SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Theatre Royal York"/1) | (@(roleclean,performerclean) "Theatre Royal York")') 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 3502 matches on Event Comments, 746 matches on Performance Title, 736 matches on Performance Comments, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: London Gazette, No 2651, 6-9 April 1691: The Consort of Vocal and Instrumental Musick lately held in York-Buildings, will be performed again (at the same place and hours as formerly) on Monday next (being Easter-Monday) by the Command, and for the Entertainment, of her Royal Highness the Princess of Denmark

Performances

Mainpiece Title: Concert

Event Comment: London Gazette, No. 3388, 28 April-2 May 1698: On Wednesday next, the 4th of May, will be performed in York-Buildings, the Song which was Sung before her Royal Highness on Her Birth Day last; With other Variety of New Vocal and Instrumental Musick, Composed by Dr Turner, and for his Benefit

Performances

Mainpiece Title: Concert

Event Comment: Post Boy, No. 476, 21-24 May 16 98: Wednesday next, the 25th of May, will be performed in York Buildings, a new Entertainment of Vocal and Instrumental Musick, with the Song which was Sung to her Royal Highness on her Birthday Compos'd by Mr Daniel Purcell, and is for his Benefit

Performances

Mainpiece Title: Concert

Event Comment: Both Pieces By Particular Desire. Present the Dukes of York and Cumberland, Princess of Brunswick, and Lady Louisa. Paid for the paragraph of the Royal Family coming in the Ledger and Gazetteer 6s. (Account Book). Receipts: #149 4s. 6d. (Account Book)

Performances

Mainpiece Title: The Squire Of Alsatia

Afterpiece Title: The Citizen

Dance: End: The Garland-Fishar, Miss Wilford. [See17651003.

Event Comment: The Corpse of His Royal Highness the Duke of York arrived at Greenwich, and was buried the next day

Performances

Mainpiece Title: None

Event Comment: By Permission of the Lord Chamberlain, and also under the Patronage of their Royal Highnesses the Prince of Wales, the Duke of York, and the Duke of Clarence. Benefit for Lee Lewes. The Doors to be opened at 5:15. To begin at 6:15. Tickets and Places for the Boxes to be had of Lee Lewes, at Mr Brough's, No. 18, Portland-street, Soho. Afterpiece [1st time; F 2, by James Fennell. Larpent MS 924; not published. Synopsis of plot in Morning Post, 8 Mar.]

Performances

Mainpiece Title: The Busy Body

Afterpiece Title: The Advertisement; or, A New Way to Get a Husband

Entertainment: MonologuesEnd IV: The late King of Prussia and General Ziethen-Lee Lewes; End: A Whimsical Dissertation upon Law-Lee Lewes

Event Comment: On Sunday Charles, Duke of Cambridge, the son of the Duke of York, died. On 7 May 1661, Francis Newport wrote to Sir Richard Leveson: The Duke of Cambridge dyed on Sunday in the afternoon and was buryed yesternight without any solemnity, noe mourning in the Court for him (HMC, Sutherland MSS, 5th Report, Appendix, 1876, p. 151). If the theatres were closed because of this death, the closure was for not more than ten days

Performances

Event Comment: The King's Company. Pepys, Diary: My wife and I...to the Theatre, where we seated ourselves close by the King, and Duke of York, and Madame Palmer, which was great content; and, indeed, I can never enough admire her beauty. And here was Bartholomew Fayre, with the puppet-show, acted to-day, which had not been these forty years (it being so satyricall against Puritanism, they durst not till now, which is strange they should already dare to do it, and the King to countenance it), but I do never a whit like it the better for the puppets, but rather the worse

Performances

Mainpiece Title: Bartholomew Fair

Event Comment: The Duke's Company. See Duffett's burlesque, above. The Diary of Robert Hooke, 6 Dec. 1673: Saw Empress of Morocco at Duke's Theatre. 1s. 6d. Dutchess of York? there

