SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "John Ashley"/1) | (@(roleclean,performerclean) "John Ashley")') 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 9825 matches on Author, 1754 matches on Performance Comments, 1154 matches on Event Comments, 325 matches on Performance Title, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: A Grand Selection Of Sacred Music From The Works Of Handel

Music: End of Part II concerto on the organ by J. Ashley

Performance Comment: Ashley .

Performances

Mainpiece Title: L'allegro Ed Il Pensieroso; Grand Selection 0

Afterpiece Title: A Grand Miscellaneous Act

Music: End Part II: 3rd concerto of Giardini on the violin-G. Ashley

Performance Comment: Ashley.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music From The Works Of handel

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Music: In Part II: 1st concerto [of Geminiani]-G. Ashley

Performance Comment: Ashley.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music; Messiah

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Performance Comment: The flocks shall leave the mountains-Miss Parke, Nield, Bartleman; Wretched Lovers-Chorus (Acis and Galatea); O Liberty-Kelly accompanied on the violoncello-C. Ashley (Judas Maccabaeus); May no rash Intruder-Chorus (Solomon); Wave from wave-Wonder (Israel in Egypt); Ye sacred Priests, Farewell ye limpid springs-Miss Parke (Jephtha); O God who in thy heavenly hand-Chorus (Joseph).

Afterpiece Title: Grand Selection 3

Music: 6th concerto of Giordani on the violin-C. Ashley

Performance Comment: Ashley.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music; Messiah

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Performance Comment: Overture and Dead March- (Saul); Happy Iphis-Master Elliot (Jephtha); The Mighty Power-Chorus (Athalia); O Liberty-Kelly; accompanied on the violoncello-C. Ashley [Judas Maccabaeus]; Tyrants would-Miss Parke; Why should Salem-Chorus (Athalia); Honour and Arms-Bartleman; Then round about-Chorus (Samson); Sweet Bird-Miss Parke, [accompanied on the violoncello by] G. Ashley [L'Allegro]; He rebuked the Red Sea-Chorus (Israel in Egypt).

Afterpiece Title: Grand Selection 3

Music: End Part II: violin concerto by Giardini-G. Ashley

Performance Comment: Ashley.

Performances

Mainpiece Title: The Messiah; Alexander's Feast; Grand Selection 0

Related Works
Related Work: Alexander's Feast; or, The Power of Musique Author(s): John Dryden
Related Work: Alexander's Feast Author(s): John Dryden

Music: End Part I: 3rd concerto of Giardini on the violin-G. Ashley; End Part II: concerto on the Piano Forte-Dussek

Performance Comment: Ashley; End Part II: concerto on the Piano Forte-Dussek.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music From The Works Of Handel

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Music: End Part I: concerto on the violincello-C. Ashley; End Part II: concerto on the harp-Mme Delaval

Performance Comment: Ashley; End Part II: concerto on the harp-Mme Delaval.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music From The Works Of Handel

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Music: End Part I: concerto on the violin-G. Ashley; End Part II: concerto on the Grand Piano Forte-Miss M'Arthur

Performance Comment: Ashley; End Part II: concerto on the Grand Piano Forte-Miss M'Arthur.

Performances

Mainpiece Title: Acis And Galatea 0; L'allegro Ed Il Penseroso 0; Messiah 0

Afterpiece Title: Acis and Galatea 3

Music: End I: Handel's 4th concerto on the organ-J. Ashley; End II: concerto on Piano Forte-Dussek

Performance Comment: Ashley; End II: concerto on Piano Forte-Dussek.

Performances

Mainpiece Title: Acis And Galatea 0

Performance Comment: Acis-Incledon; Polyhemus-Reinhold; Galatea-Mme Mara; [Other] Principal Vocal Performers-Master Elliot, Sale, Miss Poole, Miss Dufour; Leader of the Band-G. Ashley.

