SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "E W White"/1) | (@(roleclean,performerclean) "E W White")') 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 1795 matches on Performance Comments, 460 matches on Event Comments, 271 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.


Mainpiece Title: Rule A Wife And Have A Wife

Afterpiece Title: The Mock Doctor

Dance: I: Drunken Peasant-LeBrun; III: Scots Dance-Haughton, Mrs Walter; IV: Dutchwoman-Miss Robinson; End of Afterpiece: Les Bergeries-Essex, Haughton, Miss Robinson

Song: II: Singing in English-E. Roberts; V: Singing in Italian-E. Roberts

Music: In III: Concerto on Little Flute-John Bastion

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's copy (Huntington Library) of the play bears the date of acquisition 3 June [1690, apparently], and the play was advertised in the London Gazette, No 2566, 12-16 June 1690. See Fredson Bowers, A Bibliographical History of the Fletcher-Betterton Play, The Prophetess, 1690, The Library, 5th Series, XVI (1961), 169-75. It seems likely that the opera was first given early in June 1690. An edition of The Vocal and Instrumental Musick of The Prophetess appeared in 1691. See Works of Henry Purcell, Purcell Society, IX. Downes (Roscius Anglicanus, p. 42): The Prophetess, or Dioclesian an Opera, Wrote by Mr Betterton; being set out with Coastly Scenes, Machines and Cloaths: The Vocal and Instrumental Musick, done by Mr Purcel; and Dances by Mr Priest; it gratify'd the Expectation of Court and City; and got the Author great Reputation. [See also R. E. Moore, Henry Purcell and the Restoration Theater (Cambridge, Mass., 1961), Chapter V; and E. W. White, Early Theatrical Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44.] The Muses' Mercury (January 1707, pp. 4-5): This prologue was forbidden to be spoken the second Night of the Representation of the Prophetess. Mrs Shadwell was the occasion of its being taken notice of by the Ministry in the last Reign: He happen'd to be at the House on the first Night, and taking the beginning of the Prologue to have a double meaning, and that Meaning to reflect on the Revolution, he told a Gentleman, He would immediately Put a stop to it. When that Gentleman ask'd, Why he wou'd do the Author such a Disservice? He said, Because while Mr Dryden was Poet Laureat, he wou'd never let any Play of his be Acted. Mr Shadwell informed the Secretary of State of it, and representing it in its worst Colours, the Prologue was never Spoken afterwards, and is not printed in Mr Dryden's Works, or his Miscellanies. Cibber, Apology (ed. Lowe, II, 13-14): A Prologue (by Dryden) to the Prophetess was forbid by the Lord Dorset after the first War in Ireland. It must be confess'd that this Prologue had some familiar, metaphorical Sneers at the Revolution itself; and as the Poetry of it was good, the Offence of it was less pardonable


Mainpiece Title: The Prophetess; Or, The History Of Dioclesian

Event Comment: The United Company. The date of the first performance is not known, but it very probably occurred not later than May 1691, as the play was advertised in the London Gazette, 4-8 June 1691. For discussions of it, see E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44-45, and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter III. Downes, Roscius Anglicanus, p. 42: King Arthur an Opera, wrote by Mr Dryden: it was Excellently Adorn'd with Scenes and Machines: The Musical Part set by Famous Mr Henry Purcel; and Dances made by Mr Jo. Priest: The Play and Musick pleas'd the Court and City, and being well perform'd, twas very Gainful to the Company. Roger North: I remember in Purcell's excellent opera of King Arthur, when Mrs Butler, in the person of Cupid, was to call up Genius, she had the liberty to turne her face to the scean, and ner back to the theater. She was in no concerne for her face, but sang a recitativo of calling towards the place where Genius was to rise, and performed it admirably, even beyond any thing I ever heard upon the English stage....And I could ascribe it to nothing so much as the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants, or at least her envious sex. There was so much of admirable musick in that opera, that it's no wonder it's lost; for the English have no care of what's good, and therefore deserve it not (Roger North on Music, ed. John Wilson [London, 1959], p. 217-18)


