SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Master Green"/1) | (@(roleclean,performerclean) "Master Green")') 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 1980 matches on Performance Comments, 1131 matches on Performance Title, 727 matches on Event Comments, 76 matches on Roles/Actors, and 8 matches on Author.
Event Comment: Christopher Rich's Company. The date of the resumption of playing is not certain, for Cibber (see below) beclouds the issue by referring to Easter-Monday in April, whereas the first Monday following Easter fell on 25 March 1694@5. Nevertheless, Monday 1 April 1695 seems the likely date of the resumption of playing, with Rich's Company ready to perform before the seceding company under Thomas Betterton was fully organized. A new song for Abdelazar, Lucinda is bewitching fair, the music by Henry Purcell and sung by "the Boy" (Jemmy? Bowen), is in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 195: [The Patentees] were not able to take the Field till the Easter-Monday in April following. Their first Attempt was a reviv'd Play call'd Abdelazar, or the Moor's Revenge, poorly written, by Mrs Behn. The House was very full, but whether it was the Play or the Actors that were not approved, the next Day's Audience sunk to nothing. However, we assured that let the Audiences be never so low, our Masters would make good all Deficiencies, and so indeed they did, till towards the End of the Season, when Dues to Ballance came too think upon 'em. [See I, 195-96, for Cibber's account of his Prologue.] A Comparison Between the Two Stages, 1702, p. 7: But in my Opinion, 'twas strange that the general defection of the old Actors which left Drury-lane, and the fondness which the better sort shew'd for 'em at the opening of their Newhouse, and indeed the Novelty it self, had not quite destroy'd those few young ones that remain'd behind. The disproportion was so great at parting, that 'twas almost impossible, in Drury-lane, to muster up a sufficient number to take in all the Parts of any Play; and of them so few were tolerable, that a Play must of necessity be damn'd that had not extraordinary favour from the Audience: No fewer than Sixteen (most of the old standing) went away; and with them the very beauty and vigour of the Stage; they who were left behind being for the most part Learners, Boys and Girls, a very unequal match for them who revolted. According to a statement made in litigation, the company in Drury Lane acted 84 times between 25 March 1694@5 and 7 July 1695; and the Young Actors played 68 times from 6 July 1695 to 10 Oct. 1695 to 10 Oct. 1695. See Hotson, Commonwealth and Restoration Stage, p. 308

Performances

Mainpiece Title: Abdelazar; Or, The Moor's Revenge

Event Comment: Rich's Company. Post Boy, 29 June-1 July 1697: The New Opera will be Acted this day for the benefit of the Undertaker....The new Opera...is acting with great applause. It is licensed by the Lord Chamberlain's Secretary, and the Master of the Revels; and may be had, with all the songs, at A. Roper's, at the Black-boy in Fleet-street, price 1s

Performances

Mainpiece Title: The World In The Moon

Event Comment: London Gazette, No. 3378, 24-28 March 1698: Next Monday, being the 28th Instant, will be performed in York Buildings, a new Consort of Musick by the chiefest Masters in England, where Signior Rampany, an Italian Musician belonging to the prince of Vaudemont, at the Request of several Persons of Quality, will for once sing in the same in Italian and French. Half a Guinea Entrance

Performances

Mainpiece Title: Concert

Event Comment: Post Boy, No 482, 4-7 June 1698: At York Buildings this Day, being the 7th of June, will be performed an Entertainment of New Musick, Vocal and Instrumental, Mr Pate, Mr Leveridge, Mr Freeman, Mr Bowen, and all the best Masters perform their Parts. Composed by Mr Daniel Purcell for his Benefit

Performances

Mainpiece Title: Concert

Event Comment: James Brydges, Diary: I set Mr Bullock down at ye Playhouse, & came home (Huntington MS St 26). John Dryden wrote to Mrs Steward on 23 Feb. [1699@1700, but possibly 1698@99, as the letter concerns theatrical affairs of the autumn and winter of 1698-99]: The Poem of The Confederates [see The Island Princess, November 1698] some think to be Mr Walsh: the copies are both lik'd. And there are really two factions of ladyes, for the two play-houses. If you do not understand the names of some persons mention'd I can help you to the knowledge of them. You know, Sir Tho. Skipwith is master of the play-house in Drury-Lane; and my Lord Scarsdale is the patron of Betterton's house, being in love with somebody there [presumably Anne Bracegirdle] (The Letters of John Dryden, p. 133)

Performances

Event Comment: Luttrell, A Brief Relation, IV, 502-3: Monsieur Ballon, the famous French dancing master, (whose father teaches the dauphins 3 sons,) having leave to come hither for 5 weeks, is allowed by the playhouse 400 guineas for that time, besides which the lord Cholmley has sent him a present of 100 more. [Betterton's Company.

