SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Henry Herbert"/1) | (@(roleclean,performerclean) "Henry Herbert")') 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 3375 matches on Author, 1213 matches on Performance Title, 679 matches on Performance Comments, 457 matches on Event Comments, and 0 matches on Roles/Actors.
Event Comment: The United Company. The date of the first production is not known, but Part II seems to have followed rather closely upon Part I. The Gentleman's Journal, June 1694 (which apparently appeared in mid-June) states: The first Part of Mr Durfey's Don Quixote was so well received, that we have had a second Part of that Comical History acted lately, which doubtless must be thought as entertaining as the first; since in this hot season it could bring such a numerous audience (p. 170). The Songs were advertised in the London Gazette, 5 July 1694, and Part II advertised in the same periodical 19-23 July 1694. The songs as listed in the separately printed Songs are as follows: Genius of England, the music by Henry Purcell, sung by Freeman and Mrs Cibber. I burn, I burn, the music by John Eccles, sung by Mrs Bracegirdle. Since times are so bad, the music by Henry Purcell, sung by Reading and Mrs Ayliff. Damon, let a friend, the music by Pack, sung by Mrs Hudson. Ye nymphs and sylvan gods, the music by John Eccles sung by Mrs Ayliff. If you will love me, composer and singer not named. In addition, Thesaurus Musicus, 1695, published Lads and lasses, blithe and gay, the music by Henry Purcell, sung by Mrs Hudson. Purcell also wrote the music for other songs for which the singer is not known. Preface, edition of 1694: The good success, which both the Parts of Don Quixote have had, either from their Natural Merit, or the Indulgence of my Friends, or both, ought sufficiently to satisfie me, that I have no reason to value tne little Malice of some weak Heads, that make it their business to be simply Criticizing....I think I have given some additional Diversion in the Continuance of the character of Marcella, which is wholly new in this Part, and my own Invention, the design finishing with more pleasure to the Audience by punishing that coy Creature by an extravagant Passion here, that was so inexorable and cruel in the first Part, and ending with a Song so incomparably well sung, and acted by Mrs Bracegirdle, that the most envious do allow, as well as the most ingenious affirm, that 'tis the best of that kind ever done before....I deserve some acknowledgment for drawing that Character of Mary the Buxom, which was intirely my own,...by making the Character humorous, and the extraordinary well acting of Mrs Verbruggen, it is by the best Judges allowed a Masterpiece of humour

Performances

Mainpiece Title: The Comical History Of Don Quixote, Part Ii

Event Comment: Rich's Company. The date of the first production is not known, but the fact that it was advertised in the London Gazette, No. 3122, 10-14 Oct. 1695, indicates that it was probably acted not later than September 1695. Three songs were published separately: O how you protest, possibly set by Henry Purcell and sung by Mrs Knight; 'Twas within a Furlong, the words by Thomas D'Urfey, set by Henry Purcell, and sung by the Girl [Miss Cross]; and Man is for the woman made, the words by Pierre Motteux and set by Henry Purcell, are in Deliciae Musicae, The Third Book, 1696. See also Purcell's Works, Purcell Society, XX (1916), xix-xx. Preface, Edition of 1696: Notwithstanding the many Accidents that concurr'd to the Ruin of this Play, it succeeded above my Expectations: And I must own my self infinitely oblig'd to the Town, in receiving so favourably, what I at first never design'd for the Stage. Gildon, English Dramatick Poets, p. 121: This particular Play met with pretty good Success, for the Season of the Year, considering it the first Essay by a Young Writer, unacquainted with the Town. A Comparison Between the Two Stages (1702), p. 18: Sullen: Mock-Marriage, a young Fellows of the Town, a Retainer, and kind of Pensioner to the Stage. Ramble: What was it's Fate? Sullen: Damn'd, Damn'd

