SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "E L"/1) | (@(roleclean,performerclean) "E L")') 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 509 matches on Event Comments, 313 matches on Performance Comments, 234 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.
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

Performances

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)

Performances

Mainpiece Title: King Arthur; Or, The British Worthy

Performances

Mainpiece Title: The Fairy Queen

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: The Mock Doctor

Dance: Juvan d'Vallois

Performances

Mainpiece Title: King Richard The Third

Afterpiece Title: The Country Revels

Event Comment: At the particular Desire of several Persons of Quality. Mainpiece: Written by the late Mr Congreve. Afterpiece: (by Desire). Written by the Author of the Contrivances

Performances

Mainpiece Title: The Way Of The World

Afterpiece Title: Betty

Performances

Mainpiece Title: Caelia; Or, The Perjur'd Lover

Performances

Mainpiece Title: Theodosius; Or, The Force Of Love

Afterpiece Title: The Livery Rake; or, The Intriguing Servants

Performance Comment: Phillis (Country Girl)-Miss Raftor; Tom (Footman)-Berry; Toby (Innkeeper)-Jones; Harry-Ridout; Lucy-Mrs Shireburn; Dorcas-Mrs Herle; Phillis (Chambermaid)-Mrs Mullart; but edition of 1733 lists as the cast: Tom-Berry; Toby-Harper; Harry-Ridout; James-E. Roberts; Dorcas-Mrs Sireburn; 1st Phillis-Mrs Pritchard; 2d-Miss Oates; Lucy-Miss Mann (possibly the cast for a later revival); Epilgoue-Miss Norris, Granddaughter of the late Mr Norris, commonly called Jubilee Dicky.

Dance: I: Drunken Peasant-LeBrun; II: Saraband, Minuet-Lally Jr, Miss Mears; IV: English Maggot-Haughton, Mrs Walter; V: The Watteau-Miss Robinson; End of Afterpiece: Bartholomew Fair-F. Tench, Mrs Delorme

Performances

Mainpiece Title: Henry Iv, Part Ii

Afterpiece Title: Damon and Daphne

Dance: In I of Afterpiece: Les Bergeries-Essex, Haughton, Miss Robinson

Ballet: In II: A Comic Rural Ballad called The Country Revels. Colin-Essex; Phoebe-Mrs Booth; Yeomen-Lally, Haughton; Yeomen's Wives-Miss Mears, Mrs Walter; Peasants-Lally Jr, F. Tench, Davenport; Peasant Women-Mrs Delorme, Miss Mann, Miss Price

Music: Concerto on the Violin-Charke; Music for two Vox Humanes, a new Invented Instrument-

Performances

Mainpiece Title: Love For Love

Afterpiece Title: Venus, Cupid, and Hymen

Music: Between the Acts: Trumpets, Kettle Drums, French Horns-; With a new Overture (to the Masque) for two Vox Humanes- , a new invented Instrument

Song: II: Mrs Seedo, who never appeared on the stage before; III: (At the particular Request of Seedo's Friends) Signora Margherita (who has not performed on any theatre these 14 years)

Dance: I: Drunken Peasant-LeBrun; IV: The Watteau-Miss Robinson; End Afterpiece: Les Bergeries-Essex, Haughton, Miss Robinson

Performances

Mainpiece Title: Jane Shore; With The Comical And Diverting Humours Of Sir Anthony Noodle And His Man Weazle

Afterpiece Title: The Gardens of Venus; or, The Truimphs of Love

Dance: I: La Brone and La Blonde-Vallois and Mlle Vallois; II: Hornpipe-Jones Sr, Jones Jr

Performances

Mainpiece Title: Concert

Music: The Vocal part-Mrs Arne; late Miss Cecilia Young. With select Songs and Pieces of Musick; compos'd by Mr Arne, particularly, a New Ov e rture-; a new Concerto for Hautboys-; the March in Zara-; with a Comic Medley Overture-; two new Songs in English-; (by particular Desire) a Ballad Air call'd, Come and Listen to my Ditty-Mr Arne on the Violin, with many Variations; Also variety of Pieces by other Authors-; particularly the first and eighth Concertosof Corelli-; two Italian Songs-

Performances

Mainpiece Title: The Provoked Husband; Or, A Journey To London

Afterpiece Title: The Virgin Unmasked

Dance: As17410921

Song: a G Gentleman

Performances

Mainpiece Title: The Stratagem

Afterpiece Title: The Virgin Unmasked

Dance: As17410928

Song: As17410928

Event Comment: Mainpiece: Written by the late Mrs Centlivre

Performances

Mainpiece Title: The Busy Body

Afterpiece Title: Trick for Trick

Song: As17410928

Dance: As17410928

Performances

Mainpiece Title: The Careless Husband

Afterpiece Title: Trick for Trick

Song: As17410928

Dance: As17410928; with a new Comic Dance-Dugay, his first appearance here

Performances

Mainpiece Title: Love Makes A Man

Afterpiece Title: The Contrivances

Performances

Mainpiece Title: Tamerlane

Afterpiece Title: The Honest Yorkshireman

Performances

Mainpiece Title: Love Makes A Man

Afterpiece Title: Lethe

Dance: As17420115

Performances

Mainpiece Title: The Way Of The World

Dance: As17420115

Performances

Mainpiece Title: The Rehearsal

Dance: As17420115

Performances

Mainpiece Title: The Fair Penitent

Afterpiece Title: The Lying Valet

Dance: TThe Leek, as17420208

Performances

Mainpiece Title: The Way Of The World

Afterpiece Title: Harlequin Englishman; or, The Frenchman Bit

Performances

Mainpiece Title: The Orphan

Afterpiece Title: Harlequin Englishman

Performances

Mainpiece Title: Love Makes A Man

Afterpiece Title: The Virgin Unmasked

Dance: II: A Peasant-Carney; III: Scots Dance-Master Granier, Miss Granier; V: The Leek-the Son and Daughter of David apShenkin