SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Theatre in Dublin"/1) | (@(roleclean,performerclean) "Theatre in Dublin")') 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 2521 matches on Event Comments, 411 matches on Performance Comments, 62 matches on Performance Title, 16 matches on Roles/Actors, and 0 matches on Author.
Event Comment: Directors of the Oratorios: Linley and Storace. Among the Principal Instrumental Performers are Ashe, W. Parke, Parkinson, Mason, Flack, Ashbridge, &c. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. No Money to be returned. Books of the performance to be had at the Theatre. [This was the 1st performance held in the new DL theatre]. Under the Management of Mr Kemble. The Box Office, for the present, is in Little Russell-Street, opposite to the Theatre, where Boxes and Places are to be taken of Fosbrook. The Box Doors are in Little Russell Street and Woburn Street. The whole of the Avenues [into the theatre], and the New Street ["which is intended to be called Woburn-street" (Carlton House Magazine, Apr. 1794, p. 136); see next paragraph] not being yet complete, Ladies and Gentlemen are particularly requested to direct their Coachmen to set down in Little Russell Street (where alone the Carriage Box Doors are at present) with the Horses heads toward Covent Garden, which is the only line in which Carriages can be permitted to pass. Carriages wanting to draw up after the performance should be headed to range in Drury Lane, toward Long Acre and Great Queen Street. The Chair Doors and Footway are in the Court in Woburn Street, where for the accomodation of those who may wish to have their Carriages wait out of the Croud, Chairs belonging to the Theatre and under proper regulations will attend. In order to keep the Colonnades quite clear no Servants can be permitted to wait there, but those belonging to the Carriages actually drawn up before the Pillars, and no Servants whatever can be permitted to pass the Doors of the Lower Saloon. Pit Door. The Temporary Pit Passage is in the center of the Theatre, in Bridges Street, which leads to a Spacious Saloon, which will be opened One Hour before the opening of the Pit Doors. All Carriages for the Pit Door are to wait in Catherine Street, or York-Street, to take up with the Horses heads towards Little Russel Street, and to pass through Great Russel-Street. Gallery Doors. The Gallery Doors, for Admittance, are in Little Russell-Street, and Woburn-Street, but, after the commencement of the Performance, the Gallery Doors, for the present can be only in Woburn Street. Every proper precaution is taken to prevent Croud and Inconvenience at the several Passages. The Doors to be opened at 5:15. To begin at 6:30 [same throughout oratorio season]. "The Orchestra represented the inside of a Gothic Cathedral [designed by Capon], and the Chorus Singers paid that attention to their attire that rendered the stage respectable. The house is so constructed that every note was distinctly heard at the remotest part of the theatre . . . The audience are so near the performers that the movement of every muscle is seen; a matter essentially necessary, particularly to the exhibition of an English Drama." [This opinion is greatly at variance with that of other commentators on the construction, the acoustics, &c. of the new theatre.] (European Magazine, Mar. 1794, p. 236). "The stage for the oratorios resembles a Gothic Cathedral, with illuminated stained glass windows, &c. The flies . . . [are] carved like the fretted roof of an antique pile, and the wings to the side scenes are removed for a complete screen, like those in use at the foreign theatres." (Thespian Magazine, Mar. 1794, p. 127). Account-Book, 12 Mar.: Paid Cabanel building Stage, on Acct. #130; Capon, painter, on Acct. #61 12s. Receipts: #358 6s. (281/2; 243 tickets sold by Fosbrook: 72/18; 4/6)