Mainpiece Title: King Arthur; Or, The British Worthy

Event Comment: The United Company. The date of the first performance is stated in Luttrell, A Brief Relation, II, 435, 28 April 1692: On Monday will be acted a new opera, call the Fairy Queen: exceeds former playes: the clothes, scenes, and musick cost 3000#. [According to Some Select Songs As they are Sung in the Fairy Queen (1692) tne singers were Mrs Ayliff, Mrs Dyer, Freeman, Mrs Butler, and Pate. See Purcell's Works, Purcell Society, XII (1903), ii; E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59 ), 45; and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter IV.] Downes, Roscius Anglicanus, pp. 42-43: The Fairy Queen, made into an Opera, from a Comedy of Mr Shakespeare s: This in Ornaments was Superior to the other Two [King Arthur and The Prophetess]; especially in Cloaths, for all the Singers and Dancers, Scenes, Machines and Decorations, all most profusely set off; and excellently perform'd, chiedly the Instrumental and Vocal part Compos'd by the said Mr Purcel, and Dances by Mr Priest. The Court and Town were wonderfully satisfy'd with it; but the Expences in setting it out being so great, the Company got very little by it. Gentleman's Journal, May 1692: The Opera of which I have spoke to you in my former hath at last appear'd, and continues to be represented daily: it is call'd, The Fairy Queen. The Drama is originally Shakespears, the Music and Decorations are extraordinary. I have heard the Dances commended, and without doubt the whole is very entertaining. [As the May issue of the Gentleman's Journal was licensed on 14 May, the statement that The Fairy Queen continued to be acted daily may indicate consecutive performances from 2 May to at le ast 14 May 1692.


Mainpiece Title: The Fairy Queen


Mainpiece Title: The Country Girl


Dance: In afterpiece the Ballets composed by James D'Egville; the Principal Dancers-D'Egville, Gentili, and also by permission of the Proprietor of the King's Theatre, Mme Del Caro, Mlle E. Hilligsberg, Mlle Hilligsberg


Mainpiece Title: Secrets Worth Knowing

Afterpiece Title: Fortune's Frolic

Dance: The Highland Lovers [see17990423]-; with Un Pas de Trois-Bologna, Miss E. Cabanel, Miss H. Cabanel; Un Pas Seul Serieux-Miss H. Cabanel; Un Pas Seul de Demie Caractere-Miss E. Cabanel, Platt

Song: End II: The Death of Admiral Benbow-Incledon; End IV: Black Ey'd Susan-Incledon; The Tight Little Island-Townsend


Mainpiece Title: Zemira E Azore

Dance: As17790302


Mainpiece Title: Piramo E Tisbe

Dance: End I: a new Ballet Anacreontique (composed by Vestris Sen.) Les Caprices de Galatee-Vestris Jun., Mlle Baccelli, Traffieri, Sga Tantini [Galatee-Mlle Baccelli ($Lynham, 166)]

Ballet: End Opera: a new Ballet Tragique (composed by Vestris Sen.) Medee et Jason. -Mme Simonet, Vestris Sen., Mlle Baccelli, Vestris Jun., Simonet, Traffieri, Slingsby, Sg and Sga Zuchelli, Henry, Sga Jason Cast from libretto of Piramo e Tisbe: Medea-Mme Simonet; Jason-Vestris Sen.; Creusa-Mlle Baccelli; A young Prince-Vestris Jun.; Creon-Simonet; Furies-Traffieri, Slingsby, Sg and Sga Zuchelli, Henry, Sga Tantini; 2 children of Medea-


Mainpiece Title: Alessandro E Timoteo

Dance: A New Bacchanalian Divertisement Ballet-; La Fille Mal Gardee- As18000415 but no performers listed for either ballet


Mainpiece Title: Alessandro E Timoteo

Dance: As18000524

Event Comment: A New Comic Opera of Two Acts written by Mr Bate--Much hissing and Crying out no more no more!--Mr Reddish was desired to give out the Play as soon as Matilda was over--but he with his usual politeness ran up and undress'd himself as fast as he could so that the play was not given out till the End of the Farce as soon as the Blackamoor was given out for the next Night they kept a great Noise and call'd for another Farce to be given out--at length they began to be more appeas'd and went away vowing Vengeance on it the next Night (Hopkins Diary). The Overture and Music of the afterpiece entirely New. Books of the Songs &c. to be had at the Theatre. New Scenes, Dresses, &c. [This is Larpent MS 400. Sir Oliver Oddfish distrusts his servants and is about to replace them with blacks, giving his nephew the chance to introduce Frederick , his daughter Julia 's lover, in disguise as a blackamoor, and to effect an elopement. Act I criticizes Londoners and concludes with the comment, "O that I should ever live to see the day when white Englishmen must give place to foreign blacks." MacMillan's note from Kemble differs slightly.] Paid the late Mr Johnston's bill to his executors #44 18s. 6d. (Treasurer's Book). [Afterpiece reviewed in three columns in the Westminster Magazine for Feb. Reviewer thought it had been produced well in all departments, music, scenery, costume, and acting, but concluded it a theatrical trifle giving not much credit to its author.] Receipts: #166 13s. 6d. (Treasurer's Book)


