SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Scots and English Songs"/1) | (@(roleclean,performerclean) "Scots and English Songs")') 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 2179 matches on Performance Comments, 2062 matches on Performance Title, 1166 matches on Event Comments, 122 matches on Author, and 0 matches on Roles/Actors.
Event Comment: The Duke's Company. This apparently was not the first performance, but the time of premiere is not known. Pepys, Diary: My wife and I and Mercer to the Duke's house, and there saw The Rivalls, which is no excellent play, but good acting in it; especially Gosnell comes and sings and dances finely, but, for all that, fell out of the key, so that the musique could not play to her afterwards, and so did Harris also go out of the tune to agree with her. Downes (p. 23): The Rivals, A Play, Wrote by Sir William Davenant; having a very Fine Interlude in it, of Vocal and Instrumental Musick, mixt with very Diverting Dances: M Price introducing the Dancing, by a short Comical Prologue, gain'd him an Universal Applause of the Town....And all the Womens Parts admirably Acted; chiefly Celia, a Shepherdess being Mad for Love; especially in Singing several Wild and Mad Songs

Performances

Mainpiece Title: The Rivals

Performance Comment: Downes (Roscius Anglicanus, p.23): Theocles-Harris; Philander-Betterton; Cunopes the Jailor-Underhill; Pepys: Celania?-Mrs Gosnell; Edition of 1668 adds: Arcon-$Young; Polynices-$Smith; Provost-$Sandford; Heraclia-$Mrs Shadwell; Leucippe-$Mrs Long; Prologue-Price.
Cast
Role: Philander Actor: Betterton
Role: Provost Actor: Sandford
Event Comment: The Duke's Company. Pepys, Diary: After dinner I put the women into a coach, and they to the Duke's house, to a play which was acted, "The [....]." It was indifferently done, but was not pleased with the song, Gosnell not singing, but a new wench, that sings naughtily

Performances

Mainpiece Title: An Unnamed Play

Event Comment: The King's Company. Richard Legh, writing to his wife, 3 Jan. 1667@7, reported to her concerning this play: which is so damn'd bawdy that the Ladyes flung their peares and fruites at the Actors (Lady Newton, The House of Lyme, p. 240). Pepys, Diary: Alone to the King's House, and there saw The Custome of the Country, the second time of its beind acted, wherein Knipp does the Widow well; but, of all the plays that ever I did see, the worst--having neither plot, language, nor anything in the earth that is acceptable; only Knipp sings a little song admirably. But fully the worst play that ever I saw or I believe shall see

Performances

Mainpiece Title: The Custom Of The Country

Event Comment: The King's Company. Pepys, Diary: My wife and I and Sir W. Pen to the King's playhouse, where the house extraordinary full; and there was the King and Duke of York to see the new play, Queen Elizabeth's Troubles, and the History of Eighty Eight. I confess I have sucked in so much of the sad story of Queen Elizabeth, for my cradle, that I was ready to weep for her sometimes; but the play is the most ridiculous that sure ever come upon the stage; and, indeed, is merely a shew, only shews the true garbe of the Queen in those days, just as we see Queen Mary and Queen Elizabeth painted; but the play is merely a puppet play, acted by living puppets. Neither the design nor language better; and one stands by and tells us the meaning of things: only I was pleased to see Knipp dance among the milkmaids, and to hear her sing a song to Queen Elizabeth; and too see her come out in her night-gowne with no lockes on, but her bare face and hair only tied up in a knot behind; which is the comeliest dress that ever I saw her in to her advantage

Performances

Mainpiece Title: Queen Elizabeth's Troubles; And The History Of Eighty Eight

Event Comment: The King's Company. Pepys, Diary: With Brouncker, to the King's house, and saw The Surprizall, where base singing, only Knepp, who come, after her song in the clouds, to me in the pit, and there, oranges, 2s