Performances

Mainpiece Title: The Empress Of Morocco

Event Comment: The Duke's Company. The date of the first production is uncertain. The fact that the Epilogue suggests that it followed Settle's The Female Prelate is not a factor in the dating, as the Newdigate newsletters--see Wilson, Theatre Notes from the Newdigate Newsletters, p. 80--show that Settle's play was first acted on 31 May 1680, whereas Caesar Borgia was entered in the Term Catalogues, November 1679. Although the reference in the Epilogue to burning the Pope's Effigies" has been argued as referring to the Pope-burning procession of 17 Nov. 1679, the references in the Epilogue to Father Lewis, who was tried and convicted at York, 28 March 1679, suggest that it was written before his execution, 27 Aug. 1679. Hence the play may have been acted first some time in the late spring or the summer. A song, Blush not redder than the Morning, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Performances

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

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

Event Comment: New Scenes, Dresses, Machinery and other Decorations. Book of the Entertainment to be had at 1s. 6d. at Theatre. A Dramatic Romance by David Garrick, Music composed by Michael Arne. Gave King's Footmen and Chairmen #4 4s.; Queen's ditto; Dukes of York and Gloucester ditto (Treasurer's Book). [A memorandum dated 22 August 1766 (Folger Library, Garrick Album, 520 MS, Cage) explains that Michael Arne was to compose the Music for Cymon, and as compensation shall be intitled to and receive one third part of the profits of the three first nights which the author shall take for his own Benefits." Zachariah Stephens was witness. See 15 Jan. 1767.] Receipts: #196 5s. 6d. (Treasurer's Book)

Performances

Mainpiece Title: Cymon

Event Comment: The Author's Night. N.B. As the time limited by Mr Foote's Patent is now expiring the Company will perform every night of the week, (Saturday excepted). Mondays, Wednesdays and Fridays Barry and Mrs Dancer. Tuesdays and Thursdays Mr Foote (Public Advertiser). Set down as much as I can remember of the additions to the Orators. In the evening finished a copy for the Printer of the General Evening Post of an answer to a flattering letter which appeared in that paper some time ago. It is in praise of the Duke of York and other wretches, who not knowing how to spend enough of the Nation's money have fitted up a Theatre in St James Street on which to exhibit their own folly and profusion (Neville MS Diary). [Neville's piece appeared in the Post 8 Sept.

Performances

Mainpiece Title: Countess Of Salisbury

Afterpiece Title: Miss in Her Teens

Dance: Miss Froment

Event Comment: Cancelled. On account of death of Edward Augustus, Duke of York, next Brother to His Majesty. [Theatre closed to 5 Oct.

Performances

Mainpiece Title: Romeo And Juliet

Afterpiece Title: Perseus and Andromeda

Event Comment: Mrs King from the York Theatre made her first appearance on this stage in Rosalind. She is very Tall and would look well enough if she did not paint her face so much with white and Red. She has a course Voice-and does not speak very Naturally. She was received with great applause (Hopkins Diary). [Genest, V, 479, suggests Mrs King was used to offset and upset Miss Younge.] Paid Watch tax and Beadle for half a year #18 15s.; Mr Levy Fredrick bill for silks #154 1s. 6d. Receipts: #132 16s. 6d. (Treasurer's Book)

Performances

Mainpiece Title: As You Like It

Afterpiece Title: The Theatrical Candidates

Afterpiece Title: Harlequin's Jacket

Dance: I: The Irish Fair, as17751003

Event Comment: Mainpiece: Not acted these 2 years. [Mrs Kennedy was from the York theatre.

