SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Henry Higden"/1) | (@(roleclean,performerclean) "Henry Higden")') 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, 658 matches on Performance Comments, 385 matches on Event Comments, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: Gli Schiavi Per Amore

Dance: End I: a New Dance-; in which will be introduced a Pas de Bernois-Didelot, Mlle Coulon; Pas de Trois-Coulon, the two Miss Simonets; Pas de Deux-Henry, Miss Harvey; a Pas Seul-Chevalier; Pas Seul-Mlle Coulon; the favorite Pas de Russe (composed by Gardel)-Vestris, Mlle Hilligsberg; Hornpipe-Chevalier; Pas de Cinq-the principal Dancers; Pas de Sept-the principal Dancers; conclude with: General Dance-all the Performers

Song: II: a favorite song, Gli affetti mici , composed by Paisiello,-Sga Sestini; violin obligato accompaniment-Cramer

Ballet: End Opera: L'Amour et Psiche. As17880129

Performances

Mainpiece Title: Gli Schiavi Per Amore

Dance: End I: a New Ballet serious and demi-charactere (composed by Noverre)-Gardel, Mlle Coulon, Mlle Hilligsberg, Didelot, Chevalier, Henry, the two Miss Simonets, Miss Harvey, Vestris; End Opera: Euthyme et Eucharis-see17880313 conclude with: the celebrated Pas de Quatre of Panurge-Gardel, Mlle Hilligsberg, Mlle Coulon, Vestris

Performances

Mainpiece Title: La Frascatana

Dance: End I: New Ballet, as17880426; with a Pas de Deux-Miss Harvey, Henry

Song: In opera: the Grand Quintetto (never performed in this Country)-; several beautiful parts of music as performed in the original Opera-

Ballet: End Opera: L'Amour et Psiche. As17880129, but Hymen-Henry in place of Chevalier; Graces Furies and Fates-Mlle _Vedie, Miss Harvey, _Jacolet, _Saulnier, _Sala; Didelot_; Coulon_

Performance Comment: As17880129, but Hymen-Henry in place of Chevalier; Graces Furies and Fates-Mlle _Vedie, Miss Harvey, _Jacolet, _Saulnier, _Sala; Didelot_; Coulon_. Didelot_; Coulon_.

Performances

Mainpiece Title: Giulio Sabino

Dance: End I: New Ballet, as17880426; End Opera: La Bonte du Seigneur-Mlle Hilligsberg, Didelot, Mlle Coulon, Henry, the two Miss Simonets, Miss Harvey, Vestris

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Afterpiece Title: Poor Vulcan

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Afterpiece Title: Aladin

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Afterpiece Title: Don Juan

Dance: As17890916

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Afterpiece Title: Harlequin's Chaplet

Dance: As17900129

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Afterpiece Title: The Poor Soldier

Song: End II: The Lamp Lighter (written and composed by Dibdin)-Reeve; End IV: The Doctrine of an Israelite (written by Collins, author of The Brush) sung in character-Reeve; End: a favorite song a Gentleman (1st appearance on any stage)

Performances

Mainpiece Title: True Blue; Or, A Bang At The Dons

Afterpiece Title: King Henry the Fifth

Afterpiece Title: The Follies of a Day

Entertainment: Monologue. End 2nd piece: (for this night only) The Monster Discovered-

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Afterpiece Title: The Picture of Paris

Performances

Mainpiece Title: The Prussian Festival

Afterpiece Title: The First Part of King Henry the Fourth

Afterpiece Title: Oscar and Malvina

Music: As17911122

Performances

Mainpiece Title: Poor Old Drury

Afterpiece Title: King Henry the Fifth

Afterpiece Title: Comus

Performances

Mainpiece Title: King Henry The Fourth [part I]

Afterpiece Title: The Village Lawyer

Performances

Mainpiece Title: King Henry The Fourth [part I]

Afterpiece Title: Peeping Tom

Performances

Mainpiece Title: King Henry The Fourth [part I]

Afterpiece Title: Peeping Tom

Performances

Mainpiece Title: Lover's Vows

Afterpiece Title: The Jew and the Doctor

Song: End II: Hope told a flattering tale-Mrs Ferguson; accompanied on the Pedal Harp-Weippert

Music: End I: Grand Sonata on the Piano Forte, as17990515; End IV: Lesson of Nicolai, as17990515

