SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Spranger Barry Esq"/1) | (@(roleclean,performerclean) "Spranger Barry Esq")') 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 738 matches on Performance Comments, 525 matches on Event Comments, 5 matches on Performance Title, 1 matches on Author, and 0 matches on Roles/Actors.
Event Comment: Betterton's Company. The date of this performance, which coincides with the opening of the playhouse in Lincoln's Inn Fields by Betterton's Company, is established by Downes, Roscius Anglicanus, pp. 43-44: [Betterton, Mrs Bracegirdle, Mrs Barry, and others] set up a new Company, calling it the New Theatre in Lincolns-Inn-Fields; and the House being fitted up from a Tennis-Court, they Open'd it the last Day of April 1695, with a new Comedy: Call'd, Love for Love....This Comedy being Extraordinary well Acted, chiefly the Part of Ben the Sailor, it took 13 Days Successively. Three songs in the play were published separately: I tell thee, Charmion, the music by Finger, sung by Pate and Reading, is in Thesaurus Musicus, 1696, The Fifth Book. A Nymph and a Swain, the music by John Eccles and sung by Pate; and A Soldier and a Saylour, the music by John Eccles, and sung by Dogget, are in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 196-97: After we had stolen some few Days March upon them, the Forces of Betterton came up with us in terrible Order: In about three Weeks following, the new Theatre was open'd against us with veteran Company and a new Train of Artillery; or in plainer English, the old Actors in Lincoln's-Inn-Fields began with a new Comedy of Mr Congreve's, call'd Love for Love, which ran on with such extraordinary Success that they had seldom occasion to act any other Play 'till the End of the Season. This valuable Play had a narrow Escape from falling into the Hands of the Patentees; for before the Division of the Company it had been read and accepted of at the Theatre-Royal: But while the Articles of Agreement for it were preparing, the Rupture in the Theatrical State was so far advanced that the Author took time to pause before he sign'd them; when finding that all Hopes of Accomodation were impracticable, he thought it advisable to let it takes its Fortune with those Actors for whom he had first intended the Parts. A Comparison Between the Two Stages (1702), p. 10: Ramble: You know the New-house opened with an extraordinary good Comedy, the like has scarce been heard of. Critick: I allow that Play contributed not a little to their Reputation and Profit; it was the Work of a popular Author; but that was not all, the Town was ingag'd in its favour, and in favour of the Actors long before the Play was Acted. Sullen: I've heard as much; and I don't grudge 'em that happy beginning, to compensate some part of their Expence and Toil: But the assistance they receiv'd from some Noble Persons did 'em eminent Credit; and their appearance in the Boxes, gave the House as much Advantage as their Contributions. Ramble: Faith if their Boxes had not been well crowded, their Galleries wou'd ha' fallen down on their Heads. Sullen: The good Humour those Noble Patrons were in, gave that Comedy such infinite Applause; and what the Quality approve, the lower sort take upon trust. Gildon, The Lives and Characters (ca. 1698), p. 22: This Play, tho' a very good Comedy in it self, had this Advantage, that it was Acted at the Opening of the New House, when the Town was so prepossess'd in Favour of the very Actors, that before a Word was spoke, each Actor was clapt for a considerable Time. And yet all this got it not more Applause than it really deserv'd. An Essay on Acting (London, 1744), p. 10: The late celebrated Mr Dogget, before he perform'd the Character of Ben in Love for Love, took Lodgings in Wapping, and gather'd thence a Nosegay for the whole Town

