Toggle Sphinx Query
SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Mr Doe"/1) | (@(roleclean,performerclean) "Mr Doe")') 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

Result Options

Download:
JSON XML CSV

Search Filters

Event

Date Range
Start
End

Performance

?
Filter by Performance Type










Cast

?
+
+

Keyword

?
New Search
5792 results for: Keyword - Mr Doe
We found 4357 matches on Event Comments, 1171 matches on Performance Comments, 536 matches on Performance Title, 18 matches on Author, and 0 matches on Roles/Actors.

901
04 April 1768 @ Drury Lane Theatre

Performances

Mainpiece Title: Hamlet

Afterpiece Title: The Absent Man

Performance Comment: As17680321 but Mrs Junket-Mrs Johnston; Miss Frolick-Miss Reynolds (MacMillan). [Public Advertiser does not list Miss Reynolds, and omits Mrs Hopkins.]Public Advertiser does not list Miss Reynolds, and omits Mrs Hopkins.]

Dance: End: The Wake, as17680220

902
03 December 1768 @ Covent Garden

Performances

Mainpiece Title: Cyrus

Performance Comment: Parts by Powell, Clarke, Smith, Hull, Bensley, Mrs Lessingham, Mrs Yates. With a Prologue-; Epilogue-; Cyrus-Powell; Cambyses-Smith; Mithranes-Bensley; Astyages-Clarke; Harpagus-Hull; Mandane-Mrs Yates; Aspasia-Mrs Mattocks (1768 edn. The edn. lists Mirza-Davis, but Davis does not appear on the playbill, which lists Mrs Lessingham, though no part appears for her in the 1768 edn.). Mrs Lessingham played Aspasia according to the listing in Lloyd's Evening Post, 2 thru 5 Dec.
Cast
Role: lists Mirza Actor: Davis, but Davis does not appear on the playbill, which lists Mrs Lessingham, though no part appears for her in the 1768 edn.. Mrs Lessingham played Aspasia according to the listing in Lloyd's Evening Post, 2 thru 5 Dec.

Afterpiece Title: Country Wife

903
22 May 1769 @ Covent Garden

Event Comment: The Doors to be opened at Half an Hour after Five. To begin exactly at Half an Hour after six. [The Account Book indicates that the following paid up their deficits of half values of tickets: Rose, Mrs Griffiths, Claridge, Doe, Pullen, Fransdorf, Norbury, Robson, Pilfold, Roberts and Singleton.] Receipts: #163 9s. 6d. (Account Book)

Performances

Mainpiece Title: Cyrus

Cast
Role: lists Mirza Actor: Davis, but Davis does not appear on the playbill, which lists Mrs Lessingham, though no part appears for her in the 1768 edn.. Mrs Lessingham played Aspasia according to the listing in Lloyd's Evening Post, 2 thru 5 Dec.

Afterpiece Title: Harlequin Skeleton

904
30 March 1772 @ Covent Garden

Performances

Mainpiece Title: Isabella; Or, The Fatal Marriage

Performance Comment: Biron-Smith; Villeroy-Bensley; Carlos-Gardner; Baldwin-Clarke; Belford-Perry; Sampson-Dunstall; Child-Miss Doe; Nurse-Mrs Pitt; Isabella-Mrs Yates, 1st time; With the Epithalamium-Mattocks, Mrs Baker.
Cast
Role: Child Actor: Miss Doe

Afterpiece Title: The Choice; or Merit before Mnney

Dance: End: The Lilt, as17720326

905
23 February 1773 @ Covent Garden

Performances

Mainpiece Title: Alzuma

Performance Comment: Smith, Bensley, Hull, Gardiner, Perry, Miss Pearce, Mrs Willems, Miss Miller, Mrs Hartley Alzuma-Smith; Don Carlos-Bensley; Pizarro-Hull; Gonzalez-Gardner; Ozmar-Perry; Orazia-Miss Miller; Orellana-Mrs Hartley; Virgins of the Sun-Miss Pearce, Mrs Willems; In Act II, a Procession of the Virgins of the Sun-; principal vocal parts-Miss Wewitzer, Miss Brown (Edition of 1773, which also lists Ezmont-$Thompson, whose name does not appear on the bills).
Cast
Role: which also lists Ezmont Actor: Thompson, whose name does not appear on the bills.