Mainpiece Title: Matilda

Afterpiece Title: The Blackamoor Wash'd White


Mainpiece Title: Judas Maccabaeus [part I Only

Afterpiece Title: Favourite Selections from Samson

Afterpiece Title: The Messiah

Song: In 3rd piece: He was eyes unto the blind-Harrison [Siroe]; after violin concerto: The Woody Vale (composed by Miss Poole)-Master Welsh

Music: End 1st piece: a new concerto on the hautboy (composed by W. Parke)-W. Parke; End 2nd piece: a new concerto on the violin-Alday


Mainpiece Title: The London Merchant

Afterpiece Title: The Lying Valet

Dance: IV: The Drunken Peasant-Morris; The Clown-W. Vaughan; V: A Hornpipe-Morris


Mainpiece Title: The Wishes; Or, Harlequin's Mouth Opened

Dance: Master Rogier, Miss Capitani


Mainpiece Title: The Beggar's Opera

Afterpiece Title: Harlequin's Invasion


Mainpiece Title: Jane Shore

Afterpiece Title: The Irish Fine Lady

Performance Comment: Parts by Macklin, Dyer, Woodward, Dunstall, Morris, Cushing, Barrington, Quick, Wignell, Mrs Green, Mrs Pitt, Mrs Evans, Miss Helm, Miss Macklin. Prologue-Macklin; Murrough O'Dogherty-Macklin; Count Mushroom-Woodward; Hamilton-Dyer; Fitzmongrel-Dunstall; Major-Morris; Mrs O'Dogherty-Miss Macklin; Catty Farrel-Mrs Pitt; Lady Kinnegad-Mrs Green; Lady Bab Frightful-Mrs Evans; Mrs Gazette-Miss Helm; Mrs Jolly-Mrs White Genest, V, 188, and Kirkman, Memoirs of Macklin (1799 ed.) II, pp. 1-2. The Larpent MS lists three newsmen in addition, and shows the original title The Trueborn Irishman.

Dance: End: The Dutch Milkmaid, as17671114


Mainpiece Title: La Scola Dei Maritati

Dance: As17980116


Mainpiece Title: The Widow Of Malabar

Afterpiece Title: The Man of Quality

Afterpiece Title: The Two Misers

Song: In: Bannister, Johnstone, Darley, Duffey, Mrs Mountain, Miss Stuart, Miss Rowson, Mrs Martyr; The Music by Stevens-

Entertainment: Monologue. Preceding 2nd piece: Occasional Address-Miss Brunton


Mainpiece Title: Vittoria Corombona

Performance Comment: [The White Devil] .


Mainpiece Title: The Mourning Bride

Afterpiece Title: The Mad Captain

Song: E. Roberts

Dance: TTwo Pierrots-Vallois, J. Delagarde; Scotch Dance-Mrs Bullock; Masqueraders-Vallois, Mrs Bullock

Event Comment: Benefit for Barry. Mainpiece [by Edward Young]: not acted these 30 years. Part of Pit will be laid into the Boxes. Servants allowed to keep places on the Stage. Tomorrow, not acted these 20 years, Ulysses for the Benefit of Mrs Woffington. A Young lady, remarkably handsome, appeared in the Pit of Covent Garden Playhouse on Monday Night last; she had on a white hat with pink ribbons; a pink colour'd Cardinal trimm'd with white fur, which she took off on account of people spitting down from the slips...She was standing near the Pit Door before the play began, but soon had room made for her at the end of one of the seats (Daily Advertiser, 22 March)


Mainpiece Title: Busiris King Of Egypt

Performance Comment: Myron-Narry; Busiris-Ryan; Nicanor-Sparks; Memnon-Smith; Rameses-Dyer; Syphoces-Anderson; Pheron-Bennet; Auloces-White; Myris-Mrs Hamilton; Mandane-Miss Nossiter; Original Prologue-Smith.
Role: Auloces Actor: White