Entertainment: Monologues Before: [Collins' Ode on the Passions-Master Parker; End III: The Birth Day Ode [by Henry James Pye, 1st performed at St. James's Palace, 4 June, the birthday of George III]-Master Parker; End: Imitations-Mrs Sumbel (late $Mrs Wells)

Performances

Mainpiece Title: Zemira E Azore

Dance: II: Ballet by Genii as17790223-Sg Zuchelli, Sga Zuchelli, young Miss Simonet; also Pedal Harp, as17790223; End II: Ballet by Fairies, as17790223, but _LeDet, _Henry, young Miss _Simonet, Slingsby; End Opera: +Le Couronnement de Zemire, as17790223

Performances

Mainpiece Title: Quinto Fabio

Dance: End I: Pastoral Ballet, as17791127; End II: Masquerade Dance, as17791221, but _Henry; Minuet, as17791221; End Opera: Serious Ballet, as17800122 Grand Chaconne, as17800122

Performances

Mainpiece Title: Gli Schiavi Per Amore

Dance: End I: As17880226, but Les Offrandes a l'Amour-_; End Opera: Les Fetes de Tempe, as17880228, but _Henry

Performances

Mainpiece Title: The School Of Shakespeare; Or, Humours And Passions

Performance Comment: [Given in a regular Representation of several of his most favourite and capital Scenes. With Dresses and Scenery suited to the Characters and their Situations. The inimitable Scenes of the Poet, selected for the Purpose, and digested into Five Acts, will exemplify, in the strongest Colours of our immortal Bard, Vanity, Parental Tenderness, Cruelty, Filial Piety, and Ambition. ACT I. Vanity, in the First Part of Henry IV parts of II. i and iv]. Sir John Falstaff-Digges; Francis-Edwin; Poins-R. Palmer; Peto-Painter; Bardolph-Massey; Gadshill-Ledger [Public Advertiser: Kenny]; Carriers-Stevens, Barrett; Prince of Wales-Palmer; Hostess-Mrs Love; [ACT II. Parental Tenderness, in the Second Part of Henry IV [parts of IV. iv and v, and parts of v. ii]. King Henry-Bensley; Clarence-Miss Wood; Prince John-Miss Francis; Gloster-Miss Painter; Chief Justice-Gardner; Westmoreland-Davis; Attendant-Painter; Prince of Wales-Palmer; [ACT III. Cruelty, in The Merchant of Venice [IV. i]. Shylock-Digges; Antonio-Gardner; Bassanio-Staunton; Duke-Usher; Gratiano-Lamash; Salanio-Davis; Nerissa-Mrs Wilson; Portia-Mrs Massey; [ACT IV. Filial Piety, in the Closet Scene in Hamlet [III. iii and iv]. Hamlet-Bannister Jun.; King-Gardner; Polonius-Wilson; Ghost-Staunton; Queen-Miss Sherry; [ACT V. Ambition, in Henry VIII [III. ii]. Cardinal Wolsey-Digges; Surry-Aickin; Suffolk-Lamash; Lord Chamberlain-Egan; Norfolk-Davis; Cromwell-R. Palmer; King Henry-Usher.
Cast
Role: King Henry Actor: Bensley
Role: King Henry Actor: Usher.

Afterpiece Title: The Waterman; or, The First of August

Dance: As17810620

Entertainment: Before the Curtain draws up: the celebrated Cento (written by Richard? Berenger, in honor of Shakespeare)-Bannister Jun

Performances

Mainpiece Title: The School Of Shakespeare; Or, Humours And Passions

Performance Comment: Given in a regular representation of several of his most favourite and capital Scenes. With Scenery and Dresses suited to the Characters and their situations. The inimitable Scenes of the Poet, selected for the Purpose, and digested into Five Acts, will exemplify in the strongest colours of our immortal Bard, Cruelty, Vanity, Ambition, Rusticity, Tyranny-; [Act I. Cruelty, in The Merchant of Venice [IV. i]. Shylock-Palmer; Anthonio-Aickin; Bassanio-C. Kemble; Gratiano-R. Palmer; Portia-Mrs Kemble; [Act II. Vanity, in the First Part of Henry IV [parts of II. iv]. Sir John Falstaff-Fawcett; Prince of Wales-Palmer Jun.; Francis (for that night only)-Bannister Jun.; [Act III. Ambition, in King Henry the Eighth [parts of III. ii]. Cardinal Wolsey (1st time)-Palmer; King Henry-R. Palmer; [Act IV. Rusticity, in As You Like it [III. iii]. Touchstone-Bannister Jun.; Audrey-Mrs Harlowe; [Act V. Tyranny, in King Richard the Third [parts of I. ii; II. ii; and V]. King Richard (1st time)-Palmer; King Henry-Aickin; Richmond (1st time)-Palmer Jun.; Lady Anne-Miss Logan.
Cast
Role: King Henry Actor: R. Palmer
Role: King Henry Actor: Aickin