Performances

Mainpiece Title: Love For Love

Performance Comment: Edition of 1695: A Prologue for the opening of the New Play-House-Mrs Bracegirdle in Man's Cloaths; Sent from an unknown Hand; Prologue Spoken at the opening of the New House-Mr Betterton; Epilogue Spoken at the opening of the New House-Mrs Bracegirdle; Sir Sampson Legend-Underhill; Valentine-Betterton; Scandal-Smith; Tattle-Boman; Ben-Dogget; Foresight-Sanford; Jeremy-Bowen; Trapland-Triffusis; Buckram-Freeman; Angelica-Mrs Bracegirdle; Mrs Foresight-Mrs Bowman; Mrs Frail-Mrs Barry; Miss Prue-Mrs Ayliff; Nurse-Mrs Leigh; Jenny-Mrs Lawson.
Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the Dedication of the play is dated 15 Jan. 1696@7 suggests that it was probably first acted not later than December 1696. The play was advertised in the Post Man, 21-23 Jan. 1696@7. The music was set by John Eccles. Dedication, Edition of 1697: I make you a Present of a Play, that miscarri'd on the first Nights Performance; tho' afterwards, without any farther Discouragement, it kept it self alive till the third day was over, and then I must confess the City Lady expir'd....This I am confident on, that the like Unfortunate Accidents which attended this Comedy, wou'd have been sufficient to have Dam'd a much better Play. The tedious waiting to have the Curtain drawn, after the Prologue was spoke, occasion'd by Mr Underhill's violent Bleeding, put the Audience out of Humour, and made it susceptible of the least Disgust; and when once the Torrent of its Displeasure break bounds, nothing cou'd put a stop to his Vehemence. After Mr Underhill was no longer able to come upon the Stage, scarce any thing was done but by Halves, and in much Confusion; in the midst of which, I think my self oblig'd to applaud the Justice I receiv'd from the Incomparable Mrs Barry. I very well know that the Ode in the third Act seems to be introduc'd something unseasonably. It was made and set long since, in hopes of having it perform'd before the King, at his return from Flanders; and the Music being so finely compos'd by Mr John Eccles, I was loath it shou'd be wholly lost to the Town. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Performances

Mainpiece Title: The City Lady; Or, Folly Reclaim'd

Performance Comment: Edition of 1697: Prologue-Mr Hodgson; Epilogue-Miss Howard; Sir Geo. Grumble-Bright; Bevis-Underhill; Bellardin-Bowman; Lovebright-Hodgson; Pedanty-Harris; Burgersditius-Freeman; Brassby-Scudamore; Flash-Baily; Cash-Arnold; Jasper-Bowen; Lady Grumble-Mrs Barry; Lucinda-Mrs Bowman; Formosa-Mrs Prince; Secreta-Mrs Leigh; Fidget-Mrs Lawson; Biddy-Mrs Robinson.
Event Comment: Betterton's Company. The date of the first production is not known, but the Songs were advertised in the Flying Post, 6-8 Dec. 1698, and the play in the London Gazette, 19-22 Dec. 1698; hence, the premiere was certainly not later than early December and was probably not later than November. In fact, on 5 Dec. 1698 Dr. William Aglionby wrote Matthew Prior, referring to Dennis, "a poor poet who has made us a fine entertainment of Rinaldo and Armida" (quoted in The Works of John Dennis, II, 489). In a dialogue written by John Oldmixon (Reflections on the Stage [London, 1699], p. 101) Savage, referring to Rinaldo and Armida, states: I have seen it 3 or 4 times already, but the Musick is so fine, and the Play pleases me so well, that I shall not think it a burthen [to see it again] (in The Works of John Dennis, I, 479). The Musical Entertainments in the Tragedy of Rinaldo and Armida (1699) is reprinted, with an introduction by Herbert Davis, in Theatre Miscellany (Luttrell Society Reprints, No 14, Oxford, 1953), pp. 103-15. One song, Ah queen, ah wretched queen, give o'er, sung by Gouge, is in Mercurius Musicus, 1699; and another, Jolly breeze that comes whistling, sung by Gouge, is in Twelve New Songs, 1699. A Comparison between the Two Stages (1702), p. 22: Critick: At last, (as you say) the old Stagers moulded a piece of Pastry work of their own, and made a kind of Lenten Feast with their Rinaldo and Armida; this surpriz'd not only Drury-lane, but indeed all the Town, no body ever dreaming of an Opera there; 'tis true they had heard of Homer's Illiads in a Nut-shel, and Jack in a Box, and what not?...Sullen: Well, with this Vagary they tug'd a while, and The Jolly-Jolly breeze-came whistling thro'-all the Town, and not a Fop but ran to see the Celebrated Virgin in a Machine; there she shin'd in a full Zodiack, the brightest Constellation there; 'twas a pleasant Reflection all this time to see her scituated among the Bulls, Capricorns, Sagittaries, and yet the Virgo still remain itacta....Critick: But this merry Time lasted not always; every thing has an end, and at length down goes Rinaldo's inchanted Mountain; it sunk as a Mole-hill seen on't: What a severity was this? that the Labour of such a gigantick Poet, nay Critick, shou'd give up the Ghost so soon: The renown'd Author thought himself immortal in that Work, and that the World was to last no longer than his Rinaldo; and tho' he stole every thing from the Italian, yet he said, what the Italian did was but Grub-street to his. See also 5 Jan. 1698@9 for a letter written by Mrs Barry, in part concerning Rinaldo and Armida

