SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Sheriffs of London"/1) | (@(roleclean,performerclean) "Sheriffs of London")') 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 846 matches on Event Comments, 604 matches on Performance Title, 433 matches on Performance Comments, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: Mainpiece: Not acted this season. Full Prices. [Sparked by Victor's publication of his History of the Theatres of London and Dublin, 1730 to the Present, a series of articles on the Rise and Progress of the English Stage appeared in the Gentleman's Magazine for May (p. 214 ff); June (p. 264 ff); and July (p. 297).

Performances

Mainpiece Title: King Henry Viii

Afterpiece Title: The Register Office

Event Comment: Never acted. [See Genest's comment (IV, 618) derived from Cumberland and the London Magazine-its appeal to the fashionable circles, its damnation at first performance because of the hanging of Harlequin in full view, and its modification thereafter. See 18 June and Horace Walpole to George Montagu [Arlington Street] July 28, 1761: I came to town yesterday through clouds of dust to see The Wishes, and went ac- [I, 381] tually feeling for Mr Bentley, and full of the emotions he must be suffering. What do [you] think in a house crowded was the first thing I saw! Mr and Madam Bentley perked up in the front boxes and acting audience at his own play--no, all the impudence of false patriotism never came up to it! Did one ever hear of an author that had couraee to see his own first night in public? I don't believe Fielding or Foote himself ever did--and this was the modest bashful Mr Bentley, that died at the thought of being known for an author, even by his own acquaintance! In the stage-box was Lady Bute, Lord Halifax and Lord Melcomb-I must say the two last entertained the house as much as the play-your King was prompter, and called out to the actors every minute to speak louder-the other went backwards and forwards behind the scenes, fetched the actors into the box, and was busier than Harlequin. The curious prologue was not spoken, the whole very ill-acted. It turned out just what I remembered it, the good parts extremely good, the rest very flat and vulgar-the genteel dialogue I believe might be written by Mrs Hannah. The audience was extremely fair. The first act they bore with patience, though it promised very ill-the second is admirable and was much applauded-so was the third-the fourth woeful-the beginning of the fifth it seemed expiring, but was revived by a delightful burlesque of the ancient chorus-which was followed by two dismal scenes, at which people yawned-but were awakened on a sudden by Harlequin's being drawn up to a gibbet nobody knew why or wherefore-this raised a prodigious and continued hiss, Harlequin all the while suspended in the air-at last they were suffered to finish the play, but nobody attended to the conclusion-modesty and his lady all the while sat with the utmost indifference-I suppose Lord Melcombe had fallen asleep [p. 382] before he came to this scene and had never read it. The epilogue was about the King and new Queen, and ended with a personal satire on Garrick-not very kind on his own stage-to add to the judge of this conduct, Cumberland two days ago published a pamphlet to abuse him. It was given out for tonight with more claps than hisses, but I think it will not do unless they reduce it to three acts." [p. 383]. Correspondence with George Montagu. Ed. W. S. Lewis & Ralph Brown. (New Haven: Yale University Press, 1941), I, 381-83] Note: (I, 381n): Bentley's play of The Wishes or Harlequin's Mouth Opened, was offered to Garrick and Rich the beginning of 1761, but wasrefused by both. His nephew Cumberland showed it to Lord Melcomb, who carried it to Lord Bute, with a compliment in verse to that Lord by Mr Cumberland. Lord Bute showed it to the King, who sent Bentley #200 and ordered the new summer company to play [it]. There was a prologue, flattering the King and Lord Bute which Foote refused to act. Two days before it was played, Cumberland wrote an anonymous pamphlet, addressed to Mr Bentley, and abusing Garrick, who had refused to act Cumberland's tragedy of Cicero's banishment, which he printed this year [1761], unacted. The Wishes were played for the first time July 27th, 1761; the 2d 3d and part of the 4th, acts were much applauded, but the conclusion extremely hissed. The Epilogue concluded with a satire on Garrick. It was acted five nights. About the same time he wrote a tragedy called Philodamus, which he was to read to Garrick, but the latter was so angry at their treatment of him, that he declared against seeing Mr Bentley" (MS account by HW of Bentley's writings, in the collection of Lord Waldegrave at Chewton Priory)

Performances

Mainpiece Title: The Wishes; Or, Harlequin's Mouth Opened

Dance: Master Rogier, Miss Capitani

Event Comment: Benefit for City of London Lying In Hospital, Aldersgate St. Hecuba printed 1s. 6d. (Winston MS 9)

Performances

Mainpiece Title: The Careless Husband

Afterpiece Title: The Old Maid

Dance: TThe Cow Keepers-Grimaldi, Miss Dawson

Event Comment: Not acted in 5 years. [See 4 Feb. 1758.] The Drummer was revived at this period at both theatres...to take advantage of the reigning weakness of the people, who went in crowds many days and nights to an Haunted House, by what was called the Cock-Lane Ghost-a delusion set on foot, and very ingeniously carried on by a girl of 12 years of age, daughter of a clerk of St Sepulchre's Church, who resided in Cock Lane near Smithfield. [The Ghost was supposed to be that of one Fanny, a gentleman's mistress buried in the church. By knockings and scratchings she supposedly haunted the girl intimating foul practices concerning her death.] It would be incredible to relate the numbers of persons of distinction that attended this delusion! many of whom treated it as a serious and most important affair...at last the girl's father and three or four others were tried in the King's Bench, found guilty' Pillioried and imprisoned. This most effectively laid the Ghost; and is the best and properest cure for every ghost that may arise hereafter. (Victor, History of the Theatres, III, 18 ff). [The theme exploited again by Garrick in The Farmer's Return from London, dl 20 March.

Performances

Mainpiece Title: The Drummer; Or, The Haunted House

Afterpiece Title: The Genii

Song: II: Hearts of Oak, as17620115; End: An Occasional Ballad by Way of Epilogue, in the Character of Abigail,-Mrs Clive

Performances

Mainpiece Title: The Funeral; Or, Grief A-la-mode

Performance Comment: Lord Hardy-Ross; Lord Brumpton-Anderson; Campley-Dyer; Trusty-Gibson; Sable-Collins; Trim-Shuter (in which will be introduc'd, by desire, the Cries of London); Corporal-Barrington; Tatter-Buck; Rag-Bennett; Bumpkin-R. Smith; Matchlock-Redman; Kate Matchlock-Wignel; Lady Charlotte-Mrs Ward; Mrs Fardingale-Mrs Green; Mademoiselle-Miss Sledge; Lady Harriet-Mrs Vincent; Lady Brumpton-Mrs Hamilton.

Afterpiece Title: Apollo and Daphne

Performances

Mainpiece Title: The Mistake

Afterpiece Title: The Old Maid

Dance: End: By Particular Desire of several persons of Quality a Minuet-Noverre, Mrs Palmer. *uö‘dl New Interlude, call'dThe Farmer's Return from London. Farmer-Garrick; Farmer's Wife-Mrs Bradshaw

Performance Comment: *uö‘dl New Interlude, call'dThe Farmer's Return from London. Farmer-Garrick; Farmer's Wife-Mrs Bradshaw.

Performances

Mainpiece Title: Cymbeline

Afterpiece Title: Edgar and Emmeline

Performance Comment: As17611211. *uöŸdl The Farmer's Return from London. As17620320.

Performances

Mainpiece Title: Florizel And Perdita

Afterpiece Title: Catharine and Petruchio

Performance Comment: As17620127 *uö›dl The Farmer's Return from London. As17620320 but Children, Master Pope, Miss Cape, Miss Heath.

Performances

Mainpiece Title: The Stratagem

Afterpiece Title: The Minor

Entertainment: I: King (for this night only) will present the Public with a Serio-Comic, Satiric, Prophetic, Poetic Oration, call'd The Brass Prophecy or News Ten Years Hence-King; End Farce, By Particular Desire: The Picture of the Playhouse or Bucks Have at ye All-King

Dance: IV: A New Hornpipe-Miss Baker. *uö?dl After: The Farmer's Return from London. As17620329

Performance Comment: *uö?dl After: The Farmer's Return from London. As17620329.

Performances

Mainpiece Title: The Constant Couple

Afterpiece Title: Miss in Her Teens

Performance Comment: Fribble(for that night only)-Garrick; Flash-King; Biddy-Miss Pope; Loveit-Packer; Puff-Moody; Jasper-Ackman; Tag-Mrs Bennet. *uö·dl TThe Farmer's Return from London. As17620329.

Performances

Mainpiece Title: All In The Wrong

Afterpiece Title: The Genii

Performance Comment: As17611228. *uöÌdl TThe Farmer's Return from London. As17620329.

Performances

Mainpiece Title: The Way Of The World

Afterpiece Title: Miss in Her Teens

Song: III: A Cantata-Miss Young. *uöÓdl TThe Farmer's Return from London. As17620329

Performance Comment: *uöÓdl TThe Farmer's Return from London. As17620329.

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: Polly Honeycombe

Performance Comment: As17610919. *uöÔdl TThe Farmer's Return from London. (by Particular Desire) As17620329.

Performances

Mainpiece Title: The Mistake

Afterpiece Title: Harlequin's Invasion

Performance Comment: As17611127, but The Vocal Parts-Fawcett. *uöˆdl +TThe Farmer's Return from London. As17620320.
Cast
Role: The Vocal Parts Actor: Fawcett. uöˆdl +TThe Farmer's Return from London. As17620320.

Performances

Mainpiece Title: The Double Gallant

Afterpiece Title: The Musical Lady

Dance: I: The Camp Alarm'd, as17610926; III: The Drunken Swiss-Grimaldi, Baltazar, Miss Baker; IV: A New Tambourine-Vincent. (playbill) *uö¯dl TThe Farmer's Return from London. As17620320

Performance Comment: (playbill) *uö¯dl TThe Farmer's Return from London. As17620320.

Entertainment: TThe Savoyard Travellers-Grimaldi, Sg and Sga Giorgi, Miss Baker

Performances

Mainpiece Title: The Stratagem

Afterpiece Title: The Jealous Farmer Deceiv'd [Harlequin Statue]

Performance Comment: Harlequin-Miles; Farmer-Buck; Statuary-Holtom; Colombine-Mrs Dyer; Pierrot-Lalauze; To conclude with a Country Dance-; [After the Pantomime, The Cries of London-Shuter.
Cast
Role: The Cries of London Actor: Shuter.

Dance: II: La Petite Bergere-Miss Lalauze (Eight years of age) being her fourth appearance on the stage [see17590425; 23 April 1760; 22 April 1761]; IV: A Serious Dance-Miss Lalauze; V: [A Ball Dance, call'd The Louvre, Minuet-a Young Gentleman (Eight years of age, a scholar to Mr Lalauze, his first appearance on any stage), Miss Lalauze

Entertainment: After: By Particular Desire, for this night only Hippisley's Drunken Man-Shuter

Performances

Mainpiece Title: The Provoked Wife

Afterpiece Title: The Genii

Performance Comment: As17611228. *uö?dl TThe Farmer's Return from London. As17620320.

Performances

Mainpiece Title: Love For Love

Afterpiece Title: The Musical Lady

Dance: II: The Tambourine Dance-Vincent; III: The Italian Gardiners, as17611010; IV: Hornpipe-Vincent; The Camp Alarm'd, as17610926. End: The Farmer's Return from London. As17620320

Performance Comment: End: The Farmer's Return from London. As17620320.

Performances

Mainpiece Title: Hamlet

Afterpiece Title: Catharine and Petruchio

Dance: II: Comic Dance-Miss Rogers. *uõdl End: The Farmer's Return from London. As17620320

Performance Comment: *uõdl End: The Farmer's Return from London. As17620320.

Performances

Mainpiece Title: The Funeral

Afterpiece Title: High Life below Stairs

Dance: II: Comic Dance-Miss Rogers; III: The Camp Alarm'd, as17610926. *uõdl End: The Farmer's Return from London. As17620320

Performance Comment: *uõdl End: The Farmer's Return from London. As17620320.
Event Comment: MMr Vernon-Macheath, 1st time; Mr Parsons-Filch, Mrs Parsons-Mrs Peachum (Cross Diary). Mr William Parsons came with Mr James Love from Edinburg, and Made his first appearance on the stage in London this evening; He died of an asthma on Tues. 3 February in the severe winter of 1795, and was buried in the churchyard of Lea-Church near Blackheath in Kent; he was in his 60th year (Macmillan [Hopkins MS Notes]). Afterpiece: Not acted these 2 years. [See 19 Oct. 1759.

Performances

Mainpiece Title: The Beggar's Opera

Afterpiece Title: The Lying Valet

Dance: End Opera: A Dutch Dance-Vincent, Sga Giorgi

Performances

Mainpiece Title: King Henry Iv, Part Ii

Afterpiece Title: Polly Honeycomb

Performance Comment: As17621012 *uõœdl End: The Farmer's Return from +London. Farmer-Garrick; Wife-Mrs Bradshaw .
Event Comment: With New Habits, Scenes, Decorations and Music. Full Prices. Songs in the Entertainment will be given out at the Theatre. Afterpiece compos'd by Love, perform'd with success (Victor, I, 40). [N.B. In June 1762 the King of the Cherokee Indians arrived with two of his chiefs to pay respects to King George III. On 28 August they appeared at Marylebone Gardens. A dmission Price to see them 6d. (London Chronicle, No 857 & 860).

Performances

Mainpiece Title: Lady Jane Gray

Afterpiece Title: The Witches; or, Harlequin Cherokee

Song: IV: Miss Young

Event Comment: Benefit for City of London Lying-In Hospital, Aldersgate St. No building on Stage. Tickets to be had at the Hospital, and of Mr Sarjant at the Stage-Door

Performances

Mainpiece Title: The Recruiting Officer

Afterpiece Title: The Contrivances

Dance: II: Pleasures of Spring, as17621202; End: The Jealous Woodcutter, as17621023

Event Comment: Mainpiece: Never acted before. Characters new dressed &c. [See Theatrical Review; or, Annals of the Drama, 1763, pp. 67-74: Bless us what a sweet consistent piece of business is a modern Tragedy." See Boswell's account of his attendance that night with two friends, With oaken cudgels in our hands and shrill sounding catcalls in our pockets," ready prepared to damn the play (London Journal), p. 154 ff.).] Critical Strictures on the New Tragedy of Elvira, published this month (Gentleman's Magazine). I then undressed for the Play. My father and I went to the Rose, in the Passage of the Playhouse, where we found Mallet, with about thirty friends. We dined together, and went from thence into the Pitt, where we took our places in a body, ready to silence all opposition. However, we had no occasion to exert ourselves. Not withstanding the malice of a party, Mallet's nation, connections and indeed imprudence, we heard nothing but applause. I think it was deserved. The play was borrowed from de la Motte, but the details and language have great merit. A fine Vein of dramatick poetry runs thro' the piece. The Scenes between the father and son awaken almost every sensation of the human breast; and the Council would have equally moved, but for the inconvenience unavoidable upon all Theatres, that of entrusting fine Speeches to indifferent Actors. The perplexity of the Catastrophe is much, and I believe justly, critisized. But another defect made a strong impression upon me. When a Poet ventures upon the dreadful situation of a father who condemns his son to death; there is no medium; the father must either be monster or a Hero. His obligations of justice, of the publick good, must be as binding, as apparent as perhaps those of the first Brutus. The cruel necessity consecrates his actions, and leaves no room for repentance. The thought is shocking, if not carried into action. In the execution of Brutus's sons I am sensible of that fatal necessity. Without such an example, the unsettled liberty of Romev would have perished the instant after its birth. But Alonzo might have pardoned his son for a rash attempt, the cause of which was a private injury, and whose consequences could never have disturbed an established government. He might have pardoned such a crime in any other subject; and the laws could exact only a equal rigor for a son; a Vain appetite for glory, and a mad affectation of Heroism, could only influence him to exert an unequal & superior severity (Gibbon's Journal, ed. D. M. Low [New York, n.d.], pp. 202-4)

Performances

Mainpiece Title: Elvira

Afterpiece Title: The Male Coquette