Performances

Mainpiece Title: A Grand Selection Of Sacred Music From The Works Of Handel

Event Comment: Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant at the Stage Door of the Theatre. [Only sagnificant changes from this regular notice will be recorded hereafter.] Paid Mrs Margaret Lamb 6 months interest on #315 due 8 Sept. #7 10s. (Account Book). Receipts: #155 15s. (Account Book). Estimate of a Constant@N.B. The Ground Rent and Taxes is calculated to be Paid in 150 Days.@Per Annum Per Day@To 50 Old Shares at 2s. --- #5@To 50 New Ditto at 2s. --- #5@T 50 New Ditto at 2s. --- #5@To Ground Rent for the Theatre #100@To Ditto for Buildings in Harte St. #30@To Ditto for Mr Thurmond's House in Bow Street Passage #25@ #155 #1 0s. 8d.@ #11 0s. 8d.@Taxes (Viz)@To Land and Window Taxes for Theatre #98 2s.@To Do for a House in Bow St. Passage #5 15s 6d.@To Poor's Rate for the Theatre #20@To Do for a House in Bow St. Passage #1 10s.@To Watch rate for the Theatre #8 6s. 8d@To Do for a House in Bow St. Passage 10s. 6d.@To Rector's rate for the Theatre #6 13s. 4d.@To Do for a House in Bow St. Passage 8s. 4d.@To Scavenger's Rate for the Theatre #6 17s. 4d.@To Do for a House in Bow St. Passage 6s. 4d.@To Water for the Theatre #4@ #152 10s.@ #1 4d.@To Renters, Ground Rent & Taxes #12 1s.@To Gawrds [sic] per Day 14s.@To Barbers Do 5s. 4d.@To Scenemen Do #2 10s.@To Music as Per List #4 9s 2d.@For 150 Days To Candles #3 3s.@Do To Coales 10s 10s.@Passages, Stage Etc. To Lamps #1 12s.@To Bills #1 7s.@To Advertisements 5s.@To Billsetters 4s. 6d.@#16 6s. Sallery [sic] #14 6s. Estimate To Wardrobe bill about #1 11s.@#2 Sallery #5 Estimate To Property Bill Do 7s.@To Chorus Singers Do 10s.@To Mr J. Rich #5 5s.@To Mr C. Rich #1@ #36 1s.@Nightly Charge@Musick List@Messrs Wood 5s.@Gillier 5s.@Miller 5s.@Chapman@ 3s. 4d.@Goodman 3s. 4d.@Woodson 5s.@Ward 6s. 8d.@Rolland 5s.@Rawlings 3s. 4d.@Vincent 6s. 8d.@Wrexell 5s.@Beale 5s.@Jones 4s. 2d.@Biche 3s. 4d.@Heron 4s. 2d.@Stockdon 3s. 4d.@Scovell 3s. 4d.@Lampe 3s. 4d.@Smart 3s. 4d.@Assistant Writer 10d.@Harpsicord 5s.@#4 9s. 2d.@Men Dressers Charg'd in the Wardrobe Bills@Messrs Mearns 2s. 6d.@Cason 2s.@Esbury 1s.@Fenwick 1s.@Winterton 1s.@Besford 1s.@Francis 1s.@Cawder 1s.@Hays 1s.@Hollingsworth 1s.@Cabell 1s.@Nicholls 1s.@Norris 1s.@Cole 1s.@16s. 6d.@Billstickers as per List@Messrs Abbott 2s.@Mislebrook 2s.@Dymuck 2s@Tidd 2s.@Gale 2s.@Cole 1s. 6d.@11s. 6d.

Performances

Mainpiece Title: The Jovial Crew; Or, The Merry Beggars

Afterpiece Title: The Mock Doctor

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: No Song No Supper

Event Comment: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov

Performances

Mainpiece Title: The Provoked Wife

Dance: Muilment

Performances

Mainpiece Title: The Relapse; Or, Vertue In Danger

Performance Comment: Hoyden-Mrs Hooke, the new Actress lately come from Dublin.

Entertainment: Singing and dancing-

Performances

Mainpiece Title: The Spanish Fryar

Performance Comment: As17291125, but Torrismond-a Gentleman; Queen-Mrs Porter; Raymond-Boman; Gomez-Griffith; from Dublin; Elvira-Mrs Oldfield.

Dance: Mrs Booth

Performances

Mainpiece Title: The Spanish Fryar

Performance Comment: Torrismond-Rosco; Queen-Mrs Roberts; Bertran-Bardin; Raymond-Huddy; Alphonso-Williams; Pedro-Havard; Lorenzo-Giffard; Elvira-Mrs Giffard; Fryar-W. Giffard; Gomez-Norris, from Dublin, Son of the late famous Comedian of that Name, alias Jubilee Dicky.

