SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Thomas John Dibdin"/1) | (@(roleclean,performerclean) "Thomas John Dibdin")') 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 15268 matches on Author, 2406 matches on Performance Comments, 1548 matches on Event Comments, 406 matches on Performance Title, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: De Montfort

Afterpiece Title: The Devil to Pay

Performance Comment: As18000324but Sir John Loverule-_; Butler-_; Lady Loverule-_.
Cast
Role: Sir John Loverule Actor: Dignum
Related Works
Related Work: The Devil to Pay; or, The Wives Metamorphos'd Author(s): John Mottley

Song: Vocal Parts, as18000429, but Mrs Coates

Performances

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

Afterpiece Title: Robin Hood

Performance Comment: Robin Hood-Sedgwick; Little John (with All in Preparation, from The Haunted Tower)-Bannister Jun.; Ruttekin-Wathen; Edwin (1st time)-Dignum; Annette (with Little Taffline; or, The Silken Sash)-Mrs Bland; Clarinda-Miss Leak; Angelina-Miss DeCamp.
Cast
Role: Little John Actor: Bannister Jun.

Song: End: a new song (composed by Dr Arnold,)-Miss Leak; accompanied on the Tamborine-Miss Leak

Ballet: After Singing: The Scotch Ghost. As17991202

Performances

Mainpiece Title: The Heir At Law

Performance Comment: Daniel Dowlas (alias Lord Duberly)-Waddy; Dick Dowlas-H. Johnston; Doctor Pangloss-Fawcett; Henry Moreland-C. Kemble; Stedfast-Davenport; Zekiel Homespun-Emery (1st appearance on this stage); Kenrick-Johnstone; John-Abbot; Waiters-Ledger, Chippendale; Deborah Dowlas (alias Lady Duberly)-Mrs Davenport; Caroline Dormer-Miss Chapman; Cicely Homespun-Mrs Gibbs; The original Epilogue-the Characters. [This was spoken, as here assigned, at all subsequent performances.]This was spoken, as here assigned, at all subsequent performances.]
Cast
Role: Dick Dowlas Actor: H. Johnston
Role: Kenrick Actor: Johnstone
Role: John Actor: Abbot

Afterpiece Title: The Jew and the Doctor

Event Comment: The Diurnal of Thomas Rugg, ed. Sachse, p. 71: 13 April 1660: His Excellency [Monk] with the Councill of State dined att on of the Halls in London [Fishmongers], and now by this time haveing dined att 9 of the cheifest Halls in London; and att every Hall theire were after diner a kind of a stage play and many prety anticks, som the citizan and soldier, others the country Tom and citty Dick [see 28 March 1660], att many Halls were dancing and singing, many shapes and ghostes and the like

Performances

Event Comment: On this date General Monk and the Council of State issued an order forbidding stage plays. (See Hotson, Commonwealth and Restoration Stage, p. 196, and The Diurnal of Thomas Rugg, ed. Sachse, pp. 61, 67.)

Performances

Event Comment: In Thomas Jordan's Royal Arbour of Loyal Poesie (p. 12) is a piece entitled: A Prologue to the King, August 16, 1660

Performances

Event Comment: The Diurnal of Thomas Rugg, ed. Sachse, p. 127: Playes much in reques and great resort to them

Performances

Event Comment: See Herbert, Dramatic Records, p. 117. The King's Company. The Prologue is in Thomas Jordan's A Royal Arbour of Loyal Poesie (1664). Andrew Newport to Sir Richard Leveson, 15 Dec.: Upon our stages we have women-actors, as beyond seas (HMC, 5th Report, Part I, 1876, p. 158). For a discussion of actresses who may have played Desdemona on this day, see Wilson, All the King's Ladies, pp. 6-8. Possibly Clun acted Iago. See An Elegy Upon the Most Execrable Murther of Mr Clun, 1664