Performances

Mainpiece Title: Rinaldo And Armida

Performance Comment: Edition of 1699: Prologue-; Rinaldo-Betterton; Ubaldo-Thurman; Carlo-Scudamore; Armida-Mrs Barry; Urania-Mrs Boman; Phenissa-Mrs Lee; Epilogue-; The Musical Entertainment ...All Compos'd by Mr John Eccles, and Writ by Mr Dennis-.
Event Comment: [By John Dennis. Premiere.] Preface: [The last scene was omitted] on the account of Length....The Play indeed receiv'd all the Grace and Ornament of Action in most of the principal Parts, and in all the Womens. But that of Sakia by Mrs Barry was acted so admirably and inimitably, as that no Stage in Europe can boast of any thing that comes near to her Performance

Performances

Mainpiece Title: Liberty Asserted

Performance Comment: Edition of 1704 lists: Frontenac-Bowman; Miramont-Betterton; Beaufort-Powell; Ulamar-Booth; Zephario-Freeman; Sakia-Mrs Barry; Irene-Mrs Bracegirdle; Okima-Mrs Porter; Prologue-Betterton; Epilogue-.
Event Comment: Benefit Mrs Barry. At the Desire of several Persons of Quality

Performances

Mainpiece Title: Sophonisba

Performance Comment: Sophonisba-Mrs Barry.

Song:

Dance: To be expressed in the Bills

Event Comment: Benefit Mrs Barry

Performances

Mainpiece Title: Don Sebastian, King Of Portugal

Performance Comment: Don Sebastian-Verbruggen; Dorax-Betterton; Almeyda-Mrs Barry.
Event Comment: Benefit Mrs Barry. Not Acted there these 13 Years

Performances

Mainpiece Title: Aurengzebe; Or, The Great Mogul

Performance Comment: Emperor-Betterton; Aurengzebe-Powell; Morat-Booth; Nourmahal-Mrs Barry; Indamora-Mrs Rogers; Melesinda-Mrs Porter.
Event Comment: Benefit Barry. By Command of their Royal Highnesses the Prince and Princess of Wales. Ladies send servants by three. Tickets at his lodgings in Bow St

Performances

Mainpiece Title: Venice Preserved; Or, A Plot Discover'd

Performance Comment: Pierre-Barry; Jaffeir-Delane; Renault-Sparks; Priuli-Berry; Belvidera-Mrs Giffard; Duke-Winstone; Bedamar-Blakes.

Dance: II: Salomon, Mlle Violette, Cook, Salomon's Son; III: Muilment; V: Grand Comic Dance-Salomon, Mlle Violette, Cooke, Sga Padouana

Event Comment: Principal characters in the Mainpiece New Dress'd. [Barry, apparently for the first time. See 5 Nov.] Receipts: #140 (Cross); #151 11s. (Powel); #151 14s. (Clay MS)

Performances

Mainpiece Title: Tamerlane

Performance Comment: Tamerlane-Delane; Moneses-Havard; Arpasia-Mrs Cibber; Axalla-Mozeen; Prince of Tanais-Blakes; Bajazet-Barry; Omar-Sparks; Dervise-Berry; Hali-Usher; Stratocles-Winstone; Selima-Mrs Elmy; Usual Prologue-.

Afterpiece Title: The Double Disappointment

Event Comment: Afterpiece: By Desire. Mr Barry play'd Hamlet. Receipts: #170. (Cross)

Performances

Mainpiece Title: Hamlet, Prince Of Denmark

Performance Comment: Hamlet-Barry; Polonius-Taswell; Ophelia-Mrs Clive; King-Bridges; Ghost-Berry; Horatio-Havard; Ostrick-Woodward; Laertes-Blakes; Lucianus-James; Rosencraus-Simpson; Guildenstern-Usher; Bernardo-Marr; Player King-Winstone; Player Queen-Mrs Yates; Gravediggers-Yates, Ray; Queen-Mrs Pritchard.