Performances

Event Comment: Thomas Brown to George Moult, 12 Sept. 1699: But tho' Bartholomew-Fair is dead and buried for a twelvemonth, yet it is some consolation to us, that it revives in both the play-houses. Poetry is so little regarded there, and the audience is so taken up with show and sight, that an author will not much trouble himself about his thoughts and language, so he is but in fee with the dancing-masters, and has a few luscious songs to lard his dry composition. One would almost swear, that Smithfield had removed into Drury-lane and Lincolns-Inn-Fields, since they set so small a value on good sense, and so great a one on trifles that have no relation to the play. By the by, I am to tell you, that some of their late bills are so very monstrous, that neither we, nor our forefathers, ever knew anything like them: They are as long as the title-pages to some of Mr Prynn's works; nay, you may much sooner dispatch the Gazette, even when it is most crowded with advertisements. And as their bills are so prodigious, so are the entertainments they present us with: For, not to mention the Bohemian women, that first taught us how to dance and swim together; not the famous Mr Clinch of Barnet, with his kit and organ; nor the worthy gentlemen that condescended to dance a Cheshirerounds, at the instance of several persons of quality; nor t'other gentleman that sung like a turky-cock; nor, lastly, that prodigy of a man that mimick'd the harmony of the Essex lions; not to mention these and a hundred other notable curiosities, we have been so unmercifully over-run with an inundation of Monsieurs from Paris, that one would be almost tempted to wish that the war had still continued, if it were for no other reason but because it would have prevented the coming over of these light-heel'd gentlemen, who have been a greater plague to our theatres, than their privateers were to our merchantmen. Shortly, I suppose, we shall be entertain'd here with all sorts of sights and shows, as, jumping thro' a hoop; (for why should not that be as proper as Mr Sympson's vaulting upon the wooden-horses?) dancing upon the high ropes, leaping over eight men's heads, wrestling, boxing, cudgelling, fighting at back-sword, quarter-staff, bear-baiting, and all the other noble exercises that divert the good folk at Hockley; for when once such an infection as this has gain'd ground upon us, who can tell where it will stop? What a wretched pass is this wicked age come to, when Ben. Johnson and Shakespear won't relish without these bagatelles to recommend them, and nothing but farce and grimace will go down? For my part, I wonder they have not incorporated parson Burgess into their society; for after the auditors are stupify'd with a dull scene or so, he would make a shift to relieve them. In short, Mr Collier may save himself the trouble of writing against the theatre; for, if these lewd practices are not laid aside, and sense and wit don't come into play again, a man may easily foretell, without pretending to the gift of prophecy, that the stage will be shortliv'd, and the strong Kentish man will take possession of the two play-houses, as he has already done of that in Dorset-Garden (The Works of Thomas Brown, 4th ed. [London, 1715], I, 216-18)

Performances

Event Comment: Rich's Company. The date of the premiere is not known, but Dryden, writing on 14 Dec. 1699, indicates that this play had had its first performance by that date. The Dedication is dated 10 Jan. 1699@1700, and the play was advertised in the Post Boy, 20-23 Jan. 1699@1700. Preface, Edition of 1700: Another difficulty this Play labour'd under, was its being acted at a time when the whole Town was so much, and so justly diverted by the Trip to the Jubilee. When the play was revised and reprinted in 1714, the new edition--The Victim; or Achilles and Iphigenia in Aulis--indicates that The Invocation to Diana in the last act was set by Gottfreid Finger, the first verse being sung by Freeman, the second verse by Mrs Erwin, and the third verse by W. Pate. Advertisement, Edition of 1714: The following Tragedy...having been translated into English [from Racine], with considerable Additions, by Mr Boyer, and pass'd the Correction and Approbation of the late famous Mr Dryden, and several other Persons distinguish'd as well by their Wit and Learning, as by their Taste and Discernment, was acted with general Applause, towards the End of the Year 1699, and Beginning of 1700. The Reasons why this Excellent Play stopt, on a sudden, in a full Career, are, in some Measure, accounted for in Mr Boyer's Preface: To which he might have added, That the Dutchess of Marlborough, who at that Time bore an irresistable Sway, bespoke the Comedy then in Vogue [The Constant Couple], during the Ruin of Iphigenia in Aulis; And that this Tragedy receiv'd no small Prejudice, from the Person that acted Eriphyle [Mrs Wilkins], who sunk under the Weight of so great a Part. A Comparison Between the Two Stages (1702), pp. 24-25: Sullen: Then comes the second Iphigenia in all her Charms, and like a superious Mistress was resolv'd to eclipse her Rival: No cast was spar'd by the Masters, nor toil by the Actors; the Town was bespoke in its favour, and all the Friends of this new Fletcher and Beaumont were ingaged to clap it. She appear'd, but what pity 'twas (as the Prefacer says) that a Play which had such a glorious run shou'd in four Days disappear, never to rise again. Oh! says Mr D@@, mine was acted six Days; and I'll hold you a hundred Pound--just what I got by't--How's that?, says Boyer--I say, Sir, that I'll hold you, or any Man, a hundred Pound, 'twill be acted again ten times this Winter. With that B@@ fell a laughing, and replies, Sir, says he, I'll stake my French Dictionary against your Criticisms on Blackmore, and that I think is odds enough--I say,"I'll hold you that Bet, that you did not get fifty Shillings by't, and that the House lost a hundred Pound. This had like to ha' made sad work; but all was well, for neither of 'em have been acted since, for they both sleep in everlasting Tranquillity. [See also pp. 23-25 for other remarks about the two Iphigenia plays.

