SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,authname,perftitleclean,commentcclean,commentpclean) "J and P Knapton"/1) | (@(roleclean,performerclean) "J and P Knapton")') 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 2026 matches on Event Comments, 1158 matches on Performance Comments, 111 matches on Performance Title, 12 matches on Author, and 0 matches on Roles/Actors.
Event Comment: 2nd piece [1st time; M. ENT 1, but printed in 2, by George Nugent Reynolds]: With new and appropriate Scenery by Phillips, &c. The new Music by Reeve. Books of the Songs and Chorusses to be had in the Theatre. [This piece is based on the attempt of the French navy to make a landing in Bantry Bay on 24 Dec. 1796.] Receipts: #293 5s. 6d. (284.5.6; 9.0.0)

Performances

Mainpiece Title: A Cure For The Heart Ache

Cast
Role: Frank Oatland Actor: Fawcett
Role: Farmer Oatland Actor: Waddy
Role: Landlord Actor: Thompson
Role: Jessy Oatland Actor: Miss Wallis

Afterpiece Title: Bantry Bay

Performance Comment: Principal Characters-Johnstone, Murray, Townsend, Haymes, Claremont, Gray, Linton, Street, Mrs Clendining. [Cast from text (Richard White, 1797). and Monthly Visitor, Feb. 1797, p. 165: O'Laughlin-Johnstone; Justice-Murray [in text: Hull]; Lieut. Hamilton-Townsend; Capt. Broadside-Haymes [in text: Incledon]; Patrick-Claremont; Nelly-Mrs Clendining; [The text adds Shaneen O'Shee-Waddy; M'Huckaback-Powel; La Jeunesse-Farley; Louisa-Mrs Mountain; Principal Characters-Gray, Linton, Street; Irish Peasants-Delpini, Blurton, Abbot, Simmons, Hawtin, Curties, Lee, Little, Sawyer, Tett, Kenrick, J. Linton, Thomas, Oddwell, Cooke, Everett, Philipps, Cranfield, Rayner, Wilde, [J.] Lee, Mrs Gilbert, Mrs Lloyd, Mrs Follett, Mrs Castelle, Mrs Masters, Mrs Blurton, Mrs Norton, Mrs Watts, Miss Leserve, Miss Walcup, Mrs Henley, Miss Owen, Miss Logan, Mlle St.Amand.J.] Lee, Mrs Gilbert, Mrs Lloyd, Mrs Follett, Mrs Castelle, Mrs Masters, Mrs Blurton, Mrs Norton, Mrs Watts, Miss Leserve, Miss Walcup, Mrs Henley, Miss Owen, Miss Logan, Mlle St.Amand.

Afterpiece Title: The Ghost

Event Comment: Among the Principal Instrumental Performers are G. Ashley, Leader of the Band; C. Ashley, Principal Violoncello; Wm. Parke, Sarjant, J. Mahon, Boyce, Bridgtower, Parkinson, Lavenu, Taylor, W. Ware, Flack, Dressler, Gwilliam, Nicks, [the] Munros, I. Sharp, W. Sharp, M. Sharp, J. Sharp, Archer, Cobham, Jackson, Wood, Coyle, Cornish, Purney, Leffler, Woodham, Piele, [the] Cantelos, Skillern, Beale, Lloyd, Franki, Simpson, Jenkinson, &c.; J. Ashley, Organ; R. Ashley, Double Drums (used at Westminster Abbey). The Chorusses will be numerous and complete. The whole under the Direction of Ashley. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Brandon at the Office in Hart-street. The Doors to be opened at 6:00. To begin at 7:00 [same throughout oratorio season]. Books of the Performance (with the imprimatur of E. Macleish) to be had at the Theatre. [Sga Galli did not sing in The Messiah when it was originally performed in Dublin in 1742, or in London in 1743, in which year the cg oratories under Handel were established.] "I had the curiosity to go, and heard [Sga Galli] sing, 'He was despised and rejected of men' in the Messiah. Of course her voice was cracked and trembling, but it was easy to see her school was good; and it was pleasing to observe the kindness with which she was received, and listened to; and to mark the animation and delight with which she seemed to hear again the music in which she had formerly been a distinguished performer. The poor old woman had been in the habit of coming to me annually for a trifling present; and she told me on that occasion that nothing but the severest distress should have compelled her so to expose herself, which after all did not answer its end, as she was not paid according to her agreement" (Mount-Edgcumbe, pp. 19-20). [At the rehearsal, 1 Mar., I know that my Redeemer liveth sung by Mme Mara; Comfort ye my people by Braham; But@thou didst not leave by Miss Poole (Morning Herald, 2 Mar.).] "The chorusses are not such as would give satisfaction to a musical amateur: in this department we must endeavour to be content with noise and bawling, instead of sense and science:--they are not, however, worse than usual" (Monthly Visitor, Mar.1797, p. 262)

