SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Weston but changed "/1) | (@(roleclean,performerclean) "Weston but changed ")') 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 404 matches on Performance Comments, 274 matches on Event Comments, 44 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: [As mainpiece the playbill announces Isabella, with Mrs Siddons as Isabella. But she was indisposed, and "the play was changed into The Winter's Tale" (World, 4 May).] Afterpiece [1st time; F 2, by Charles Stuart. Prologue by the author (Public Advertiser, 17 May)]. Receipts: #137 17s. 6d. (93.2.0; 43.7.6; 1.8.0)

Performances

Mainpiece Title: The Winter's Tale

Afterpiece Title: The Distress'd Baronet

Event Comment: Benefit for Mrs Siddons [whose 1st appearance as Alicia was at York, 26 Apr. 1777]. Part of the Pit will be laid into the Boxes. To prevent Confusion, Ladies are desired to send their Servants by half past Four o'Clock. Public Advertiser, 27 Apr.: Tickets to be had of Mrs Siddons, Gower-street. [In the interim she changed the play. The Announcement of 27 Apr. advertises Romeo and Juliet, by Kemble and Mrs Siddons, in which play she did not appear until May 1789.] Receipts: #337 16s. 6d. (146.1.0; 8.7.6; 0.14.0; tickets: 182.14.0) (charge: #105 16s.)

Performances

Mainpiece Title: Jane Shore

Afterpiece Title: Bon Ton

Event Comment: [Herrington, who was from the Royalty, and Mrs Farmer are both identified in Public Advertiser, 30 Aug. As afterpiece the playbill announces Peeping Tom, but "The fatigues Edwin had undergone at his benefit the preceding evening rendered him incapable of performing last night. Peeping Tom was therefore obliged to be changed to The Golden Pippin" (Public Advertiser, 30 Aug.)

Performances

Mainpiece Title: Jane Shore

Afterpiece Title: The Golden Pippin

Event Comment: "Palmer and Bannister having withdrawn from the theatre, The School for Scandal and The Quaker, which were intended for the opening pieces, were changed" (Town and Country Magazine, Oct. 1787, p. 445). [These two actors thought themselves ill-used because of the refusal of the dl management to acknowledge their right to open the Royalty (see 20 June 1787). Oulton, 1796, II, 1-8, prints an exchange of letters between Palmer, Bannister, and King (the dl acting manager) relating to this situation.] "Some twenty of thirty bars of Handel, on the approach of the court to the play [in III. ii of mainpiece]...made a fine preparation for the scene which followed" (World, 19 Sept.). Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Fosbrook at the Theatre. The Doors to be opened at 5:30. To begin at 6:30 [see 13 Nov.]. Receipts: #186 5s. 6d. (151.0.0; 35.4.6; 0.1.0)

Performances

Mainpiece Title: Hamlet

Afterpiece Title: The First Floor

Event Comment: [As afterpiece the playbill announces Love in a Camp, but "Changed to The Padlock" (Account-Book), and see 17 Oct. "Edwin was very much indisposed on Wednesday evening, [which] prevented his appearing(World, 12 Oct.).] Receipts: #145 6s. (137.12.6; 7.13.6)

Performances

Mainpiece Title: The Brothers

Afterpiece Title: The Padlock

Event Comment: [As afterpiece the playbill announces The Farmer, but "on account of Edwin's illness [it] was changed to Hob in the Well" (World, 23 Nov.).] Receipts: #155 12s. (152.3; 3.9)