Afterpiece Title: The Lovers Opera

Dance: As17311104

Performances

Mainpiece Title: She Wou'd And She Wou'd Not

Performance Comment: As17311221, but Diego-Collet; Trappanti-Miller; Viletta-Mrs Norris; Flora-Miss Hughes, from Dublin, being the first Time of her appearing on this Stage.

Afterpiece Title: Damon and Phillida

Song:

Dance:

Event Comment: At the particular Desire of several Persons of Quality. For the Benefit of the Famous Signora Violante, who is just arriv'd with a new extraordinary fine Company....After the Irish Manner, Which was perform'd 96 Times in Dublin with great Applause. Boxes 5s. Pit 3s. Gallery 2s. [For performances at the Fairs in September, see season of 1731-1732.

Performances

Mainpiece Title: The Beggar's Opera

Dance: HHarlequin-Master LaFevre, Miss Violante; Louvre in Boys Cloaths-Miss Violante; Two Pierrots-Lalauze, Tobin

Performances

Mainpiece Title: The Busy Body

Performance Comment: As17321010, but Sir Jealous-Lyon, from Dublin, being the first time of his appearing on this stage; Marplot-R. Wetherilt.

Dance: SScot's Dance-Mrs Bullock; Hornpipe-Jones, playing on the Violin; The Friendly Lasses-Miss Wherrit, Miss Sandham

Performances

Mainpiece Title: The Beggar's Opera

Performance Comment: Macheath-Salway; Polly-Miss Bincks; Lockit-Mullart; Peachem-Hippisley; Lucy-Mrs Reynold, her first appearance since her arrival from Dublin; all the other Parts as usual. all the other Parts as usual.

Dance: CClown-Nivelon; Hornpipe-Ferguson; Scot's Dance-Glover, Mrs Laguerre, Desse, Mrs Ogden, Tench, Mlle Delorme

Performances

Mainpiece Title: Arius, King Of Persia; Or, The Noble Englishman; With The Comical Humours Of Sir Andrew Ague-cheek, At The siege Of Babylon

Performance Comment: Darius-Redman, from Dublin; Antipater-Taswell; Anglicanus-Stephens; Fearful-Vaughan; Eudocia-Mrs Purden; Queen-Mrs Egerton; Mrs Pert-Mrs Wright; Sir Andrew Aguecheek-Woodward.
Cast
Role: Darius Actor: Redman, from Dublin

Afterpiece Title: The Wrangling Deities; or, Venus Upon Earth

Song: Miss Polly Casey, her first on any stage

Dance: LLes Jardiniers Suedois-Vaughan, Mrs Wright

Event Comment: MMr Handel is set out for Ireland, in order to have Oratorios, etc., at Dublin, this Winter.-Daily Advertiser, 21 Nov

Performances

Mainpiece Title: Alexander In Persia

Performances

Mainpiece Title: Rule A Wife

Performance Comment: As17420205, but Altea-Mrs Woodward; Leon-Phillips, 1st time of his appearing this stage since his arrival from Dublin.

Afterpiece Title: Orpheus and Eurydice

Dance: LLouvre, Minuet-Dupre, a scholar of his

Event Comment: RRoyal family attended.-Deutsch, Handel, p. 561. The new Oratorio...has been performed four Times to more crouded Audiences than ever were seen; more People being turned away for Want of Room each Night than hath been at the Italian Opera.-Quoted by Dean, Handel's Dramatic Oratorios, p. 350, from Faulkner's Dublin Journal, 15 March

Performances

Mainpiece Title: Sampson

Music: Solo on Violin-Dubourg

Performances

Mainpiece Title: The Country Wife

Performance Comment: As17430407 but Pinchwife-Bridges from Dublin.