Afterpiece Title: Miss in Her Teens

Event Comment: Whereas it has been industriously given out in order to prejudice Mr Barry, that he has frequently of late refused to act, when his health would have permitted; He takes this opportunity of assuring the publick, whose favour it is his highest ambition to deserve, that he scorns to make use of tricks or Evasions of this kind, and that nothing but real illness has, or shall ever oblige him to decline his duty as an actor (General Advertiser). Receipts: #130 (Cross); #144 12s. 6d. (Treasurer's Book)

Performances

Mainpiece Title: Hamlet

Performance Comment: As17491027, but Hamlet-Barry; Lucianus-_; Rosencraus-_; Guildenstern-_; Bernardo-_; Player King-_; Player Queen-_.

Ballet: TThe Savoyard Travellers. As17491110

Event Comment: Benefit for Barry. Eight rows of the Pit will be rail'd into the Boxes, where servants will be allow'd to keep places. Ladies send sevants by 3 p.m. And for their better accommodation the Stage will be form'd into an Amphitheatre, where servants will likewise be allow'd to keep Places

Performances

Mainpiece Title: Theodosius; Or, The Force Of Love

Performance Comment: Varanes-Barry; Theodosius-Ryan; Leontine-Ridout; Marcian-Sparks; Aranthes-Usher; Pulcheria-Mrs Vincent; Athenais-Mrs Cibber 1st time; With the songs- incident to the play set to music by Mr Arne.

Afterpiece Title: The Contrivances

Dance: GGrand Dutch Dance, as17511021

Event Comment: Benefit for Mrs Cibber. Afterpiece: A Dramatic piece of one act taken from the French. Never perform'd before. The characters in it to be newdress'd. Pit and boxes laid together and amphitheatre on stage. Tickets deliver'd for 3 March will be taken. [See, 20 March. The note in Have at you all; or, The Drury Lane Journal (19 March) seems to comment on this performance: Those heroic full-bottomed perukes, whose bushy expanse is spread over the whole back of the wearer, have lately been exploded on the stage, and a more natural, I mean a less enormous covering for the head substituted in its stead. Unfortunately Mr Barry this night chose to appear in one of the most curiously frizzled out and of the fullest tragical flow I ever saw: When in the last act it was our heroes turn to be kill'd, honest Ryan being eager to dispatch him, just as he was to plump down upon the carpet, entangled his hand in the vast profusion of Macbeth's hair; and by jerking back his sword after the concluding stab, away came poor periwig along with it, while our hero was left expos'd, in the last agonies of death-bare headed. Ryan in the meanwhile with some confuconfusion contemplated Full-Bottom, which he held dangling in his hand, but sadly tumbled out of curl; at length he good naturedly adjusted it on the bald pate of the tyrant, who was then enabled to make his dying speech with proper regularity and decorum."

Performances

Mainpiece Title: Macbeth

Performance Comment: Macbeth-Barry; Macduff-Ryan; King-Gibson; Malcolm-Usher; Donalbaine-Miss Morrison; Fleance-Miss Mullart; Angus-Bennet; Seyward-Anderson; Young Seyward-Bransby; Lenox-Redman; Seyton-Paddick; Banquo-Sparks; Rosse-Ridout; Murderers-Stoppelaer, Marten; Hecate-Arthur; Witches-Dunstall, Collins, Cushing; Lady Macduff-Mrs Barrington; Lady Macbeth-Mrs Cibber (first time); Original Music-; the vocal parts-Lowe, Howard, Legge, Baker, Mrs Arne, Mrs Lampe, Mrs Storer, Miss Falkner, Miss Young, Mrs Vincent; dances- add decorations incident of the play.

Afterpiece Title: The Oracle

Performance Comment: Principal parts-Dyer, Mrs Elmy, Mrs Cibber; Dance (incident to the piece)-Miss Hilliard; New Prologue-Barry.

