SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Theatre Birmingham"/1) | (@(roleclean,performerclean) "Theatre Birmingham")') 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 2481 matches on Event Comments, 361 matches on Performance Comments, 52 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: Afterpiece [1st time; MF 2, by John Cartwright Cross, altered from The Hue and Cry, by Elizabeth Inchbald. Larpent MS 1184; not published; synopsis of plot in Morning Herald, 14 Nov.]: The Overture and Music composed by Reeve. Books of the Songs to be had at the Theatre. Receipts: #268 4s. (264.4; 4.0)

Performances

Mainpiece Title: Romeo And Juliet

Afterpiece Title: An Escape into Prison

Song: As17971102

Event Comment: [Longley is identified in European Magazine, Dec. 1797, p. 410, but Monthly Visitor, Jan. 1798, p. 64, says that he was Clarke, "from the Shakesperian Theatre at Tottenham Court Road." Afterpiece in place of The Shipwreck, advertised on playbill of 24 Nov.] "[Longley] is not inferior to some Falstaffs we have seen upon the London stage, and he possesses all the traditionary shrugs, winks and bye-play usual in the representation of the part" (True Briton, 27 Nov.). Receipts: #140 18s. (101.15; 38.3; 1.0)

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Afterpiece Title: Richard Coeur de Lion

Event Comment: A Serious Opera (1st time [in London; 1st performed at Rome, 1766]); the music partly by Sarti and partly [i.e. with additions] by Paisiello. 2nd ballet: With entire new scenes by Degotti and executed by himself and Marinari. "The dresses [in this ballet] are said to be after designs from David; the costume is correct, perhaps, but it may be a little softened without injury to the effect. The contrast of colours is in some of them too harsh...The scenery is in a new stile. It has been our taste to assist the perspective by contracting the stage to a point. This was but a clumsy method, as the illusion was rarely complete, and it gave the idea of littleness. In this instance the stage is thrown open on every side, and the perspective is managed as every painter is obliged to manage it, on the broad surface, but still with the mechanic aids which scenery affords. The effect was enchanting" (Morning Chronicle, 30 Nov.). The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. No Money to be returned. The Subscribers are most earnestly entreated to observe that, on account of the abuses frequently practised in their names, it has become absolutely necessary to adopt the former rule for Subscribers themselves to produce their Tickets at the doors as they pass into the Theatre. The Upper Boxes to be lett by the night, at one Guinea each for four persons. The way to them through the Gallery Staircase

Performances

Mainpiece Title: Ipermestra

Dance: End I: Divertisement, composed by Gallet [with music by Bossi] L'Offrande a Terpsichore-Didelot, Mme Rose, Laborie (1st appearance in this country since 1790 [recte 1792]), Mme Hilligsberg, Mlle J. Hilligsberg, Mme Laborie

Ballet: End Opera: a new Grand, Heroic, Pastoral Ballet, composed by Gallet [with music by Bossi] Ariadne et Bacchus. Bacchus-Laborie; Ariadne-Mme Laborie; Silenus-Blake; Cupid-Master Menage; Followers of Bacchus-Mme Hilligsberg, Mlle J. Hilligsberg, Didelot, Mme Rose. [And see dl, 9 May 1798.

Performances

Mainpiece Title: Cato

Performance Comment: Cato-Bull; Portius-Wilkinson; Marcus-Thomas; Sempronius-Williams; Syphax-Minton; Lucius-Dawson; Decius-Cameron; Mutineers-Barnet, Duncan; Juba-Bellamy (from the Theatre Royal York); Lucia-Miss Parker; Marcia-Miss Herbert.

Afterpiece Title: The Citizen

Performance Comment: Old Philpot-Wilson (from the Theatre Royal Margate); Young Wilding-Murray; Sir Jasper Wilding-Dawson; Beaufort-Barnet; Dapper-Thomas; Quildrive-Williams; Young Philpot-Wilkinson; Corinna-Miss Twaites; Maria-Miss Sadler.