Afterpiece Title: The Knights

Dance: FFingalian Dance, as17551126; Les Statues Animees, as17560302

Event Comment: Benefit for Miss Condill, Miss Sledge, and Miss Vivier [sic]. Tickets deliver'd by Miss Condill, Miss White, Viviez Jr, Miss Sledge, Mrs Jansolien, Guerin, and Mrs Paddick will be taken. Account Book: Receipts: #32 18s. 6d. [Each received half value of the tickets he or she delivered.] @Tickets Box Pit Gallery Value 1!2 Value@Miss Condill 11 80 34 #18 3s. #9 1s. 6d.@Miss White 43 41 74 #24 6s. #12 3s.@Miss Sledge 16 60 68 #19 16s. #9 18s.@Mrs Jansolien 22 61 50 #19 13s. #9 16s. 6d.@Guerin 14 29 17 #9 11s. #4 15s. 6d.@Viviez Jr 25 23 50 #14 14s. #7 7s.@Mrs Paddick 0 28 29 #7 2s. #3 11s.@Total 131 322 322 #113 5s. #56 12s. 6d.


Mainpiece Title: The Stratagem

Performance Comment: As17571007, but Charry-Miss White; Gipsey-Miss Sledge.
Role: Charry Actor: Miss White

Afterpiece Title: Merlin (Harlequin Skeleton)

Dance: The Savoyards-Guerin, Mlle Capdeville; The Provincial Sailors-Guerin, Mlle Capdeville

Event Comment: Benefit for Chapman, Mrs Dyer, Miss White, and Miss Sledge. Tickets deliver'd out by Mrs White, Mrs Leppie, Mrs Viviez, and Mrs Hitchcock will be taken


Mainpiece Title: The Recruiting Officer

Performance Comment: Plume-Smith; Worthy-Ridout; Kite-Anderson; Scale-Redman; Scruple-Wignel; Constable-Stoppelaer; Steward-Holtom; Ballance-Sparks; Brazen-Dyer; Bullock-Dunstall; Welsh Collier-Collins; Rose-Mrs Dyer; Lucy-Miss Ferguson; Recruits-Bencraft, Costollo; Melinda-Miss Sledge; Sylvia-Miss White.
Role: Sylvia Actor: Miss White.

Afterpiece Title: A Duke and no Duke

Dance: FFingalian Dance, as17581111; The Threshers, as17581016

Event Comment: Benefit for Gibbs, Miss White, and a Gentleman in Distress. Tickets delivered out by Courtney, Rawlins, Mrs Gold, Mrs Gwinn, and others for 26 April will be taken. Tickets sold at the doors will nto be admitted. Receipts: #89 5s. in cash and 1!2 value of tickets: @Tickets Gibbs Box@Pit 4@Gallery 22@Value #2 16s.@1!2 Value #1 8s.@Tickets Courtney Box 30@Pit 141@Gallery 39@Value #32 11s.@1!2 Value #16 5s. 6d.@Tickets Rawlins Box 17@Pit 44@Gallery 44@Value #15 5s.@1!2 Value #7 12s. 6d.@Tickets Person Distress'd Box 37@Pit 92@Gallery 57@Value #28 15s.@1!2 Value #14 7s. 6d.@Tickets Miss White Box 17@Pit 29@Gallery 37@Value #12 6s.@1!2 Value #6 3s.@Tickets Mrs Gold Box 3@Pit 15@Gallery 31@Value #6 2s.@1!2 Value #3 1s.@Tickets Mrs Hitchcock Box 12@Pit 30@Gallery 10@Value #8 10s.@1!2 Value #4 5s. Gratis@Tickets Mrs Gwynn Box 2@Pit 28@Gallery 47@Value #9 8s.@1!2 Value #4 14s. Gratis@Box 108@Pit 383@Gallery 287@Value #115 13s.@1!2 Value #57 16s. 6d.@Cash #31 8s. 6d.@Receipt #89 5s.


Mainpiece Title: The Country Lasses

Performance Comment: As17591231, but Aura-Mrs White, 1st time.
Role: Aura Actor: Mrs White, 1st time.

Afterpiece Title: Harlequin Statue

Dance: III: The Lamp Lighters, as17600318 End: The Knife Grinders, as17600417

Event Comment: Benefit for White, Treasurer. No Building on the stage. Afterpiece: By Desire, but for the last time this season


Mainpiece Title: King Henry Iv, Part I

Afterpiece Title: The Knights

Performance Comment: As17560325 but Hartop-Foote; Sir Gregory-Shuter; Jenny-Mrs Baker; Penelope-Mrs Pitt; Jenkins-White; Prologue-Foote.
Role: Jenkins Actor: White

Dance: I: Hornpipe-Cointe; III: Fingalian Dance, as17551126; V: Les Paisans Gallants, as17551203

Song: IV: Ballad-Roberts