Performances

Mainpiece Title: The Belle's Stratagem

Afterpiece Title: Hob in the Well

Event Comment: A Serio-Comic Opera in 2 acts (never performed here [1st performed at Vienna, 1784; and in April 1795 performed at king's under the title of Il Conte Ridocolo]). The Music composed in his best style by Paisiello. Under the direction of Mazzinghi. Fineschi being hardly recovered from his late severe indisposition humbly hopes for the indulgence of the public, whom rather than disappoint, he would run any danger. Gallini, for the last time, most respectfully entreats those few Subscribers who have hitherto delayed of declaring themselves, or sending in the names of their Co-subscribers, to do it immediately, as no one can be admitted without showing the Ticket for this year; and the Boxes not bespoke cannot remain empty after the opening of the House. Tickets to be had, and Subscription paid, as usual, at Messrs Ransom, Morland and Hammersley's, bankers, No. 57, Pall-Mall. The Doors to be opened at 6:00. To begin precisely at 7:00 [see 3 Jan. 1788]. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. "The only Part of the scenery which is interesting is the bridge Rialtov, and this is badly executed; it looks like a pantomimic show, but not like a grand opera scene; the bridge is crowded with figurative passengers, and small gondolas appear beyond it. The first idea is a capital error, for the representation of the bridge is supposed sideways, and being covered with shops, no passengers can be seen; the latter idea of boats being placed beyond the bridge crowds the scene, and makes the bridge lose its grand appearance at a distance...The Managers of the Opera are exceedingly to blame for having substituted a Soprano to a Tenor in the character of Gafforio" (Public Advertiser, 17 Dec.). Receipts: #164 14s. [These receipts, and those on all other nights throughout the opera season, represent the sale of non-subscription tickets. On this night 400 tickets were delivered to Prendergrass, office-keeper at the Haymarket pit entrance; of these he sold 159 at 10s. 6d. (i.e. #83 9s. 6d.). 100 were delivered to Toosey, office-keeper at the King's Door pit entrance; he sold 26 at 10s. 6d. (i.e. #13 13s.). 300 were delivered to Butler, office-keeper of the 1st Gallery; he sold 190 at 5s. (i.e. #47 10s.). 200 were delivered to Snelson, office-keeper of the 2nd Gallery; he sold 118 at 3s. (i.e. #17 10s.). Sale of one box #2 2s. "Difference from Gallery to Pit" (i.e. money received from persons who changed their seats from gallery to pit, 5s. 6d.). The delivery of 1,000 non-subscription tickets to be disposed was almost invariably the case on every night of the season; but see 5 Apr. 1788.

Performances

Mainpiece Title: Il Re Teodoro In Venezia; Or, Theodore (king Of Corsica) At Venice

Dance: End I: a new Divertissement (composed by Chevalier)-Chevalier, Coulon, Vestris, the two Miss Simonets, Sga Bedini, Mlle Coulon (1st appearance); End Opera: a new ballet (composed by Noverre) Les Offrandes a l'Amour-Didelot (1st appearance), Coulon, Vestris, Mlle Hilligsberg, Mlle Vedie, Mlle Coulon, Saulnier, Henry, Sala, the two Miss Simonets, Mlle Grenier, Mezierres

Event Comment: [As mainpiece the playbill announces The Heiress, but "on the sudden indisposition of Kemble, the play was changed to The Wonder, where Miss Farren, King and Miss Pope had much applause" (World, 26 Jan.).] Receipts: #130 17s. (109.6; 20.17; 0.14)

Performances

Mainpiece Title: The Wonder

Afterpiece Title: Harlequin Junior

Performance Comment: As17871226, but Colombine-Miss J. Stageldoir in place of Miss Stageldoir.
Event Comment: Benefit for Mrs Billington. Mainpiece: Not acted these 10 years [acted 5 Nov. 1779]. The Music chiefly composed by Hook, the rest compiled from the most eminent Masters. With new Songs and other Alterations [and restorations; the names of almost all the characters have been changed (see 23 Nov. 1778)]. Public Advertiser, 12 Jan.: Tickets to be had of Mrs Billington, No. 53, Poland-street. Receipts: #365 3s. 6d. (244.0.6; 2.12.0; tickets: 118.11.0) [charge: free)