Song: End: a celebrated Scotch Ballad-

Entertainment: Monologue.Before: [the original Address-; [i.e. Prologue] [written by Pope, with four concluding lines from Prologue of Agis- [by John Home]

Event Comment: [Sparks was from the Edinburgh theatre.] Receipts: #88 14s. (47.11.0; 36.14.6; 4.8.6)

Performances

Mainpiece Title: The Wonder

Afterpiece Title: No Song No Supper

Event Comment: By Permission of the Proprietor of the Theatre Royal Haymarket. [Epilogue by George Colman, ynger.] Receipts: #138 0s. 6d. (134.10.6; 3.10.0)

Performances

Mainpiece Title: The Heir At Law

Afterpiece Title: The Round Tower

Performances

Mainpiece Title: The Merchant Of Venice

Performance Comment: As17971202, but Gratiano-R. Palmer; Shylock-Archer (from the Theatre Royal Edinburgh; 1st appearance on this stage). 1st appearance on this stage).

Afterpiece Title: The Citizen

Event Comment: Notwithstanding the great demand for places for The Castle-Spectre, the system of giving as much Novelty as possible at this Theatre necessarily prevents its repetition till Monday next. Receipts: #381 1s. (329.17.6; 50.12.6; 0.11.0)

Performances

Mainpiece Title: The Castle-spectre

Afterpiece Title: The Shipwreck

Event Comment: By Permission of the Lord Chamberlain. Benefit for The Choral Fund, instituted for the Relief of their decayed Members, their Widows, and Orphans. Conductor-Dr Arnold. Leader of the Band-Barthelemon. Organ-Smart Jun. Principal Instrumental Performers-Lindley, Harrington, Holmes, Smart and Sons, Betts, Hyde, Lyon and Son, Boyce, Kauntze, French, Oliver, Dickenson, Manessier, Piercy, King, Brandi, Cubit and Son, Hoffman, Charlton, Gillingham, Buckinger, Nerborn, Wilcox, Mawby, Purryer, Barrett, Windsor, Jackson, Forrett, Fenny, Flack and Son, Dressler, Zwingman, &c. Double Drums-Jenkins; The Chorus will be selected, and assisted by the Young Gentlemen of the Westminster Choir. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 6:00. To begin precisely at 7:00. A Subscription of One Guinea will entitle the Subscriber to Five Box Tickets. Tickets to be had at the principal Music Shops, and of the Secretary, J. Vale, Old Bethlem, Bishopsgate. Tickets and Places for the Boxes to be had of Rice, at the Theatre

Performances

Mainpiece Title: The Messiah

Music: In course: solo on the violin, of his own composition-Barthelemon

Event Comment: Afterpiece [1st time; MD 2, by George Colman, ynger, based on Raoul Barbe Bleue, by Michel Jean Sedaine (although, in the 1st edition of the play, this denied by Colman). Text (Cadell and Davies, 1798)]: The Scenery, Machinery, Dresses, and Decorations entirely new. The Musick composed and selected [from Paisiello] by Kelly. The Scenes designed and executed by Greenwood? Jun, Chalmers, and others. The Machinery, Decorations, and Dresses designed and under the direction of Johnston, and executed by him, Underwood, Gay, and Miss Rein. Books of the Songs to be had in the Theatre. Times, 8 Feb. 1798: This Day is published Blue Beard (1s. 6d.). "In the course of the representation, many blunders in working the scenery, which are unavoidable in a first representation of this nature, occurred, and the delays which took place were frequently very great...It was twelve o'-clock before the curtain dropped...The Expense of getting it up is said to be not less than #2,000" (London Chronicle, 18 Jan.). Proud swells the tide, with loads of capering heels, And vacant Folly shouts applause in peals; Hoards, even beyond th miser's wish, are thrown, To deck some sham farago for the town...Money for dresses, money for new scenes, New music, decorations, and machines; The cost of these, including every freak, Would pay ten decent players four pounds a week. Anthony Pasquin (pseud. for John Williams), "Innovation," in The Devil [1787], II, no. 2, 46. Receipts: #319 14s. 6d. (216.17.6; 102.2.0; 0.15.0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: Blue-Beard; or, Female Curiosity