Dance: GGrand Comic Ballet, as17511216

Event Comment: [L+Letter to Miss Nossiter on Her First Appearance, pub. at 1s. praises her "natural acting" and analyses the character of Juliet as a most appropriate one for beginners: "In the First act she hath scarce anything to say; which affords her some breathing time to recover the confusion, into which her first appearance, before so awful an assembly must naturally throw her." Criticizes a supposed rival for planting herself full against her, as if with an intent by the superior force of her effrontery to stare away the little degree of Courage" Miss Nossiter had left. Her youth and freshness required no paint, so her color came and went as the passion required it, no small addition to the impression of natural acting. She is never inattentive on stage. She feels what others say as much as what she speaks herself. The Author gives practically a speech by speech account of her part, describing her gesture, action, and modulation of voice minutely. Concludes by pointing the reader's attention to Otway's contribution to the Garrick version which was played then at both houses. Praises Barry for instructing Miss Nossiter and bringing her to the stage. Hopes Garrick will refrain from attacking her in his papers, The Craftsman and Gray's Inn Journal, because she will one day become such an ornament to the stage, that I shall be proud to own myself the first who publicly displayed her merit.' Hers is the greatest real first attempt made by man or Woman on the stage, within these 40 years." See also 1 Nov.

Performances

Mainpiece Title: Hamlet

Performance Comment: Hamlet-Barry; King-Sparks; Horatio-Ridout; Ghost-Ryan; Rosencraus-Usher; Guildenstern-White; Marcellus-Anderson; Bernardo-Bencraft; Queen-Mrs Elmy; Ostrick-Cushing; Francisco-Holtom; Player King-Redman; Player Queen-Mrs Bambridge; Laertes-Dyer; Gravediggers-Shuter, Stoppelaer; Polonius-Arthur; Ophelia-Mrs Vincent.

Afterpiece Title: The Lottery

Dance: CComic Ballet-Grandchamps, Mlle Camargo; also Dutch Dance, as17531018

Event Comment: The tragedy of the Revenge is in rehearsal at Covent Garden in which the part of Zanga will be attempted by the Gentleman who appeared in the character of Osman in Zara, will be performed someday this week, as are also the plays of King Lear and Alexander the Great, revis'd and alter'd in which the parts of Lear and Alexander will be played by Barry

Performances

Mainpiece Title: Macbeth

Performance Comment: Macbeth-Barry; Macduff-Ryan; King-Gibson; Malcolm-Anderson; Donalbain-Bennet; Seyton-Redman; Seyward-White; Doctor-Wignell; Fleance-Miss Mullart; Banquo-Sparks; Lenox-Ridout; Hecate-Arthur; 1st Murderer-Bencraft; 2nd Murderer-Marten; Witches-Collins, Dunstall, Cushing; Lady Macduff-Mrs Barrington; Lady Macbeth-Mrs Woffington; With the original music. Vocal parts-Lowe, Howard, Legg, Baker, Roberts, Mrs Lampe, Mrs Chambers, Miss Young, Mrs Vincent. With Dances and Decorations incident to the Play.

Afterpiece Title: The Contrivances

Dance: As17551114

Event Comment: Mainpiece: Not acted these 10 years. [See 17 Oct. 1752. Review of this cast, if not of this particular performance, appeared in The Old Maid, 13 March. Favorable comment on Barry and Ryan. The reviewer disliked the Tate version, and the stage habit of making the Gentleman Usher a Fribble.

Performances

Mainpiece Title: King Lear And His Three Daughters

Performance Comment: Lear-Barry, first time; Edgar-Ryan; Gloster-Ridout; Kent-Sparks; Bastard-Smith; Cornwall-Anderson; Albany-White; Burgundy-Bennet; Gentleman Usher-Shuter; Goneril-Mrs Stephens; Regan-Mrs Hamilton; Cordelia-Miss Nossiter, first time.
Cast
Role: Lear Actor: Barry, first time

Afterpiece Title: Damon and Phillida

Dance: As17551114

Event Comment: Receipts: #155 6s. Paid Barry one third of the surplus of the night's receipts above the #80 allow'd for the charge: #25 2s. (Account Book)

Performances

Mainpiece Title: Romeo And Juliet

Performance Comment: Romeo-Barry; Capulet-Sparks; Montague-Redman; Escalus-Anderson; Benvolio-Gibson; Paris-White; Lady Capulet-Mrs Barrington; Fryar Lawrence-Ridout; Tibalt-Cushing; Gregory-Bennet; Sampson; Collins; Abram-Dunstall; Balthazar-R. Smith; Mercutio-Dyer; Nurse-Mrs Pitt; Juliet-Mrs Bellamy; Minuet-Guerin, Miss Hilliard; Masquerade Dance-; proper to the Play. An Additional scene will be introduc'd representing the Funeral Procession of Juliet-; , accompanied with a Solemn Dirge-; The vocal parts-Lowe, Howard, Legg, Baker, Roberts, Mrs Lampe, Mrs Chambers, Miss Young.

