SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Prince of W "/1) | (@(roleclean,performerclean) "Prince of W ")') 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 1919 matches on Performance Comments, 1127 matches on Event Comments, 540 matches on Performance Title, 402 matches on Author, and 0 matches on Roles/Actors.
Event Comment: The composition of the drama with the characters of the King, Prince of Wales, Hotspur, and Falstaff will be particularly illustrated. [This is Kenrick's School of Shakespeare; repeated 9, 16, 20 (Falstaff's Wedding and Merchant of Venice), 29 (Cozeners and Falstaff's Wedding).

Performances

Mainpiece Title: Lecture On King Henry Iv, Part I

Song: To keep my gentle Jessy-DuBellamy; Where the Bee sucks-Miss Wewitzer

Event Comment: Benefit for Mrs Barry. Mainpiece: A Tragedy altered from Thomson [by Thomas Hull] never perform'd. Part of Pit laid into the Boxes. Servants who are to keep places are desired to be at the stage door by 4 o'clock, and those Ladies and Gentlemen who have taken seats in the Pit are requested to come early to prevent confusion in getting to their places. Epilogue by Sheridan. [This play had been refused a license on 26 March 1739, While Walpole was still Prime Minister, probably because of such speeches as: @Is there a cure on Humankind so fell@So pestilent, to Prince and People,@As the base servile vermin of a court;@Corrupt, Corrupting ministers and favourites?@How oft have such eat up the widow's morsel,@The Peasant's toil, the Merchant's far-sought gain,@And wantoned to the ruin of a nation!-Larpent MS, op. p. 65.@ Also the play equalizes Christianity and Mohammedanism before God, and gives a slight edge to the latter (Act IV, scene ii), suggesting the part politics play in Christian churches. An account of the alterations made for the present performance is given in the Westminster Magazine for March. The review concludes: The Play was got up altogether well, and reputedly acted, and is in its present state what the Ladies call "a very pretty tragedy."

Performances

Mainpiece Title: Edward And Eleonora

Afterpiece Title: The Padlock

Dance: End Epilogue: The Vintage Festival, as17741007

Event Comment: Benefit for Massey. Tickets to be had of Massey, the Bell and Dragon, near Princes stairs

Performances

Mainpiece Title: A Bold Stroke For A Wife; Or, The Quaker's Wedding

Afterpiece Title: The Devil to Pay

Song: As17760925

Entertainment: Imitations-Master Russell

Event Comment: By Command of Their Majesties."The croud was so great at Drury-lane playhouse, to see the young prince William in his naval uniform, that it was found necessary to throw a kind of bridge from the stage to the pit to liberate several people, who otherwise must have perished in the throng" (Gentleman's Magazine, Mar. 1780, P. 151). Receipts: #271 14s. (259.13; 9.6; 2.15)

Performances

Mainpiece Title: The Tempest

Afterpiece Title: The Quaker

Dance: I: Dance of Spirits, as17791103; III: a Dance of Fantastic Spirits, as17791103; IV: Grand New Dance, as17800228, but Sga _Crespi

