SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Henry Smith"/1) | (@(roleclean,performerclean) "Henry Smith")') 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 3385 matches on Author, 2471 matches on Performance Comments, 1444 matches on Performance Title, 733 matches on Event Comments, and 0 matches on Roles/Actors.
Event Comment: Pepys, Diary: But my wife and I rose from table, pretending business, and went to the Duke's house, the first play I have been at these six months, according to my last vowe, and here saw the so much cried-up play of "Henry the Eighth"; which, though I went with resolution to like it, is so simple a thing made up of a great many patches, that, besides the shows and processions in it, there is nothing in the world good or well done

Performances

Mainpiece Title: Henry Viii

Event Comment: The Duke's Company. Pepys, Diary: To White Hall, and got my Lord Bellasses to get me into the playhouse; and there, after all staying above an hour for the players, the King and all waiting, which was absurd, saw Henry the Fifth well done by the Duke's people, and in most excellent habits, all new vests, being put on but this night. But I sat so nigh and far off, that I missed most of the words, and sat with a wind coming into my back and neck, which did much trouble me. The play continued till twelve at night. A Prologue for this play is in A Letter from a Gentleman to the Honourable Ed. Howard (London, 1668)

Performances

Mainpiece Title: Henry V

Event Comment: The King's Company. Pepys, Diary: My wife and Willett and I to the King's playhouse, and there saw Henry the Fourth; and contrary to expectation, was pleased in nothing more than in Cartwright's speaking of Falstaffe's speech about "What is Honour?" The house full of Parliamentmen, it being holyday with them: and it was observable how a gentleman of good habit, sitting just before us, eating of some fruit in the midst of the play, did drop down as dead, being choked; but with much ado Orange Moll did thrust her finger down his throat, and brought him to life again

Performances

Mainpiece Title: Henry The Fourth

Event Comment: The King's Company. Pepys, Diary: [After looking in at the Nursery and at lif] and Henry the Fourth at the King's house; but, not finding them, not liking either of the plays, I took my coach again

Performances

Mainpiece Title: Henry The Fourth

Event Comment: The King's Company. Pepys, Diary: To the King's house, and saw a piece of Henry the Fourth; at the end of the play, thinking to have gone abroad with Knepp, but it was too late, and she to get her part against to-morrow, in The Silent Woman

Performances

Mainpiece Title: Henry The Fourth

Event Comment: The United Company. This performance is on the L. C. list, 5@151, p. 369: y- Q: a Box & a Box for ye Maids Honr Henry 2. [See also Nicoll, Restoration Drama, p. 352.

Performances

Mainpiece Title: Henry The Second

Event Comment: The United Company. Constatijn Huygens, 16 Jan. 1692@2 O. S. [translation]: In the afternoon I went with Preswitz to the comedy, by Covent Garden, where there was a play about Henry II, but I could not very well understand the comedians, neither what they said. Mrs Barry played the King's wife and Mrs Bracegirdle his mistress, who let the King be poisoned in her presence. Sayer came and sat with us. The best places were for the English crown (Journaal van Constantijn Huygens, Publication of the Dutch Historical Society, New Series, XXV [Utrecht, 1877], 168)

Performances

Mainpiece Title: Henry The Second

Event Comment: MMrs Cibber to Garrick, late Jan.: It is surprising that dl goes on acting; one night with another, to be sure, they have not received above 40 pounds; the actors are paid only three nights a week; though they play every night. But the top stroke of all was Macklin's play! It was entirely new-dressed, and no expense saved in the clothes. I shall say nothing of the piece, because you may read it; but be as vain as you will about your playing Bayes, you never made an audience laugh more than Henry VII has done. There for the first time I saw your rival, Mr Goodfellow; I should have said the rival Mr Lacy wants to make you; do not be quite dispirited about it, for Perkin Warbeck is much below anything I ever yet saw. Here I must ask Mr Stevens's pardon, to whom I have done injustice, for I think he may dispute the pass downstairs with Perkin, and as his head seems to be the heaviest of the two, I think he has the best right to it.--Boaden, Private Correspondence of Garrick, I, 49

