SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,authname,perftitleclean,commentcclean,commentpclean) "Miss Vincent The scenes and machinery of the Pantomime pretty"/1) | (@(roleclean,performerclean) "Miss Vincent The scenes and machinery of the Pantomime pretty")') 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 14669 matches on Performance Comments, 4822 matches on Performance Title, 3399 matches on Event Comments, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: Betterton's Company. The date of the first performance is not certain, but the fact that the play was advertised in the London Gazette, 6-11 May 1696, suggests that it was first acted not later than April 1696. A song, Come, Hodge, come, Robin, set by John Eccles and sung by Wiltshire and Mrs Hudson, was printed in Deliciae Musicae, The Second Book of the Second Volume, 1696. Dedication, Edition of 1696: Which I wrote three Years ago....nor the Displeasure of the Judicious, who I hope will not condemn this Play from the appearance it had upon the Stage, where it suffer'd in the Acting....Tho. Dogget. A Comparison Between the Two Stages (1702), pp. 16-17: Ramble: Oh that's Dogget's: The Players have all got the itching Leprosie of Scribling as Ben. Johnson calls it; twill in time descend to the Scene-keepers and Candle-snuffers: Come, what came on't? Sullen: Not then directly Damn'd, because he had a part in't himself, but it's now dead and buried

Performances

Mainpiece Title: The Country wake

Event Comment: Betterton's Company. The date of the first performance is not known, but the Dedication to the Edition of 1698 is dated 16 Dec. 1697, suggesting a premiere in November 1697

Performances

Mainpiece Title: The Italian Husband

Performance Comment: Edition of 1698: An induction Scene: A Praelude between a Poet, a Critic, and Peregrine. Prologue-; Frederico-Verbrugen; Alouisia-Mrs Bowman; Alfonso-Hodgson; Fidalbo-Watson; Rodrigo-Thurmond; Amidea-Mrs Prince; Florella-Mrs Martin; Epilogue by Jo. Haynes-Mr Bowman mimicking a Beau.
Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, 18-20 June 1698, suggests that its first performance occurred in late April or early May 1698. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Performances

Mainpiece Title: Beauty In Distress

Performance Comment: Edition of 1698: Prologue-Bowen [an induction scene, with a player coming forward to announce that there is no prologue, then Bowen entering, having forgotten it, but the prompter gets Bowen's memory restored and the prologue proceeds]; Epilogue-Mrs Bracegirdle; Don Vicentio-Betterton; Ricardo-Verbruggen; Duke Ferdinand-Kynaston; Fabiano-Hodgson; Zemet-Arnold; Laura-Mrs Barry; Placentia-Mrs Bracegirdle; Morella-Mrs Moore; Melinda-Mrs Prince.
Cast
Role: Duke Ferdinand Actor: Kynaston
Event Comment: See L. C. 7@3 (Nicoll, Restoration Drama, p. 382) for an agreement concerning new scenes and machines for a new opera by Settle

Performances

Performances

Mainpiece Title: Fryar Bacon Or The Country Justice With The Humours Of tolfree The Miller And His Son ralph

Performance Comment: A playbill: At Parker's and Doggett's Booth near Hosier-Lane End, in Smithfield, during the Time of Bartholomew-Fair, will be presented a New Droll, called, Fryar Bacon; or, The Country Justice: With the Humours of Tolfree the Miller, and his Son Ralph, Acted by Mr Doggett. With Variety of Scenes, Machines, Songs and Dances. Vivat Rex. (See William VanLennep, Some Early English Playbills, Harvard Library Bulletin, VIII (1954), opposite page 237.) The London Spy, August 1699, describes a visit to Bartholomew Fair, including an account of Doggett's droll and another, Dwarf Comedy, Sir-nam'd a Droll' called The Devil of a Wife. In the Post Man, 15-17 Aug. 1699, is an advance notice of rope dancing and a booth run by Barnes and Appleby between the Crown Tavern and the Hospital Gate, next to Miller's Droll Booth.
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: Post Boy, 14-16 May 1700: Great Preparations have been making, for some Months past, for a New Opera to be acted next Term at the Theatre Royal, which, for Grandeur, Decorations, Movements of Scenes &c. will be infinitely superior to Dioclesian, which hitherto has been the greatest that the English Stage has produced, that probably 'twill equal the greatest Performance of the Kind, in any of the foreign Theatres. The Musick is compso'd by the Ingenious Mr Finger, and the Paintings made by Mr Robinson

Performances

Event Comment: And this is Publish'd to request all Persons of Quality not to come behind the Scenes, it being otherwise impossible to move the Great Changes of them thro' the Play

Performances

Mainpiece Title: The Virgin Prophetess

Event Comment: [By Thomas D'Urfey. Premiere.] Preface: The stopping of it from Acting by Superiour command, doing me no manner of Injury, (tho it might the Play-house) but only for two or three days disappointing my friends; the Cause is so trivial...for taking the Poetical Licence of making Mad man in my Scene Satyrically drink a Health, altering it into a modest phrase, (tho somewhat too familiar)