Afterpiece Title: The Commissary

906
05 November 1776 @ King's Theatre

Performances

Mainpiece Title: La Fraschetana

Performance Comment: Principal Characters by Trebbi, Fochetti, Savoi, Micheli, Sga Prudom, Sga Luiggia? Farnese, Sga Sestini. [Cast from libretto (T. Cadell, 1776): Nardone-Trebbi; Don Fabrizio-Fochetti; Il Cavaliere Giocondo-Savoi; Pagnotta-Micheli; Donna Stella-Sga Maria Prudom [Inglesina]; Lisetta-Sga Luiggia Farnese; Violante-Sga Sestini. [The libretto does not assign Violante, but see Larpent MS 417.The libretto does not assign Violante, but see Larpent MS 417.

Dance: As17761102

907
26 March 1788 @ Covent Garden

Performances

Mainpiece Title: Inkle And Yarico

Performance Comment: Principal Characters by Edwin, Quick, Booth, Davies, Darley, Thompson, Gardner, Farren, Miss Tweedale, Mrs Morton, Mrs Forster (of dl), Mrs Martyr. Cast suggested by Genest, VI, 493: Trudge-Edwin; Sir Christopher Curry-Quick; Medium-Booth; Campley-Davies; Inkle-Farren; Yarico-Miss Tweedale; Narcissa-Mrs Morton; Patty-Mrs Forster; Wosski-Mrs Martyr; Genest does not assign Darley, Thompson, Gardner. Genest does not assign Darley, Thompson, Gardner.

Afterpiece Title: The Apprentice

Song: II: a new comic song (1st time), Four@and@twenty Periwigs all on a Row-Edwin

Entertainment: Monologue. End: The Kensington Stage; or, The Fatigues of a Long Journey (a Comical, Poetical Description)-Edwin

908
03 November 1789 @ Drury Lane Theatre

Event Comment: "Miss Farren is almost beyond criticism; she is always animated, hurries you away, and does not leave you time to reflect. We are not too bold in asserting that Europe does not produce a finer actress in these lively, natural characters" (Prompter, 4 Nov.). Receipts: #155 19s. 6d. (120.7.0; 34.11.0; 1.1.6)

Performances

Mainpiece Title: The Tempest

Afterpiece Title: The Citizen

Song: As17891017

909
23 May 1796 @ Drury Lane Theatre

Performances

Mainpiece Title: The Roman Actor

Afterpiece Title: Celadon and Florimel; or, The Happy Counterplot

Performance Comment: Characters-Palmer, Wroughton, C. Kemble (?); Miss Farren, Mrs Goodall, Miss DeCamp, Mrs Kemble, Mrs Cuyler, Miss Granger, Miss Mellon. [Cast from Genest, VII, 243: Palamede-Palmer; Rhodophil-Wroughton; Celadon-C. Kemble; Melantha-Miss Farren; Doralice-Mrs Goodall; Florimel-Miss DeCamp; Flavia-Mrs Kemble; Olinda-Mrs Cuyler?; Sabina-Miss Granger?; Philotis-Miss Mellon. [Genest does not assign Olinda or Sabina; they are my conjecture. The names of the parts are in the Larpent MS.]Genest does not assign Olinda or Sabina; they are my conjecture. The names of the parts are in the Larpent MS.]

Afterpiece Title: No Song No Supper

Entertainment: Monologue.End 2nd piece: an Address-Mrs Kemble on the Occasion of her Retiring from the Stage

910
02 March 1798 @ Covent Garden

Performances

Mainpiece Title: Acis And Galatea 0

Afterpiece Title: Acis and Galatea 3 [i

Performance Comment: e. serenata in 2 parts]. Overture- (Ariadne); Pour forth no more-Sale (Jephtha); Lord what is man-Miss Poole [Semele]; How willing my paternal love-Reinhold; Then round about the starry throne-Chorus; Why does the God of Israel sleep-Incledon [Samson]; The soldier tir'd-Mme Mara [Dr Arne]; The Coronation Anthem-.
Cast
Role: Why does the God of Israel sleep Actor: Incledon