Performances

Mainpiece Title: The Messiah 0

Performance Comment: Principal Vocal Performers-Master Elliot, Braham, Sale, Bartleman, Mme Mara, Miss Poole, Sga Galli (Who is in her Seventy-Fifth Year, and will sing He was despised, which was originally composed for her by Handel, and which she sung when the Oratorios were first performed under his Direction, in the year 1741).

Music: End I: concerto on the violoncello-C. Ashley

Event Comment: The King's Company. This play appears on Herbert's List, following the entry for 26 Oct. 1661. (See William VanLennep, "Thomas Killigrew prepares his Plays for Production," J. Q. Adams Memorial Studies (Washington, D. C., 1948, p. 803.) Pepys, Diary: W. Pen and I to the Theatre, but it was so full that we could hardly get any room, so he went up to one of the boxes, and I into the 18d. places, and there saw Love at first sight, a play of Mr Killigrew's and the first time that it hath been acted since before the troubles, and great expectation there was, but I found the play to be a poor thing, and so I perceive every body else do. BM Add. Mss. 34217, fol. 31b, in Hotson Commonwealth and Restoration Stage, p. 246: @First then to speake of his Majestys Theatre@Where one would imagine Playes should be better@Love att the first sight did lead the dance@But att second sight it had the mischance@To be so dash'd out of Countenance as@It never after durst shew itts face@All though its bashfullnesse as tis thought@Be far from being the Authors ffault.

Performances

Mainpiece Title: The Princess Or Love At First Sight

Performance Comment: An edition in 1663 (in Killigrew's Comedies and Tragedies) lists no actors' names, no prologue, no epilogue.
Event Comment: On this date a band of French comedians received a permit authorizing them to bring their scenes and stage decoration to England. See W. J. Lawrence, "Early French Players in England," The Elizabethan Playhouse and Other Studies, p. 140; Nicoll, Restoration Drama, p. 252; and Madame M. Horn-Monval, "French Troupes in England during the Restoration," Theatre Notebook, VII (1953), 82

Performances

Event Comment: The King's Company. This play is on L. C. list, 5@12, p. 17: ye king here. See also Nicoll, Restoration Drama, p. 344. The play was apparently designed for the opening of the Bridges St playhouse in November 1666 but was not then acted. The edition of 1667 gives a intended cast. Bonhomme-Cartwright; Valerio-$C. Hart; Ergasto-$W. Winterson [$Wintershall]; Don Buisson-Burt; La Fleur-$E. Keninston [$Kynaston]; Sganarelle-J. Lacy; Mascarillio-$M. Moon [$Mohun]; Jodelet-ander, $Wilbraham">R. Shatterel; Housekeepers-$Alexander, $Wilbraham; Mary and Anne-$The Two Marshalls; Isabella-$Mrs Rutter; Lysette-$Nel Guin; Prologue Intended for the Overture of the Theatre, 1666; Epilogue. [In this list the names Alexander and Wilbraham are not otherwise known and may represent errors in the printed list.

Performances

Mainpiece Title: The Damaseiles A La Mode

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 2. See also Nicoll, Restoration Drama, p. 347. This performance may well be the premiere. In the Preface the author states that the play was asked for on Shrove Tuesday and he wrote it within a week; a premiere, then, before this date would allow very little time for rehearsal. This play is certainly a "Lenten" performance, for it was acted on a Wednesday in Lent and was referred to in the Prologue as a "Lenten Play." See the discussion under The Spanish Rogue (March 1673) and Gray, pp. 785-86. See also J. G. McManaway, The Copy for The Careless Lovers," MLN, XLVI (1931), 406-9. Preface to the edition of 1673: [This play] was written at the Desire of the Young Men of the Stage, and given them for a Lenten-Play, they ask't it not above a Week before Shrove-Tuesday