Event Comment: "Incledon is no longer under any engagement at Covent-garden Theatre; having shewn a good deal of restiveness at being obliged to sing in the after-piece of Joan of Arc, he applied to Mr Harris on Friday [16 Feb.] to deliver him up his articles, which was instantly complied with" (Times, 19 Feb.). [On 22 Feb. and 15 Mar. Incledon acted, by Command; but not again until 14 Apr.] Receipts: #256 18s. 6d. (239.10.6; 17.8.0)

Performances

Mainpiece Title: He's Much To Blame

Afterpiece Title: Joan of Arc

Music: In afterpiece: The Harp-Weippert

Event Comment: [Miss Molini is identified in MS list in Kemble playbills of new performers for this season.] "Mrs Jordan...has taken considerable pains with a young lady of the name of Moline [sic], who, under her tuition, has frequently performed at Richmond theatre" (Monthly Visitor, Feb. 1798, p. 175). Receipts: #209 (120.15.6; 85.1.6; 3.3.0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: Blue-Beard

Event Comment: Afterpiece: By permission of the Proprietor of the Theatre Royal, Hay-Market. Receipts: #179 (168.11.6; 10.8.6)

Performances

Mainpiece Title: He's Much To Blame

Afterpiece Title: Peeping Tom

Event Comment: Composed by G. F. Handel. Among the Instrumental Performers: C. Ashley, Sarjant, Wm. Parke, Boyce, R. Ashley, Bridgtower, Pinto, Parkinson, Lavenu. the Flacks, Taylor, Mackintosh, Wm. Ware, Dresler, Francis, Gwilliam, Nicks, the Munros, Archer, I. Sharp, W. Sharp, M. Sharp, J. Sharp, Betts, Cobham, Jackson, Wood, Coyle, Cornish, Jones, Purney, Leffler, Woodham, Piele, the Cantelos, Skillern, &c. Organ-J. Ashley. Double Drums (used at Westminster-Abbey)-Jenkinson. The Chorusses will be numerous and complete; the whole under the direction of Ashley. The Doors to be opened at 6:00. To begin at 7:00 precisely [same throughout oratorio season]. Books of the Performance (with the Imprimatur of E. Macleish) to be had at the Theatre, price 6d. Places for the Boxes to be had of Brandon, at the Stage-Door in Hart-street. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s

Performances

Mainpiece Title: The Messiah

Music: End I: concerto on the violin-Master Pinto (aged Eleven Years, Grandson to the celebrated Performer of that Name [ThomasPinto])

Event Comment: 3rd piece [1st time; MF 2, by George Moultrie. Larpent MS 1199; not published; synopsis of plot in Morning Herald, 18 Mar. Prologue by John Taylor (Poems, I, 97)]: The Music composed by Attwood. Books of the Songs to be had at the Theatre. Receipts: #250 14s. (243.16; 6.18)

Performances

Mainpiece Title: The Ghost

Afterpiece Title: He's Much to Blame

Afterpiece Title: A Devil of a Lover

Event Comment: Benefit for Lewis. 1st piece: By Permission of the Author and positively for that Night only [see 27 Apr.]. 2nd piece [1st time; M. INT 1, by John Cartwright Cross]: The Music composed by Reeve. The Scenery and Machinery by Phillips, Lupino, &c. Books of the Songs to be had at the Theatre, & of Mr Barker, Vinegar-Yard. Morning Herald, 3 May 1798: This day is published The Raft (1s.). Times, 22 Mar.: Tickets to be had of Lewis, No. 6, Bow-street. Receipts: #412 6s. 6d. (273.16.0; 2.17.0; tickets: 135.13.6)