Afterpiece Title: The Contrivances

Event Comment: Receipts: #106 11s. Paid Barry one third of surplus above the #80 allow'd for charges: #8 17s. (Account Book). [House, after meeting Saturday's payroll, is #205 3s. 2d., in the red again.

Performances

Mainpiece Title: Macbeth

Performance Comment: Macbeth-Barry; Macduff-Ryan; King-Gibson; Malcolm-Anderson; Donalbain-Bennet; Seyton-Redman; Seyward-White; Doctor-Wignell; Fleance-Mullart; Banquo-Sparks; Lenox-Ridout; Hecate-Arthur; 1st Murderer-Bencraft; 2d Murderer-Marten; Witches-Collins, Dunstall, Cushing; Lady Macduff-Mrs Barrington; Lady Macbeth-Mrs Bellamy , 1st time; With the Original Music. The Vocal parts-Lowe, Howard, Legg, Baker, Roberts, Mrs Lampe, Mrs Chambers, Miss Young, Mrs Vincent; The Dances-Lucas, Lepye, Gosly, Desse, Rochford, Dumay. And Decorations incident to the play.

Afterpiece Title: The Cheats of Scapin

Event Comment: Receipts: #98 3s. 6d. Paid Barry his one third of surplus above the #80 allow'd for charges: #6 1s. 2d. (Account Book)

Performances

Mainpiece Title: Othello

Performance Comment: As17571116, but Othello-Barry; Desdemona-Mrs Bellamy.

Afterpiece Title: TheLover His Own Rival

Dance: FFingalian Dance, as17571013

Event Comment: Receipts: #109 14s. (Account Book). [Barry paid his one-third of the surplus above the #80 house charge: #9 18s.

Performances

Mainpiece Title: Theodosius; Or, The Force Of Love

Performance Comment: Varanes-Barry; Theodosius-Smith; Marcian-Sparks; Leontine-Ridout; Atticus-Marten; Aranthes-White; Lucius-Anderson; Pulcheria-Mrs Vincent; Julia-Miss Allen; Delia-Miss Ferguson; Athenais-Mrs Bellamy.

Afterpiece Title: The Englishman Returned from Paris

Dance: Granier, Mrs Granier

Event Comment: Receipts: #146 17s. 6d. Paid Barry his one third of surplus above the #80 House Charges: #22 5s. 10s. (Account Book)

Performances

Mainpiece Title: The Rival Queens; Or, The Death Of Alexander The Great

Performance Comment: Alexander-Barry; Lysimachus-Smith; Hephestion-Dyer; Polyperchon-Gibson; Thessalus-Anderson; Perdiccas-White; Aristander-Cushing; Cassander-Ridout; Clytus-Sparks; Sysigambis-Mrs Vincent; Parisatis-Mrs Baker; Eurmenes-Bennet; Slave-Wignel; Roxana-Mrs Hamilton; Statira-Mrs Bellamy; In which will be introduced the Triumphal Entry of Alexander into Babylon-.

Afterpiece Title: The Devil to Pay

Dance: FFingalian Dance, as17571013

Event Comment: Receipts: #110 6s. 6d. Paid Barry his one third of surplus above the #80 House Charges: #10 2s. 2d. (Account Book)

Performances

Mainpiece Title: Hamlet

Performance Comment: As17571008, but Hamlet-Barry; Bernardo-Bencraft.