Afterpiece Title: Acis and Galatea 3 [i

Music: End I: serenata concerto on violin-G. Ashley; End II: a new concerto, with a military rondo, on the Grand Piano Forte-Dussek

Performance Comment: Ashley; End II: a new concerto, with a military rondo, on the Grand Piano Forte-Dussek.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music, From The Works Of handel; Messiah

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Music: End I: concerto on the violoncello-C. Ashley; End II: concerto= on the Piano Forte-Dussek

Performance Comment: Ashley; End II: concerto= on the Piano Forte-Dussek.
Event Comment: John Dryden to Lord Latimer, July 1677: But the Kings Comedy [probably Mr Limberham] lyes in the Sudds till you please to send me into Northamptonshyre: it will be almost such another piece of business as the fond Husband, for such the King will have it, who is parcell poet with me in the plott; one of the designes being a story he was pleas'd formerly to tell me; and therefore I hope he will keep the jeast in countenance by laughing at it...I have a farther honour to beg, that my Tragedy [All for Love], which will be acted at Michaelmasse, & is already written, may have the honour to be addressed to my Lord Treasurer; & that your Lordship and My Lord Mulgrave wil I hope beg together for me (The Letters of John Dryden, ed. Ward, pp. 11-12)

Performances

Event Comment: John Verney to Sir R. Verney, 23 June 1679: Churchill, for beating an orange wench in the Duke's playhouse, was challenged by Capt. Otway (the poet), and were both wounded, but Churchill most. The relation beinb told the King, by Sir John Holmes, as Churchill thought to his prejudice he challenged Holmes, who fighting, disarmed him, Churchill. On Saturday, at the Duke's Theatre, happened a quarrel between young Bedlow and one of the novices of St Omer's, and many swords were drawn, but as yet I have not heard whether any blood was shed in this religious quarrel (HMC, Verney MSS., 7th Report, Appendix, 1879, p. 473)

Performances

Event Comment: John Dryden to Jacob Tonson, ca. August 1684: I desire to know whether the Dukes house are makeing cloaths & putting things in a readiness for the singing opera [The Tempest?], to be playd immediately after Michaelmasse: for the Actors in the two plays, which are to be acted of mine, this winter [All for Love and The Conquest of Granada], I had spoken with Mr Betterton by chance at the Coffee house the afternoon before I came away: & I believe that the persons were all agreed on, to be just the same you mentioned. Only Octavia was to be Mrs Buttler, in case Mrs Cooke were not on the Stage. And I know not whether Mrs Percivall who is a Comedian, will do so well for Benzayda (Letters of John Dryden, ed. Ward, pp. 23-24)

Performances

Event Comment: John Dryden to Sir George Etherege, 16 Feb. 1686@7: The Coffee-house stands certainly where it did, & angry men meet in the square sometimes, as Abercomy, & Goodman lately did, where they say Alexander the Great was wounded in the arme (The Letters of John Dryden, ed. Ward, p. 27). See 27 Oct. 1686

Performances

Event Comment: John Dryden to his sons, 3 Sept. 1697: After my return to Town, I intend to alter a play of Sir Robert Howards, written long since, & lately put by him into my hands: tis calld The Conquest of China by the Tartars. It will cost me six weeks study, with the probable benefit of an hunderd pounds. In the meane time I am writeing a Song for St Cecilia's feast, who you know is the Patroness of Musique. This is troublesome, & no way beneficiall: but I coud not deny the Stewards of the feast, who came in a body to me, to desire that kindness (Letters of John Dryden, p. 93)

Performances

Event Comment: John Dryden to Jacob Tonson: I have broken off my Studies from The Conquest of China (Letters of John Dryden, p. 97)

Performances

Event Comment: John Dryden to Mrs Steward, 26 Nov. 1699: If you come up next Week, you will be entertaind with a New Tragedy; which the Author of it, one Mr Dennis, cryes up at an Excessive rate, & Colonel Codrington, who has seen it, prepares the world to give it loud Applauses. Tis calld Iphigenia, & Imitated from Eurypides, an old Greek poet. This is to be Acted at Betterton's House, & another play of the same name, is very shortly to come on the stage in Drury Lane (The Letters of John Dryden, p. 129)

