SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Queens Birth"/1) | (@(roleclean,performerclean) "Queens Birth")') 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 1128 matches on Performance Comments, 834 matches on Performance Title, 462 matches on Event Comments, 0 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: Much Ado About Nothing

Afterpiece Title: The Queen Mab

Dance: II: The Savage Hunters, as17751118

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: The Dragon of Wantley

Dance: End of mainpiece The Gala, as17820402, but omitted: Dumay, Miss Matthews

Song: End of Act I of mainpiece The Early Horn; End of Act I of afterpiece The Lamentation of Mary Queen of Scots; End of Act II Auld Robin Grey, all three sung by Mrs Kennedy

Performances

Mainpiece Title: Dido Queen Of Carthage

Afterpiece Title: The Citizen

Performances

Mainpiece Title: Much Ado About Nothing

Afterpiece Title: The Honest Thieves

Dance: As17971006

Song: In afterpiece: Queen Bess [not listed on playbill; see below]-Johnstone

Event Comment: The United Company. This performance is on the L. C. list, 5@151, p. 369. See also Nicoll, Restoration Drama, p. 352. This appears to be a substitution for a previously scheduled performance of Amphitryon (Nicoll, p. 352). In L. C. 5@150, p. 74 (Nicoll, p. 357) is an order for a large looking glass to be provided for Sir Courtly Nice at this performance. In addition, there appears to have been a concert in honor of the Queen's birthday. See D'Urfey, Wit and Mirth, I, 62-64: An Ode on the Anniversary of the Queens-Birth. Set to Musick by Mr Henry Purcel, April 30th, 1690

Performances

Mainpiece Title: Sir Courtly Nice

Event Comment: Mainpiece: Never acted before. Characters new dressed &c. [See Theatrical Review; or, Annals of the Drama, 1763, pp. 67-74: Bless us what a sweet consistent piece of business is a modern Tragedy." See Boswell's account of his attendance that night with two friends, With oaken cudgels in our hands and shrill sounding catcalls in our pockets," ready prepared to damn the play (London Journal), p. 154 ff.).] Critical Strictures on the New Tragedy of Elvira, published this month (Gentleman's Magazine). I then undressed for the Play. My father and I went to the Rose, in the Passage of the Playhouse, where we found Mallet, with about thirty friends. We dined together, and went from thence into the Pitt, where we took our places in a body, ready to silence all opposition. However, we had no occasion to exert ourselves. Not withstanding the malice of a party, Mallet's nation, connections and indeed imprudence, we heard nothing but applause. I think it was deserved. The play was borrowed from de la Motte, but the details and language have great merit. A fine Vein of dramatick poetry runs thro' the piece. The Scenes between the father and son awaken almost every sensation of the human breast; and the Council would have equally moved, but for the inconvenience unavoidable upon all Theatres, that of entrusting fine Speeches to indifferent Actors. The perplexity of the Catastrophe is much, and I believe justly, critisized. But another defect made a strong impression upon me. When a Poet ventures upon the dreadful situation of a father who condemns his son to death; there is no medium; the father must either be monster or a Hero. His obligations of justice, of the publick good, must be as binding, as apparent as perhaps those of the first Brutus. The cruel necessity consecrates his actions, and leaves no room for repentance. The thought is shocking, if not carried into action. In the execution of Brutus's sons I am sensible of that fatal necessity. Without such an example, the unsettled liberty of Romev would have perished the instant after its birth. But Alonzo might have pardoned his son for a rash attempt, the cause of which was a private injury, and whose consequences could never have disturbed an established government. He might have pardoned such a crime in any other subject; and the laws could exact only a equal rigor for a son; a Vain appetite for glory, and a mad affectation of Heroism, could only influence him to exert an unequal & superior severity (Gibbon's Journal, ed. D. M. Low [New York, n.d.], pp. 202-4)

Performances

Mainpiece Title: Elvira

Afterpiece Title: The Male Coquette

Performances

Mainpiece Title: Massacre At Paris

Afterpiece Title: The Devil to Pay

Song: Blogg, Barlow, Waters, Mrs Phillips, Mrs Williamson, Mrs Cushing

Dance: the two Mhe two Masters, Miss Granier

Performances

Mainpiece Title: Henry Viii

Afterpiece Title: The Virgin Unmasked

Dance: I: A Concerto, as17420105; II: The Drunken Peasant, as17411029; III: Le Boufon, as17420325

Song: IV: A Ballad-Lowe; V: Bumper Squire Jones-Beard

Performances

Mainpiece Title: King Henry Viii

Performances

Mainpiece Title: Henry Viii

Performances

Mainpiece Title: The Careless Husband

Afterpiece Title: Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great

Dance: III: Grand Dance-Muilment

Performances

Mainpiece Title: Henry Viii

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great

Performances

Mainpiece Title: King Henry Viii

Afterpiece Title: The Oracle

Performances

Mainpiece Title: Cymbeline

Afterpiece Title: The Oxonian in Town

Dance: III: The Dutch Milkmaid, as17671114; IV: The Female Archer, as17671029; End: The Irish Lilt, as17670921

Performances

Mainpiece Title: Hamlet

Afterpiece Title: Apollo and Daphne

Performances

Mainpiece Title: The Life And Death Of Common Sense

Afterpiece Title: Tunbridge Wells [recte Walks]; or, The Yeoman of Kent

Afterpiece Title: The Tobacco Box; or, The Soldier's Pledge of Love

Afterpiece Title: The Author

Performances

Mainpiece Title: King Henry The Eighth

Afterpiece Title: The Humourist

Song: In IV: a song (composed by Linley? Sen)-Mrs Crouch

Performances

Mainpiece Title: The Surrender Of Calais

Afterpiece Title: Young Men, and Old Women

Performances

Mainpiece Title: Hamlet

Afterpiece Title: Three Weeks after Marriage

Song: In V: a Dirge set to music by Shield, the words from Shakespeare; Vocal Parts-Mrs Martyr, Mrs Mountain, Mrs Clendining, Miss Hopkins, Miss Stuart, Miss Barnett, Mrs Watts, Mrs Follett, Mrs Lloyd, Mrs Masters, Miss Paye, Mrs Blurton, Mrs Castelle, Miss Leserve, Williamson, Linton, Street, Gray

Performances

Mainpiece Title: The Unhappy Favourite; Or, The Earl Of Essex

Performances

Mainpiece Title: An Historical Tragedy Of The Civil Wars Between The Houses Of York And Lancaster In The Reign Of King Henry The Vith

Performances

Mainpiece Title: The Spanish Fryar

Dance: Mrs Booth

Performances

Mainpiece Title: The Spanish Fryar; Or, The Double Discovery

Afterpiece Title: The Contrivances

Dance: new Grand Ballet called% The Peasants- Muilment

Performances

Mainpiece Title: Hamlet

Afterpiece Title: Lethe

Dance: Devisse, Mad Auretti