Performances

Mainpiece Title: Henry Vii

Event Comment: Benefit for Wood, Sub-Treasurer. Tickets deliver'd out for The Mistake will be taken (playbill). For ye Morocco Embassador, who, tho' unlearn'd in out Language, behav'd as if he understood nature -Mr Wood, the Subtreasurer had Tickets (Cross). [Mrs Frances Brooke, in The Old Maid, for 8 May 1756, gives the following eye-witness account of the evening: "I determined to watch the artless working of [the Ambassador's] surprise, and to catch, as well as I could his sentiments of the theatre, the Audience, the Play, and the performers. And shall give them to my readers, just as they appeared to me. On his first coming to the front of the Box, he was complimented with the Applause of the whole House, which seemed to give him great pleasure, and which he returned by two bows in the English, and afterwards by a reverence in the Moorish manner, which last I thought very graceful...tho' he is rather low of stature, yet his loose flowing robes, and his manner altogether gave him such an air of superiority, that I thought the Audience looked only like his attendants. "The House and Spectators attracted his notice so much for some time, that he seem'd very well entertained before the drawing up of the curtain. At the first scene between the Lords, I thought he looked disappointed, and after a transient view of the stage, directed his eyes again to the company; at the entrance of King Henry his attention was a little recover'd to the performance, but his majesty had not proceeded half way thru the scene, before he burst into a most immoderate fit, of apparently contemptuous laughter, which he repeated very often thro' the whole playing of the part. The manner in which this stranger was affected by it, amongst other considerations, fully convinces me that this character is most ridiculously burlesqued in the representation, and that both Shakespeare and the Monarch are very inhumanly sacrificed, to the polite taste, and elegant distinction of the upper gallery....I could point out many abuses of the like nature, which have increased upon us so much of late, that 'tis almost impossible to attend the theatres, with the expectation of receiving pleasure from some parts of the perfbrmance, without the certainty of suffering equal disgust from others; it was the case of many besides myself, at this of Henry, upon the absurdity of Winchester's brandishing his cane at Canterbury, upon the close of the Council Scene; and yet to give opportunity for this notable stage foolery, the Archbishop and Bishop are both made to walk out of their proper order, tho' in attendance upon the King....His character is drawn by Shakespeare very nearly as it stands in history, and in colours far different from the farcical ones, in which it is the present fashion to represent it. He is described indeed as imperious, but at the same time a great Monarch, and not withstanding his short interjections of anger, he is in my judgment upon every occasion a King. I wish this consideration may prevail with Mr Berry, when he plays this character for the future, to remember that tho' Harry as well as Jobson may be something rough and boistrous, yet the turbulency of a haughty prince, is a very different quality, and must therefore appear in avery different fashion, from the sawciness of an impudent cobbler. "Whatever neglect his Moorish Excellency might discover of this part, he paid great attention to that of Queen Catherine; but nothing seem'd to affect him so stronglyas Miss Young's singing, at which he appeared quite collected, and listened to her with all marks of rapturous admiration; his whole soul appeared touched, and at the end of the song, he joined the house in clapping, a mark of applause I did not observe him give at any other time. "I thought upon the King's kissing Anna Bullen, that he appeared surprized and offended, and looked about, to observe whether others were not affected in the same manner. "The procession was less marked by him than I had expected, but upon the Champion's entry on horseback, he burst into such an Immoderate fit of laughter, as to fall quite back in his seat. "At the end of the play he rose, as if to leave the House, but looked very well pleased upon being informed there was more entertainment to come; in the Pantomime he seem'd surprized and disgusted at the appearance of Harlequin, to whom he did not appear reconciled to the last; his wonder was still greater at the flying of the Genii cross the stage, and other parts of the machinery, which I thought he studied byt was puzzled to account for. He laughed heartily at the Clown, and admired Colombine not a little.... "I am jealous of the honour of my country in all respects. I would have this stranger leave it with as high opinion of our publick entertainments as possible, and could wish that at the Old House, he might see Mr Garrick in Richard or some equally striking part, and at the New, he may be present at plays, where rich dresses, magnificent show and graceful action, and uncommon personal perfections in the principal performers might contribute to give him a more elevated idea of our stage, than he can have receiv'd from King Harry."] Receipts: #210 (Cross)

Performances

Mainpiece Title: King Henry Viii

Cast
Role: King Henry Actor: Berry

Afterpiece Title: The Genii

Related Works
Related Work: The Genii, Arabian Night's Entertainment Author(s): Henry Woodward
Event Comment: Afterpiece [1st time; co 2, by Henry Bate (later Sir Henry Bate Dudley). Music by William Shield]. Books for both Pieces to be had at the Theatre. Public Advertiser, 15 June 1779: This Day is published The Flitch of Bacon (1s.)