Performances

Mainpiece Title: The School For Scandal

Afterpiece Title: The Raft; or, Both Sides of the Water

Afterpiece Title: Lovers' Quarrels

Song: In III 1st piece: a song-Incledon

Event Comment: Benefit for Bannister Jun. 1st piece [1st time; MF 2. Larpent MS 1210; not published]: Written by Charles? Dibdin, Founded on his Popular Novel under that Title, and enriched with a Selection of his most recent and favourite Songs. Do conclude with a new Finale by Dibdin. The Overture by Dibdin. "[It is a] wretched inanity; without interest, without humour, without character, original only in its dullness and unmatchable absurdity" (Monthly Mirror, May 1798, p. 306). 2nd piece: Compressed into Three Acts. 3rd piece: By permission of the Proprietor of the Theatre Royal Hay-Market. Morning Herald, 18 Apr.: Tickets to be had of Bannister Jun., No. 65, Gower-street, Bedford-square. Receipts: #511 13s. 6d. (251.7.6; 68.7.0; 1.13.0; tickets: 190.6.0) (charge: #212 19s.)

Performances

Mainpiece Title: Hannah Hewit; Or, The Female Crusoe

Afterpiece Title: The Inconstant

Afterpiece Title: The Son-in-Law

Song: End I 1st piece: The Sailor's Consolation- made into a Song and Chorus

Event Comment: Benefit for Miss Pope. [Mrs Jordan's 1st appearance as Lady Bell was at this theatre, 21 Apr. 1789.] 3rd piece: To conclude with a Prospect of the Infernal Regions, and a Rain of Fire. Times, 4 May: Tickets to be had of Miss Pope, No. 63, Great Queen-street, Lincoln's-Inn-Fields. Receipts: #318 11s. 6d. (78.0.6; 84.18.0; 4.12.6; tickets: 151.0.6) (charge: #216 8s. 1d.)

Performances

Mainpiece Title: Know Your Own Mind

Afterpiece Title: Sylvester Daggerwood

Afterpiece Title: Don Juan; or, The Libertine Destroyed

Dance: In 3rd piece: Pas Seul, incidental to the piece-Sga Bossi DelCaro

Event Comment: Benefit for Murray. 1st piece: By Permission of the Author [Walsh Porter], and the Manager of the Theatre Royal Bath [William Wyatt Dimond]. [This was 1st acted at Bath, 27 Feb. 1798. It refers to the nation-wide attempt, being made at this time, to raise funds by voluntary contribution for the defense of the country. And see 9 Feb. Larpent MS 1197; not published. Miss Murray's 1st appearance on the stage was at Bristol, 1 July 1793.] Times, 27 Apr.: Tickets to be had of Murray, No. 77, Long Acre. Receipts: #198 17s. (102.6.0; 4.1.6; tickets: 92.9.6)

