*p1755 03 13 dl The Mistake. Parts-Garrick, Woodward, Bransby, Palmer, Yates, Taswell, Burton, Blakes, Mrs Clive, Mrs Davies, Mrs Bennet, Mrs Pritchard. Don Carlos-Garrick; Sancho-Woodward; Lopez-Yates; Lorenzo-Palmer; Leonora-Mrs Pritchard; Jacintha-Mrs Clive ($Genest=, IV, 408).*a1755 03 13 dl The Englishman in Paris. ^As17540928^.*s1755 03 13 dl II: <i>The Cantata of Cimon and Iphigenia</i>-Beard.*c1755 03 13 dl Benefit for $Mrs Pritchard= (Cross). Mainpiece: Not acted these 30 years. This day publish'd. Price 1s. <i>Reflections upon Theatrical Expression in Tragedy</i>. [By $Roger Pickering=. This is a defense of the theatrical profession, "which in all countries is considered low and contemptible." Author's thesis: "A master of theatrical expression in all its extensive significancy must be possess'd of such accomplishments, as to set the profession above all contempt." $Garrick= is mentioned as best example. True tragic expression "requires Genius, Education, Reading, Experience...and a solidity of thought which never accompanies abject morals" (p. 11). Includes an interesting treatise on acting-sections on figure, voice, ear, memory, management of feet and legs. Comments on costume: "Taste in dress demands that an actor be conversant in the mode of dress ancient and modern, in other countries as well as in our own...$Alexander= and $Cato= were not masters of the snuff box, nor <i>Greek women</i> of <i>French heels</i>." The appendix asks why all our plays are not dressed in character in point of time and place, and why they do not contain at least one "scene" proper to the country. The author (p. 61) sees need for variety in acting same role, especially when a play has a continuous run of several nights. He calls (p. 77) for creation of appropriate mood for the play by selection of proper music between the acts. Wants a softening of the prompter's bell. Concludes by damning contemporary audience manners, especially those of the stage loungers (pp. 79-81).] Receipts: #314 ($Cross=).