Performances

Mainpiece Title: The Surprizal

Event Comment: The King's Company. Pepys, Diary: Thence called Knepp from the King's house, where going in for her, the play being done, I did see Beck Marshall come dressed, off of the stage, and looks mighty fine, and pretty, and noble: and also Nell Gwyn?, in her boy's clothes, mighty pretty. But, Lord! their confidence! and how many men do hover about them as soon as they come off the stage, and how confident they are in their talk! Here I did kiss the pretty woman newly come, called Pegg Hughes?, that was Sir Charles Sidly's mistress, a mighty pretty woman, and seems, but is not, modest. Here took up Knepp into our coach, and all of us with her to her lodgings, and thither comes Bannister with a song of her's, that he hath set in Sir Charles Sidly's play [The Mulberry Garden] for her, which is, I think, but very meanly set; but this he did, before us, teach her, and it being but a slight, silly, short ayre, she learnt it presently. But I did get him to prick me down the notes of the Echo in The Tempest, which pleases me mightily. Here was also Haynes, the incomparable dancer of the King's house, and a seeming civil man, and sings pretty well

Performances

Mainpiece Title: The Virgin Martyr

Event Comment: The King's Company. Pepys, Diary: It being almost twelve o'clock, or a little more, and carried [Mercer, Mrs Horsfield, and Mrs Gayet] to the King's playhouse, where the doors were not then open; but presently they did open; and we in, and find many people already come in, by private ways, into the pit, it being the first day of Sir Charles Sidly's new play, so long expected, The Mulberry Garden, of whom, being so reputed a wit, all the world do expect great matters. I having sat here awhile, and eat nothing to-day, did slip out, getting a boy to keep my place...And so to the play again, where the King and Queen, by and by, come, and all the Court; and the house infinitely full. But the play, when it come, though there was, here and there, a pretty saying, and that not very many neither, yet the whole of the play had nothing extraordinary in it, at all, neither of language nor design; insomuch that the King I did not see laugh, nor pleased the whole play from the beginning to the end, nor the company; insomuch that I have not been less pleased at a new play in my life, I think. And which made it the worse was, that there never was worse musick played--that is, worse things composed, which made me and Captain Rolt, who happened to sit near me, mad. So away thence, very little satisfied with the play, but pleased with my company. [For Bannister's setting a song for Mrs Knepp for this play, see 7 May 1668.

Performances

Mainpiece Title: The Mulberry Garden

Event Comment: The King's Company. Pepys, Diary: To the King's playhouse, where The Heyress, notwithstanding Kinaston's being beaten, is acted: and they say the King is very angry with Sir Charles Sedley for his being beaten, but he do deny it. But his part is done by Beeston, who is fain to read it out of a book all the while, and thereby spoils the part, and almost the play, it being one of the best parts in it; and though the design is, in the first conception of it, pretty good, yet it is but an indifferent play, wrote, they say, by my Lord Newcastle, But it was pleasant to see Beeston come in with others, supposing it to be dark, and yet he is forced to read his part by the light of the candles. and this I observing to a gentleman that sat by me, he was mightily pleased therewith, and spread it up and down. But that, that pleased me most in the play is, the first song that Knepp sings, she singing three or four; and, indeed, it was very finely sung, so as to make the whole house clap her.... My wife being in mighty ill humour all night, and in the morning I found it to be from her observing Knepp to wink and smile on me, and she says I smiled on her; and, poor wretch! I did perceive that she did, and do on all such occasions, mind my eyes. I did, with much difficulty, pacify her, and were friends, she desiring that hereafter, at that house, we might always sit either above in a box, or, if there be [no] room, close up to the lower boxes

Performances

Mainpiece Title: The Heiress

Performance Comment: See16690129 and 1 Feb.
Event Comment: Lady Mary Bertie to Katherine Noel, 16 March 1670@1: I have sent you the songs that were in the ballet (HMC, 12th Report, Part V, Vol. II, page 23)

Performances

Performances

Mainpiece Title: London In Its Splendor

Performance Comment: Consisting of Triumphant Pageants, whereon are Represented many Persons Richly Arrayed, Properly Habited, and significant to the Design. With several Speeches, and a Song, Suitable to the Solemnity. All prepared for the Honour of the Prudent Magistrate, Sir William Hooker Kt. Lord Mayor of the City of London. As also, a Description of His Majesties Royal Entertainment at Guildhall, by the City, in a plentiful Feast, and a glorious Banquet. At the Peculiar Expences of the Worshipful Company of Grocers.
Event Comment: The King's Company. The date of the premiere is not known, but John Harold Wilson, Six Restoration Play-Dates, Notes and Queries, June 1962, p. 221, has argued, primarily on references in the Epilogue, that the play was probably produced before the opening of the new Theatre Royal in Drury Lane and following two unsuccessful plays: The Mall and The Amorous Old Woman. The Prologue is in New Songs and Poems a la Mode, 1677. Preface to the edition of 1675: This play was left in Mr Dryden's hands many years since. The Author of it was unknown to him, and return'd not to claim it