Performances

Mainpiece Title: Bonduca

Afterpiece Title: The Flitch of Bacon

Related Works
Related Work: The Flitch of Bacon Author(s): Henry Bate
Event Comment: The date of this amateur performance is not known, but the date generally accepted is December 1689. See Alfred Loewenberg, The Annals of Opera, Second Edition, Columns 85-86; and R. E. Moore, Henry Purcell and the Restoration Theatre (Cambridge, Mass., 1961), pp. 38-69. The Epilogue is in New Poems (1690)

Performances

Mainpiece Title: Dido And Aeneas

Related Works
Related Work: Dido and Aeneas Author(s): Henry Purcell

Performances

Mainpiece Title: Amphitryon; Or, The Two Sosias

Performance Comment: The music by Henry Purcell. Edition of 1690: Prologue-Mrs Bracegirdle; Jupiter-Betterton; Mercury-Lee; Phoebus-Bowman; Amphitryon-Williams; Sosia-Nokes; Gripus-Sandford; Polidas-Bright; Tranio-Bowen; Alcmena-Mrs Barry; Phaedra-Mrs Montfort; Bromia-Mrs Cory; Night-Mrs Butler; Epilogue-Phaedra.
Related Works
Related Work: Amphitryon; or, The Two Sosias Author(s): Henry Purcell
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.

Performances

Mainpiece Title: The Fairy Queen

Related Works
Related Work: The Fairy Queen Author(s): Henry Purcell
Event Comment: The United Company. The date of the first production is not known, but the Gentleman's Journal, February 1692@3 (issued in March) makes clear that it followed Congreve's play: We have had since a Comedy, call'd, The Wary Widow, or Sir Noisy Parrot, by Henry Higden Esq; I send by here the Prologue to it by Sir Charles Sedley, and you are too great an Admirer of Shakespeare, not to assent to the Praises given to the Fruits of his rare Genius (p. 61). The play was announced in the London Gazette, No. 2875, 29 May-June 1693. The music for one song, All hands up aloft, was by Berenclow, and the song appears in D'Urfey, Wit and Mirth, 1699. Dedication, edition of 1693: But now it is forced to beg for your Protection from the malice and severe usage it received from some of my Ill natured Friends, who with a Justice peculiar to themselves, passed sentence upon it unseen or heard and at the representation made it their business to persecute it with a barbarous variety of Noise and Tumult. Gildon, The Life of Mr Thomas Betterton (p. 20): The actors were completely drunk before the end of the third act, and being therefore unable to proceed with this "Pleasant Comedy," they very properly dismissed the audience

Performances

Mainpiece Title: The Wary Widow; Or, Sir Noisy Parrat

Related Works
Related Work: The Wary Widow; or, Sir Noisy Parrat Author(s): Henry Higden
Event Comment: Aeneas and Dido compos'd by the late Mr Henry Purcell. At the Desire of several Persons of Quality

Performances

Mainpiece Title: The Anatomist; Or, The Sham-doctor

Afterpiece Title: Mars and Venus

Afterpiece Title: Aeneas and Dido

Related Works
Related Work: Dido and Aeneas Author(s): Henry Purcell
Event Comment: At the Desire of several Persons of Quality. Afterpiece: several Musical Entertainments composed by Henry Purcell. [Monday 10--Saturday 15: PASSION WEEK]

Performances

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

Afterpiece Title: Aeneas and Dido

Related Works
Related Work: Dido and Aeneas Author(s): Henry Purcell

Dance: New Scotch dances-

Event Comment: Mainpiece: Written by Beaumont and Fletcher, and since Revis'd. Afterpiece: [By Henry Carey.] A New Farce