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

911
30 April 1798 @ Covent Garden

Performances

Mainpiece Title: The Eccentric Lover

Performance Comment: Principal Characters-Lewis, Quick, Holman, Munden, Fawcett, Murray, Knight, Whitfield, Waddy, Simmons, Rees, Curties, Miss Betterton, Mrs Pope, Mrs Gilbert, Mrs Mattocks. [Cast from Times, 1 May: Sir Francis Delroy-Lewis; Peter Crowfoot-Quick; Fenton-Holman; Admiral Delroy-Munden; Doctor Crisis-Fawcett; Gangrene-Murray; Gabriel-Knight; Sir Henry Netterville-Whitfield; Ostrich-Waddy; Tom Transit-Simmons; John Seagrave-Rees; Admiral's Servant-Curties; Eleanor de Ferrars-Miss Betterton; Constantia-Mrs Pope; Widow Blandy-Mrs Gilbert; Fidelia-Mrs Mattocks; [Times does not spell all the parts as they are listed in the text, in Cumberland's Posthumous Dramatic Works, 1813, Vol. II, which assigns no parts, but in which they are spelled as above. Times erroneously assigns Doctor Crisis to Farley, and lists Mrs Mattocks' part as Mrs Crowfoot; it does not assign Gabriel or the Servant.] Prologue-Holman; Epilogue-Mrs Mattocks.

Afterpiece Title: Raymond and Agnes

Dance: Afterpiece to conclude with: Dance of Savoyards-Platt, Miss Cranfield, Mlle St.Amand

912
15 March 1799 @ Covent Garden

Performances

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

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Performance Comment: Overture (Ariadne)-; The prince unable-Miss Poole (Alexander's Feast); Return O God-Miss Waters; Justly these evils, Why does the God of Israel-Incledon (Samson); Dulce Domum-Mme Mara, Chorus (Reading); The soldier tired-Mme Mara (Arne's Artaxerxes); How willing-Bartleman (Samson); Hallelujah-Chorus (The Messiah).
Cast
Role: Why does the God of Israel Actor: Incledon

Music: As17990215

913
26 May 1662 @ The Red Bull Theatre

Event Comment: Hotson (Commonwealth and Restoration Stage, pp. 178-79) believes that this was Jolly's organization. See also the list of Sir Edward Browne's attendance at plays in the introduction to this season. An edition of this play appeared in 1663, but the title page does not state at what theatre the play was given. Pepys, Diary: Thence to taken my wife to the redd bull, where we saw Doctor Faustus, but so wretchedly and poorly done, that we were sick of it, and the worse because by a former resolution it is to be the last play we are to see till Michaelmas

Performances

Mainpiece Title: Doctor Faustus

914
02 June 1662 @ Theatre in Vere Street

Event Comment: This play is in Herbert, Dramatic Records p. 118: Cornelia a New Play, sir W. Bartleys. The date in Herbert is 1 June, a Sunday in 1662, with another play in the same group falling on Sunday. Nevertheless, the verse comment (see below) written, apparently, before the summer of 1662 points toward 2 June 1662 rather than 1 June 1663. Edward Browne also lists it as one of the plays he attended. The play was not printed. BM Add. Mss. 34217, in Hotson, Commonwealth and Restoration Stage, p. 246: @For Cornelia they all doe say@There was abundance of witt in the play@Indeed t'had soe much t' was the worse for 't@For t' was to witty for the vulgar sort@And they who'd have poetts their Benefactors@Say witt without mony's naught for the Actors.

Performances

Mainpiece Title: Cornelia

915
30 September 1662 @ Lincoln's Inn Fields

Event Comment: The Duke's Company. Downes (p. 25) states that it was acted eight days successively, but as Pepys does not indicate whether he saw its first performance, the sequence of playing it is not known. Pepys, Diary: We [Mrs Pepys and Pepys] took coach and to the Duke's playhouse, where we saw The Duchess of Malfy well performed, but Betterton and Ianthe [Mrs Saunderson] to admiration. Downes (p. 25): This Play was so exceeding Excellently Acted in all Parts; chiefly, Duke Ferdinand and Bosola: It fill'd the House 8 Days Successively, it proving one of the Best of Stock Tragedies

Performances

Mainpiece Title: The Duchess Of Malfy

916
02 January 1667 @ The (first) Drury Lane Theatre

Event Comment: The King's Company. Richard Legh, writing to his wife, 3 Jan. 1667@7, reported to her concerning this play: which is so damn'd bawdy that the Ladyes flung their peares and fruites at the Actors (Lady Newton, The House of Lyme, p. 240). Pepys, Diary: Alone to the King's House, and there saw The Custome of the Country, the second time of its beind acted, wherein Knipp does the Widow well; but, of all the plays that ever I did see, the worst--having neither plot, language, nor anything in the earth that is acceptable; only Knipp sings a little song admirably. But fully the worst play that ever I saw or I believe shall see