Performances

Mainpiece Title: Voluntary Contributions

Afterpiece Title: Curiosity

Afterpiece Title: Florizel and Perdita; or, The Sheep Shearing

Song: End 1st piece: Black Ey'd Susan-; End 2nd piece: Admiral Benbow-Incledon

Event Comment: Benefit for King. [This was Smith's last appearance on the stage, from which he had officially retired on 9 June 1788.] Broadside in Kemble playbills announcing this benefit: Mr King most respectfully informs the Public that his Night is fixed for Friday the 18th of May, when will be presented The School for Scandal. Mr King has the pleasure to add that Mr Smith, who was so long and so worthily applauded by the Public, and was the original performer of Charles Surface in the above, distinguished Comedy, at the particular request of Mr King, backed by a strong assurance from many admirers and encouragers of the Drama that it will not only add to Mr King's emolument but highly gratify the Town, has kindly consented to return to the Theatre for one night, and resume his favourite Character. "We had been told that Smith pourtrayed the Manners of a finished gentleman with more delicacy and characteristic propriety than any actor of his day; but this did not appear to us to be his particular excellence; he stands too wide to be graceful, and his deportment gains no advantage from a perpetual application of his hand to the lower part of the waist. These habits are far from elegant. His Charles, however, is a favourable specimen of that sort of acting which commonly falls under the denomination of the old school: light, airy, and natural; which excites applause without any anxious endeavour to produce it; which suffers the points to tell of themselves, and does not place them as so many traps to ensnare the injudicious part of the audience" (Monthly Mirror, May 1798, p. 299). "He was received with the most heart-felt gratulations by an audience who did not expect any apology for such acting, though he saw fit to deliver one at the conclusion of the play" (Monthly Visitor, May 1798, p. 72). Times, 4 May: Tickets to be had of King at his house, New Store-street, Bedford-square. Receipts: #674 6s. (388.0.6; 55.17.6; 2.0.0); tickets: 228.8.0) (charge: #212 5s. 6d.)

Performances

Mainpiece Title: The School For Scandal

Afterpiece Title: Sylvester Daggerwood

Afterpiece Title: The Son-in-Law

Song: In III 1st piece: song-Dignum

Event Comment: The Last Night of the Company's Performing this Season. [Mrs Francis, who is identified in Monthly Mirror, June 1798, p. 371, was from the Royalty Theatre.] Account-Book: Outstanding tickets taken. Receipts: #95 16s. 6d. (19.17.6; 5.6.6; tickets: 70.12.6)

Performances

Mainpiece Title: He's Much To Blame

Afterpiece Title: Rosina

Event Comment: Benefit for Caulfield, Trueman and Johnston. 1st piece: Never [previously] acted at this Theatre. Receipts: #489 (36.12; 35.0; 1.3; tickets: 416.5) (charge: #232 6s. 6d.)

Performances

Mainpiece Title: Ways And Means

Afterpiece Title: The Wedding Day

Afterpiece Title: Blue-Beard

Song: In course: Fal Lal , from The Cherokee,-Mrs Bland

Entertainment: End 2nd piece: a variety of Imitations (for that night only)-Caulfield

Event Comment: 3rd piece: Taken from the French of Patrat; Performed but once [at cg on 24 Apr. 1798]. [On this night the following performers appeared both at dl and at the hay: Aickin, Caulfield, Wathen, Trueman, Bannister, Miss DeCamp, Miss Heard.] On playbill of 13 June: Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 6:00. To begin at 7:00 [same throughout season]. Places for the Boxes to be had of Rice, at the Theatre. Printed by T. Woodfall, No. 104, Drury-Lane

Performances

Mainpiece Title: The Deaf Lover

Afterpiece Title: The Battle of Hexham; or, Days of Old

Afterpiece Title: Blue Devils

Event Comment: The last Night of the Company's performing this season. [This was John Palmer's last appearance in London. He died on the stage of the Liverpool theatre, while acting in The Stranger, on 2 Aug. 1798.] Receipts: #164 19s. (113.2.6; 50.9.0; 1.7.6)

Performances

Mainpiece Title: The Castle-spectre

Afterpiece Title: Comus

Dance: In I afterpiece: Dancing-Mlle Parisot, Sga Bossi DelCaro

Event Comment: Afterpiece [1st time; MF 2, by Henry Lee. Larpent MS 1221; not published in this form, but altered by the author in 3 acts, as Caleb Quotem and His Wife!; or, Paint, Poetry, and Putty (J. Roach, 1809)]: The Musick by Dr Arnold. Books of the Songs to be had at the Theatre. "Suett was, as he always is on a first night, most shamefully imperfect" (Monthly Mirror, July 1798, p. 52). [For Lee's accusing Colman, in his The Review, of plagiarism, see Genest, VII, 387-90. And see 1 Sept. 1800.

Performances

Mainpiece Title: The Battle Of Hexham

Afterpiece Title: Throw Physick to the Dogs