Event Comment: Afterpiece [1st time at a public theatre; C 3, by Elizabeth Craven, Baroness Craven, afterwards Margravine of Anspach, 1st acted privately at the Town-Hall, Newbury, 6 Apr. 1780. Text (G. Riley, 1781) assigns no parts. Prologue by Richard Brinsley Sheridan. Epilogue by Joseph Jekyll (see text)]: With new Dresses, &c. "The Prologue [the first 30 lines and the concluding couplet of which were used by Sheridan as the Prologue to Pizarro (see dl, 24 May 1799)] was so much admired that at the request of the Duchess of Devonshire and several other of the nobility it was respoken after the piece; but as King was absent from the theatre, it was delivered by Palmer" (Town and Country Magazine, May 1780, p. 23 ). "The chief singularity was that [Lady Craven] went to it herself the second night, in form; sat in the middle of the front row of the stage-box, much dressed, with a profusion of white bugles and plumes, to receive the public homage due to her sex and loveliness. The Duchess of Richmond, Lady Harcourt,...Mrs Damer, Lord Craven,...and I were with her. It was amazing to see so young a woman entirely possess herself-but there is such an integrity and frankness in her consciousness of her own beauty and talents, that she speaks of them with a naivete as if she had no property in them, but only wore them as gifts of the gods. Lord Craven on the contrary was quite agitated by his fondness for her and with impatience at the bad performance of the actors, which was wretched indeed, yet the address of the plot, which is the chief merit of the piece, and some lively pencilling carried it off very well, though Parsons murdered the Scotch lord, and Mrs Robinson (who is supposed to be the favourite of the Prince of Wales) thought on nothing but her own charms, or him. There is a very good though endless prologue written by Sheridan and spoken in perfection by King, which was encored (an entire novelty) the first night: and an epilogue that I liked still better and which was full as well delivered by Mrs Abington, written by Mr. Jekyl. The audience, though very civil, missed a fair opportunity of being gallant, for in one of those ----logues, I forget which, the noble authoress was mentioned, and they did not applaud as they ought to have done, especially when she condescended to avow her pretty child and was there looking so very pretty...Yet Lady Craven's tranquillity had nothing displeasing;...and it was tempered by her infinite good nature, which made her make excuses for the actors instead of being provoked at them" (Walpole [28 May 1780], XI, 178-80). Public Advertiser, 14 July 1781: This Day at Noon will be published The Miniature Picture (price not listed). Receipts: #144 9s. (94.9; 48.3; 1.17)

Performances

Mainpiece Title: The Winter's Tale

Afterpiece Title: The Miniature Picture

Dance: II: New Dance, as17791126; End II afterpiece: The Coopers, as17800224

Event Comment: The last Time of performing this Season. [This was Mrs Hartley's last appearance on the tstage.] Account-Book, 29 May: Paid Foulis for writing Music #101 17s.; 31 May: Received of Their Majesties for this Season #60, of Prince of Wales #30; 16 June: Paid Pattinson, tallow chandler, #332 8s. Paid Cooper, printer, #335 11s. Paid Harris, manager, #500. Paid Enderby, oil merchant, #1,061 17s. Paid Hull, salary as Acting Manager #150. Paid Mrs Hartley in lieu of a Benefit #105; 6 July: Received Stage Forfeits this season #42 3s. 6d. Receipts: #63 8s. (61.14.6; 1.13.6)

Performances

Mainpiece Title: The Belle's Stratagem

Afterpiece Title: The Siege of Gibraltar

Dance: As17800417

Performances

Mainpiece Title: King Richard The Third

Performance Comment: The Parts of King Richard, D. of Buckingham, Earl of Richmond, Tressel, Prince Edward, Duke of York, Lieutenant of the Tower, Lord Mayor, Duke of Norfolk, Queen-Performers from the Theatres Royal London; Lord Stanley-Rivers; Catesby-Jones; Ratcliffe-Farrel; Oxford-Thompson; Sir William Brandon-Clifford; King Henry-Burnet; Dutchess of York-Mrs Fowler; Lady Ann-Mrs Palmer.

Afterpiece Title: The Quaker

Event Comment: The last Night of the Company's performing this Season. Receipts: #180 12s. (after-money not listed). Account-Book, 18 June: Paid Harris for his trouble in superintending the Business of the Theatre #500; Garton in full for salary this season #230; Hull for salary as acting manager #150; Mrs Yates in lieu of cloathes this season #200; Cooper, printer, #347 9s.; Carver, painter, #245 18s.; Hodgins, painter, #141 15s.; Received of Their Majesties this season #100; of the Prince of Wales #65. 27 June: Paid Hull in lieu of a benefit #100, Mrs Lessingham #70, Mrs Morton #21. 17 July: Paid one year's Land Tax #122 10s.; Macklin in full for season #217 10s.; Received Stage Forfeits #35 4s. 6d. 23 July: Paid Hawkes, coal merchant, #173 5s. 28 Aug.: Paid Hawkes, tallow chandler, #331 10s. 4 Sept.: Paid Barrett, wax chandler, #426 9s