Performances

Mainpiece Title: The Moore Of Venice

Event Comment: The Prologue, with the date of performance given as 28 May 1661, is in Thomas Jordan's A Royal Arbour of Loyal Poesie, 1664. See also Wiley, Rare Prologues and Epilogues, p. 326. This is possibly George Jolly's company. See also 23 March 1660@1

Performances

Mainpiece Title: The Poor Man's Comfort

Event Comment: Pepys, 7 March, refers to a new play at the King's Theatre. Possibly it was Thomas Porter's The Carnival, published in 1664, with no actors' names, no prologue, no epilogue, and announced in The Intelligencer, 2 May 1664

Performances

Event Comment: [No notice of production exists. See William VanLennep, "Thomas Killigrew Prepares His Plays for Production," Joseph Quincy Adams; Memorial Studies, p. 805

Performances

Mainpiece Title: Comment

Performance Comment: ThomasKilligrew prepared Thomaso?. for production in the autumn of 1664, with an intended cast: Serulina-Wevar Elizabeth Weaver?; Calis-Franki Frances Davenport?; Angelica Bianca-M. Marsh Mrs Ann Marshall?; Anna-Core Mrs Corey?; Paulina-Nell Nell Gwyn?; Kecka-Bette Elizabeth Hall?, Elizabeth Davenport?; Lusetta-Knep Mrs Knepp?.
Event Comment: An unnamed play was given by the Duke's Company, with the usual fee of #20 received by Thomas Crosse. See A Calendar of the Middle Temple Records, ed. Hopwood, p. 171

Performances

Event Comment: Killigrew contemplated a revival of Cicilia and Clarinda in 1667, a memorandum of 14 Feb. 1666@7 ordering the parts to be written out. See William VanLennep, Thomas Killigrew Prepares his Plays, p. 805

Performances

Event Comment: Pepys, Diary I home to dinner, where Mr Pierce dined with us, who tells us what troubles me, that my Lord Buckhurst hath got Nell Gwin? away from the King's house, lies with her, and gives her #100 a year, so as she hath sent her parts to the house, and will act no more. And yesterday Sir Thomas Crew told me that Lacy lies a-dying of the pox

Performances

Event Comment: The Duke's Company. Downes (p. 29): It took well, but Inferior to Love in a Tub. Pepys, Diary: I to the Duke of York's playhouse; where a new play of Etherige's called She Would if she Could; and though I was there by two o'clock, there was 1000 people put back that could not have room in the pit: and I at last, because my wife was there, made shift to get into the 18d. box, and there saw; but, Lord! how full was the house, and how silly the play, there being nothing in the world good in it, and few people pleased in it. The King was there; but I sat mightily behind, and could see but little, and hear not all. The play being done...here was the Duke of Buckingham to-day openly sat in the pit; and there I found him with my Lord Buckhurst, and Sidly, and Etherige, the poet; the last of whom I did hear mightily find fault with the actors, that they were out of humour, and had not their parts perfect, and that Harris did do nothing, nor could so much as sing a ketch in it; and so was mightily concerned: while all the rest did, through the whole pit, blame the play as a silly, dull thing, though there was something very roguish and witty; but the design of the play, and end, mighty insipid. Thomas Shadwell, Preface to The Humorists (1671): The last (viz.) imperfect Action, had like to have destroy'd She Would if she could, which I think (and I have the Authority of some of the best Judges in England for't) is the best Comedy that has been written since the Restauration of the Stage: And even that, for the imperfect representation of it at first, received such prejudice, that, had it not ben for the favour of the Court, in all probability it had never got up again; and it suffers for it, in a great measure, to this very day