Afterpiece Title: The Hodge Podge; or, A Receipt to make a Benefit

Afterpiece Title: The Son-in-Law

Song: In 2nd piece: Mad Bess (in character)-Miss Leak; a Welch Song (in character)-Mrs Bland; The Waiter-Fawcett

Entertainment: In 2nd piece: Imitations-Caulfield

Event Comment: The United Company. The date of the premiere is not known, but as the play was licensed to be published, 21 May 1688, it was probably first acted early in April 1688, perhaps in late March. In 1688, also was separately printed New Songs Sung in The Fool's Preferment: In I, I sigh'd and pin'd and There's nothing so fatal as Woman, the music composed by Henry Purcell. In III, Fled is my love, the music composed by Henry Purcell, and sung by Mountfort. 'Tis death alone and I'le mount to yon blue coelum, the music composed by Henry Purcell. In IV, I'le sail upon the Dog-star, and A Dialogue by Jockey and Jenny, Jenny, gin you can love, the composer not stated. In V, If thou wilt give me back my love, composed by Henry Purcell and sung by Mountfort. See also Purcell's Works, The Purcell Society, XX (1916), iv-vi. When this play was revived at Drury Lane on 16 July 1703, the bill was headed: Not Acted these Fifteen Years

Performances

Mainpiece Title: A Fool's Preferment; Or, The Three Dukes Of Dunstable

Event Comment: The United Company. This performance is indicated in the Newdigate newsletters, 11 Jan. 1693@4: On Tuesday the Prince of Baden dyned with ye D of Linster and yesterday his Highness saw the new Opera called Diaclessia acted at the Ks play house (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59). There is, however, some uncertainty about this performance. In the first place, Dioclesian was not a new play, although new songs frequently appeared in it. In the second place, Dryden's new play, Love Triumphant, was ready for its premiere about this time, and the compiler of the Newdigate newsletters might have been mistaken in identifying the play. Yet the certain performance of The Double Dealer on 13 Jan. 1693@4 would be an awkward interruption of the initial run of Love Triumphant if it were the new play the Newdigate newsletters refer to. It seems likely, then, that Love Triumphant did not make its first appearance until mid-January. In Thesaurus Musicus, 1694, is a new song in The Prophetess, Act III, When first I saw the bright Aurelia's eyes, set by Henry Purcell and sung by Mrs Ayliff. It is also in Joyful Cuckoldom 1695. In the latter compilation are three other songs for this play: Since from my dear, sung by Mrs Hudson "in the Prophetess, as it is newly reviv'd," set by Henry Purcell; Let monarchs fight, the words by Thomas Betterton, the music by Henry Purcell, and sung by Freeman; Let ye soldiers, the words by Thomas Betterton, set by Henry Purcell, and sung by Freeman

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 the Gentleman's Journal, June 1694 (apparently appearing in late June) indicated that both parts of Don Quixote had by then appeared, and the Songs to Part I were announced in the London Gazette, No. 2983, 11-14 June 1694, to be published on 16 June 1694. Very likely Part I appeared in May 1694. The publication of The Songs in the New Play of Don Quixote, Part the First lists the following pieces. Sing, sing, all ye muses, the first song in Act II, composed by Henry Purcell. Young Chrysostome had vertue, sense, the second song in Act II, was composed by John Eccles. The third song in Act II, Sleep, poor youth, was composedy John Eccles. When the world first knew creation, sung in Act III, was composed by Henry Purcell. Let the dreadful engines, sung for Cardenio in Act IV, was set by Henry Purcell. 'Twas early one morning, in Act IV, for Sancho, was set by John Eccles. With this, this sacred charming wand, in Act V for Montesmo, Mellissa and Urganda, was set by Henry Purcell

Performances

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