Afterpiece Title: The Mock Doctor

Dance: As17571217

Ballet: TThe Judgment of Paris. As17571217

Event Comment: Mainpiece [by Elijah Fenton]: Not acted these 10 years. [See 12 March 1745.] Receipts: #110 15s. 6d. Paid Barry his one third of the surplus above the #80 House Charges: #10 5s. 2s. (Account Book)

Performances

Mainpiece Title: Mariamne

Performance Comment: Herod-Barry; Sohemus-Sparks; Pheroras-Dyer; High Priest-Ridout; Flaminius-Smith; Narbal-Clarke; Sameas-White; Hazeroth-Bennet; Salome-Mrs Elmy; Arsinoe-Mrs Vincent; Mariamne-Mrs Bellamy.

Afterpiece Title: The Contrivances

Event Comment: Benefit for Yates. House Charges #65 5s. [Profit to Yates #118 16s. 6d.] Not performed for 20 years. Revived with alterations. Paid B. Johnson's Head Bill #2 5s. 6d. Paid #2 2s. for licensing Dido (Treasurer's Book). Receipts: #184 6d. (Treasurer's Book). About 5 went into the Pit at Drury Lane to see the False Friend reviv'd with alterations, for the benefit of Yates. It engages the attention, but was very well performed. Don John by Holland; Don Pedro by Powell; Lopez by Mr Yates, the drinking Servant by Baddeley; Leonora by Mrs Barry (whom I never saw before); Isabella by Miss Plym and Jacintha by Mrs Yates. I think an Abigail an odd character for her, but no doubt she was willing to play anything for her husband's benefit. After the dance of the Vintage, Mr Yates spoke by way of Interlude a new piece on his being in France called the "Modern Traveller," containing some strokes on the affectation of French Fashions, &c. We had the Farce of High Life Below Stairs with minuet by Mrs Yates and a French Valet, which I do not remenber to have seen when I saw this Farce (before) (Neville MS Diary)

Performances

Mainpiece Title: The False Friend

Performance Comment: Parts-Holland, Powell, Yates, Bransby, Packer, Baddeley, Mrs Yates, Miss Plym, Mrs W. Barry. [See Neville's comments below.]See Neville's comments below.]

Afterpiece Title: High Life below Stairs

Dance: Pantomime Dance, The Vintage, as17661011

Entertainment: V: a New Interlude, The Modern Traveller-Mr Yates

Event Comment: NNeville MS Diary: Went to ye Pit to see ye Beggar's Opera-oblig'd to stand till ye play was over-Read some parts of ye Opera which I borrowed at Davies's, before it began and between the acts. Barry is a good Macheath, but most persons who have seen him when young observe that he has not ye activity and fire he then had. He sings tolerably as does Mrs Dancer; but both are greatest in ye acting part. Mrs D. is ye best Polly I ever saw, having that sensibility which your mere singing Pollys generally want. Mrs Mahon did Lucy with great ease and propriety, and has a good deal of expression in her countenance. Thomson has a force and mellowness of voice very suitable to ye character of Lockit. I do not think Weston excels in Filch. Shuter raised vast applause by adding, after Trapes has said "done under the Surgeon's hand'--"Oh dreadful and in such weather too!" Bannister in Mat added--"Die hard"--and Palmer in Budge--"Die game--" Mrs Gardner's pretending to get drunk in Mrs Slam is new. We had at ye end of Act 2 the Fing., of Act 3 a New Hornpipe, and at ye end of ye Opera the H. Peasant by $Miss Froment, with Duke and No Duke-of which I am tired

Performances

Mainpiece Title: The Beggar's Opera

Performance Comment: Macheath-Barry; Lockit-Thompson; Mat-Bannister; Ben Budge-Palmer; Peachum-Shuter; Filch-Weston; Jemmy Twitcher-Smith; Crook@finger'd Jack-Lyngs; Wat Dreary-Newton; Robin o Bagshot-Gardner; Nymming Ned-Pynn; Harry Paddington-Loveman; Player-Strange; Beggar-Castle; Lucy-Mrs Mahon (being her first appearance on that Stage); Mrs Peachum-Mrs Johnson; Mrs Slammekin-Mrs Gardner; Molly Brazen-Mrs Burden; Dolly Trull-Mrs Kirby; Betty Doxy-Mrs Palmer; Polly-Mrs Dancer.

Afterpiece Title: A Duke and no Duke

Dance: II: The Fingalian Dance-; III: New Hornpipe-; End Opera: The Italian Peasants-Miss Froment