Performances

Mainpiece Title: Achilles; Or, Iphigenia In Aulis

Event Comment: Rich's Company. The date of the premiere is not knwon, but the Dedication is dated February 1699@1700, the play was entered in the Term Catalogues in February 1699@1700, and advertised in the Flying Post, 16 March 1699@1700. The latest likely date for the first production is January 1700, but the play may have appeared in late December as a rival to lif's production of I Henry IV early in January 1700. Cibber, Apology, I, 275: But the Master of the Revels, who then licens'd all Plays for the Stage, assisted this Reformation [of the morality of the stage] with a more zealous Severity than ever. He would strike out whole Scenes of a vicious or immoral Character, tho' it were visibly shewn to be reform'd or punish'd; a severe Instance of this kind falling upon my self may be an Excuse for my relating it: When Richard the Third (as I alter'd it from Shakespear) came from his Hands to the Stage, he expung'd the whole first Act without sparing a Line of it. This extraordinary Stroke of a Sic volo occasion'd my applying to him for the small Indulgence of a Speech or two, that the other four Acts might limp on with a little less Absurdity! no! he had no leisure to consider what might be separately inoffensive. [Cibber continues with an explanation of the censor's argument for cutting the act.] Preface to Cibber's Ximena, 1719: Richard the Third, which I alter'd from Shakespear, did not raise me Five Pounds on Third Day

Performances

Mainpiece Title: The Tragical History Of King Richard Iii

Event Comment: After the Italian manner, All sung, being set to Musick by Master Clayton. No Person to be admitted into the Boxes or Pit but by the Subscriber's Tickets. The Boxes on the Stage and the Galleries are for the Benefit of the Actors. [Premiere of the opera.

Performances

Mainpiece Title: Arsinoe, Queen Of Cyprus

Dance: l'Abbe, duRuel, Cherrier, Mrs Elford, Mrs duRuel, Mrs Moss

Song: Before and after Opera: Singing in Italian and English-

Performances

Mainpiece Title: Concert

Music: Vocal and instrumental Music-; viz. A full Piece of the late Mr Henry Purcell-Dean, Holmes, Feiston; A new Set of Airs for the Arch Lute and Violin Composed on purpose by Tho. Dean-; That celebrated Sonata for a Violin and Flute made by the famous Signor Gasperini, and played by him and Paisable often before her Majesty, and at the Theatre,-two young Gentlemen that never Play'd in Publick; who also perform some new Italian Sonatas of the most Eminent Masters in Europe, Double/stopped Solos of the Famous Archangelo Corelli-two young Gentlemen; Singing to the Lute-Dean; Several Pieces for Trumpets Flutes and Haut/boys-; Also Select Airs out of the Operas of Camilla and Thomyris, with their Symphonies-the best Performers

Performance Comment: A full Piece of the late Mr Henry Purcell-Dean, Holmes, Feiston; A new Set of Airs for the Arch Lute and Violin Composed on purpose by Tho. Dean-; That celebrated Sonata for a Violin and Flute made by the famous Signor Gasperini, and played by him and Paisable often before her Majesty, and at the Theatre,-two young Gentlemen that never Play'd in Publick; who also perform some new Italian Sonatas of the most Eminent Masters in Europe, Double/stopped Solos of the Famous Archangelo Corelli-two young Gentlemen; Singing to the Lute-Dean; Several Pieces for Trumpets Flutes and Haut/boys-; Also Select Airs out of the Operas of Camilla and Thomyris, with their Symphonies-the best Performers.
Event Comment: Mr Skeete reported that John Honeycott, the master of the charity school at Clerkenwell, had yesterday [6 Feb.], with the children of the above school, publickly acted the play called Timon of Athens, and by Tickets signed by himself had invited several people to it (Minutes of the Society for Promoting Christian Knowledge, in Secretan, pp. 129-30)

