SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Theatre Royal in Dublin"/1) | (@(roleclean,performerclean) "Theatre Royal in Dublin")') 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 3394 matches on Event Comments, 738 matches on Performance Title, 527 matches on Performance Comments, 8 matches on Roles/Actors, and 0 matches on Author.
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

Event Comment: Account-Book: Present Their Majesties. [Their attendance this night is not indicated on the playbill, but "Though the Royal Command was not communicated to this Theatre till late yesterday morning, and consequently but a small part of the public could have notice of the public could have notice of the intention of Their Majesties to honour the house with their presence, yet it was crouded in all parts" (Morning Herald, 16 Mar.).] Receipts: #347 12s. (344.3.6; 3.8.6)

Performances

Mainpiece Title: The Road To Ruin

Afterpiece Title: Rosina

Event Comment: Double Drums by Ashbridge. Trombones by Flack, Dressler, Zwingham, Schubert. The Chorusses, which will be far more numerous than on any former occasion, will be supported by the Young Gentlemen of His Majesty's Chapel Royal, and the Choristers of St. Paul's. A Subscription of Two Guineas and a Half will receive Eleven Tickets for the Boxes, transferable either to a Lady or a Gentleman; any number of Tickets may be used nightly at the pleasure of the Subscriber. Books of the performance to be had at the Theatre, price #6d. Boxes 6s. Pit 3s. 6d. Gallery 2s. No Money to be returned. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]

Performances

Mainpiece Title: A Grand Selection 0

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Event Comment: A Sacred Oratorio; the music entirely by Guglielmi, composed purposely for Mme Banti at the Royal Theatre of St.@Charles at Naples [in l788]; with Grand Chorusses under the direction of Dr Arnold, who will himself preside at the organ. At the harpsichord, Federici. Leader of the Band, Cramer. The Orchestra, vocal and instrumental, will consist of nearly two hundred performers

Performances

Mainpiece Title: Debora And Sisara

Music: End Part I: a Grand Overture by Haydn-; conducted-Haydn

Song: At commencement Part II: Angels ever bright and fair-Mme Banti

Event Comment: By Command of Their Majesties. "An elegant fire-place was introduced into the Royal Stage Box at Covent Garden Theatre on Wednesday evening last, to the great surprise and no less comfort of their Majesties" (Morning Herald, 17 Dec.). Receipts: #399 12s. 6d. (393.3.6; 6.9.0)

Performances

Mainpiece Title: Fortune's Fool

Afterpiece Title: The Guardian

Event Comment: By Permission of the Lord Chamberlain. Benefit for the Choral Fund, instituted for the Relief of their decayed Members, Widows and Orphans, under the Patronage of his Royal Highness the Duke of Clarence. The Band and Chorus will be select, and the Young Gentlemen of the Westminster Choir will assist. A New Organ, built by Lincoln, will be opened on this occasion. Boxes #S. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 5:30. To begin at 6:30. Tickets and Places for the Boxes to be had of Rice, at the Theatre

Performances

Mainpiece Title: The Messiah

Music: Previous to The Messiah: An Ode, written by W. T. Fitzgerald, Esq., the Music entirely new by Dr Arnold-; Concerto on the violin-Barthelemon

Event Comment: Benefit for Mrs Pope. Mainpiece: Not acted these 6 years. In I a Grand Banquet Scene. A Procession from the Abbey at the Coronation of Queen Anne Bullen. The Piece to conclude with the ceremony at the Royal Christening. [Holman's 1st appearance as King Henry was at this theatre, 24 May 1793.] Morning Chronicle, 27 Apr.: Tickets to be had of Mrs Pope, Half Moon-street, Piccadilly. Receipts: #391 0s. 6d. (299.15.6; 2.9.0; tickets: 88.16.0)

Performances

Mainpiece Title: King Henry The Eighth

Afterpiece Title: Hartford Bridge

Song: In course of Evening: Black Ey'd Susan-Incledon; Tomorrow-Incledon

Music: Preceding: Grand Sonata on the Piano Forte-Master Parker; with a new Rondo-Master Parker (Haydn); End I: a celebrated Lesson of Nicolai-Master Parker

Entertainment: Monologues End II: Alexander's Feast-Master Parker; End: Grand Address to the Audience-Master Parker

Event Comment: By Command of Their Majesties. [On this night an unsuccessful attempt was made to assassinate the King. As he entered his box he was shot at by James Hadfield, who was in the pit. The royal family remained in the theatre throughout the performance, during which God save the King was sung on four different occasions. Hadfield was subsequently adjudged insane. See Gentleman's Magazine, May 1800, pp. 478-80.] Receipts: #438 13s. 6d. (345.15.6; 87.9.0; 5.9.0)

