Toggle Sphinx Query
SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Duke of Westminster"/1) | (@(roleclean,performerclean) "Duke of Westminster")') 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

?
New Search
2987 results for: Keyword - Duke of Westminster
We found 1214 matches on Event Comments, 1207 matches on Performance Comments, 402 matches on Author, 357 matches on Performance Title, and 0 matches on Roles/Actors.

2601
September 1678 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the first production is uncertain. The date of licensing was 3 Jan. 1678@9, but Wilson (Six Restoration Play-Dates, p. 222) has argued that it may well have been the first new play of the season. The Prologue refers to it as "The first Play bury'd since the Wollen Act," the Act going into effect on 1 Aug. 1678. For Sandford as Creon, see Cibber, Apology, ed. Lowe, I, 131. Downes (Roscius Anglicanus, p. 37): Oedipus King of Thebes, Wrote by Mr Nat. Lee and Mr Dryden: The last Writing the first two Acts, and the first the 3 last. This play was Admirably well Acted; especially the Parts of Oedipus and Jocasta: One by Mr Betterton, the other by Mrs Betterton; it took prodigiously being Acted 10 Days together

Performances

Mainpiece Title: Oedipus

2602
November 1678 @ Whitehall or St. James's

Event Comment: In November 1678 the Duke of Modena sent his troupe of comedians to London. They remained there until mid-February 1678@9 but apparently played only six times in three months. For an account of this troupe, see A. L. Bader, The Modena Troupe in England, Modern Language Notes, L (1935), 367-69, and I. K. Fletcher, Italian Comedians in England in the 17th Century, Theatre Notebook, VIII (1954), 86-91. See also Calendar of Treasury Books, 1676-1679, pp. 1160, 1230, and Boswell, Restoration Court Stage, p. 124

Performances

2603
November 1678 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the first production is not known, but the fact that Medbourne, who is in the cast, was sent to Newgate Prison on 26 Nov. 1678 establishes November as the latest probable date for the first production. The play was not licensed for printing until 19 Jan. 1678@9. A Compleat List of all the English Dramatic Poets (London, 1747): This Play had no Success on the Stage (p. 168)

Performances

Mainpiece Title: The Destruction Of Troy

2604
March 1679 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the first production is not known, but as the play was licensed for printing on 27 March 1679, the premiere must have been no later than March 1679. It is possible that Midnight's Intrigue--see introductory note to the 1676-77 season-is an earlier version of this play. The Epilogue suggests that the players faced thin audiences during the spring and that Drury Lane had been closed for some time: So hard the Times are, and so thin the Town, @Though but one Playhouse, that must too lie down. It is possible that Mrs Behn's The Young King may have been acted at this time. See September 1679

Performances

Mainpiece Title: The Feign'd Curtizans; Or, A Night's Intrigue

2605
April 1679 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the first performance is uncertain, but the fact that the play was entered in the Stationers' Register on 14 April 1679 suggests a premiere not later than April 1679. A song, Can life be a blessing, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Performances

Mainpiece Title: Troilus And Cressida; Or, Truth Found Too Late

2606
May 1679 @ Dorset Garden Theatre

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

2607
15 May 1679 @ Drury Lane Theatre or Dorset Garden Theatre

Event Comment: The Memoirs of Sir John Reresby (p.181): The Duke of Albemarle carryed me this afternoon to the play, which I had not leisure to take the diversion of for some time

Performances

2608
September 1679 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the premiere is not known, but the fact that the play the play was entered in the Term Catalogues in November 1679 suggests that it was first acted not much later than September 1679

Performances

Mainpiece Title: The Woman Captain

2609
September 1679 @ Dorset Garden Theatre

Event Comment: The Duke's Company. There is no certainty as to the date of the first production; but as this play was entered in the Term Catalogues November 1679, it was certainly first acted by October 1679, possibly in September 1679. A musical number, The Loyal Protestant, the music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Performances

Mainpiece Title: The Virtuous Wife; Or, Good Luck At Last

2610
October 1679 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the premiere is not known, but its Prologue indicates that it follows The Woman Captain. Like that play and The Virtuous Wife, Caius Marius was entered in the Term Catalogues, November 1679, but the large number of plays apparently presented earlier in the autumn suggests that this one could hardly have been brought on the stage before October 1679

Performances

Mainpiece Title: The History And Fall Of Caius Marius

2611
03 October 1679 @ Brussels, Belgium

Event Comment: Apparently The Man of Mode had an amateur revival in Brussels in the autumn, possibly before the Duke and Duchess of York, when they were away from London. Princess Anne to Frances Apsley, 3 Oct. 1679: The play is practisde to night Miss Watts is to be Lady townly which part I beleeve wont much become her. [See Benjamin Bathurst, Letters of Two Queens (London, 1924), pp. 111-12]

Performances

2612
December 1679 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the premiere is not known, but the fact that it was entered in the Term Catalogues in February 1679@80 suggests a first production in December 1679 or January 1680. A song, Tell my Strephon that I die, with music by John Blow, is in Choice Ayres and Songs, The Fourth Book, 1683

Performances

Mainpiece Title: The Loyal General

2613
January 1680 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the first production is not known. The play was entered in the Term Catalogues, May 1680, and advertised in the True News, 12-15 May 1680, suggesting a production not later than April 1680. Nevertheless, the fact that the Prologue refers to the attack on John Dryden in Rose Street (18 Dec. 1679) and to the petitions to Parliament--Luttrell, A Brief Relation, I, 31, on 13 Jan. 1679@80, refers to petitions subscribed by several thousands--suggests that the play appeared during January 1679@80

Performances

Mainpiece Title: The Loving Enemies

2614
09 February 1680 @ Dorset Garden Theatre

Event Comment: The Newdigate newsletters (Folger Shakespeare Library), 9 Feb. 1679@80: The late disorders at the Playhouse hath soe much incenst his Matye that tis said he hath commanded the persons to be proceeded Agt as Ryotters (Wilson, Theatre Notes, p. 80). [In Domestick Intelligence, 8-10 Feb. 1679@80, is a reference to an information in the King's Bench brought against those who participated in the disorders in the Duke's playhouse.