Performances

Mainpiece Title: The Mistaken Husband

Event Comment: This date of performance is not a certainty; for the evidence, see Spencer, Shakespeare Improved, p. 94. Neither is Shadwell's authorship of the alterations a certainty, for the contributions of other playwrights have never been fully determined. (See Nicoll, Restoration Drama, p. 43.) The instrumental music was composed by Matthew Lock, with new vocal music by James? Hart and Pietro Reggio. See Songs Set by Signior Pietro Reggio, 1680. And differing versions of the second Prologue and the second Epilogue are in BM Egerton MS. 2623, ff. 54-55. Downes (Roscius Anglicanus, pp. 34-35): The Year after in 1673. The Tempest, or the Inchanted Island, made into an Opera by Mr Shadwell, having all New in it; as Scenes, Machines; particularly, one Scene Painted with Myriads of Ariel Spirits; and another flying away, with a Table Furnisht out with Fruits, Sweetmeats and all sorts of Viands; just when Duke Trinculo and his Companions, were going to Dinner; all things Perform'd in it so Admirably well, that not any succeeding Opera got more Money

Performances

Mainpiece Title: The Tempest; Or, The Enchanted Island

Performance Comment: Edition of 1674: Prologue-; Second Prologue-; Epilogue-; Second Epilogue-; According to L. C. 5@15, p. 3 (16 May 1674; see Nicoll, Restoration Drama, p. 356) Charles? Hart and Robert? Turner sang in The Tempest. Trinculo-Underhill?.

Performances

Mainpiece Title: The Triumphs Of London

Performance Comment: Performed on Friday, Octob. 29. 1675 for the Entertainment of the Right Honourable and truly Noble Pattern of Prudence and Loyalty, Sir Joseph Sheldon Kt, Lord Mayor of the City of London. Containing a true description of the several Pageants with the Speeches spoken on each Pageant. Together with the several Songs sung at this Solemnity. All set forth at the proper Costs and Charges of the Worshipful Company of Drapers. Design'd and Composed by Tho. Jordan, Gent.

Performances

Mainpiece Title: A Shoemaker A Gent

Performance Comment: A Prologue to this play is in New Songs and Poems a la Mode Both at Court and Theatres, 1677.

Performances

Mainpiece Title: London's Triumphs

Performance Comment: Illustrated with many Magnificent Structures and Pageants. On which are orderly expressed Several Stately Representations of Poetical Deities, sitting and standing in great spdendor on several Scenes in proper Shapes. With Pertinent Speeches, Jocular Songs (sung by the City Musick), and Pastoral Dancing. Performed October 29, 1677, for the Celebration, Solemnity and Inauguration of the Right Honourable Sir Francis Chaplin, Knight, Lord Mayor of the City of London. At the Charge and Expences of the Industrious Designs, being the sole Undertaking of the Ancient and Right Worshipful Society of Clothworkers. Designed and Composed by Tho. Jordan.
Event Comment: The Duke's Company. The date of the premiere is not known, but a licensing date of 18 Feb. 1677@8 suggests a premiere not later than January 1677@8. It is possible, however, that this play followed Sir Patient Fancy (17 Jan. 1677@8), as the licensing date of Timon follows that for Sir Patient Fancy. Part of the music for Timon was composed by Louis Grabu and was published, without the singers' names, in Choice Ayres and Songs, 1679. Downes (Roscius Anglicanus, p. 37): Timon of Athens, alter'd by Mr Shadwell; 'twas very well Acted, and the Musick in't well Perform'd; it wonderfully pleas'd the Court and City; being an Excellent Moral