Performances

Mainpiece Title: The Careless Lovers

Event Comment: Lord Preston (in Paris) to the Duke of York, 22 Sept. 1683, N.S.: I should not have presumed to give your Highness the trouble of this if something of charity had not induced me to it. I do it at the instance of a poor servant of his Majesty's who some time since was obliged by a misfortune to leave England. It is Mr Grahme [Grabut?], sir, whom perhaps your Highness may remember. Mr Betterton coming hither some weeks since by his Majesty's command, to endeavour to carry over the Opera, and finding that impracticable, did treat with Monsr Grahme to go over with him to endeavour to represent something at least like an Opera in England for his Majesty's diversion. He hath also assured him of a pension from the House, and finds him very willing and ready to go over. He only desireth his Majesty's protection when he is there, and what encouragement his Majesty shall be pleased to give him if he finds that he deserves it (HMC, 7th Report, Part I, p. 290). W. J. Lawrence (Early French Players in England, p. 149) argued that Grahme should be Grabut, who had once been Master of the King's Music (to 1674) and who had settled in Paris. Grabut was certainly back in London in the spring of 1684

Performances

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's date of acquistion of the separately-printed Prologue and Epilogue is 6 Feb. 1687@8 (see A. S. Borgman, The Life and Death of William Mountford [Cambridge, Mass., 1935], p. 26n). Very probably the play had its premiere early in February. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 256-58. A song, Lucinda close or veil those eyes, with music by J. B. Draghi, is in The Banquet of Musick, The Second Book, 1688. Charles Gildon, The Lives and Characters of the English Dramatick Poets (London, 1698 (?), p. 102: [It] did not succeed as the Author wish'd

Performances

Mainpiece Title: The Injured Lovers Or The Ambitious Father

Event Comment: An Oratorio. With several New Additions. Pit and Boxes to be put together. No person to be admitted without tickets, which will be deliver'd this day at the Office of the Theatre at Half a Guinea each. First Gallery 5s. Second Gallery 3s. 6d. Galleries to be opened at Half past Four, Pit and Boxes at Five. To begin at Half an Hour after Six. [Customary note for all oratorios this season.

Performances

Mainpiece Title: The Triumph Of Time And Truth

Performance Comment: Edition of wordbook (J. Watts, sold by B. Dod, 1758) lists Time, Counsel (or Truth), Beauty, Pleasure, Deceit, and Chorus. Deceit-Mrs Passerini. [(Deutsch, Handel, p. 793).](Deutsch, Handel, p. 793).]

Performances

Mainpiece Title: Love For Love

Performance Comment: Valentine-Reddish; Sir Sampson Legend-Moody; Scandal-Bensley; Foresight-Parsons; Ben-Yates; Jeremy-Baddeley; Trapland-Waldron; Buckram-Wrighten; Officer-Griffiths; Tattle-King; Angelica-Miss Younge; Mrs Frail-Miss Pope; Mrs Foresight-Miss Sherry; Nurse-Mrs Bradshaw; Miss Prue-Mrs Abington; The new occasional Prologue-Dodd. [This was spoken, as here assigned, at the first 2 performances only (see17761205).]This was spoken, as here assigned, at the first 2 performances only (see17761205).]
Cast
Role: Scandal Actor: Bensley
Role: Trapland Actor: Waldron

Afterpiece Title: The Elopement

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. "The Captives were set at liberty last night, amidst roars of laughter. I see the doctor [i.e. the author] publishes it this week . . . Cadell bought this sublime piece before it appeared, for fifty pounds, agreeing to make it a hundred on its third representation. It has been played three times, and I dare say old Sanctimony will have no remorse in taking the other fifty." J. P. Kemble to Edmond Malone (Life of Edmond Malone, by Sir James Prior, i860, p. 126). Receipts: #138 13s. 6d. (91/19/0; 40/18/0; 5/16/6; tickets: none listed) (charge: #105)

Performances

Mainpiece Title: The Captives

Performance Comment: As17860311but omitted: Fawcett, Chaplin. Prologue and Epilogue as17860309athi .