Performances

Mainpiece Title: The Bath Or The Western Lass

Event Comment: With the Addition of a New Scene

Performances

Mainpiece Title: The Beaus Duel Or A Soldier For The Ladies

Song: Whimsical Song-Pack

Event Comment: At the Desire of several Persons of Quality. The Queen Theatre in Dorset-Garden is now fitting up for a new Opera; and the great Preparations are made to forward it and bring it upon the Stage by the beginning of June, adds to every body's Expectation, who promise themselves mighty Satisfaction from so well-order'd and regular an Undertaking as this is said to be, both in the Beauties of the Scenes, and Varieties of Entertainments in the Musick and Dances

Performances

Mainpiece Title: The Fatal Marriage Or The Innocent Adultery

Related Works
Related Work: The Fatal Marriage; or, The Innocent Adultery Author(s): Thomas Southerne

Song: Leveridge, Mrs Campion, Mrs Shaw

Dance: DuRuell, others

Event Comment: Mainpiece: With Additional Scenes, being the Changes in the Dome, which were Origianlly us'd in the Opera of The Virgin Prophetess

Performances

Mainpiece Title: The Emperor Of The Moon

Song: Mason, Good

Dance: Laferry, Mrs Bicknell, Devonshire Girl, Claxton

Event Comment: For the Entertainment of several Foreigners lately arriv'd. With the addition of some extraordinary Scenes, viz. a Grotesque Scenev taken out of an Opera call'd Dioclesian; and the Dome Scenev taken out of The Virgin Prophetess

Performances

Mainpiece Title: The Emperor Of The Moon

Song:

Dance:

Event Comment: [By John Dennis. Premiere.] Preface: [The last scene was omitted] on the account of Length....The Play indeed receiv'd all the Grace and Ornament of Action in most of the principal Parts, and in all the Womens. But that of Sakia by Mrs Barry was acted so admirably and inimitably, as that no Stage in Europe can boast of any thing that comes near to her Performance

Performances

Mainpiece Title: Liberty Asserted

Event Comment: Benefit Mills. Not Acted these Six Years. This being the first Performance of an Opera this Year. All the Scenes and Flyings as they were formerly presented. [Genest II, 300, lists this performance for 10 June.

Performances

Mainpiece Title: Psyche Or Loves Mistress

Performance Comment: The chief characters (Pan, Vulcan, Pluto, and Apollo)-Leveridge.

Music: All the Vocal and Instrumental Music compos'd by the Famous Mr Matthew Lock-

Dance: New dances- proper to the occasion; particularly Arbour Dance in Imitation of the Original-duRuel, Cherrier, Laforest

Event Comment: Benefit Firbank and Bickerstaff. Mainpiece: Not Acted there these Four Years. Afterpiece: The Two Doctors' Scenes from the last Act. [Mrs del'Epine sings] at the Desire of several Persons of Quality [for her last appearance until winter]

Performances

Mainpiece Title: The Taming Of A Shrew Or Sawny The Scot

Afterpiece Title: Le Medicin Malgre Luy last act

Song: Several Italian songs-Mrs del'Epine, the music composed by Greber; and an English song composed by Purcell-

Event Comment: As it was perform'd several times at court, by Persons of Great Quality, before his late Majesty King Charles II. With all the Scenes Which were originally Presented in it when acted at the Theatre, particularly the Fleet of Shipsv and the Hell Scenev, in which the Masquerade was perform'd

Performances

Mainpiece Title: The Empress Of Morocco

Performance Comment: Hametalhaz-the young gentleman who played Chamont on 7 July (Phillips); who speaks a new Epilogue-the young gentleman.

Song:

Dance:

Event Comment: Benefit the Author. With an Addition of a new Scene. [By Susanna Centlivre. Date of premiere unknown. Flying Post, 22 Feb., refers to this performance as the twelfth.

Performances

Mainpiece Title: The Gamester

Event Comment: Being obliged at the Desire of several Persons of Quality. With some Scenes Reviv'd. [In Daily Courant, 30 March, Richard III had been announced for this day.

Performances

Mainpiece Title: Aesop

Song: As17050104

Dance: duRuel, Cherrier, Mrs duRuel, Mrs Bicknell

Event Comment: Benefit Mills. With the proper Scenes belonging to the Music. It being the last time of Acting till after May Fair

Performances

Mainpiece Title: Loves Last Shift Or The Fool In Fashion

Song: As17050410 particularly the Frost Music in Act IV of King Arthur, composed by Henry Purcell-

Dance: As17050303

Event Comment: At the Desire of several Persons of Quality. The last Scene of Arsinoe, which has been omitted, will be now perform'd

Performances

Mainpiece Title: Arsinoe Queen Of Cyprus

Afterpiece Title: The Comical Rivals or The School Boy

Dance: As17050929

Event Comment: With the Addition of an extraordinary Scene taken out of an Opera call'd The Virgin Prophetess, being the Changes in the Dome

Performances

Mainpiece Title: The Emperor Of The Moon

Song: As17051016

Dance: Laforest, Mrs Moss

Event Comment: At the Desire of several Ladies of Quality. Before the opera: some select Scenes taken out of a Comedy

Performances

Mainpiece Title: Arsinoe Queen Of Cyprus

Event Comment: Never Acted before. No person to be admitted behind the Scenes. [By Colley Cibber.

Performances

Mainpiece Title: Perolla And Izadora

Performances

Mainpiece Title: King Arthur

Music: Composed by Henry Purcell

Dance: Proper dances-duRuel, Mrs duRuel, Cherrier