SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Richard Owen Cambridge"/1) | (@(roleclean,performerclean) "Richard Owen Cambridge")') 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 2155 matches on Author, 729 matches on Performance Comments, 697 matches on Performance Title, 513 matches on Event Comments, and 0 matches on Roles/Actors.
Event Comment: Pepys attended an unnamed play. See Mornamont MS II, f. 1208 (Cambridge University Library)

Performances

Event Comment: Pepys again attended an unnamed play. See Mornamont MS II, f. 1230 (Cambridge University Library)

Performances

Mainpiece Title: Omment

Event Comment: See also Luttrell, A Brief Relation, I, 362. The cost of the Pageants was #175; the total cost of the Lord Mayor's Show came to #473 4d. See Robert Withington, English Pageantry (Cambridge, Mass., 1920), II, 62

Performances

Mainpiece Title: Londons Annual Triumph Performed On Thursday Octob

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's date of acquistion of the separately-printed Prologue and Epilogue is 6 Feb. 1687@8 (see A. S. Borgman, The Life and Death of William Mountford [Cambridge, Mass., 1935], p. 26n). Very probably the play had its premiere early in February. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 256-58. A song, Lucinda close or veil those eyes, with music by J. B. Draghi, is in The Banquet of Musick, The Second Book, 1688. Charles Gildon, The Lives and Characters of the English Dramatick Poets (London, 1698 (?), p. 102: [It] did not succeed as the Author wish'd

Performances

Mainpiece Title: The Injured Lovers Or The Ambitious Father

Event Comment: The data in Langhans, New Restoration Theatre Accounts, pp. 130-31, leave the acting days uncertain. Between 13 May 1689 and 7 Dec. 1689 the company acted on 91 days. It then played regularly through 8 Feb. 1689@90, and acted on 83 days (out of a possible 84) between 10 Feb. and 7 June, on 8 days from 13 June through 4 July 1690. In Poems on Affairs of State= (Fifth Edition, 1703), I, ii, 238, is A Prologue spoken by Mr Mountfort, after he came from the Army, and Acted on the Stage (see also A. S. Borgman, The Life and Death of William Mountfort [Cambridge, Mass., 1935], p. 55). The date at which Mountfort spoke this Prologue is not certain, but he was certainly in London ca. Tuesday 15 Oct. 1689 when he was involved in a disagreement within the United Company. See L. C. 5@192, in Nicoll, Restoration Drama, p. 334n

Performances

Event Comment: The date of this amateur performance is not known, but the date generally accepted is December 1689. See Alfred Loewenberg, The Annals of Opera, Second Edition, Columns 85-86; and R. E. Moore, Henry Purcell and the Restoration Theatre (Cambridge, Mass., 1961), pp. 38-69. The Epilogue is in New Poems (1690)

Performances

Mainpiece Title: Dido And Aeneas

Event Comment: The United Company. This performance is on the L. C. list, 5@151, p. 369. See also Nicoll, Restoration Drama, p. 352. The MS music composed for a revival of this play, apparently at this time, by G. Finger and Daniel Purcell, is in the Fitzwilliam Museum, Cambridge

Performances

Mainpiece Title: The Rival Queens Or The Death Of Alexander The Great

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's copy (Huntington Library) of the play bears the date of acquisition 3 June [1690, apparently], and the play was advertised in the London Gazette, No 2566, 12-16 June 1690. See Fredson Bowers, A Bibliographical History of the Fletcher-Betterton Play, The Prophetess, 1690, The Library, 5th Series, XVI (1961), 169-75. It seems likely that the opera was first given early in June 1690. An edition of The Vocal and Instrumental Musick of The Prophetess appeared in 1691. See Works of Henry Purcell, Purcell Society, IX. Downes (Roscius Anglicanus, p. 42): The Prophetess, or Dioclesian an Opera, Wrote by Mr Betterton; being set out with Coastly Scenes, Machines and Cloaths: The Vocal and Instrumental Musick, done by Mr Purcel; and Dances by Mr Priest; it gratify'd the Expectation of Court and City; and got the Author great Reputation. [See also R. E. Moore, Henry Purcell and the Restoration Theater (Cambridge, Mass., 1961), Chapter V; and E. W. White, Early Theatrical Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44.] The Muses' Mercury (January 1707, pp. 4-5): This prologue was forbidden to be spoken the second Night of the Representation of the Prophetess. Mrs Shadwell was the occasion of its being taken notice of by the Ministry in the last Reign: He happen'd to be at the House on the first Night, and taking the beginning of the Prologue to have a double meaning, and that Meaning to reflect on the Revolution, he told a Gentleman, He would immediately Put a stop to it. When that Gentleman ask'd, Why he wou'd do the Author such a Disservice? He said, Because while Mr Dryden was Poet Laureat, he wou'd never let any Play of his be Acted. Mr Shadwell informed the Secretary of State of it, and representing it in its worst Colours, the Prologue was never Spoken afterwards, and is not printed in Mr Dryden's Works, or his Miscellanies. Cibber, Apology (ed. Lowe, II, 13-14): A Prologue (by Dryden) to the Prophetess was forbid by the Lord Dorset after the first War in Ireland. It must be confess'd that this Prologue had some familiar, metaphorical Sneers at the Revolution itself; and as the Poetry of it was good, the Offence of it was less pardonable

Performances

Mainpiece Title: The Prophetess Or The History Of Dioclesian

Event Comment: For the Prologue, See Prior, Dialogues of the Dead, ed. A. R. Waller (Cambridge, 1907), p. 195. It is not certain on which day during the holidays the play was given

Performances

Mainpiece Title: Cleomenes

Event Comment: Mainpiece: Originally Acted before King James the First with great Applause at the University of Cambridge. [Layfield performs] at the Desire of several Persons of Quality

Performances

Mainpiece Title: Ignoramus

Dance: A new Italian Scaramouch-Layfield, his first on the stage; other dances-Layfield, Miss Evans

Song: Mrs Hodgson, Cook, Davis, Miss Baldwin; A comical dialogue-Short, Mrs Willis; Song in Imitation of an Old Woman-Mrs Willis

Event Comment: Translated from the Latin, as it was acted before King James the First by the Students at Cambridge

Performances

Mainpiece Title: Ignoramus Or The English Lawyer

Song: As17200611

Dance: As17200714

Event Comment: Afterpiece: A new Ballad Opera. Edition of 1733: By a Gentleman late of Trinity-College, Cambridge

Performances

Mainpiece Title: The Fatal Extravagance

Afterpiece Title: The Stage Mutineers or A Playhouse To Be Lett

Event Comment: Afterpiece An Historical Dramatic Piece of on act (taken from Shakespear) with a representation of the Trials of the Lords for High Treason, in the Reign of King Henry V. The Characters dress'd in the Habits of the times. With proper Scenes and Decorations. On account of the Extraordinary Scenery, &c, and to prevent any interruption in the performance, it's desired no persons will take it ill that they cannot admitted behind the Scenes.--General Advertiser. [This adaption most certainly occasioned by the trial, which began in Westminster Hall on 28 July of Lord Kilmarnock, Lord Cromarty, and Lord Balmerino for participation in the Rebellion of '45! (Hogan, Shakespeare in the Theatre, p. 199).] An Historical Dramatic Piece of one act, taken from Shakespear, will be perform'd, after a play, at Drury Lane; it will be a Representation of the trials of Lord Cambridge, Lord Scroopv, &c for High Treason, in the reign of King Henry the Fifth. The Characters are to [be] dress'd in rich antique Habits of the times.--Daily Advertiser, 31 July. Last night the Dramatick Piece call'd The Conspiracy Discover'd; or French Policy Defeated, with a representation of the Trials of the Lords for High Treason, was acted at dl, with great applause, and will be performed again tomorrow night at the desire of several persons of Distinction.--General Advertiser, 5 Aug

Performances

Mainpiece Title: The Busy Body

Afterpiece Title: The Conspiracy Discovered or French Policy Defeated

Event Comment: [The following letter appeared in the General Advertiser]: To Mr Ryan, Sir: As the Author whom you have judiciously, I think, call'd in to your Assistance on your Benefit Night is little known; his Name not having appeared upon the Stage in our Days; and from whence some may be apt to think it scarce worth while to produce him now;--it was thought advisable by many of your Friends, of which Number I profess myself, to draw up the following Account of him and his Dramatic Works, that such as are Strangers to him may have some further Inducement to favour you with their Company. Mr Thomas Randolph lived in the Reign of King Charles I, was Fellow of Trinity College, Cambridge; but died young. He was a Man of pregnant Wit, gay Humour and of excellent Learning; which gain'd him the Esteem of the Polite Part of the Town, and particularly recommended him to the Favour of Ben Johnson, who adopted him one of his Sons, and held him in equal Esteem with the ingenious Mr Cartwright, another of the Laureat's adopted Sons:--The Plays he wrote were: [he lists 5 plays, commenting from Cokayne and Rich of Christ's Church College, Oxon, and West on the ethical quality of the last one, The Muses' Looking Glass]. In short, Sir, I doubt not but his old nervous Wit will still please, and join'd with the New Masque you have added, excite Curiousity enough to answer your Design; since by your Steadiness it was absoluteley necessary you should hava Novelty, as well as Interest, to procure half so good a House, as we all wish you, and especially, Your Humble Servant, I. M. [See 14 March afterpiece.

Performances

Mainpiece Title: Rule A Wife And Have A Wife

Afterpiece Title: Apollo and Daphne

Related Works
Related Work: Apollo and Daphne; or, Harlequin Mercury Author(s): Richard Jones

Performances

Mainpiece Title: Auction Of Pictures

Performance Comment: also an Oration in Praise of Sight-as at Edinburgh, Oxford, Cambridge, Dublin, Foreign Universities.

Music: A Piece of Musick-the Child

Performances

Mainpiece Title: Auction Of Pictures

Performance Comment: Also An Oration in Praise of Sight-as at Edinburgh, Oxford, Cambridge, Dublin and Foreign Universities.

Dance: A Dance in Character-

Event Comment: Three Brothers of ye Delavals play'd ye Eldest Othello, ye next Iago, ye next Cassio--+Brabantio & Lodovico Mr Pine Roderigo-Cap. Stevens and Wife Emelia $Mrs Quan did Desdemona, the performance was very decent & met with great applause the Audience from ye Boxes to the upper Gallery were fill'd with people of ye first rank & make a most brilliant appearance. & ye greatest Crowd at ye Doors I ever saw. their Agreement for ye House was a receipt of one of the Alfred Houses upon an Averidge. they had all new cloaths, & very nicely ornamented with Diamonds (Cross). [See eulogy and criticism in some detail concerning the acting, by John Hill, Inspector No 3.] All Gentlemen and Ladies who intend going in coaches this evening to Drury Lane Theatre, are desired to order their coachmen to drive thro' Covent Garden, and stop at Bridges St. Door, and as soon as they have set down the company to drive off directly towards the Strand.--Those who go in chairs, are requested to order the men to the New Door in Russel St., and to prevent the avenues being stopt up no person will be admitted to either passage without first showing their tickets at the outward door (General Advertiser). Tickets Lost. If any person has found three tickets (numbers forgot) for the private play this night at Drury Lane, and will be so kind as to bring them to the Bar of the Rainbow Coffee House, Ironmonger Lane, shall receive 15s. for the whole, or in proportion for one or two of them (General Advertiser). Tomorrow Morning at 8 o'clock will be published' (price 6d.) by Thomas Carnan, at Mr Newberry's, at the Bible and Sun in St Paul's Churchyard; An Occasional Prologue and Epilogue to Othello, as it will this night be acted at the theatre-Royal in Drury Lane, by Persons of distinction, for their diversion. Written by Christopher Smart, A.M., Fellow of Pembroke Hall in the University of Cambridge. To be had at the place above mentioned, and at the pamphlet shops at the Royal Exchange and Charing Cross. This Prologue and Epilogue will be entered in the Hall Book of the Company of Stationers, and whoever presumes to pyrate them, or any part of them, will be persecuted as the Law directs (General Advertiser). [Both pieces by Christopher Smart, according to the Daily Advertiser. See two exceedingly favorable critical comments and one derogatory reprinted in the Gentleman's Magazine, March 1751 (pp. 119-22): "The greatest part of the play was much better performed than it ever was on any stage before. In the whole, there was a face of nature that no theatrical piece, acted by common players ever came up to." Macklin was Delaval's dramatic coach, according to one of these articles.

Performances

Mainpiece Title: Othello By Gentlemen

Event Comment: [T+Theatrical Monitor, No VI appeared this day with a blast, in the form of an occasional Epilogue, at the morals, language and plan of the Oxonian in Town. This was the first performance of Macklin's afterpiece in London. It had been played in Dublin. "Its curious idiom, half-brogue, and half Cockney, puzzled the audience, as did its highly topical Irish allusions. With his usual candor, Macklin observed: 'I believe the audience are right. (The play was withdrawn after this single performance.) There's a geography in humor as well as in morals, which I had not previously considered--'" Cooke, Macklin, p. 270. According to Kirkman, in his curtain speech Macklin "courageously admitted: 'Ladies and Gentlemen, I am very sensible tha there are several passages in this play which deserve to be probated and I assure you that they shall never offend your ears again!' As soon as Mr Macklin had finished this address, the audience testified their approbation of his determination, by loud and reiterated plaudits" (Kirkman, Memoirs of the Life of Macklin, II, 3). See Also Charles Macklin: An Actor's Life by William W. Appleton (Cambridge, Mass., 1960), p. 141.