Performances

Mainpiece Title: The Mock-marriage

Event Comment: A Comparison Between the Two Stages (1702), commenting upon Betterton's success with I Henry IV (see 9 Jan. 1699@1700) pictures Betterton entering his Closet and praying to Shakespeare for further assistance (p. 25), with the result that "tho' some of those Plays that Batterton Acted were Historical, and consequently highly irregular, yet they never fail'd to please" (p. 26). Sullen adds: Well, this lucky hit of Batterton's put D. Lane in a non-plus! Shakespear's Ghost was rais'd at the New-house, and he seem'd to inhabit it for ever: What's to be done then? Oh, says Rich I'll pray as well as he-What? Shall a Heathen Player have more Religion than a Lawyer? No, it shall never be said--with that Mr R@@ goes up to the Garret (a pair of Stairs higher than his own Apartment) and taking Ben Johnson's Picture with him, he implores. This work implies that Betterton presented Henry VIII in addition to I Henry IV and that Rich revived Volpone, The Alchymist, and The Silent Woman, which had, according to the author of this work, lain unacted for twenty years (p. 26)

Performances

Performances

Mainpiece Title: Measure For Measure

Afterpiece Title: The Coffee House

Performance Comment: Harpie-Griffin; Bays-Macklin; Booswell-Harper; Hartly-Havard; Gaylove-Winstone; Puzzle-Ray; Bawble-Beard; Butterfly-Green; Gamesters-Turbutt, Raftor; Coffee Boy-Leigh; Mrs Notable-Mrs Grace; Cibber a Comedian-Cibber; Miss Kitty-Mrs Clive; edition of 1738 adds: Prologue-Cibber; two songs by Henry Burgess Jr-; three songs by Henry Carey-.
Cast
Role: Henry Burgess Jr Actor:
Role: Henry Carey Actor: .
Related Works
Related Work: The Coffee House Politician Author(s): Henry Fielding

Dance: V: Ballet, as17380120

Event Comment: Afterpiece: By Desire. [Gentleman who played Axalla tentatively suggested as a son of Henry Carey who played Henry IV in 2 Henry IV 27 April 1773 (Winston MS 10). He had been on the playroll since the first of this season at 5s. per night.] Receipts: #160 9s. (Account Book)

Performances

Mainpiece Title: Tamerlane

Afterpiece Title: Comus

Performances

Mainpiece Title: Mitridate

Dance: End I: The Pert Country Maid, as17810113; End II: a new serious Ballet (composed by Simonet) The Nymphs of Diana-Vestris? Jun., Mlle Baccelli, Sg and Sga Zuchelli, Henry, Sga Crespi, Miss Simonet, Mme Simonet; End Opera: a new grand Ballet half-character (composed by Simonet) The Rural Sports-Vestris? Jun., Mlle Baccelli, Henry, Sga Crespi, Traffieri, Slingsby, Sga Tantini

Performance Comment: Jun., Mlle Baccelli, Sg and Sga Zuchelli, Henry, Sga Crespi, Miss Simonet, Mme Simonet; End Opera: a new grand Ballet half-character (composed by Simonet) The Rural Sports-Vestris? Jun., Mlle Baccelli, Henry, Sga Crespi, Traffieri, Slingsby, Sga Tantini.

Performances

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-

Performance Comment: =) 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-.

Performances

Mainpiece Title: Deception

Performance Comment: Principal Characters by Palmer, Dodd, Bensley, Brereton, Aickin, Parsons; Miss Pope, Mrs Wilson, Miss Farren. [Cast from European Magazine, Oct. 1784, p. 328: Wharton-Palmer; Vainlove-Dodd; Sir Henry Lofty-Bensley; Henry-Brereton; Lord Courtly-Aickin; Mr Salter-Parsons; Lady Betty Friendly-Miss Pope; Miss Salter-Mrs Wilson; Clarissa-Miss Farren.] Prologue spoken by Bannister Jun. Epilogue spoken by Miss Farren . Prologue spoken by Bannister Jun. Epilogue spoken by Miss Farren .
Cast
Role: Sir Henry Lofty Actor: Bensley
Role: Henry Actor: Brereton