Afterpiece Title: The Gentle Shepherd

Related Works
Related Work: The Gentle Shepherd Author(s): Cornelius Vanderstop

Dance: As17860223

Song: As17860309athi

Event Comment: Sethona Publish'd. Note of Hand deferr'd Dodd ill (Winston MS 10). Paid Mr F. Aickin's joint note with Mr J. Aickin #4 10s.; Mr Everard (late Cape) a debt & Costs #3 18s.; Mr Highley on acct #200; Mr Hopkins, Licence for Note of Hand & Sethona, #4 4s.; Miss P. Hopkins 1 night 5s. (Treasurer's Book). Receipts: #239 13s. (Treasurer's Book)

Performances

Mainpiece Title: Sethona

Related Works
Related Work: Sethona Author(s): Alexander Dow

Afterpiece Title: The Citizen

Event Comment: Paid 4 day's salary list at #94 11s. 6d. per diem #378 7s. 4d.; J. French on acct #5 5s. (Treasurer's Book). [From the Westminster Magazine, March, p. 125: "A disturbance on account of Mrs Yates having left the theatre without speaking the Epilogue to Braganza. The House was clamorous and would not give up their right. Mr Vernon endeavoured to appease their fury, by declaring that Mrs Yates being taken with a hoarseness, had left the theatre,' but this excuse the Audience would not accept. Mr Vernon withdrew, and after a short time returned assuring the House that he had sent to Mr Garrick (who was confined to his room with a fit of the stone) but who had directed the messenger immediately to fetch Mrs Yates, and that her husband was then in the theatre. He was directly called for, and instantly came on the stage to know the pleasure of the Audience. They told him bluntly they did not want to see him, but to hear his wife, whose obstinacy and pride had betrayed her into the present insult. He in vain tried to assure them, that his wife's conduct proceeded from a very contrary cause from that which they alledged; and the cause was real illness. As the clamor was universal, Mr Yates quitted the stage; and at length, an hour and a half being spent in tumult, the overture was suffered, and the farce went on, but not in silence." See note, 9 March.] Receipts: #201 19s. (Treasurer's Book)

Performances

Mainpiece Title: Braganza

Cast
Role: Ferdinand Actor: Norris

Afterpiece Title: The Rival Candidates

Event Comment: Mainpiece [1st time; D 4, by Elizabeth Inchbald, adapted from Zelie; ou, L'Ingenue, by Stephanie Felicite Ducrest de Saint Aubin, Comtesse de Genlis. Beginning with 6 Dec. this was reduced to an afterpiece of 3 acts. Epilogue by Miles Peter Andrews (see text)]. Public Advertiser, 12 Dec. 1788: This Day is published The Child of Nature (price not listed). Afterpiece: Reduced [from 5] into 3 acts. Receipts: #150 15s 6d. (139.10.0; 11.5.6),

Performances

Mainpiece Title: The Child Of Nature

Performance Comment: Principal Characters by Lewis, Ryder, Aickin, Farren, Fearon, Macready, Thompson, Mrs Mattocks, Miss Brunton. [Cast from text (G. G. J. and J. Robinson, 1788), and European Magazine, Dec. 1788, p. 469: Count Valentia-Lewis; Duke of Murcia-Ryder; Peasant (Alberto)-Aickin; Marquis Almanza-Farren; Seville-Fearon; Granada-Macready; 2nd Peasant-Thompson; Servant-Evatt; Marchioness Merida-Mrs Mattocks; Amanthis-Miss Brunton; Epilogue-Mrs Mattocks. [This was spoken as, here assigned, at all subsequent performances.]This was spoken as, here assigned, at all subsequent performances.]

Afterpiece Title: A Bold Stroke for a Wife

Dance: As17880924

Event Comment: Pepys, Diary: Then my wife and I to Drury Lane to the French comedy, which was so ill done, and the scenes and company and everything else so nasty and out of order and poor, that I was sick all the while in my mind to be there. See also Boswell (Restoration Court Stage, p. 280). W. J. Lawrence (Early French Players in England, The Elizabethan Playhouse and Other Studies (1912), pp. 139-40) argues that the play was Chapoton's Le Mariage d'Orphee et d'Eurydice. See also The Description of the Great Machines of the Descent of Orpheus into Hell. Presented by the French Comedians at the cockpit in Drury Lane. The Argument Taken out of the Tenth and Eleventh Books of Ovid's Metamorphosis (1661). Rugg's Diurnal the French players (BM Add. Mss. 10116, f243v)

Performances

Mainpiece Title: A French Comedy

Event Comment: The Duke's Company, the receipts for #20 being signed by Richard Baddeley (A Calendar of the Middle Temple Records, ed. Hopwood, p. 170). W. J. Lawrence (Review of English Studies, IX (1933), 221) suggests The Adventures of Five Hours as a possibility. Pepys, Diary: I met Madam Turner...she and her daughter having been at the play to-day at the Temple, it being a revelling time with them