Performances

Event Comment: John Vanbrugh to the Earl of Manchester, 25 Dec. 1699: Miss Evans the dancer at the New Playhouse is dead too; a feaver Slew her in eight and forty hours. She's much lamented by the Towne as well as the House, who can't well bare her loss; Matters running very low with 'em this Winter; if Congreve's Play [The Way of the World] don't help 'em they are undone. 'Tis a Comedy and will be play'd about Six weeks hence, nobody has seen it yet. Liveridge is in Ireland, he Owes so much money he dare not come over, so for want of him we han't had one Opera play'd this Winter; tho' Purcell has set one New One and Fingar another. We have got the Woman from the Chesire Cheese upon the Stage, who has the best Voyce for't by much that has been there at any time. We have the Emperors Crooaed Eunuch here, Francisco. They give him a hundred and twenty Guineas for five times. He has sung Once and was well likt. Dogget was here last Week, they gave him thirty pound to act Six times, which he did and fill'd the house every time (The Complete Works of Sir John Vanbrugh [Bloomsbury: Nonesuch Press, 1928], IV, 4)

Performances

Event Comment: John Dryden to Mrs Steward, 11 April 1700: Within this Moneth there will be played for my Profit, an old play of Fletcher s, called the Pilgrim, corrected by my good friend Mr Vanbrook; to which I have added A New Masque, & am to write a New Prologue & Epilogue. Southern s tragedy, called the Revolt of Capoua, will be played At Bettertons House within this fortnight. I am out with that Company, & therefore if I can help it, will not read it before tis Acted; though the Authour much disires I shou'd (The Letters of John Dryden, p. 136)

Performances

Performances

Mainpiece Title: The Libertine Destroy'd

Performance Comment: John-Mills; Jacomo-Johnson; Antonio-Thurmond; Lopez-Bickerstaff; Francisco-Keene; Leonora-Mrs Knight; Maria-Mrs Porter; Octavia-Miss Sherburn; Flavia-Miss Willis; Shepherds-Norris, Leigh, Pack, Burkhead.
Cast
Role: John Actor: Mills
Role: Jacomo Actor: Johnson

Dance: Dutch Skipper and Wife-

Performances

Mainpiece Title: The Libertine Destroy'd

Performance Comment: John-Mills; Maria-Mrs Porter; Jacomo-Johnson.
Cast
Role: John Actor: Mills
Role: Jacomo Actor: Johnson.

Music: With the Shepherds' Musick by the late Mr Henry Purcell-

Performances

Mainpiece Title: Cato

Performance Comment: Cato-Comerford; Portius-Russell; Marcus-Smith; Lucius-Dancer; Sempronius-Johnson; Juba-Stokes; Decius-Mrs Kenny; Syphax-Lewis; Marcia-Miss Taylor; Lucia-Mrs Wilks.
Cast
Role: Sempronius Actor: Johnson
Related Works
Related Work: Cato Author(s): John Ozell

Afterpiece Title: The Election

Performance Comment: John-Kenny; Dick-Comerford; Trusty-Russell; Sally-Mrs Davies; Wife-Mrs Wilks.
Cast
Role: John Actor: Kenny

Afterpiece Title: High Life below Stairs

Performance Comment: Lovel-Russell; Freeman-Johnson; Philip-Lewis; Lord Duke-Comerford; Sir Harry-Smith; Robert-Dancer; Coachman-G. Smith; Tom-Kenny; Kingston (the Black Boy)-Master Russell; Kitty (with song)-Mrs Russell; Lady Charlotte-Miss Taylor; Lady Bab-Mrs Wilks; Cook-Mrs Newby.
Cast
Role: Freeman Actor: Johnson

Song: 2nd piece: With all the original Songs, Chorusses-

Entertainment: Imitations, as17760930

Event Comment: John Lacy's The Old Troop; or, Monsieur Raggou was probably acted by this time. Not published until 1672, it was, however, referred to in the Epilogue to The Vestal Virgin (which was entered in the Stationers' Register, 7 March 1664@5): @If nothing pleases but Variety,@I'll turn Ragou into a Tragedy.@When Lacy, like a whining Lover dies.

Performances

Event Comment: John Evelyn, writing to Viscount Cornbury this day, protested the frequency of theatrical performances during the Lenten "Indiction" after hearing that there was to be "no Lent indicted this year." He wondered if Fridays and Saturdays could not be spared from the licentiousness of plays. (See Diary and Correspondence, ed. Bray III, 150-52.

Performances