Performances

Mainpiece Title: The Lady Of The Manor

Afterpiece Title: Rosina

Dance: End II: Leap Year-Byrne, Mrs Goodwin

Song: In afterpiece: (for that Night only) Sweet Bird-, from L'Allegro il Penseroso by Handel Mrs Billington; accompanied on the flute-W. Parke

Event Comment: [As mainpiece the playbill announces Love in a Village, but "Mrs Billington was taken ill & Rule a Wife was substituted" (MS annotation on BM playbill: cg, Vol. VI); as afterpiece St. Patrick's Day, but in the Account-Book (which also notes the change of mainpiece) it is deleted, and Three Weeks after Marriage substituted.] Receipts: #141 16s. (135.15.6; 6.0.6)

Performances

Mainpiece Title: Rule A Wife And Have A Wife

Afterpiece Title: Three Weeks after Marriage

Event Comment: The Play and Farce designed for this Evening [The Constant Couple and The Romp, both advertised on playbill of 23 Sept.] are changed on Account of Mrs Jordan's Indisposition. Receipts: #170 4s. (124.19; 44.8; 0.17)

Performances

Mainpiece Title: The Jealous Wife

Afterpiece Title: The Lyar

Event Comment: [The plays originally intended to be acted on this night were The Man of the World and Rosina, both advertised on playbill of 18 Nov. The playbill for this night, however, announces Love in a Village, with Mrs Billington as Rosetta, and Barataria, and carries the note "On Account of the sudden Indisposition of Macklin, The Man of the World is obliged to be deferred." But a third change had to be made; in place of Love in a Village and Barataria were substituted The Conscious Lovers and Hob in the Well, occasioned by the sudden indisposition of Mrs Billington" (World, 20 Nov.).] Receipts: #158 3s. (150.14.6; 7.8.6)

Performances

Mainpiece Title: The Conscious Lovers

Afterpiece Title: Hob in the Well

Dance: As17880915

Performances

Mainpiece Title: Marcella

Performance Comment: Characters-Holman, Farren, Aickin, Egan, Harley, Mrs Pope. [Cast from European Magazine, Nov. 1789, p. 378: Alphonso [Mendoza]-Holman; Lupercio-Farren; Governor of Barcelona-Aickin; Lopez-Egan; Hernandez-Harley; Marcella-Mrs Pope; ["Holman's part was unluckily ycleped Mendoza (i.e. the name of a pugilist who, at this time, was enjoying great popularity); it is now mended into Alphonso' (World, 22 Oct). At dl, on 7 Nov., it was changed to Alonzo.] [New Occasional Prologue by the Author of the Piece [William Hayley]-Holman.

Afterpiece Title: Rosina

Afterpiece Title: The Death of Captain Cook

Event Comment: Love in a Village [advertised on playbill of 23 Apr.] is obliged to be deferred, on account of the Indisposition of a principal Performer. [2nd piece in place of The Death of Captain Cook; 3rd piece of The Little Hunchback, both advertised on playbill of 23 Apr. But there may have been still a third change: the Account-Book for this night lists The Castle of Andalusia and Poor Vulcan; no corroboration of their having been acted has, however, come to light.] Receipts: #111 14s. (100.0.6; 11.13.6)

Performances

Mainpiece Title: The Highland Reel

Performance Comment: As17891006, but Donald Laird of Col-Powel.

Afterpiece Title: The Follies of a Day

Afterpiece Title: Barataria; or, Sancho Turn'd Governor

Performances

Mainpiece Title: The Female Adventure; Or, Stop Her Who Can

Afterpiece Title: Cymon

Performance Comment: As17900322but Cymon (for that night only)-Mrs Wells; Shepherds-_; Dorcas-_; Shepherdesses-_.
Cast
Role: 900322but Cymon Actor: Mrs Wells

Dance: Following Imitations at end: As17891021; In afterpiece: Dances, as17900409