Afterpiece Title: The Dragon of Wantley

Song: As17430120

Dance: II: Sicilian Peasant, as17430310 IV: Italian Gardeners, as17421231

Event Comment: HHenry Carey died. We are informed, General Theophilus Cibber arriv'd in Town on Saturday Morning. He made a Campaign this last summer in Dublin, where he maintained the Field, with great reputation against the illustrious Count Sheridan. We further hear the ioung Gentleman has taken up his Winter Quarters in the Territories of Covent Garden; but his scene of action, 'tis said, will be Drury Lane. Tis rumored he will be soon join'd by some Auxiliaries, draughted from the Forces on the Irish Establishment, who are to supply vacant commissions of the present Theatrical Mutineers and Deserters--Daily Advertiser

Performances

Mainpiece Title: The Miser

Afterpiece Title: The School Boy

Event Comment: On Tuesday last died in Dublin, Mr Thomas Walker, the Comedian, who originally perform'd the Part of Capt. Macheath in the Beggar's Opera.--General Advertiser, 12 June

Performances

Performances

Mainpiece Title: The Careless Husband

Performance Comment: Foppington-Cibber; Morelove-Charles; Sir Charles-Mills, first on this stage in twelve years; Lady Betty-Mrs Mills, never here before; Lady Easy-Mrs Bailey, from Dublin; Lady Graveairs-Mrs George; Edging-Mrs Chetwood; prologue-Mrs Mills.
Cast
Role: Lady Easy Actor: Mrs Bailey, from Dublin

Music:

Performances

Mainpiece Title: The Conscious Lovers

Performance Comment: Tom-Cibber; Indiana-Miss Jenny Cibber, first time that part; Phillis-Mrs Elmy, from Dublin; Sir John Bevil-Paget; Sealand-Johnson; Young Bevil-Charles; Myrtle-Mills; Cimberton-Bernard; Humphrey-Furnival; Daniel-Hacket; Mrs Sealand-Mrs Hill; Lucinda-Mrs Bailey; Isabella-Mrs Freeman; With a Prologue-nobody; Epilogue-nobody.
Cast
Role: Phillis Actor: Mrs Elmy, from Dublin

Afterpiece Title: Love in Low Life

Music: German Flute-Burk Thumoth

Performances

Mainpiece Title: The Old Batchelor

Performance Comment: Heartwell-L. Sparks from Dublin; Bellmour-Mills; Fondlewife-Macklin; Bluff-I. Sparks; Setter-Yates; Sir Joseph Whittol-Neale; Vainlove-Havard; Laetitia-Mrs Woffington; Lucy-Mrs Macklin; Sharper-Blakes; Betty-Mrs King; Belinda-Mrs Mills; Araminta-Mrs Bennet; Sylvia-Mrs Ridout.

Dance: II: Muilment

Song: III: Lowe; V: Colin and Phebe-Lowe, Mrs Arne

Performances

Mainpiece Title: The Committee; Or, The Faithful Irishman

Performance Comment: Teague-Morris, from Dublin, 1st appearance on English stage; Careless-Ryan; Ruth-Mrs Pritchard; Blunt-Cashell; Arbella-Mrs Hale; Day-Hippisley; Mrs Day-Mrs Dunstall; Abel-Woodward; Obadiah-Arthur; Lt. Story-Rosco; Bookseller-James.

Afterpiece Title: The King and The Miller of Mansfield

Performances

Mainpiece Title: Macbeth

Performance Comment: As17461108, but Lady Macbeth-Mrs Furnival from Dublin.

Afterpiece Title: The Double Disappointment

Performances

Mainpiece Title: The Provoked Husband; Or, A Journey To London

Performance Comment: Lord Townly-Barry; Manly-Delane; Sir Francis-Macklin; Basset-Neale; Squire Richard-Blakes; Moody-Winstone; Poundage-Usher; Mrs Motherly-Mrs Bridges; Myrtilla-Mrs Horsington; Trusty-Mrs Yates; Lady Wronghead-Mrs Macklin; Miss Jenny-Mrs Mozeen (with songs proper to that character); Lady Grace-Mrs Elmy from Dublin; Lady Townly-Mrs Woffington.
Event Comment: A Concert etc. Pit and Upp?r Boxes 2s. Gallery 1s. 6 p.m. Afterpiece: The new farce now performingG in Dublin, [by John Cunningham]

Performances

Mainpiece Title: The True And Tragical History Of George Barnwell

Afterpiece Title: Love in a Mist