Performances

Mainpiece Title: She Would If She Could

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 2. See also Nicoll, Restoration Drama, p. 347. There is no certainty that this is the premiere. A song, A heart in love's empire, with music by Robert Smith, and another, Let's drink dear friends, set by Thomas? Farmer, are in Choice Songs and Ayres, The First Book, 1673. The Dedication in the edition of 1672 is to Prince Rupert and states: tho' of thirty times it has been acted, you seldom fail'd to honour it with your presence. Downes (Roscius Anglicanus, p. 32): The next new Comedy [at dg] was the Mamamouchi, or the Citizen turn'd Gentleman, Wrote by Mr Ravenscroft [cast as in edition of 1672 except French Tutor and Singing Master, by Mr Haines: (He having Affronted Mr Hart, he gave him a Discharge and then came into our House)]; This Comedy was look[ed] upon by the Criticks for a Foolish Play; yet it continu'd Acting 9 Days with a full House; upon the Sixth the House being very full: The Poet added 2 more Lines to his Epilogue, viz. @The Criticks came to Hiss, and Dam this Play,@Yet spite of themselves they can't keep away.@ However, Mr Nokes in performing the Mamomouchi pleas'd the King and Court, next Sir Martin, above all Plays

Performances

Mainpiece Title: The Citizen Turned Gentleman

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance; see VanLennep, Nell Gwyn's Playgoing, p. 406. There is no indication as to whether this is the premiere; the play was not licensed for publication until 27 Nov. 1676. Preface to Settle's Ibrahim (licensed 4 May 1676): Having a Play, call'd the Triumphant Widow, given him [Thomas Shadwell] to bring into the Duke's Playhouse, he spitefully foists in a Scene of his own into the Play, and makes a silly Heroick Poet in it, speak the very words he had heard me say, and made reflexions on some of the very Lines he had so senselessly prated on before in his Notes [to The Empress of Morocco]

Performances

Mainpiece Title: The Triumphant Widow; Or, The Medley Of Humours

Event Comment: The King's Company. The Prologue and Epilogue are in New Poems, Songs, Prologues and Epilogues. Written by Thomas Duffett, 1676. See also Langbaine, English Dramatick Poets, p. 291

Performances

Mainpiece Title: Every Man Out His Humour

Performance Comment: Prologue to Ev'ry Man out of his Humour,-Mr Hayns [July, 1675 [Writtenby ThomasDuffett]; Epilogue-[to Ev'ry Man out of his Humour [Written by ThomasDuffett].to Ev'ry Man out of his Humour [Written by ThomasDuffett].
Event Comment: The King's Company. The date of the first production is not known. Although the play was not entered in the Term Catalogues until February 1677@8, it was advertised in the London Gazette, 29 Oct.-1 Nov. 1677, and was probably acted in October 1677 or earlier. See also, in the introductory list of plays, Thomas Rymer's Edgar, which may have been acted in opposition to Ravenscroft's play

Performances

Mainpiece Title: King Edgar And Alfreda

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@145, p. 120. See also Nicoll, Restoration Drama, p. 349. There is no certainty that this is the first performance, but a licensing date of 28 Jan. 1677@8 and Mrs Behn's statement in the Preface that she hurried the play into print suggest a premiere not far from this date. Edition of 1678: To the Reader: I Printed this Play with all the impatient haste one ought to do, who would be vindicated from the most unjust and silly aspersion, Woman could invent to cast on Woman; and which only my being a Woman has procured me, That it was Bawdy, the least and most Excusable fault in the Men Writers, to whose Plays they all crowd, as if they came to no other end then to hear what they condemn in this: but from a Woman it was unnaturall. One song, Sitting by yonder river side, with music by Thomas? Farmer, is in Choice Ayres and Songs, The Second Book, 1679