Afterpiece Title: The Padlock

Dance: End of Act IV of mainpiece a New Dance incident to the Piece by Mr and Miss Hamoir

Performances

Mainpiece Title: La Locandiera

Dance: End I: Divertissement, as17871208

Ballet: End Opera: a new ballet (1st time), composed by Noverre, L'Amour et Psiche. By Mlle Hilligsberg, Didelot, Mlle Coulon, Chevalier, Vestris, Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. Cast from synopsis (H. Reynell, 1788): Psyche-Mlle Hilligsberg; Adonis-Didelot; Venus-Mlle Coulon; Hymen-Chevalier; Love, or Cupid-Vestris; Graces Furies and Fates-Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala; Mercury-Coulon. The music composed by Mazzinghi; with all new Scenery (by Marinari), Dresses (by Lupino)

Performance Comment: By Mlle Hilligsberg, Didelot, Mlle Coulon, Chevalier, Vestris, Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. Cast from synopsis (H. Reynell, 1788): Psyche-Mlle Hilligsberg; Adonis-Didelot; Venus-Mlle Coulon; Hymen-Chevalier; Love, or Cupid-Vestris; Graces Furies and Fates-Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala; Mercury-Coulon. The music composed by Mazzinghi; with all new Scenery (by Marinari), Dresses (by Lupino). with all new Scenery (by Marinari), Dresses (by Lupino).

Performances

Mainpiece Title: Gli Schiavi Per Amore

Dance: End I: Les Fetes de Tempe-[see17880228]; End Opera: a new grand Tragic Ballet, never performed, Euthyme et Eucharis[, composed by Noverre. Principal Characters-Mlle Hilligsberg, Didelot, Mlle Coulon, Vestris, Sga Bedini, the two Miss Simonets, Mme Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. [Partial cast from Lynham, 170: Eucharis-Mlle Hilligsberg; +Mars-Didelot; +Euthyme-Vestris; +L'Ombre-Henry; +Bellone-Coulon.

Performance Comment: Principal Characters-Mlle Hilligsberg, Didelot, Mlle Coulon, Vestris, Sga Bedini, the two Miss Simonets, Mme Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. [Partial cast from Lynham, 170: Eucharis-Mlle Hilligsberg; +Mars-Didelot; +Euthyme-Vestris; +L'Ombre-Henry; +Bellone-Coulon.]

Performances

Mainpiece Title: Marian

Performance Comment: Principal Characters by Johnstone, Bowden, Blanchard, Darley, Fearon, Thompson, Mrs Kennedy, Mrs Martyr, Mrs Billington. [Cast from Airs (T. Cadell, 1788): Edward-Johnstone; Sir Henry Truman [in subsequent seasons: Sir Henry Freeman]-Bowden; Robin-Blanchard; Thomas-Darley; Jamie-Fearon; Oliver-Thompson; Peggy-Mrs Kennedy; Patty-Mrs Martyr; Fanny-Miss Paye; Kitty-Mrs Byrne; Marian-Mrs Billington.
Cast
Role: Sir Henry Freeman] Actor: Bowden