Performances

Mainpiece Title: The Man Of The World

Afterpiece Title: Harlequin Free-Mason

Performances

Mainpiece Title: I Viaggiatori Felici

Dance: End of Act I Pastoral Dance [see17811117] by Henry, Bournonville, Raymond, with a Pas Seul by Mlle Simonet, and to conclude with the Dances introduced in the Masquerade [held at this theatre, 24 Jan.: The Prince of Wales's Minuet, The Emperor's Cossac, The Queen's Allemande, Quadrilles] (composed by Noverre) by Gardel and Mme Simonet, Nivelon, Mlle Theodore, Simonet, Sga Crespi, Slingsby, Mlle Baccelli; End of Act II Le Triomphe de 1'Amour Conjugal, as17820110

Performance Comment: : The Prince of Wales's Minuet, The Emperor's Cossac, The Queen's Allemande, Quadrilles] (composed by Noverre) by Gardel and Mme Simonet, Nivelon, Mlle Theodore, Simonet, Sga Crespi, Slingsby, Mlle Baccelli; End of Act II Le Triomphe de 1'Amour Conjugal, as17820110.
Event Comment: By Desire of His Royal Highness the Prince of Wales. Benefit for Gardel. Tickets, half a guinea each, to be had of Gardel, No. 26, Margaret-street, Cavendish-square. 1st ballet: With entirely new Music, and a new Overture by Carter (Morning Herald, 25 May)

Performances

Mainpiece Title: L'eroe Cinese

Dance: End of Act I an entire new Ballet (composed by Gardel Sen.), Mirsa (Taken from an American Anecdote), by Gardel, Mlle Baccelli, Nivelon, Mlle Theodore, Sga Crespi, Mons and Mme Simonet, in which a Minuet and Gavet: composed by Gardel Jun. who, in the Concert Scene, will execute a concerto on the violin [Scenario (Paris, 1779) lists the parts: Mondor, Son Epouse, Mirsa, Lindor, Officier Corsaire, Gouvernante de Mirsa, Officiers Americains, Creoles, Officiers Francais, Negres]; End of Act II Apollon et les Muses, as17820502, but Slingsby in place of Nivelon; End of Opera Adela of Pontbieu, as17820411

Event Comment: Edward the Black Prince [announced on playbill of 20 Mar.] is obliged to be deferred on Account of the Indisposition of a principal Performer. Receipts: #139 13s. (138/3; 0/10; tickets not come in: 1/0)

Performances

Mainpiece Title: The Merchant Of Venice

Afterpiece Title: Harlequin Junior

Dance: End of Act III of mainpiece, as17840320End of Act IV, as17840311athi

Performances

Mainpiece Title: I Rivali Delusi

Dance: End of Act I a new ballet, composed for the occasion by D'Auberval, Pygmalion (taken from the Mono-drama of that name by Jean-Jacques Rousseau, with the original music composed by that very celebrated writer; the story founded on the fabulous account of Pygmalion animating his statue) by Lepicq, Vcstris (Jun.], Mme Rossi, Mme Theodore; End of Opera will be revived Le Tuteur Trompe (composed by Lepicq) in which the following new dances: A new Pas de Deux by Lepicq and Mme Rossi, the latter in the character of Niaise; a Pas Seul by Mme Theodore; a Pas de Troit by Lepicq, Mme Rossi, Zuchelli; an entirely new Pas de Deux by Vestris [Jun.] and Mme Theodore; a Pas Seul by Slingsby; a Pas Seul, entirely new, by Vestris [Jun.]; to conclude with the Sequdilla and Fandango by Lepicq and Mme Rossi. N. B. In the same ballet will be introduced a Minuet, composed by Barthelemon for the Prince of Wales, and an Allemande in the French stile, both by Lepicq and Mme Rossi

Performance Comment: ], Mme Rossi, Mme Theodore; End of Opera will be revived Le Tuteur Trompe (composed by Lepicq) in which the following new dances: A new Pas de Deux by Lepicq and Mme Rossi, the latter in the character of Niaise; a Pas Seul by Mme Theodore; a Pas de Troit by Lepicq, Mme Rossi, Zuchelli; an entirely new Pas de Deux by Vestris [Jun.] and Mme Theodore; a Pas Seul by Slingsby; a Pas Seul, entirely new, by Vestris [Jun.]; to conclude with the Sequdilla and Fandango by Lepicq and Mme Rossi. N. B. In the same ballet will be introduced a Minuet, composed by Barthelemon for the Prince of Wales, and an Allemande in the French stile, both by Lepicq and Mme Rossi .