Performances

Mainpiece Title: Sir Patient Fancy

Event Comment: The Duke's Company. The date of the first production is uncertain. The fact that the Epilogue suggests that it followed Settle's The Female Prelate is not a factor in the dating, as the Newdigate newsletters--see Wilson, Theatre Notes from the Newdigate Newsletters, p. 80--show that Settle's play was first acted on 31 May 1680, whereas Caesar Borgia was entered in the Term Catalogues, November 1679. Although the reference in the Epilogue to burning the Pope's Effigies" has been argued as referring to the Pope-burning procession of 17 Nov. 1679, the references in the Epilogue to Father Lewis, who was tried and convicted at York, 28 March 1679, suggest that it was written before his execution, 27 Aug. 1679. Hence the play may have been acted first some time in the late spring or the summer. A song, Blush not redder than the Morning, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Performances

Mainpiece Title: Caesar Borgia, Son Of Pope Alexander The Sixth

Event Comment: The Duke's Company. The date of the first performance is not known. Luttrell, however, dated the copy he purchased 6 July 1680 (VanLennep, Two Restoration Comedies, pp. 57-58) and attributed it to Mrs Aphra Behn. If copies were available in early July, the play was most probably performed in June 1680. Langbaine (English Dramatick Poets, p. 547) had heard that Mrs Behn was the author, but A Comparison between the Two Stages (p. 11) attributed it to Thomas Betterton. For a discussion of the authorship, see also Ten English Farces, ed. Leo Hughes and A. H. Scouten (Austin, Texas, 1948), pp. 203-4

Performances

Mainpiece Title: The Revenge; Or, A Match In Newgate

Related Works
Related Work: A Woman's Revenge Author(s): John Marston
Related Work: The Unhappy Kindness; or, A Fruitless Revenge Author(s): John FletcherThomas Scott
Related Work: Bussy D'Ambois; or, The Husbands Revenge Author(s): Thomas D'Urfey
Related Work: The Wives Revenged Author(s): Charles Dibdin
Related Work: Love Despised Author(s): John Fletcher
Related Work: Trick Upon Trick Author(s): John Philip Kemble
Event Comment: The Duke's Company. The date of the first performance is not known. An entry in L. C. 5@145, p. 120 (see also Nicoll, Restoration Drama, p. 349) lists a performance for 4 April, once thought to be 4 April 1680; but as this date falls on Sunday, it more likely represents a revival on 4 April 1681. As the Epilogue appears to appeal to Parliament (which existed from 15 Oct. 1680 to 18 Jan. 1680@1) to vote funds for King Charles, "Our King of Poets," it seems likely that the play was first performed before the close of Parliament. The play was not entered in the Term Catalogues until June 1681. A song, Phyllis whose heart was unconfined, set by Thomas? Farmer; and another, A pox upon this cursed life, set by Captain Pack, are in Choice Ayres and Songs, The Fourth Book, 1683

Performances

Mainpiece Title: The Second Part Of The Rover

Event Comment: By Thomas Jordan. Luttrell (A Brief Relation, I, 232). There was little or no show by land. The expenditures for the Procession came to #139 9s. 10d. See R. T. D. Sayle, Lord Mayors' Pageants of the Merchant Taylors' Company in the 15th, 16th, and 17th Centuries, p. 139

Performances

Mainpiece Title: The Lord Mayor's Show

Related Works
Related Work: The Lord Mayor's Show: Being a Description of the Solemnity at the Inauguration of the truly Loyal and Right Honourable Sir William Prichard, Kt. Author(s): Thomas Jordan
Event Comment: The Lord Mayor's Show. By Thomas Jordan. Luttrell (A Brief Relation, I, 285-86): The 29th, sir Henry Tulse...was sworn before the barons of the exchequer at Westminster, whither he went by water, accompanied by the late lord mayor, the new recorder, aldermen, and sheriffs, and attended by diverse of the companies in their barges; their majesties and the duke of York being upon the leads at Whitehall when they passed by: being come back, they passed from the place where they landed, with the usual solemnity, to Grocers Hall, where the lords of the councill, severall of the nobility, judges, and other persons of quality dined

Performances

Mainpiece Title: The Triumphs Of London

Related Works
Related Work: The Triumphs of London: Performed on Monday, October XXIX Author(s): Thomas Jordan