03 November 1758

Event Information
Theatre: Covent Garden
Theatrical Season: 1758-1759
Volume: 4
Comments: TThe London Chronicle for 1758 (p. 455): On Friday the 3rd instant was presented Coriolanus. The two first acts of this play, as it is performed at the above theatre, were written by Shakespear; the three last for the most part by Mr. Thomson. But how a man of Mr Sheridan's knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. Mr Smith enters in the first act, after having (as we are to suppose) just overcome the Volsci, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which Coriolanus lived, before the Roman empire had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of the Gracchi, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. Mrs Hamilton in the part of Veturai, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born Englishman. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, Ryan and Sparks, only give us just cause to regret that the parts of Tullus and Volscius are not longer....After the play was presented a Ballad Opera called The Contrivances; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage

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  • Original Data

    Source: London Stage Information Bank

    *p??cg Coriolanus. As 2 Nov., but Plebeians-<i>Stoppelaer. *a??cg The Contrivances. Rovewell-Lowe; Argus-Collins; Hearty-Redman; Robin-Dunstall; Betty-Mrs Pitt; Arethusa-Mrs Baker. *d??cg As 16 Oct. *c??cg +TThe London Chronicle</i> for 1758 (p. 455): On Friday the 3rd instant was presented <i>Coriolanus</i>. The two first acts of this play, as it is performed at the above theatre, were written by $Shakespear=; the three last for the most part by $Mr. Thomson=. But how a man of $Mr Sheridan='s knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. $Mr Smith= enters in the first act, after having (as we are to suppose) just overcome the <i>Volsci</i>r, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which $Coriolanus= lived, before the <i>Roman empire</i> had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of $the Gracchi=, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. $Mrs Hamilton= in the part of <i>Veturai</i>r, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born <i>Englishman</i>. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, $Ryan= and $Sparks=, only give us just cause to regret that the parts of <i>Tullus</i>r and <i>Volscius</i>r are not longer....After the play was presented a Ballad Opera called <i>The Contrivances</i>; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage.
  • Cleaned Data

    *p1758 11 03 cg Coriolanus. ^As17581102^, but Plebeians-<i>Stoppelaer.*a1758 11 03 cg The Contrivances. Rovewell-Lowe; Argus-Collins; Hearty-Redman; Robin-Dunstall; Betty-Mrs Pitt; Arethusa-Mrs Baker.*d1758 11 03 cg ^As17581016^.*c1758 11 03 cg <i>TThe London Chronicle</i> for 1758 (p. 455): On Friday the 3rd instant was presented <i>Coriolanus</i>. The two first acts of this play, as it is performed at the above theatre, were written by $Shakespear=; the three last for the most part by $Mr. Thomson=. But how a man of $Mr Sheridan='s knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. $Mr Smith= enters in the first act, after having (as we are to suppose) just overcome the <i>Volsci</i>r, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which $Coriolanus= lived, before the <i>Roman empire</i> had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of $the Gracchi=, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. $Mrs Hamilton= in the part of <i>Veturai</i>r, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born <i>Englishman</i>. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, $Ryan= and $Sparks=, only give us just cause to regret that the parts of <i>Tullus</i>r and <i>Volscius</i>r are not longer....After the play was presented a Ballad Opera called <i>The Contrivances</i>; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage.
  • Parsed Data

    Event: 29214 | 17581103 | cg | <i>TThe London Chronicle</i> for 1758 (p. 455): On Friday the 3rd instant was presented <i>Coriolanus</i>. The two first acts of this play, as it is performed at the above theatre, were written by $Shakespear=; the three last for the most part by $Mr. Thomson=. But how a man of $Mr Sheridan='s knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. $Mr Smith= enters in the first act, after having (as we are to suppose) just overcome the <i>Volsci</i>, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which $Coriolanus= lived, before the <i>Roman empire</i> had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of $the Gracchi=, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. $Mrs Hamilton= in the part of <i>Veturai</i>, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born <i>Englishman</i>. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, $Ryan= and $Sparks=, only give us just cause to regret that the parts of <i>Tullus</i> and <i>Volscius</i> are not longer....After the play was presented a Ballad Opera called <i>The Contrivances</i>; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage
    Performance: 59153 | 29214 | p | Coriolanus | As17581102, but Plebeians-<i>Stoppelaer.
    AsSeeDate: 59153 | cg | p | As | 17581102
    Cast:
    98433 | 59153 | Plebeians | <i>Stoppelaer.
    405075 | 59153 | Coriolanus | Smith
    405076 | 59153 | Tullus | Ryan
    405077 | 59153 | Volusius | Sparks
    405078 | 59153 | Menenius | Shuter
    405079 | 59153 | Cominius | Ridout
    405080 | 59153 | Galesus | Gibson
    405081 | 59153 | Brutus | Davis
    405082 | 59153 | Sicinius | Bennet
    405083 | 59153 | Volumnia | Mrs Vincent
    405084 | 59153 | Veturia | Mrs Hamilton
    405085 | 59153 | In which will be introduc'd a <i>Roman Ovation</i> | after the manner of the Ancients.
    Performance: 59154 | 29214 | a | The Contrivances | Rovewell-Lowe; Argus-Collins; Hearty-Redman; Robin-Dunstall; Betty-Mrs Pitt; Arethusa-Mrs Baker.
    Cast:
    98434 | 59154 | Rovewell | Lowe
    98435 | 59154 | Argus | Collins
    98436 | 59154 | Hearty | Redman
    98437 | 59154 | Robin | Dunstall
    98438 | 59154 | Betty | Mrs Pitt
    98439 | 59154 | Arethusa | Mrs Baker.
    Performance: 59155 | 29214 | d | As17581016
    AsSeeDate: 59155 | cg | d | As | 17581016

Mainpiece

Comments:
As17581102, but Plebeians-Stoppelaer.
Cast:

Afterpiece

Comments:
Rovewell-Lowe; Argus-Collins; Hearty-Redman; Robin-Dunstall; Betty-Mrs Pitt; Arethusa-Mrs Baker.
Cast:

Dance

Comment: As17581016

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