Entertainment: End II: Tragic Imitations [of Mrs Siddons in Belvidera's 1st scene in Venice Preserved, I.i., and of Mrs Crawford in Lady Randolph's 1st speech in Douglas]-Mrs Wells; End III: Comic and Vocal Imitations [of Mrs Abington as Widow Belmour in The Way to Keep Him, and of Mrs Martyr, Mrs Jordan, Sga Storace, Sga Sestini]-Mrs Wells; End: A Scene from Isabella [The "ring speech" in II.ii] (Above identified in World, 29 Apr.)-Mrs Wells

Event Comment: [The playbill announces The Suspicious Husband, but "The performance at this house was changed yesterday evening in consequence of the indisposition of Lewis, and Rose and Colin with The German Hotel were substituted for The Suspicious Husband"(Diary, 16 Dec.).] Receipts: #145 14s. 6d. (135.4.6; 10.10.0)

Performances

Mainpiece Title: Rose And Colin

Afterpiece Title: The German Hotel

Afterpiece Title: Robin Hood

Performance Comment: As17901013, but Scarlet-Farley; Stella-Miss Francis.
Event Comment: A Grand Serious Opera; the music by Sacchini, with additions and alterations [by Andreozzi and Mazzinghi]. Under the direction of Mazzinghi. The dresses executed from original drawings of Bartolozzi and Tresham, by Lupino. With dances analogous to the Opera. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. There are a number of green boxes which may be taken on application to Lee, at the Theatre; the entrance to which, and to the Gallery, will be in Oxford-street. Subscriptions will be received by Messrs Wright and Co., Henrietta-street, Covent-garden (only) where tickets are delivering daily; and such Ladies as have not compleated their subscriptions to their boxes are intreated to send their names to the office, in order to have the tickets prepared, as no person can be admitted without producing a ticket. The Nobility and Gentry are intreated to give particular orders to their coachmen to set down and take up with their horses' heads towards Hyde-park. The Doors in Blenheim-mews for chairs only. By Command of His Majesty no person can be admitted behind the scenes during the performance. "We fear that [the Pantheon as converted into a theatre] will gratify only the eye. It must undergo still more changes before the ear will be satisfied. Whether it is that the dome is too high and disproportioned to the breadth, or that the orchestra is sunk too low beneath the audience we cannot tell, but the sound does not swell and spread in equal volume; and it is the most inaudible in the best parts of the Theatre: the Pit and the first and second tier of Boxes hear very indistincly...We found this to be the complaint of every judge of music in the place" (Morning Chronicle, 18 Feb.). "The Pantheon has opened, and is small, they say, but pretty and simple; all the rest ill-conducted, and from the singers to the scene-shifters imperfect; the dances long and bad, and the whole performance so dilatory and tedious, that it lasted from eight to half an hour past twelve" (Walpole [18 Feb. 1791], XIV, 377) [and see 19 Feb.]