Performances

Mainpiece Title: Twelfth Night

Afterpiece Title: A Pasticcio

Afterpiece Title: Duke and No Duke

Performance Comment: Trappolin (an Usurper transformed by Magic to the Duke of Florence)-Palmer; Brunetto (Prince of Savoy)-R. Palmer; Barbarino and Alberto (Lords and Counsellors to the Duke)-Wilson and Phillimore; Officer-Spencer; Captain of the Guards-Alfred; Count Gulcardi (under the Character of Magosa Magician)-Wrighten; Puritan-Suett; Mason-Fawcett; Whip (the Coachman)-Chaplin; Jailer-Kenny; Supernatural Agents, Attendants upon Trappolin: Eo-Master Whitty; Meo-Master Purser; and Little Fred-Master J. Whitty; Lavinio (the Grand Duke of Tuscany)-Staunton; Officer's Widow-Mrs Love; Old Woman-Mrs Booth; Flametta (Mistress to Trappolin)-Miss Barnes; Prudentia (sister to the Duke)-Miss Tidswell; Isabella (Duchess of Tuscany)-Mrs Hedges .
Event Comment: Benefit for Fawcett and Butler. [As mainpiece the playbill announces Edward the Black Prince, but it was not acted. The Account-Book lists the substitute play.] Receipts: #280 7s. (37/9; 4/6; tickets: 238/12) (charge: #115 10s.)

Performances

Mainpiece Title: George Barnwell

Afterpiece Title: Harlequin Junior

Dance: End of Act II of mainpiece Hornpipe, as17840517; End of Act hi, as17840311athi

Song: End of mainpiece Gramacbree Molly, as17840503

Event Comment: Afterpiece: With a Procession of the Inhabitants of Otaheite, New Zealand, Tanna, Marquesas, the Friendly, Sandwich, and Easter Islands, Tschutzki, Siberia, Kamtschatka, Nootka Sound, Onalashka, Prince William's Sound, and the other Countries visited by Captain Cook, exactly representing their Dresses and Weapons. Receipts: #237 19s. (231/16; 6/3)

Performances

Mainpiece Title: George Barnwell

Afterpiece Title: Omai [and see17851220]

Event Comment: Benefit for Chapman and Williames. Morning Chronicle, 2 May: Tickets to be had of Chapman, No. 5, Prince's-street, Drury-Lane; of Williames, No. 2, Duke's Court, Bow-street. Receipts: #283 6s. (59/4/0; 16/11/6; 0/18/6; tickets: 206/12/0) (charge: #109 5s. 7d.)

Performances

Mainpiece Title: Twelfth Night

Afterpiece Title: The Sons of Anacreon

Afterpiece Title: Bon Ton

Song: In Act IV of 1st piece song by Chapman

Event Comment: Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Brandon at the Theatre. The Doors to be opened at 5:30. To begin at 6:30 [see 13 Nov.]. [Macready was from the Smock Alley Theatre, Dublin. In mainpiece the playbill assigns Miss Ogle to Mrs T. Kennedy, but on the Kemble playbill her name is deleted, and a MS annotation substitutes Mrs Lewis's.] "The dress worn by Lewis, with small buttons innumerable, that gave it the air of a Hussar's jacket lengthened, was lately a coat won by the Prince of Wales" (Morning Chronicle, 20 Sept.). Receipts: #242 5s. 6d. (239.19.6; 2.6.0)

Performances

Mainpiece Title: The Belle's Stratagem

Afterpiece Title: Love in a Camp; or, Patrick in Prussia

Event Comment: Afterpiece: 51st [recte 50th] Time [i.e. in continuation of the reckoning for the previous season]. With a Processionv exactly representing the Dresses, Weapons, and Manners of the Inhabitants of Otaheite, New Zealand, Tanna, Marquesas, the Friendly Islands, Sandwich Islands, and Easter Islands, Tschutzki, Siberia, Kamtschatka, Nootka Sound, Onalashka, Prince William's Sound, and the other Countries visited by Captain Cook. Receipts: #263 15s. 6d. (260.5.0; 3.10.6)