Performances

Mainpiece Title: The History Of Timon Of Athens, The Man-hater

Performance Comment: Edition of 1678: Prologue to Timon-; Timon of Athens-Betterton; Alcibiades-Smith; Apemantus-Harris; Nicias-Sandford; Phaeax-Underhill; Aelius-Leigh; Cleon-Norris; Isander-Percival; Isidore-Gillo; Demetrius-Medburne; Dephilus-Bowman; Old Man-Richards; Poet-Jevon; Evandra-Mrs Betterton; Melissa-Mrs Shadwell; Chloe-Mrs Gibbs; Thais-Mrs Seymour; Phinias-Mrs Le-Grand; Epilogue-.
Cast
Role: Nicias Actor: Sandford
Role: Isander Actor: Percival
Role: Evandra Actor: Mrs Betterton
Role: Phinias Actor: Mrs Le-Grand
Role: Mrs Le Actor: Grand

Performances

Mainpiece Title: The Triumphs Of London

Performance Comment: Performed on Tuesday, October XXIX. 1678. For the Entertainment of the Right Honourable, and truly Noble Pattern of Prudence and Loyalty, Sir James Edwards Knight, Lord Mayor of the City of London. Containing a true Description of the several Pageants, with the Speeches spoken on each Pageant. Together with the Songs sung in this Solemnity. All set forth at the proper Costs and Charges of the Worshipful Company of Grocers. Designed and Composed by Tho. Jordan, Gent.
Event Comment: The Duke's Company. There is no certainty as to the date of the first production; but as this play was entered in the Term Catalogues November 1679, it was certainly first acted by October 1679, possibly in September 1679. A musical number, The Loyal Protestant, the music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Performances

Mainpiece Title: The Virtuous Wife; Or, Good Luck At Last

Performance Comment: Edition of 1680: Prologue-Mrs Barrer [and Tony Leigh]; Epilogue-Mr Nokes [representing my Lady Beardly; Beverly-Harris; Beauford-Smith; Sir Frolack Whimsey-Jevon; Sir Lubbery Widgeon-Lee; Brainworm-[no one listed for this role, but Cave Underhill seems a likely actor for it]; Amble-Underhill [perhaps Underhill was erroneously listed for this instead of Brainworm]; Crotchett-Bowman; Olivia-Mrs Barrer; Lady Beardly-Nokes; Jenny Wheedle-Mrs Currer; Lidia-Mrs Seymour; Tissick-Mrs Norrice.
Event Comment: The Lord Mayor's Show. For brief accounts, see Luttrell, A Brief Relation, I, 25, and Domestick Intelligence, No. 34, 31 Oct. 1679

Performances

Mainpiece Title: London In Luster

Performance Comment: [Projecting Many bright beams of Triumph: Disposed with Several Representations of Scenes and Pageants. Performed with great Splendor on Wednesday, October XXIX. 1679] At the Initiation and Instalment of the Right Honourable Sir Robert Clayton, Knight, Lord Mayor of the City of London. Dignified with divers delightfull Varieties of Presentors, with Speeches, Songs, and Actions, properly and punctually described. All set forth at the proper Cost and Charges of the Worshipful Company of Drapers. Devised and Composed by Tho. Jordan, Gent.
Event Comment: A poem, Bartholomew-Fayr, is in A Choice Compendium; or, An Exact Collection of the Newest, and most Delightful Songs (entered in the Term Catalogues, February 1680@1); it refers to some of the activities at the Fair: @Here's that will Challenge all the Fayr,@Come buy my Nuts, Damzens, my Burgamy Pears;@Here's the Whore of Babylon, the Devil and the Pope,@The Girl is just a going on the Rope:@Here's Dives and Lazarus, and the Worlds Creation,@Here's the Tall Dutch Woman, the like's not i'th Nation.@Here is the Booth where the High-Dutch Maid is,@Here are Bares that Dance like any Ladies.@Tat, tat, tat, tat, tat, says the little Penny Trumpet.@Here's Jacob Hall that does Jump it, Jump it.@Sound Trumpets, sound, for Silver Spoon and Fork,@Come here's your Dainty Pigg and Pork.

Performances

Mainpiece Title: The Coronation Of Queen Elizabeth; With The Restauration Of The Protestant Religion; Or, The Downfal Of The Pope

Performance Comment: Edition of 1680: As it was Acted, Both at Bartholomew and Southwark Fairs, This present Year 1680. With great Applause. Epilogue-.