Afterpiece Title: The Maid of the Oaks

Afterpiece Title: Animal Magnetism

Dance: In I 2nd piece: As17880204

Event Comment: In L. C. 5@12, p. 212, is a list of plays formerly acted at Blackfriars and now allowed (ca. 12 Jan. 1668@9) to the King's Company: Everyman in his Humour. Everyman out of his Humour. Cyntheas Revells. Sejanus. The ffox. The Silent Weoman. The Alchymist. Catilin. Bartholomew ffayre. Staple of Newes. The Devills an Asse. Magnitick Lady [The Humours Reconciled]. Tale of a Tubb. New Inn [or The Light of Heart]. Beggers Bush [by John Fletcher, with Philip Massinger?]. Bonduca. Custome of ye Country. The Captaine. The Chances. The Coxcombe. The Double Marriage. The ffrench Lawyer. The ffalse One. The fayre Mayd of ye Inn. The Humorous Leivt. The Island Princes. The Knights of Malta. Nathan Field. The Loyall Subject. The Lawes of Candye. Loves Progresse [The Lover's Progress; or, The Wandering Lovers. The Winters Tale. King John. Richard the Second. Loues Cure [or The Martial Maid]. Loues Pilgrimage. The Noble Gentlemen. The Nice Valour [or, The Passionate Madman]. The Prophetesse. The Marshall Mayd [see Love's Cure]. The Pilgrim. The Queene of Corinth. The Spanish Curate. The Sea Voyage. Valentinian. The Weomans Prize [or, The Tamer Tamed]. A Wife for a Moneth. The Wyd Goose-Chase. The Elder Brother. The ffaythfull Shepherdesse. A King & noe King. The Maydes Tragedie. Phylaster. Rollo Duke of Normandy [or, The Bloody Brother]. The Scornefull Lady. Thiery & Theodorat. Rule a Wife. The Gentlemen of Verona. The Merry Wives of Windsor. The Comoedy of Errors. Loves Labour Lost. Midsomer Nights Dreame. The Merchant of Venice. As you like it. The Tameing of ye Shrew. Alls well yt ends well. Henry ye fourth. The Second part Henry IV. The Royall Slaue

Performances

Performances

Mainpiece Title: Squire Oldsapp; Or, The Night-adventurers

Performance Comment: Edition of 1679; Welfore-Betterton; Henry-Smith; Lovell-Crossby; Squire Oldsapp-Nokes; Sir Frederick Banter-Leigh; Colonel Buff-Sandford; Pimpo-Underhill; Madame Tricklove-Mrs Currer; Christina-Mrs Price; Sophia-Mrs Barrer; Cornet-Mrs Norrice; Lucinda-Mrs Seymour; Prologue-Oldsapp; Epilogue-Mrs Currer.
Cast
Role: Henry Actor: Smith

Performances

Mainpiece Title: The Misery Of Civil-war

Performance Comment: Edition of 1680: Prologue-; King Henry the Sixth-Joseph Williams; Richard Plantagenet-David Williams; Edward-Smith; George, Duke of Clarence-Bowman; Richard-Gillow; Earl of Warwick-Batterton; Old Lord Clifford-Percival; Young Clifford-Wiltshire; Queen Margaret-Mrs Leigh [Mrs Mary Lee]; Lady Grey-Mrs Batterton; Lady Eleanor Butler-Mrs Currer; Epilogue-.
Event Comment: The True News; or, Mercurius Anglicus, 4-7 Feb. 1679@80: On Munday night last happened a great dispute in the Duke's Play-house, some Gentlemen in their Cupps entring into the Pitt, flinging Links at the Actors, and using several reproachfull speeches against the Dutchess of P. and other persons of Honour, which has occasioned a Prohibition from farther Acting, till his Majesties farther pleasyre. A letter written by the Dowager Countess of Sunderland to Henry Sidney, dated 6 Jan. 1679@80 [possibly misdated] refers to disorders which are similar to those recorded in The True News: You must needs hear of the abominable disorders amongst us, calling all the women whores and the men rogues in the playhouses--throwing candles and links--calling my Lord Sunderland traitor, but in good company; the Duke of York?, rascal; and all ended in "God bless his Highness, the Duke of Monmouth. We will be for him against the world." I am told they may be fined a great deal if they are prosecuted. Two of these are knights of shires, Sir Scroope How, and my Lord Wharton's@eldest son; the only sufferer yet is Porter. They are ashamed, I hear, and afraid (R. W. Blencowe, Diary of the Times of Charles the Second by the Honourable Henry Sidney [London, 1843], I, 237)