Performances

Mainpiece Title: Armida

Dance: End I: Divertisement by D'Auberval-

Ballet: End II: an entire new Pantomime Ballet, in I act, composed by D'Auberval, Amphion et Thalie; ou, L'Eleve des Muses. Principal dancers-[Didelot, Duquesney, Vigano, Fialon, Duchesne, Rousseau, Boisgirard, St.Aumer, Schweitzer, [Mme Didelot, Mme Vigano, Mlle Theodore, [Mlle Gervaise Troche, Mlle Deligny, [Mlle L. Simonet, Mlle R. Simonet, Mlle Puisieux, [Mlle Bithmer Cadette, Mlle Bithmer, Mlle Rousseau, Mlle Vedie, Mlle Durand; [Cast from synopsis (H. Reynell [1791]:) Amphion (eleve des Muses)-Didelot; Bergers de la Phocide-Duquesney, Vigano; Thalie (Muse de la Comedie)-Mme Theodore D'Auberval; Jeune Nymphe de la Phocide (eleve de Terpsichore)-Mlle Gervaise Troche; Terpsichore (Muse de la Danse)-Mlle Leonore Simonet; Jeune Nymphe (favorite de Thalie)-Mlle Rosine Simonet; Melpomene (Muse de la Tragedie)-Mme Didelot; Clio (Muse de L'Histoire)-Mlle Augustine Bithmer; Erato (Muse de la Poesie Lyrique)-Mlle Bithmer; Euterpe (Muse de la Musique)-Mlle Rousseau; Uranie (Muse de l'Astronomie)-Mlle Jacobs; Calliope (Muse de l'Eloquence)-Mlle Birt; Polimnie (Muse de la Rhetorique)-Mlle Watson; Nymphes a la suite des Muses-Mlle Vedie, Mlle Durand, Mlle Berry, Mlle Bougier; Suite d'Amphion-Mme Fialon, Mme Duchesne, Mme Simonet, Mme Menage; Habitants de la Phocide-Mme Boisgirard, Mme Rousseau, Mme Omer, Mme Schweitzer

Performances

Mainpiece Title: La Bella Pescatrice

Dance: End I: Divertisement, as17910217; End II: a Grand Heroic Ballet in 3 acts (1st time), Telemachus in the Island of Calypso (composed by D'Auberval)-Didelot, D'Egville, Mlle Theodore, Mlle Gervaise Troche, Mlle Deligny, Mlle L. Simonet, Mlle R. Simonet, Mlle Menage. For assignment of parts see17910322

Performances

Mainpiece Title: Entertainments Of Music And Dancing

Performance Comment: Serious and Comic Music, by several celebrated composers. The Songs (which are all changed for this Evening)-Albertarelli, Tajana, Davide, Sga Cappelletti, Sga Sestini. Under the direction of Federici.

Dance: As17910521

Ballet: L'Amadriade. As17910521

Event Comment: [The playbill announces King Henry the Fifth and The Cave of Trophonius, but "The performances at this Theatre were changed last night on account of the indisposition of Kemble. Henry the Fifth gave way to The Siege of Belgrade, and The Cave of Trophonius was also superseded, as it was impossible for the vocal performers to sustain the whole effort of the night" (Morning Post, 18 Oct.). A MS annotation on Kemble playbill gives the name of the substitute afterpiece.] Receipts: #234 8s. (183.1; 49.18; 1.9)

Performances

Mainpiece Title: The Siege Of Belgrade

Afterpiece Title: All the World's a Stage

Event Comment: "[Mrs Billington] possessed not the feeling to give touching expression, even when she sung with the utmost delicacy and consummate skill. Her face was handsome, and her countenance full of good humour, but it was incapable of change, and she was no actress" (Mount-Edgcumbe, 93-94). Receipts: #223 5s. 6d. (221.18.6; 1.7.0)

Performances

Mainpiece Title: The Duenna

Afterpiece Title: The Mayor of Garratt

Event Comment: Mainpiece: Not acted these 10 years [not acted since 2 Oct. 1780]. [As afterpiece the playbill announces The Sultan, but "On Account of the Sudden Indisposition of Barrymore [it] was put off and the Devil to Pay substituted in its stead" (MS annotation on Kemble playbill) "The Sultan was changed to The Devil to Pay, and as Jordan remained, the matter was rather mended" (Oracle, 8 Nov.).] Receipts: #195 14s. (168.1; 26.3; 1.10)

Performances

Mainpiece Title: The First Part Of King Henry The Fourth

Performance Comment: King Henry-Bensley; Prince of Wales-Wroughton; Duke of Lancester-Bland; Earl of Worcester-Aickin; Earl of Northumberland-Packer; Hotspur-Kemble; Earl Douglas-Caulfield; Sir Richard Vernon-assigned to Barrymore, but see below; Earl of Westmoreland-Fawcett; Sir Walter Blunt-Whitfield; Sir John Falstaff-Palmer; Poins-R. