr --- In which are some Passages of the Life of Mr John Crown, Author of Sir Courtly Nice, June 23, 1719: About that time he writ The City Politicks, on purpose to Satyrize and expose the Whigs; a Comedy so agreeable, that it deserv'd to be writ in a much better Cause: But after he had writ he met with very great Difficulties in the getting it acted. Bennet Lord Arlington, who was then Lord Chamberlain of the King's Houshold, and who had secretly espous'd the Whigs, who were at that time powerful in Parliament, in order to support himself against the Favour and Power of the Lord Treasurer Danby, who was his declared Enemy, us'd all his Authority to suppress it. One While it was prohibited on the account of its being Dangerous, another while it was laid aside on the pretence of its being Falt and Insipid; till Mr Crown at last was forc'd to have Recourse to the king himself, and to engage him to give his absolute Command to the Lord Chamberlain for the acting of it; which Command the King was Pleas'd to give in his own Person (I, 49-50). Morrice Entry Book, Vol.1 1682@3: Mr Crowne [was cudgled on Wednesday last in St Martin's Lane and] hee that beat him said hee did it at the suite of the Earle of Rochester some time since deceased who greatly abused in the play for his penetency &c. (p. 353. I owe this note to the courtesy of Professor David M. Vieth of the University of Kansas and Professor G. H. Jones of Kansas State University)

Performances

Mainpiece Title: The City Politiques

Performance Comment: Edition of 1683: The Prologue-Mr Smith; The Epilogue-Mr Lee in the Character of Bartaline the Old Lawyer.
Event Comment: Langhans, New Restoration Theatre Accounts, pp. 125-26, suggests that acting resumed on 29 Sept. and continued to 6 Feb. 1684@5, when Charles II died, although the theatre may not have acted from 2 through 5 Feb. Resuming at the end of April, the company Played regularly to the end of May, then on 43 days between 1 June and 31 Oct. 1685

Performances

Event Comment: The data in Langhans, New Restoration Theatre Accounts, pp. 129-30, indicate uncertain conditions at the theatre in the autumn and winter of 1688, with only 86 acting days from 11 June 1688 through 12 Jan. 1688@9. The regular season may have continued to 11 May 1689, with 91 acting days from 13 May to 7 Dec. 1689

Performances

Event Comment: The United Company. The date of the first performance is stated in Luttrell, A Brief Relation, II, 435, 28 April 1692: On Monday will be acted a new opera, call the Fairy Queen: exceeds former playes: the clothes, scenes, and musick cost 3000#. [According to Some Select Songs As they are Sung in the Fairy Queen (1692) tne singers were Mrs Ayliff, Mrs Dyer, Freeman, Mrs Butler, and Pate. See Purcell's Works, Purcell Society, XII (1903), ii; E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59 ), 45; and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter IV.] Downes, Roscius Anglicanus, pp. 42-43: The Fairy Queen, made into an Opera, from a Comedy of Mr Shakespeare s: This in Ornaments was Superior to the other Two [King Arthur and The Prophetess]; especially in Cloaths, for all the Singers and Dancers, Scenes, Machines and Decorations, all most profusely set off; and excellently perform'd, chiedly the Instrumental and Vocal part Compos'd by the said Mr Purcel, and Dances by Mr Priest. The Court and Town were wonderfully satisfy'd with it; but the Expences in setting it out being so great, the Company got very little by it. Gentleman's Journal, May 1692: The Opera of which I have spoke to you in my former hath at last appear'd, and continues to be represented daily: it is call'd, The Fairy Queen. The Drama is originally Shakespears, the Music and Decorations are extraordinary. I have heard the Dances commended, and without doubt the whole is very entertaining. [As the May issue of the Gentleman's Journal was licensed on 14 May, the statement that The Fairy Queen continued to be acted daily may indicate consecutive performances from 2 May to at le ast 14 May 1692.