Performances

Event Comment: The Duke's Company. The date of the first production is not known, but the entry of this play in the Term Catalogues for November 1680 suggests a first offering in September or October 1680. The music for the play was composed by Henry Purcell, his first (according to Downes composing for the stage. Downes (Roscius Anglicanus, p. 38) gives a shortened cast and adds: All the Parts in't being perfectly perform'd, with several Entertainments of Singing; Compos'd by the Famous Master Mr Henry Purcell, (being the first he e'er Compos'd for the Stage) made it a living and Gainful Play to the Company: The Court; especially the Ladies, by their daily charming presence, gave it great Encouragement. Dedication, Edition of 1680: The Reputation that this Play received on the Stage, some few Errors excepted, was more than I could well hope from so Censorious an Age....You [the Duchess of Richmond] brought her Royal Highness just at the exigent Time, whose single Presence on the Poet's day is a Subsistence for him all the Years after. A song, Hail to the myrtle shade, is in Choice Ayres and Songs, The Third Book (dated 2 Nov. 1680)

Performances

Mainpiece Title: Theodosius; Or, The Force Of Love

Event Comment: The King's Company. The date of the first performance is not known, but its listing in the Term Catalogues, November 1681, suggests late October as a likely latest date for its premiere. If Mithridates was acted in mid-October at the opening of Drury Lane, Sir Barnaby Whigg may well be the first new play offered by the King's Company in the autumn. A Song in Act I, Blow Boreas Blow, with music apparently by Henry Purcell, is in A Third Collection of New Songs...Words by Mr D'Urfey, 1685, and in Dramatic Works of Henry Purcell, Purcell Society, III (1917), xiv-xv

Performances

Mainpiece Title: Sir Barnaby Whigg; Or, No Wit Like A Womans

Event Comment: The United Company. This performance is on the L. C. list, 5@149, p. 368: The Queene a Box & a Box for the Maids of Honor at ye Massacre of Paris. See also Nicoll, Restoration Drama, p. 352. The date of the first performance is not knwon, but as it was entered in the Term Catalogues, November 1689, it was probably first acted in early November or in October 1689. A song, Thy Genius lo!, composed by Henry Purcell, is in Orpheus Britannicus, 1698. Possibly it was sung by Bowman. See also The Works of Henry Purcell, Purcell Society, XX (1916), xviii-xix

Performances

Mainpiece Title: The Massacre Of Paris

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

Performances

Mainpiece Title: Bussy D'ambois; Or, The Husbands Revenge

Performance Comment: Edition of 1691: King Henry III of France-Freeman; Monsieur-Hodson; Duke of Guise-Kynaston; D'Ambois-Mountfort; Montfurry-Powell; Monsieur Masse-Bright; Monsieur Lassoil-Bowen; Bariser-Verbruggen; Lanoo-Harris; Melinell-Barnes; Pyorot-Sibber; Brisac-Kirkham; Dutchess of Guise-Mrs Lassells; Tamira-Mrs Bracegirdle; Teresia-Mrs Corey; Charlot-Mrs Richardson; Beaupre-Mrs Perin; Prologue-; Epilogue-.
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

Related Works
Related Work: Arthur and Emmeline Author(s): Henry Purcell
Event Comment: The United Company. The date of the premiere is not known, but the Gentleman's Journal, January 1691@2, suggests that it was first given in December 1691, although the tendency of this journal to be dated one month and appear in the next month makes the interpretation of its information difficult: We have had a new Comedy this last Month, call'd The Wives Execuse; or Cuckolds make themselves: It was written by Mr Southern, who made that call'd Sir Anthony Love, which you and all the Town lik'd so well. I will send you The Wives Excuse, as soon as it comes out in Print, which will be very speedily: And tho' the Town hath not been so kind to this last, as to the former, I do not doubt but you will own that it will bear a Reading; which some that meet with a better Fate too often do not; some that must be granted to be good Judges commend the Purity of its Language (pp. 51-52). Henry Purcell composed the music for this work. One song, Corinna I excuse thy face, the words (according to the Edition of 1692) by Tho. Cheek, the music by Henry Purcell, but without the singer's name, is in The Banquet of Musick, The Sixth and Last Book, 1692 (licensed 17 Feb. 1691@2). Say, cruel Amoret, sung by Mountfort; Hang this whining way, sung by Mrs Butler; and Ingrateful lover, the words by Major General Sackville, are in Joyful Cuckoldom, ca. 1695. See also Purcell, Works, Purcell Society, XXI (1917), xxvi-xxix