Performances

Mainpiece Title: The English Merchant

Afterpiece Title: The Citizen

Dance: As17790610

Event Comment: [Miss Kemble was from the York theatre.] Receipts: #277 11s. 6d. (271/4/0; 5/17/6; 0/10/0)

Performances

Mainpiece Title: Jane Shore

Afterpiece Title: The Apprentice

Event Comment: [Chalmers was from the York theatre.] Receipts: #217 16s. 6d. (214/18/0; 2/18/6)

Performances

Mainpiece Title: The Conscious Lovers

Afterpiece Title: Rosina

Song: In Act II of mainpiece song by Brett

Event Comment: Benefit for Mrs Wells [whose 1st appearance in tragedy was at this theatre, 30 Apr. 1783]. Public Advertiser, 29 Apr.: Tickets to be had of Mrs Wells, No. 5, York-street, Covent-garden. Receipts: #143 17s. (33/4/0; 24/0/6; 0/10/6; tickets: 86/2/0) (charge: #114 8s. 6d.)

Performances

Mainpiece Title: Isabella

Afterpiece Title: The Camp

Dance: After the Singing, as17840311athi

Song: End of mainpiece a favourite song by Miss George

Monologue: 1784 04 30 Before the mainpiece an occasional Address spoken by Mrs Wells

Event Comment: Mainpiece: Not acted these 12 years [acted 16 Dec. 1774]. [Mrs Jordan was from the York theatre.] Receipts: #195 14s. (155/1; 39/13; 1/0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: The Caldron

Dance: End of Act II of mainpiece The Provencalle by Williamson and Miss Stageldoir; In afterpiece, by Hamoir, Mrs Sutton and others

Event Comment: Mainpiece: Not acted these 4 years [acted 31 Dec. 1783. Pope had acted Beverley in Edinburgh in the summer of 1786 (Morning Post, 26 Sept.). The playbill assigns Stukeley to Aickin, but he "having had the misfortune to lose his wife, Stukeley was played by Inchbald" (Morning Chronicle, 26 Sept.), from the York theatre, 1st appearance on this stage (see 4 Oct.)]. Afterpiece: Never acted there. Paid Properties the 22nd Instant 6s. 8d.; Wardrobe #6 2s. 6d.; Guard [master carpenter] for Scenemen #10 18s. 6d.; Supernumeraries #4 7s. 6d. Receipts: #194 16s. (193.0.6; 1.15.6)

Performances

Mainpiece Title: The Gamester

Afterpiece Title: The Romp

Event Comment: Benefit for Browne. [Miss Eccles, who was from the York theatre, is identified in European Magazine, July 1787, p. 64.] Public Advertiser, 16 July: Tickets to be had of Browne, No. 13, King-street, Covent Garden

Performances

Mainpiece Title: Venice Preserv'd

Afterpiece Title: The Flitch of Bacon

Entertainment: Monologue End: a monody, The Shadows of Shakespeare; or, Shakespeare's Characters doing Homage to Garrick (written by Samuel Jackson? Pratt)-Browne

Event Comment: Pepys, Diary: To the New Theatre [Vere St], which, since the King's players are gone to the Royal one [Bridges St], is this day begun to be employed by the fencers to play prizes at

Performances

Event Comment: The King's Company. For praise of Lacy, see Downes, Roscius Anglicanus, p. 16, or 27 Nov. 1662. Pepys, Diary: To the Royal Theatre by water, and landing, met with Captain Ferrers his friend, the little man that used to be with him, and he with us, and sat by us while we saw Love in a Maze. The play is pretty good, but the life of the play is Lacy's part, the clown, which is most admirable; but for the rest, which are counted such old and excellent actors, in my life I never heard both men and women so ill pronounce their parts, even to my making myself sick therewith

Performances

Mainpiece Title: Love In A Maze

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216: K: & Q:. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 406. BM Add. Mss. 27, 962v, f. 312 (a transcript of a newsletter by Salvetti), 14 Dec. 1674 (translation): On last Wednesday all the royal family were present at the theatre to hear the tragedy of Hamlet, which, for their greater entertainment, was adorned and embellished with very curious dances between the acts. [I am indebted to Professor George Hilton Jones, Kansas State University, for this item.

Performances

Mainpiece Title: Hamlet