Performances

Mainpiece Title: The Fairy Queen

Event Comment: Post Boy, 14-16 May 1700: Great Preparations have been making, for some Months past, for a New Opera to be acted next Term at the Theatre Royal, which, for Grandeur, Decorations, Movements of Scenes &c. will be infinitely superior to Dioclesian, which hitherto has been the greatest that the English Stage has produced, that probably 'twill equal the greatest Performance of the Kind, in any of the foreign Theatres. The Musick is compso'd by the Ingenious Mr Finger, and the Paintings made by Mr Robinson

Performances

Event Comment: [Opening night, under the management of John Rich.] By the Company of Comedians under Letters Patents granted by King Charles the Second. Beginning exactly at Six. No Persons are to be admitted behind the Scenes, nor any Money to be return'd after the Curtain is drawn up. Receipts: #143. Weekly Packet, 18 Dec.: This Day the New Play-House...is to be open'd...by the Company that act under the Patent; tho' it is said, that some of the Gentlemen who have left the Theatre in Drury-Lane for that Service, are order'd to return to their Colours, upon Pain of not exercising their Lungs anywhere; which may in Time prove of ill Service to the Patentee; that has been at vast Expence to make his Theatre as convenient for the Reception of an Audience as any one can possibly be

Performances

Mainpiece Title: The Recruiting Officer

Performances

Mainpiece Title: Le Joueur

Performance Comment: Gamester-an Actor newly arriv'd from the King's Theatre in Paris; Part-new Actress that never acted yet in England.

Afterpiece Title: LEsprit Follet

Event Comment: [By Colley Cibber.] Never Acted before. A New Pastoral (of Three Acts). N.B. Printed Books of the Play will be sold at the Theatre. Fog's, 11 Jan. On Tuesday Night last a ridiculous Piece was acted at...Drury-lane, which was neither Comedy, Tragedy, Opera, Pastoral or Farce; however, no Thief or Robber of any Rank was satyriz'd in it, and it could be said to give Offence to none but Persons of Sense and good Taste; yet it met with the Reception it well deserv'd, and was hiss'd off the Stage. See also Cibber, Apology, I, 243-44, 248-49; Victor, History of the Theatres, II, 106-7; Whincop, p. 197

Performances

Mainpiece Title: Love In A Riddle

Performance Comment: Edition of 1729 lists: Arcas-Mills; Aegon-Harper; Amyntas-Williams; Iphis-Mrs Thurmond; Philautus-Cibber; Corydon-Griffin; Cimon-Miller; Mopsus-Oates; Damon-Ray; Ianthe-Mrs Cibber; Pastora-Mrs Lindar; Phillida-Mrs Raftor; Prologue-Wilks; Epilogue-Egon [Harper].Harper].
Cast
Role: Ianthe Actor: Mrs Cibber
Event Comment: In a letter to the Daily Post. 4 June, the Patentees of Drury Lane-Mary Wilks, John Ellys, Hester Booth, and John Highmore-stated the cast of the Patentees. The gist of their statement is: (1) They operate under a Patent commencing 1 Sept. 1732 which, by Deaths and Legal Assignments, is the property of the four, with Highmore possessing one half, at an expence of #6,000 and upwards. (2) Several of the Players have threatened to desert the service of the Patentees and have contracted with some of the Trustees (the Sharers) to secure possession of the Theatre. (3) Drury Lane is let upon lease from the Duke of Bedford, granted to Thomas Kynaston and Francis Stanhope, Trustees for the Sharers (commonly called Renters) of Drury Lane at the rent of #50 annually upon a Fine of 1,000 guineas paid for the renewal of the lease. (4) The Players, under the Patentees, have acted at Drury Lane for twenty-one years without any interruption form the Trustees upon the sole contract that the Patentees pay the Trustees #3 12s. each acting night, besides the Liberty of seeing Plays. (5) At the beginning of this Season the manager's office received a letter from a few of the Renters demanding an Advance of Rent. Highmore, being new, was concerned, and asked the managers to take care of the matter; and thereafter the signers (the Patentees) had heard of no further discontent among the Renters. (6) To defend themselves against stories of hardship or complaint by the actors, the Patentees point out that the following weekly salaries had been paid: Colley Cibber #12 12s.; Theophilus Cibber #5; Mills Sr, #1 daily for 200 days certain, and a benefit, clear of all charges; Mills Jr #3; Johnson #5; Miller #5; Harper #4; Griffin #4; Shepard #3; Hallam, for himself and his father, the latter of little or no service, #3; Mrs Heron #5; Mrs Butler #3. For these charges and others, the Patentees stand a daily expence of #49 when the theatre is open. (7) Further, the Patentees paid Cibber Jr his wife's whole salary without her being able to act the greater part of the winter, #9 weekly for the two; Mills Jr, in the same circumstances with his wife, #5 10s. weekly for the two; Miller a salary (amounting to #40) for eight weeks before he acted, and a gratuity of ten guineas; Griffin a present of ten guineas; Harper a present, amount not specified; Mrs Heron an increase form 40s. to #5 weekly, although she refused afterward to play several parts assigned her and acted but seldom

Performances