Performances

Mainpiece Title: The Wives' Excuse; Or, Cuckolds Make Themselves

Event Comment: The United Company. The date of the premiere is not certain, but the fact that a song in the play, composed by Henry Purcell and sung by Mrs Hudson, is in the Gentleman's Journal, January@February 1693@4 (advertised in the London Gazette, No 2955, 5-8 Marcn 1693@4) suggests that the play had its premiere in February. The play was advertised in the London Gazette, No 2959, 19-22 March 1693@4. The music for additional songs was composed by Henry Purcell: The danger is over, sung by Mrs Hudson, is in Joyful Cuckoldom, ca. 1695; I sighed and owned my love, sung by Mrs Ayliff, is in Thesaurus Musicus, Book III, 1695. See also Purcell's Works, Purcell Society, XX (1916), i-iii. Two songs were composed by John Eccles: Still, I'm grieving, sung by Mrs Bracegirdle; and Give then royal maid your sorrows o're, sung by Mrs Cibber, are in Thesaurus Musicus, 1695. Gentleman's Journal, March 1694 (advertised in London Gazette, No 2964,5-9 April 1694): Mr Southern's new Play call'd The Fatal Marriage; or, The Innocent Adultery, has been so kindly receiv'd, that you are by this time no stranger to its merit. As the world has done it justice, and it is above my praise, I need not expatiate on that subject. [See also 22 March 1693@4.

Performances

Mainpiece Title: The Fatal Marriage; Or, The Innocent Adultery

Event Comment: Christopher Rich's Company. The date of this revival is not certain. Apparently the revival was in preparation before the division of the company, but the publication of the Songs in 1695 confines the production to the period between mid-April and the late autumn. For the opera, see The Works of John Dryden, Vol. VIII: The Plays, edited by John Harrington Smith and Dougald MacMillan (Berkeley and Los Angeles, 1692), pp. 325-30; Moore, Henry Purcell and the Restoration Theatre, Chapter VI;and Purcell's Works, Purcell Society, Vol. XIX. The Songs (1695), the music by Henry Purcell, lists the following pieces and singers: I, Wake, wake, Quivera, sung by Freeman. I, Why shou'd men quarrel, sung by The Boy, with Flutes. Their looks are such that mercy flows, sung by Freeman. II, I come to sing, sung by Freeman. Scorn'd Envy here's nothing, sung by Freeman. Begone, curst Feinds of Hell, sung by Freeman. III, Ah, how happy we are, sung by Freeman and Church. I attempt from Love's sickness to fly, sung by Mrs Cross. IV, They tell us that you mighty powers above, sung by Mrs Cross. In addition, other parts of the opera appeared elsewhere: Act V, a Masque, set by Daniel Purcell, O Bless the Genial Bed with chast delights, in Deliciae Musicae, First Book of the Second Volume, 1696. [The others, since they do not name the performers, are omitted here.

Performances

Mainpiece Title: The Indian Queen

Performances

Mainpiece Title: Heroick Love

Performance Comment: Edition of 1698: Prologue- by Henry StJohn Esq; Epilogue- By Bevill Higgons, Esq; Agamemnon-Betterton; Achilles-Verbruggen; Nestor-Bowman; Ulysses-Sandford; Patroclus-Scudemore; Chryses-Kynaston; Chalcas-Freeman; Talthybius-Baily; Chruseis-Mrs Barry; Briseis-Mrs Bracegirdle; Artemis-Mrs Prince.
Cast
Role: Prologue Actor: by Henry StJohn Esq