Performances

Mainpiece Title: The Duenna

Afterpiece Title: Omai; or, A Trip round the World

Event Comment: Mainpiece: Not acted these 3 years [acted in place of Love Makes a Man, advertised on playbill of 15 Mar.]. Afterpiece: Loutherbourg's celebrated Pantomimev. Not acted these 3 years [acted 4 Dec. 1786]. With new Decorations, and the Scenery new painted. With a Processionv exactly representing the Dresses, Weapons, and Manners of the Inhabitants of Otaheite, New Zealand, Tanna, Marquesas, the Friendly Islands, Sandwich Islands and Easter Islands, Tschutzki, Siberia, Kamtschatka, Nootka Sound, Onalashka, Prince William's Sound, and the other Countries visited by Captain Cook. [This was included in all subsequent performances.] Receipts: #256 17s. 6d. (250.5.6; 6.12.0)

Performances

Mainpiece Title: Oroonoko; Or, The Royal Slave

Afterpiece Title: Omai; or, A Trip round the World

Event Comment: "Harley's youth and vigour so repeatedly got the better of his endeavours to conceal them under the veil of assumed debility that it was rather the grandson of Lear, who was rehearsing the part of that injured Prince and parent, than the good old King himself" (Diary, 5 Jan.). Receipts: #269 8s. 6d. (266.13.0; 2.15.6)

Performances

Mainpiece Title: King Lear

Afterpiece Title: Harlequin's Chaplet

Dance: As17891231

Performances

Mainpiece Title: Redemption 0; Messiah

Afterpiece Title: Redemption 1

Afterpiece Title: Redemption 2

Afterpiece Title: Redemption 3

Music: End Part II: As17900219; End I: a new concerto on the Piano Forte-Attwood Jun., Musician to his Royal Highness the Prince of Wales

Performance Comment: , Musician to his Royal Highness the Prince of Wales.
Event Comment: By Permission of the Lord Chamberlain, and also under the Patronage of their Royal Highnesses the Prince of Wales, the Duke of York, and the Duke of Clarence. Benefit for Lee Lewes. The Doors to be opened at 5:15. To begin at 6:15. Tickets and Places for the Boxes to be had of Lee Lewes, at Mr Brough's, No. 18, Portland-street, Soho. Afterpiece [1st time; F 2, by James Fennell. Larpent MS 924; not published. Synopsis of plot in Morning Post, 8 Mar.]

Performances

Mainpiece Title: The Busy Body

Afterpiece Title: The Advertisement; or, A New Way to Get a Husband

Entertainment: MonologuesEnd IV: The late King of Prussia and General Ziethen-Lee Lewes; End: A Whimsical Dissertation upon Law-Lee Lewes

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 World's a Stage

Performances

Mainpiece Title: A Grand Selection 0principally From The Works Of handel; Redemption 0

Afterpiece Title: Grand Selection 1

Performance Comment: Overture (Esther)-; Tyrants-Mrs Crouch, Chorus [Athalia]; How willing-Sedgwick (Samson); What's sweeter-Miss Hagley, Dignum (Joseph); Let me wander, Or let the merry bells-Master Welsh; And young and old-Chorus (L'Allegro); The Prince-Mrs Bland (Alexander's Feast); Deeper and-Kelly; Waft her angels-Chorus (Jephtha); Lord in thee-Incledon, Chorus (Te Deum).
Cast
Role: The Prince Actor: Mrs Bland

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Song: End II: Mad Bess-Mrs Crouch (Purcell)

Event Comment: Benefit for Mrs Jordan. Afterpiece [1st time; F 2, by Simon, based partly on La Bonne Mere, by Jean Pierre Claris deFlorian; incidental music by Johann Gottlieb Nicolai. Larpent MS 940; not published]: To conclude with a Rural Breakfast [a representation of that given by the Countess of Buckinghamshire for the Prince of Wales at her villa near London (Genest, VII, 53)], and a Dance by the Characters. Morning Herald, 31 Mar.: Tickets to be had of Mrs Jordan, No. 14, Somerset-street, Portman-square. Receipts: #548 9s. 6d. (216.8.6; 30.2.0; 5.9.0; tickets: 296.10.0) (charge: #153 5s. 10d.)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: The Village Coquette