Performances

Mainpiece Title: Jane Shore

Afterpiece Title: The Irish Fine Lady

Dance: End: The Dutch Milkmaid, as17671114

Event Comment: Benefit for Quick. Afterpiece: A new Farce never performed. Altered from Sir Charles Sedley's Piece of the same title by Dr Goldsmith. Acted only this night (playbill). [The notation on the alteration is by Kemble on the playbill. The characters are: Sourby, Octavio, Wentworth, Dancing Master, Scamper, Clarissa and Jenny. See Edition by Alice I. Perry Wood (Cambridge, Mass., 1931).] Charges #66 5s. Profit to Quick #7 6d., plus #80 from tickets (Box 100; Pit 263; Gallery 156) (Account Book). [Brief review of the Grumbler in the Westminster Magazine for May 1773: "It was several years ago translated from the French, and received this night some additional touches from the pen of Dr Goldsmith. An entertainment of one act cannot be expected to contain much. The whole merit of this is centered in one character, and perhaps in one scene."] Receipts: #73 5s. 6d

Performances

Mainpiece Title: King Lear

Cast
Role: Albany Actor: Owenson

Afterpiece Title: The Grumbler

Performance Comment: Principal parts-Quick, Davis, Owenson, King, Saunders, Miss Pearce, Miss Helme.

Dance: After the Interlude: The Whim, as17730426

Monologue: 1773 5 8 End of Play: Interlude. An Interlude by S. Foote Esq; Lady Pentweazle-Quick; Carmine-Davis

Event Comment: [Macklin dismissed after this night. See the account in The Genuine Arguments of the Council, with the Opinion of the Court of the King's Bench, &c., By a Citizen of the World, (London, 1774). Extracts in E. R. Page, George Colman, the Elder (New York, 1935). See notes for 23 and 30 Oct. and the subsequent action in note for 20 Nov. He did not return until 18 May 1775. This night was aparently, except for #4 5s. which was not recorded on the books of the theatre until 18 June well after the season closed. Macklin's suit in court against the rioters was judged 24 Feb. 1775. A column and a half account of the trial appeared in the Public Advertiser, Saturday 13 May 1775, giving the testimony of the witnesses accused of starting the riot, the lawyers, and the judge. The accused were Leigh, Miles, James, Aldus, and Clarke. The first four were convicted of a conspiracy and a riot, the last of a riot only. During the Course of the Business Lord Mansfield took Occasion to observe, that the Right of Hissing, and Applauding in a theatre was an unalterable Right, but there was a wide Distinction between expressing the natural Sensations of the Mind as they arose on what was seen and heard, and executing a pre-concerted Desagn, not only to hiss an Actor when he was playing a Part in which he was universally allowed to be excellent, but also to drive him from the theatre, and effect his utter ruin." See also William W. Appleton, Charles Macklin, An Actors Life (Cambridge, Mass., 1960), Chapter X.

Performances

Mainpiece Title: The Merchant Of Venice

Afterpiece Title: Love a la Mode

Dance: III: The Merry Sailors, as17731007; IV: The Highland Reel, as17731112

Event Comment: [Text translated by Owen Swiney. Music adapted by N. Haym.] By Subscription. None to be admitted into the Pit or Boxes but by the Subscribers' Tickets. Stage Boxes 15s. First Gallery 5s. Upper Gallery 2s

Performances

Mainpiece Title: Pyrrhus And Demetrius

Event Comment: RRylands MS.: Benefit for Numberers &c, Mrs Marshall, Miss Lee, Miss Budgell, Miss Wright, Miss Cole, and Mr Walker. Tickets deliver'd out by Edwards, Owen, Brooks, Rumball, and others will be taken. Receipts: #120

Performances

Mainpiece Title: Love For Love

Afterpiece Title: The King and Miller of Mansfield

Dance: IV: Celladon and Phyllis-Master Matthews, Miss Wright; V: The Medley of Jokes-Master Matthews, Miss Wright

Event Comment: Benefit Cross (Prompter), DeMaimbray (Mechanist), and Desse. Tickets deliver'd out by Nodder, Owen, Miss Lee, and others will be taken. [This month in the Gentlemen's Magazine appeared a long essay from Champion No. 5, entitled The Character of an excellent Actor, an appreciative essay on the difficulties of acting, and the excellence of Garrick. The author avows he never exchanged a word with Garrick in his life. In July the Gentlemen's Magazine publish'd a reply to the contention that shewing good plays and giving men a relish for them was a satisfactory method of instructing the young, concluding instead against stage entertainments because they may be and are productive of much ill; and can serve no good end but what may be more effectively attained by other means.

Performances

Mainpiece Title: Oroonoko

Afterpiece Title: The Lying Valet

Song: As17430120

Dance: II: La Florana, as17430408 New Ballet-Desse, Mrs Walter

Music: V: a Concerto-Burk Thomuth

Event Comment: Tickets Smith, Powell, Fulwell, Owen, Foxwell, Toole, Jackson, and Gray taken. 7 p.m. [Concert formula; prices as 30 April.

Performances

Mainpiece Title: The Beggars Opera

Afterpiece Title: Hob or The Country Wake

Event Comment: Benefit Owen and Starkey. [Prices, 2s. 6d., 2s., 1s.

Performances

Mainpiece Title: The Tempest

Afterpiece Title: The Intriguing Chambermaid

Dance: The two Masters Granier, Miss Granier