Performances

Mainpiece Title: She Wou'd And She Wou'd Not

Afterpiece Title: The Humourist

Event Comment: A Serenata. Being an Essay of several different Sorts of Harmony.[Music by Handel. Done into English by George Oldmixon.] Daily Advertiser, 14 March: Last Night Mr Handell's new Serenata, in Honour of the Princess Royal's Nuptials with the Prince of Orange, was perform'd before their Majesties, the Prince of Wales, the Princess Royal, the Prince of Orange, and all the Royal Family, and was received with the greatest Applause; the Piece containing the most exquisite Harmony ever furnish'd from the Stage, and the Disposition of the Performers being contriv'd in a very grand and magnificent Manner. [The marriage of the Prince of Orange and Royal Princess occurred on Thursday, 14 March.]

Performances

Mainpiece Title: Parnasso In Festa; Or, Apollo And The Muses Celebrating The Nuptials Of Thetis And Peleus

Performances

Mainpiece Title: Concerto Spirituale

Performance Comment: Part I Overture-; The Anthem perform'd at the Chapel Royal for the Victory obtained at Dettingen-; Solo on Violin-Agus Jr; Part II Miserere Me Deus (the 51st Psalm) compos'd for the Duke of Chandos-; Concerto on Clarinet-Mahoon; Part III Anthem perform'd at the Chapel Royal for the nuptials of their late Royal Highnesses the Prince and Princess of Wales-.
Event Comment: Directors of the Oratorios: Linley and Storace. Among the Principal Instrumental Performers are Ashe, W. Parke, Parkinson, Mason, Flack, Ashbridge, &c. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. No Money to be returned. Books of the performance to be had at the Theatre. [This was the 1st performance held in the new DL theatre]. Under the Management of Mr Kemble. The Box Office, for the present, is in Little Russell-Street, opposite to the Theatre, where Boxes and Places are to be taken of Fosbrook. The Box Doors are in Little Russell Street and Woburn Street. The whole of the Avenues [into the theatre], and the New Street ["which is intended to be called Woburn-street" (Carlton House Magazine, Apr. 1794, p. 136); see next paragraph] not being yet complete, Ladies and Gentlemen are particularly requested to direct their Coachmen to set down in Little Russell Street (where alone the Carriage Box Doors are at present) with the Horses heads toward Covent Garden, which is the only line in which Carriages can be permitted to pass. Carriages wanting to draw up after the performance should be headed to range in Drury Lane, toward Long Acre and Great Queen Street. The Chair Doors and Footway are in the Court in Woburn Street, where for the accomodation of those who may wish to have their Carriages wait out of the Croud, Chairs belonging to the Theatre and under proper regulations will attend. In order to keep the Colonnades quite clear no Servants can be permitted to wait there, but those belonging to the Carriages actually drawn up before the Pillars, and no Servants whatever can be permitted to pass the Doors of the Lower Saloon. Pit Door. The Temporary Pit Passage is in the center of the Theatre, in Bridges Street, which leads to a Spacious Saloon, which will be opened One Hour before the opening of the Pit Doors. All Carriages for the Pit Door are to wait in Catherine Street, or York-Street, to take up with the Horses heads towards Little Russel Street, and to pass through Great Russel-Street. Gallery Doors. The Gallery Doors, for Admittance, are in Little Russell-Street, and Woburn-Street, but, after the commencement of the Performance, the Gallery Doors, for the present can be only in Woburn Street. Every proper precaution is taken to prevent Croud and Inconvenience at the several Passages. The Doors to be opened at 5:15. To begin at 6:30 [same throughout oratorio season]. "The Orchestra represented the inside of a Gothic Cathedral [designed by Capon], and the Chorus Singers paid that attention to their attire that rendered the stage respectable. The house is so constructed that every note was distinctly heard at the remotest part of the theatre . . . The audience are so near the performers that the movement of every muscle is seen; a matter essentially necessary, particularly to the exhibition of an English Drama." [This opinion is greatly at variance with that of other commentators on the construction, the acoustics, &c. of the new theatre.] (European Magazine, Mar. 1794, p. 236). "The stage for the oratorios resembles a Gothic Cathedral, with illuminated stained glass windows, &c. The flies . . . [are] carved like the fretted roof of an antique pile, and the wings to the side scenes are removed for a complete screen, like those in use at the foreign theatres." (Thespian Magazine, Mar. 1794, p. 127). Account-Book, 12 Mar.: Paid Cabanel building Stage, on Acct. #130; Capon, painter, on Acct. #61 12s. Receipts: #358 6s. (281/2; 243 tickets sold by Fosbrook: 72/18; 4/6)