Performances

Mainpiece Title: Timon Of Athens

Performances

Mainpiece Title: Concert

Music: Vocal and Instrumental Music-the best Performers; particularly, several select Entertainments of the following (English Operas) Operas viz. The Indian Queen, King Arthur, The Fairy Queen, and Dioclesian, the Masque in Timon of Athens, the Pastoral in The Libertin-; with several Songs out of the St. Cecilia's Musick: All by that great Master the late Mr Henry Purcell-

Performance Comment: The Indian Queen, King Arthur, The Fairy Queen, and Dioclesian, the Masque in Timon of Athens, the Pastoral in The Libertin-; with several Songs out of the St. Cecilia's Musick: All by that great Master the late Mr Henry Purcell-.
Event Comment: Minutes of the Society for Promoting Christian Knowledge, 7 Feb.: Mr Skeate reported that John Honeycott the master of the Charity School at Clerkenwell had yesterday with the Children of the School publickly acted the play called Timon of Athens, and by Tickets signed by himself invited Several people to it

Performances

Mainpiece Title: Timon Of Athens

Event Comment: Being a choice Collection of Musick composed by Scarlatti, Bononcini, Albinoni, Caesarini, Gasperini, and several other the most celebrated Italian Masters. Boxes 8s. Pit 5s. Gallery 2s. 6d. Boxes on the Stage half a guinea. At 6 p.m

Performances

Mainpiece Title: The Triumph Of Love

Event Comment: Benefit Prince, the Dancing-Master

Performances

Mainpiece Title: The Stratagem

Dance: Mrs Santlow, Mrs Bicknell, Miss Younger, Prince, Wade, Sandham, others; particularly a Harlequin-; Eight Linkmen-

Event Comment: Afterpiece: [By Christopher Bullock.] A Farce of one Act, taken out of a Play written by Mr Shirley, call'd, A Mad World, my Masters. Receipts: #40 9s

Performances

Mainpiece Title: Oroonoko

Afterpiece Title: The Slip

Dance: duPre, Moreau, Bovil, Sandham, Miss Russell

Event Comment: We hear the famous Mr Pinkethman is building a handsome Playhouse at Richmond, for the Diversion of the Nobility and Quality that attend the Court of their Royal Highnesses; and will begin to play there soon after Whitsuntide, and shew the fine musical Picture he has prepar'd of the Royal Family, the like of which has never been seen in England.-Read's Weekly Journal, 31 May. Mr Prince the famous Dancing-Master is lately Deceas'd.-Original Weekly Journal, 31 May

Performances

Event Comment: Not Acted these Two Years. Weekly Journal or Saturday's Post, 2 Aug.: Some Days ago [23 July] Mr Keene, and eminent Tragedian, and one of the Masters of the Theatre in Lincoln's-Inn-Fields, riding in the Country, his Horse being unruly, threw him, and so bruised him that he died in two Days [on 25 July]. He was decently buried last Wednesday [30 July] in the Vault under St. Clement's Church, where lie the Bodies of Mr Mountfort, Mr Harden, Mr Powell, and others of his Fraternity

Performances

Mainpiece Title: Bonduca; Or, The British General

Afterpiece Title: Hob

Music: Mainpiece: With the Original Musick by the late Mr Henry Purcell-

Event Comment: Evening Post, 30 Aug.: Yesterday Mr Bullock, Master of the Play-House in Lincoln's-Inn-Fields, was commanded to attend his Majesty at Hampton-Court, where he receiv'd Orders for his Company to perform several Plays for the Entertainment of His Majesty during his Stay there, in the Winter Season, and there is a magnificent Theatre erecting for that Purpose

Performances

Event Comment: Benefit Grimberg, Master of the French Company. Mainpiece: Written by the famous Molliere

Performances

Mainpiece Title: Le Malade Imaginere

Dance: As17200531

Entertainment: Tumbling-Scaramouch who runs up a board sixteen feet high and throws himself backward upon the stage

Event Comment: Daily Post, 18 Feb.: The French Company of Comedians do hereby give Notice, That Monsieur Francisque, alias Harlequin, did refuse to perform last Night, which obliged the Master to dismiss the Audience

Performances

Mainpiece Title: Arlequin Major Ridicule

Afterpiece Title: Le Mariage Force

Event Comment: Benefit Thurmond, the Dancing-Master. At the Desire of the Two Princes, Brothers to the King of Delago in Africa

Performances

Mainpiece Title: The Spanish Fryar

Dance:

Event Comment: Weekly Journal or Saturday's Post, 23 Sept.: Last Wednesday died the Celebrated Comedian, Mr Tho Dogget, formerly one of the Masters of the Play-House in Drury-Lane

Performances

Event Comment: Benefit Thurmond, the Dancing-Master. Written by Mr Dryden

Performances

Mainpiece Title: The Comical Lovers; Or, Marriage A La Mode

Dance: Shaw, Thurmond Jr, Denoye, Mrs Younger, Mrs Bullock, Miss Tenoe