SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "ye Ds Players"/1) | (@(roleclean,performerclean) "ye Ds Players")') 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

Result Options

Download:
JSON XML CSV

Search Filters

Event

Date Range
Start
End

Performance

?
Filter by Performance Type










Cast

?

Keyword

?
We found 589 matches on Event Comments, 490 matches on Performance Comments, 98 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: Hamlet, Prince Of Denmark

Dance: As17431213

Event Comment: To Macklin the Player: The Laity as well as Priests of all Religons are the same. Macklin, Thou mayst remember when thou wert learning the part of Shylock in the Merchant of Venice, thou camest daily to the Change, and artfully dids't introduce thyself into my company, till thou hads't stolen my Face, my Looks, and not content with the Index, thou did'st turn over the volume of my Mind, as it if thy Author had been wanting in the manner of his character, and dids't show me on the stage to the Disgrace of my Tribe, for which we wish thee not in Abraham's Bosom, thou may'st be sure. Now if thou hast a mind to compromise the Affair, and serve thyself at thy Benefit time, publicly delcare what Place thou did'st frequent, and what set of Christians thou did'st herd with, before thou playd'st the part of Iago in the Moor of Venice; Comply and our Rancor to thee will be turn'd into Love and Service. s@Zorobabel. PS I will call to thee tonight at thy Synagogue in the Hay-market, about the sixth Hour, as you players reckon, for intelligence.-Daily Advertiser

Performances

Mainpiece Title: Othello

Performances

Mainpiece Title: Hamlet, Prince Of Denmark

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: The Neocromancer

Performances

Mainpiece Title: Hamlet

Afterpiece Title: Robin Goodfellow

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: Hamlet, Prince Of Denmark

Afterpiece Title: The Mock Doctor

Dance: II: Comic Dance, as17450423 IV: Le Gondalier-Cooke

Song: Between Play and Farce: the celebrated song Ellen/a/Roon-Mrs Clive

Performances

Mainpiece Title: Hamlet, Prince Of Denmark

Performances

Mainpiece Title: The Beggar's Opera

Dance: Cooke

Performances

Mainpiece Title: Hamlet

Afterpiece Title: The Mock Doctor

Dance: V: a New Dance-M and Mlle Mechel; followed by a Ball Country Dance-

Performances

Mainpiece Title: Hamlet, Prince Of Denmark

Afterpiece Title: The Virgin Unmasked

Song: Brett

Dance: As17451028

Performances

Mainpiece Title: The Beggar's Opera

Dance: II: Muilment

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: The Anatomist

Dance: I: Muilment; II: The Peasant and Sabotiere-Mechel, Young Mechel; III: Les Characteres de la Dance-Miss Mechel; I of Farce: Minuet, Louvre-the Mechels; End of Farce: Swiss Dance-the Mechels

Performances

Mainpiece Title: Hamlet

Dance: A Peasant-Cooke, Villeneuve, Delagarde, Destrade, Dupre, Mrs Villeneuve, Mrs LeBrun, Mrs Gondou; The Gondaliers-

Performances

Mainpiece Title: The Beggar's Opera

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

Performances

Mainpiece Title: Hamlet

Afterpiece Title: The Virgin Unmasked

Performances

Mainpiece Title: The Beggar's Opera

Performances

Mainpiece Title: Hamlet

Afterpiece Title: Chrononhotonthologos

Dance: Salomon, Sga Padouana

Performances

Mainpiece Title: The Beggar's Opera

Performances

Mainpiece Title: The Beggar's Opera

Dance: I: Grand Ballet, as17471102; II: Dutch Dance, as17471128

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: Miss in Her Teens

Performances

Mainpiece Title: Hamlet

Afterpiece Title: The Royal Chace

Song: As17480220

Performances

Mainpiece Title: The Silent Woman

Afterpiece Title: The Author's Farce

Song: I: Go lovely Rose-Beard; II: Tis Liberty-Mrs Storer; III: Sper il Fostore-Miss Faulkner; IV: Smiling Liberty-Miss Faulkner

Dance: V: Drunken Peasant-Philips

Performances

Mainpiece Title: Hamlet

Afterpiece Title: Drums Demolish'd or Bickerstaff's Unburied Dead

Song: I: Go Rose-Beard; II: Ah Se Amanti Fasti Mai, Felice Belve-Miss Faulkner; IV: Come Ever Smiling Liberty, Tis Liberty-Miss Faulkner

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: The King and Miller of Mansfield

Dance: I: Savoyards, as17471215