Performances

Mainpiece Title: A Grand Selection Of Sacred Music From The Works Of Handel

Event Comment: Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant at the Stage Door of the Theatre. [Only sagnificant changes from this regular notice will be recorded hereafter.] Paid Mrs Margaret Lamb 6 months interest on #315 due 8 Sept. #7 10s. (Account Book). Receipts: #155 15s. (Account Book). Estimate of a Constant@N.B. The Ground Rent and Taxes is calculated to be Paid in 150 Days.@Per Annum Per Day@To 50 Old Shares at 2s. --- #5@To 50 New Ditto at 2s. --- #5@T 50 New Ditto at 2s. --- #5@To Ground Rent for the Theatre #100@To Ditto for Buildings in Harte St. #30@To Ditto for Mr Thurmond's House in Bow Street Passage #25@ #155 #1 0s. 8d.@ #11 0s. 8d.@Taxes (Viz)@To Land and Window Taxes for Theatre #98 2s.@To Do for a House in Bow St. Passage #5 15s 6d.@To Poor's Rate for the Theatre #20@To Do for a House in Bow St. Passage #1 10s.@To Watch rate for the Theatre #8 6s. 8d@To Do for a House in Bow St. Passage 10s. 6d.@To Rector's rate for the Theatre #6 13s. 4d.@To Do for a House in Bow St. Passage 8s. 4d.@To Scavenger's Rate for the Theatre #6 17s. 4d.@To Do for a House in Bow St. Passage 6s. 4d.@To Water for the Theatre #4@ #152 10s.@ #1 4d.@To Renters, Ground Rent & Taxes #12 1s.@To Gawrds [sic] per Day 14s.@To Barbers Do 5s. 4d.@To Scenemen Do #2 10s.@To Music as Per List #4 9s 2d.@For 150 Days To Candles #3 3s.@Do To Coales 10s 10s.@Passages, Stage Etc. To Lamps #1 12s.@To Bills #1 7s.@To Advertisements 5s.@To Billsetters 4s. 6d.@#16 6s. Sallery [sic] #14 6s. Estimate To Wardrobe bill about #1 11s.@#2 Sallery #5 Estimate To Property Bill Do 7s.@To Chorus Singers Do 10s.@To Mr J. Rich #5 5s.@To Mr C. Rich #1@ #36 1s.@Nightly Charge@Musick List@Messrs Wood 5s.@Gillier 5s.@Miller 5s.@Chapman@ 3s. 4d.@Goodman 3s. 4d.@Woodson 5s.@Ward 6s. 8d.@Rolland 5s.@Rawlings 3s. 4d.@Vincent 6s. 8d.@Wrexell 5s.@Beale 5s.@Jones 4s. 2d.@Biche 3s. 4d.@Heron 4s. 2d.@Stockdon 3s. 4d.@Scovell 3s. 4d.@Lampe 3s. 4d.@Smart 3s. 4d.@Assistant Writer 10d.@Harpsicord 5s.@#4 9s. 2d.@Men Dressers Charg'd in the Wardrobe Bills@Messrs Mearns 2s. 6d.@Cason 2s.@Esbury 1s.@Fenwick 1s.@Winterton 1s.@Besford 1s.@Francis 1s.@Cawder 1s.@Hays 1s.@Hollingsworth 1s.@Cabell 1s.@Nicholls 1s.@Norris 1s.@Cole 1s.@16s. 6d.@Billstickers as per List@Messrs Abbott 2s.@Mislebrook 2s.@Dymuck 2s@Tidd 2s.@Gale 2s.@Cole 1s. 6d.@11s. 6d.

Performances

Mainpiece Title: The Jovial Crew; Or, The Merry Beggars

Afterpiece Title: The Mock Doctor

Event Comment: DDaily Journal, 23 Oct,: Yesterday being the Anniversary of the Princess Royal's Birth-Day, a Masque was prepared at His Royal Highness's Command, on that Occasion, by Mr Rich, and perform'd by his Company in His Royal Highness's@Gardens at Cue, which were illuminated with above a thousand Lamps

Performances

Mainpiece Title: A Masque

Event Comment: Ode: In two Parts. Principal Instrumental Performers as 20 Feb., but omitted: Bridgtower, Archer, Mahon, Lavenu, Napier, Simpson. Mr Ashley is exceedingly concerned that he is under the necessity of informing the Public that the Anthem [The Anthem that will be performed at the Chapel Royal, St. James's, on the Nuptials oF his Royal Highness the Prince of Wales and the Princess Caroline of Brunswick, composed by Handel, to conclude with the Hallelujah Chorus from The Messiah (advance playbill of 25 Feb.)] advertised for this Evening is necessarihy postponed until the Royal Marriage shall have taken place