Performances

Mainpiece Title: London's Glory; Or, The Lord Mayor's Show

Performance Comment: Containing an Illustrious Description of the several Triumphant Pageants, on which are represented Emblematical Figures, Artful Pieces of Architecture, and Rural Dancing, with the Speeches spoken in each Pageant; Also, Three new Songs, the first in praise of the Merchant-Taylors, the second the Protestant Exhortation, and the third the plotting Papists Litany, with their proper Tunes either to be Sung or Play'd Perform'd on Friday, October XXIX. 1680. For the Entertainment of the Right Honourable Sir Patience Warde, Knight. Lord Mayor of the City of London. At the proper Cost and Charges of the Right Worshipful Company of Merchant-Taylors. Invented and Compos'd by Tho. Jordan.
Event Comment: The Duke's Company. The date of the first production is not certain, particularly since an entry in L. C. 5@145, p. 120 (see also Nicoll, Restoration Drama, p. 349) lists this play for 8 March, the year uncertain. Since the entry follows one for The Souldier's Fortune which followed the premiere of The Female Prelate, 31 May 1680, the L. C. entry probably is one for 8 March 1680@1. That the premiere occurred near 1 Nov. 1680 is suggested by a letter of Anne Montague to Lady Hatton, 1 Nov. 1680: For I never see the towne fuller, for I was to see the new play, The Spanish Frier, and there was all the world, but the Court is a letell dull yet; the Queen being sick, there is noe drawing room (Hatton Correspondence, Camden Society, XXII [1878], 240). A song, Farewell ungratefull Traytor, with music by Captain Pack and sung by Mrs Crofts, is in Act V. For Leigh's and Nokes' acting, see Cibber, Apology, ed. Lowe, I, 143, 145-46. Downes (Roscius Anglicanus, p. 37): 'Twas Admirably Acted, and produc'd vast Profit to the Company

Performances

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

Event Comment: The King's Company. The date of the premiere is not certain, but the Dedication speaks of its being acted two days and an order, L. C. 5@144, p. 29 (Nicoll, Restoration Drama, p.1 on), dated 14 Dec. 1680, banning it suggest that it was performed on 11 and 13 Dec. 1680. It is possible, however, that Tate's statements may refer to performances on 18 and 19 Jan. 1680@1. Dedication, Edition of 1681: For the two Days in which it was Acted, the Change of the Scene, Names of Persons, &c. was a great Disadvantage: many things were by this means render'd obscure and incoherent that in their native Dress had appear'd not only proper but gracefull. I call'd my Persons Sicilians but might as well have made 'em Inhabitants of the Isle of Pines. Henry Purcell composed the music for a song, "Retir'd from any mortal's sight." See Purcell, Works, The Purcell Society, XX (1916), ix-x

Performances

Mainpiece Title: The Sicilian Usurper

Event Comment: The King's Company. The date of the first performance is not known, but its listing in the Term Catalogues, November 1681, suggests late October as a likely latest date for its premiere. If Mithridates was acted in mid-October at the opening of Drury Lane, Sir Barnaby Whigg may well be the first new play offered by the King's Company in the autumn. A Song in Act I, Blow Boreas Blow, with music apparently by Henry Purcell, is in A Third Collection of New Songs...Words by Mr D'Urfey, 1685, and in Dramatic Works of Henry Purcell, Purcell Society, III (1917), xiv-xv

Performances

Mainpiece Title: Sir Barnaby Whigg; Or, No Wit Like A Womans

Event Comment: For reports on the Lord Mayor's Day, see Luttrell, A Brief Relation, I, 139-40, and The Impartial Protestant Mercury, No 55, 28 Oct.-1 Nov. 1681

Performances

Mainpiece Title: London's Joy; Or, The Lord Mayor's Show

Performance Comment: Triumphantly Exhibited in Various Representations, Scenes, and splendid Ornaments, with divers pertinent Figures and Movements: Performed on Saturday, October XXIX. 1681. At the Inauguration of the Right Honourable Sir John Moore, Knight, Lord Mayor of the City of London. With the Several Speeches, and Songs, which were spoken on the Pageant in Cheapside, and Sung in Guild-Hall during Dinner. All the Charges and Expences of the Industrious Designs being the sole Undertaking of the Worshipful Company of Grocers. Devised and Composed by Tho. Jordan, Gent.