Performances

2615
13 February 1680 @ Whitehall or St. James's

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@145, p. 120: The Wanton Wife. See also Nicoll, Restoration Drama, p. 350. For difficulties in dating this performance, see 11 Feb. 1679@80

Performances

Mainpiece Title: The Amorous Widow; Or, The Wanton Wife

2616
17 February 1680 @ Whitehall or St. James's

Event Comment: The Duke's Company. This is the third in the series of Court performances in L. C. 5@145, p. 120: Sir Fopling Flutter. See also Nicoll, Restoration Drama, p. 350, and 11 Feb. 1679@80

Performances

Mainpiece Title: The Man Of Mode; Or, Sir Fopling Flutter

2617
20 February 1680 @ Whitehall or St. James's

Event Comment: The Duke's Company. This is another in the series of Court performances in L. C. 5@145, p. 120. See also Nicoll, Restoration Drama, p. 350, and 11 Feb. 1679@80. Mountstevens to Henry Stevens, 20 Feb. 1679@80: Upon Sunday the Court is to be in mourning for the death of the Princess Elizabeth, sister to Prince Rupert. (R. W. Blencowe, Diary of the Time of Charles the Second [London, 1843], I, 283)

Performances

Mainpiece Title: Epsom Wells

2618
26 February 1680 @ Dorset Garden Theatre

Event Comment: Luttrell (A Brief Relation, I, 34-35): The 26th, Mrs Ellen Gwyn being at the dukes playhouse, was affronted by a person who came into the pitt and called her whore; whom Mr Herbert, the earl of Pembrokes brother, vindicating, there were many swords drawn, and a great hubbub in the house

Performances

2619
27 February 1680 @ Whitehall or St. James's

Event Comment: The Duke's Company. This is another in the series of Court performances in L. C. 5@145, p. 120. See also Nicoll, Restoration Drama, p. 350, and 11 Feb. 1679@80. It should be noted that not only is this date a Friday in Lent but it is also during the period of mourning for the Princess Elizabeth. Yet to place this performance in 1681 would make it fall on Sunday

Performances

Mainpiece Title: She Would If She Could

2620
March 1680 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the first performance is not known, but the reference in the Prologue to "this good Godly time of Lent" would place it between 25 Feb. and 3 April 1680. It was entered in the Term Catalogues in May 1680

Performances

Mainpiece Title: The Conspiracy; Or, The Change Of Government

2621
06 March 1680 @ Dorset Garden Theatre

Event Comment: The Duke's Company. Pepys, Diary: March 6 Saturday: See 2 acts of the New Play Orphan (Mornamont MS II, f. 1207, Cambridge University Library)

Performances

Mainpiece Title: The Orphan; Or, The Unhappy Marriage

2622
06 March 1680 @ Whitehall or St. James's

Event Comment: The Duke's Company. This performance is another in the sequence of plays acted at court in L. C. 5@145, p. 120: Night's Intrigue. See also Nicoll, Restoration Drama, p. 350, and 11 Feb. 1679@80. If this performance were placed on 6 March 1680@1, it would fall on Sunday

Performances

Mainpiece Title: The Feign'd Curtizans; Or, A Night's Intrigue

2623
June 1680 @ Dorset Garden Theatre

Event Comment: The Duke's Company. The date of the first performance is not known; an entry in L. C. 5@145, p. 120, lists it for 1 March, but leaves the year in question. See also Nicoll, Restoration Drama, p. 349. Because the Prologue upbraids the audience for deserting Dorset Garden to see The Female Prelate at Drury Lane (beginning 31 May 1680) and because the Epilogue refers to railing at the Penny Post, a service inaugurated on 1 April 1680, a performance in mid-June 1680 seems the likely first production. If so, the L. C. entry for 1 March probably represents a revival for 1 March 1680@1. A song, Bonny lass gin thou wert mine, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681. For Leigh as Sir Jolly and Nokes as Sir Davy, see Cibber, Apology, ed. Lowe, I, 147-48. Downes (Roscius Anglicanus, p. 36): These two Comedies [The Soulder's Fortune and D'Urfey's The Fond Husband] took extraordinary well, and being perfectly Acted; got the Company great Reputation and Profit

Performances

Mainpiece Title: The Souldiers Fortune

2624
June 1680 @ Dorset Garden Theatre

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

2625
02 June 1680 @ Drury Lane Theatre

Event Comment: The King's Company. The Newdigate newsletters, 3 June 1680: But on Wednesday the Duchesse of Portsmouth to disoblige Mr Settle the Poet carryed all the Court with her to the Dukes house to see Macbeth (Wilson, Theatre Notes from the Newdigate Newsletters, p. 80)

Performances

Mainpiece Title: The Female Prelate