Performances

Mainpiece Title: Alexander's Feast; Grand Selection 0

Afterpiece Title: A Grand Miscellaneous Act

Event Comment: Benefit for the Widows and Orphans of the Brave Men who perished, and for those who were wounded, in the Glorious Action on the 14th of February last [off Cape St. Vincent], under Admiral Sir John Jervis. Patrons: His Royal Highness the Prince of Wales, His Royal Highness the Duke of York, His Royal Highness the Duke of Clarence. Stewards: Duke of Leeds, Duke of Bedford, Earl of Chesterfield, Earl of Cardigan, Earl Spencer, Lord Kinnaird, Charles Grey Esq., Thomas Tyrwhitt Esq., William Lushington Esq., William Manning Esq., John Thomson Esq., John Julius Angerstein Esq.

Performances

Mainpiece Title: Alceste

Ballet: End Opera: Sapho et Phaon. As17970406

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: No Song No Supper

Event Comment: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov

Performances

Mainpiece Title: The Provoked Wife

Dance: Muilment

Performances

Mainpiece Title: The Relapse; Or, Vertue In Danger

Performance Comment: Hoyden-Mrs Hooke, the new Actress lately come from Dublin.

Entertainment: Singing and dancing-

Performances

Mainpiece Title: The Spanish Fryar

Performance Comment: As17291125, but Torrismond-a Gentleman; Queen-Mrs Porter; Raymond-Boman; Gomez-Griffith; from Dublin; Elvira-Mrs Oldfield.

Dance: Mrs Booth

Performances

Mainpiece Title: The Spanish Fryar

Performance Comment: Torrismond-Rosco; Queen-Mrs Roberts; Bertran-Bardin; Raymond-Huddy; Alphonso-Williams; Pedro-Havard; Lorenzo-Giffard; Elvira-Mrs Giffard; Fryar-W. Giffard; Gomez-Norris, from Dublin, Son of the late famous Comedian of that Name, alias Jubilee Dicky.

Afterpiece Title: The Lovers Opera

Dance: As17311104

Performances

Mainpiece Title: She Wou'd And She Wou'd Not

Performance Comment: As17311221, but Diego-Collet; Trappanti-Miller; Viletta-Mrs Norris; Flora-Miss Hughes, from Dublin, being the first Time of her appearing on this Stage.

Afterpiece Title: Damon and Phillida

Song:

Dance:

Event Comment: At the particular Desire of several Persons of Quality. For the Benefit of the Famous Signora Violante, who is just arriv'd with a new extraordinary fine Company....After the Irish Manner, Which was perform'd 96 Times in Dublin with great Applause. Boxes 5s. Pit 3s. Gallery 2s. [For performances at the Fairs in September, see season of 1731-1732.

Performances

Mainpiece Title: The Beggar's Opera

Dance: HHarlequin-Master LaFevre, Miss Violante; Louvre in Boys Cloaths-Miss Violante; Two Pierrots-Lalauze, Tobin

Performances

Mainpiece Title: The Busy Body

Performance Comment: As17321010, but Sir Jealous-Lyon, from Dublin, being the first time of his appearing on this stage; Marplot-R. Wetherilt.

Dance: SScot's Dance-Mrs Bullock; Hornpipe-Jones, playing on the Violin; The Friendly Lasses-Miss Wherrit, Miss Sandham

Performances

Mainpiece Title: The Beggar's Opera

Performance Comment: Macheath-Salway; Polly-Miss Bincks; Lockit-Mullart; Peachem-Hippisley; Lucy-Mrs Reynold, her first appearance since her arrival from Dublin; all the other Parts as usual. all the other Parts as usual.

Dance: CClown-Nivelon; Hornpipe-Ferguson; Scot's Dance-Glover, Mrs Laguerre, Desse, Mrs Ogden, Tench, Mlle Delorme

Performances

Mainpiece Title: Arius, King Of Persia; Or, The Noble Englishman; With The Comical Humours Of Sir Andrew Ague-cheek, At The siege Of Babylon

Performance Comment: Darius-Redman, from Dublin; Antipater-Taswell; Anglicanus-Stephens; Fearful-Vaughan; Eudocia-Mrs Purden; Queen-Mrs Egerton; Mrs Pert-Mrs Wright; Sir Andrew Aguecheek-Woodward.
Cast
Role: Darius Actor: Redman, from Dublin

Afterpiece Title: The Wrangling Deities; or, Venus Upon Earth

Song: Miss Polly Casey, her first on any stage

Dance: LLes Jardiniers Suedois-Vaughan, Mrs Wright