Performances

Mainpiece Title: The Custom Of The Country

917
20 September 1667 @ The (first) Drury Lane Theatre

Event Comment: The King's Company. The date of the first performance is not known; Pepys does not suggest that this day was the premiere. Pepys, Diary: Sir W. Pen...and I by coach to the King's playhouse, and there saw The Mad Couple, which I do not remember that I have seen; it is a pretty pleasant play. Thence home, and my wife and I to walk in the garden, she having been at the same play with Jane, in the 18d. seat, to shew Jane the play

Performances

Mainpiece Title: All Mistaken; Or, The Mad Couple

918
14 April 1668 @ The (first) Drury Lane Theatre

Event Comment: Pepys does not name the theatre in which he saw this play, but previous performances of the play were given by the King's Company. Pepys, Diary: To a play, Love's Cruelty.... Play part 2s. Oranges, 1s

Performances

Mainpiece Title: Love's Cruelty

919
15 February 1669 @ The (first) Drury Lane Theatre

Event Comment: Evelyn does not name the theatre or company, but previous offerings of Horace were given by the King's Company. Evelyn, Diary: I saw Mrs Philips's Horace acted againe

Performances

Mainpiece Title: Horace

920
November 1670 @ Lincoln's Inn Fields

Event Comment: The Duke's Company. This performance is on the L. C. lists at Harvard, but the entry does not specify the day. See VanLennep, "Plays on the English Stage", p. 16. The play was not published until 1706, and the cast in an edition of that year represents one for performances nearer the date of publication. There is no indication of the date of the premiere

Performances

Mainpiece Title: The Amorous Widow; Or, The Wanton Wife

921
01 November 1671 @ Middle Temple

Event Comment: An entry in A Calendar of the Middle Temple Records, ed. Hopwood, p. 174, indicates a performance but does not name the play. The Duke's Company

Performances

922
01 November 1673 @ Inner Temple

Event Comment: An unnamed play was acted at the Inner Temple on this day. See A Calendar of the Inner Temple Records, ed. Inderwick, III, 98, which does not specify the play or the company

Performances

923
December 1673 @ Lincoln's Inn Fields

Event Comment: The King's Company. It is difficult to assign a date to this burlesque, but it is obviously a satiric thrust at Elkanah Settle's The Empress of Morocco, which had been acted on 3 July 1673, and on Macbeth, which had been most recently acted (probably) on 9 Aug. 1673. As the title page of Duffett's burlesque does not name a theatre, it is not known whether it was acted before the King's Company left Lincoln's Inn Fields for the new theatre in Drury Lane. But the fact that Settle's Empress of Morocco was acted again at Dorset Garden on 6 Dec. 1673 makes December 1673 a likely month (or the King's Company to play its burlesque, although it may have been given in the late summer or early autumn, as many lesser actors are in the cast

Performances

Mainpiece Title: The Empress Of Morocco

924
March 1674 @ Lincoln's Inn Fields

Event Comment: The King's Company. The date of the premiere is not known, but, as the play was entered in the Term Catalogues, May 1674, a first production not later than March 1674 is likely. In addition, the relatively large number of minor actors suggests that it might be a Lenten performance by the young players of the company. As to the authorship, the title page states: Written by a Person of Honour. On the other hand, Langbaine (English Dramatick Poets, p. 526) reports that he had heard that it was written by Duffett. The second Prologue is in Covent Garden Drollery, 1673, but the fact that it was intended but not spoken does not assist in dating the first performance

Performances

Mainpiece Title: The Amorous Old Woman; Or, 'tis Well If It Take

925
20 June 1675 @ no theater listed

Event Comment: The Bulstrode Papers (I, 302): There is arrived Scaramouchy, ye famous Italien comedian with his crew, to act againe, & are to have ye King's Theatre in Whitehall for their use during their stay, and all people are allowed to come there & see them, playing as they doe at other houses, so yt now a Papist may come to Court for halfe a crowne. This is not much lik'd by our other players, for it will half break both our houses. [See also a Treasury warrant for the importing of their belongings, Calendar of Treasury Books, 1672-1675, p. 757, in Boswell, Restoration Court Stage, p. 121.

Performances