Performances

Mainpiece Title: An Unidentified Play

Event Comment: Charles II to Madame, 10 Dec. 1663: I am just now going to see a new play (C. H. Hartmann, Charles II and Madame[1934], p. 89). The Duke's Company. W. J. Lawrence, in a review of Boswell, The Restoration Court Stage, in Modern Language Review, XXVIII (1933), 103, suggests that it was The Step-Mother which was given on this occasion. The edition of 1664 lists: The Prologue to the King at the Cockpit at White-Hall. The Epilogue to the King

Performances

Mainpiece Title: The Step Mother

Performance Comment: . Sylvanus-Sandford?; Filamor-Bettertun?; Adolph-Young?; Tetrick-Underhill?; Fromund-Price?; Crispus-Smith?; Capito-Metborn?; Gracchus-Lovell?; Sergius-Rob. Noke?; Pontia-Mrs Williams?; Caesarina-Mrs Bettertun?; Violinda-Mrs Davies?; Brianella-Mrs Long?; The Prologue to the King-; The Prologue to the Stage-; The Epilogue to the House-the Step-Mother?; The Epilogue to the King-; Instrumental Vocal Recitative Musick by Mr Lock-.
Cast
Role: Sylvanus Actor: Sandford?
Event Comment: Charles II to Madame, 14 July 1664: I am just now come from seeing a new ill play and it is almost midnight (C. H. Hartman, Charles II and Madame [1934], p. 108). W. J. Lawrence, in a review of Boswell, The Restoration Court Stage, in Modern Language Review, XXVIII (1933), 103, stated his belief that this play was acted at court this day

Performances

Mainpiece Title: Pompey The Great

Event Comment: The Duke's Company. The source of this performance is the diary of Jeffrey Boys. See G. J. Gray, "The Diary of Jeffrey Boys of Gray's Inn, 1671," Notes and Queries, 27 Dec. 1930, p. 455

Performances

Mainpiece Title: The Forcd Marriage Or The Jealous Bridegroom

Event Comment: The King's Company. See G. J. Gray, "The Diary of Jeffrey Boys of Gray's Inn, 1671," Notes and Queries, 27 Dec. 1930, p. 455

Performances

Mainpiece Title: The Conquest Of Granada Part I

Event Comment: The King's Company. See G. J. Gray, "The Diary of Jeffrey Boys of Gray's Inn, 1671," Notes and Queries, 27 Dec. 1930, p. 455

Performances

Mainpiece Title: The Conquest Of Granada Part Ii

Event Comment: The Duke's Company acted at Oxford during this month, offering Cambyses and, presumably, other plays of which we have no record. See W. J. Lawrence, "Oxford Restoration Prologues," Times Literary Supplement, 16 Jan. 1930, p. 43, and Sybil Rosenfeld, "Some Notes on the Players in Oxford, 1661-1713," Review of English Studies, XIX (1943), 368

Performances

Event Comment: Early in 1672 a group of French players may have acted in London, but the evidence is not precise or detailed. See W. J. Lawrence, Early French Players in England, p. 142

Performances

Event Comment: The United Company. The date of the first performance is not known, but Luttrell dated his copy of the separately-printed Prologue and Epilogue 5 April 1684 (J. W. Dodds, Thomas Southerne, p. 48). Very probably the play first appeared during the week of 31 March-5 April, immediately following Easter. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 191-94. This may have been the last new role William Smith undertook for some years; see Cibber, Apology, ed. Lowe, 1, 78-79, for the incident which prompted Smith's leaving the stage for awhile. One song, I never saw a face till now, with music by Captain Pack, is in The Theater of Music, the First Book, 1685; and another, O why did e'er my thoughts aspire, the music by R. King, is in the same collection. A third song, See how fair Corinna lies, the music by Captain Pack, is in A Collection of Twenty-Four Songs, 1685

Performances

Mainpiece Title: The Disappointment Or The Mother In Fashion

Event Comment: Richard Lapthorne, 8 Aug. 1691: Bartholomew faire by order of the Lord Mayor and Aldermen is to bee kept but for 3 days this yeare because its a season of great debauchery and therefore they think a fortnight to bee too long a space and it seemes according to the originall Institution it was to continue no longer then three dayes (R. J. Kerr and I. C. Duncan, The Portledge Papers [London, 1928], p. 118.

Performances