SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Rev Mr Miller"/1) | (@(roleclean,performerclean) "Rev Mr Miller")') 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

?
We found 4330 matches on Event Comments, 2226 matches on Performance Comments, 931 matches on Performance Title, 81 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: A True Widow

Performances

Mainpiece Title: Friendship In Fashion

Performances

Mainpiece Title: The Tragedy Of Sertorius

Performances

Mainpiece Title: The Feign'd Curtizans; Or, A Night's Intrigue

Performances

Mainpiece Title: Troilus And Cressida; Or, Truth Found Too Late

Performances

Mainpiece Title: Caesar Borgia, Son Of Pope Alexander The Sixth

Performances

Mainpiece Title: The Virtuous Wife; Or, Good Luck At Last

Performances

Mainpiece Title: The History And Fall Of Caius Marius

Performances

Mainpiece Title: The Loyal General

Performances

Mainpiece Title: Lucius Junius Brutus, Father Of His Country

Event Comment: The Duke's Company. The date of the first performance is not known. An entry in L. C. 5@145, p. 120 (see also Nicoll, Restoration Drama, p. 349) lists a performance for 4 April, once thought to be 4 April 1680; but as this date falls on Sunday, it more likely represents a revival on 4 April 1681. As the Epilogue appears to appeal to Parliament (which existed from 15 Oct. 1680 to 18 Jan. 1680@1) to vote funds for King Charles, "Our King of Poets," it seems likely that the play was first performed before the close of Parliament. The play was not entered in the Term Catalogues until June 1681. A song, Phyllis whose heart was unconfined, set by Thomas? Farmer; and another, A pox upon this cursed life, set by Captain Pack, are in Choice Ayres and Songs, The Fourth Book, 1683

Performances

Mainpiece Title: The Second Part Of The Rover

Performances

Mainpiece Title: Tamerlane The Great

Performances

Mainpiece Title: The False Count; Or, A New Way To Play An Old Game

Performances

Mainpiece Title: The Royalist

Performances

Mainpiece Title: Like Father, Like Son; Or, The Mistaken Brothers

Performances

Mainpiece Title: The City Heiress; Or, Sir Timothy Treatall

Performances

Mainpiece Title: Dame Dobson; Or, The Cunning Woman

Performances

Mainpiece Title: The Atheist; Or, The Second Part Of The Souldiers Fortune

Performances

Mainpiece Title: The Squire Of Alsatia

Performances

Mainpiece Title: Bury Fair

Performances

Mainpiece Title: Sir Anthony Love; Or, The Rambling Lady

Event Comment: The United Company. The date of the first performance is not known, but it followed The Gordian Knot Unty'd, which is mentioned in the Prologue. Edward III was advertised in the London Gazette, No. 2629, 19-22 Jan. 1690@1, and entered in the Term Catalogues, February 1690@1. The authorship is uncertain. The title page bears no author's name, but the Dedication is signed by Will. Mountfort. In addition, on 10 Oct. 1691 Mountfort received a grant of #10 when Edward III was played before the Queen (L. C. 5@150, p. 306, in Nicoll, Restoration Drama, p. 357). On tne other hand, the Gentleman's Journal, October 1692, stated that it was written by the author of Henry the Second, which has been attributed to John Bancroft. See Nicoll, Restoration Drama, pp. 388-89, for a summation of the evidence on this problem. Alfred Harbage, Elizabethan-Restoration Palimpsest, Modern Language Review, XXXV (1940), 319, thinks that this is a revision of Robert Davenport's The Politic Queen

Performances

Mainpiece Title: King Edward The Third; With The Fall Of Mortimer, Earl Of March

Performances

Mainpiece Title: The Scowrers