Performances

Mainpiece Title: Bonduca

Afterpiece Title: The Contrivances; or, More Ways Than One

Related Works
Related Work: The Contrivances; or, More Ways Than One Author(s): Henry Carey

Music: Mainpiece: by Henry Purcell

Event Comment: [By Henry Fielding.] Never Acted before

Performances

Mainpiece Title: Love In Several Masques

Related Works
Related Work: Love in Several Masques Author(s): Henry Fielding
Event Comment: At the particular Desire of several Persons of Quality. First Piece. [By Henry Carey.] Not play'd these Fourteen Years. Second Piece: Not play'd these Six Years

Performances

Mainpiece Title: The Contrivances; Or, More Ways Than One

Related Works
Related Work: The Contrivances; or, More Ways Than One Author(s): Henry Carey

Afterpiece Title: The Walking Statue; or, The Devil in the Wine Cellar

Afterpiece Title: Phebe; or, The Beggar's Wedding

Dance: HHarlequin-Master Lally, Miss Brett; Sultana-Miss Robinson Jr

Event Comment: [By Henry Fielding.

Performances

Mainpiece Title: The Temple Beau

Related Works
Related Work: The Temple Beau; or, The Intriguing Sisters Author(s): Henry Fielding
Related Work: The Temple Beau Author(s): Henry Fielding
Event Comment: Afterpiece: [By Henry Fielding.] For a comment on the performance, see Egmont, Diary, I, 97

Performances

Mainpiece Title: The Author's Farce

Related Works
Related Work: The Authors Farce; and, The Pleasures of the Town Author(s): Henry Fielding

Afterpiece Title: Tom Thumb

Related Works
Related Work: Tom Thumb Author(s): Henry Fielding
Related Work: The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great Author(s): Henry Fielding
Event Comment: Third piece: an entire New Act [introduced into Tom Thumb, By T. Cooke]. Daily Journal, 30 Nov.: Whereas it hath been advertised, that an entire New Act, called, The Battle of the Poets, is introduced into the Tragedy of Tom Thumb; This is to assure the Town, that I have never seen this additional Act, nor in any ways concerned therein. Henry Fielding

Performances

Mainpiece Title: The Coffee-house Politician; Or, The Justice Caught In His Own Trap

Performance Comment: Worthy-Havard; Squeezum-Jones; Politick-Roberts; Ramble-Mullart; Sotmore-Lacy; Constant-Furnival; Hillaret-Mrs Mullart; Isabella-Mrs Nokes; Mrs Squeezum-Mrs Woodward; Mrs Staff-Mrs Lacy; Cloris-Miss Smith.
Cast
Role: Cloris Actor: Miss Smith.
Related Works
Related Work: Rape Upon Rape; or, The Justice Caught in his own Trap Author(s): Henry Fielding
Related Work: The Coffee House Politician Author(s): Henry Fielding

Afterpiece Title: Tom Thumb

Related Works
Related Work: Tom Thumb Author(s): Henry Fielding
Related Work: The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great Author(s): Henry Fielding

Afterpiece Title: The Battle of the Poets; or, The Contention for the Laureat

Event Comment: Benefit the Author. Afterpiece: Never perform'd before. [By Henry Fielding.

Performances

Mainpiece Title: The Tragedy Of Tragedies

Related Works
Related Work: The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great Author(s): Henry Fielding

Afterpiece Title: The Welch Opera

Related Works
Related Work: The Welch Opera Author(s): Henry Fielding
Event Comment: Never Acted before. [By Henry Fielding.]5s., 3s., 2s., 1s

Performances

Mainpiece Title: The Modern Husband

Related Works
Related Work: The Modern Husband Author(s): Henry Fielding
Event Comment: Never Acted before. [Both plays by Henry Fielding. For a discussion of recent plays, see The Comedian, No. 3, June 1731.

Performances

Mainpiece Title: The Old Debauchees

Related Works
Related Work: The Old Debauchees Author(s): Henry Fielding

Afterpiece Title: The Covent Garden Tragedy

Related Works
Related Work: The Covent Garden Tragedy Author(s): Henry Fielding
Related Work: The Rival Queens; or, Drury-Lane and Covent-Garden Author(s): Henry Fielding
Related Work: The Covent Garden Tragedy Author(s): Henry Fielding

Dance: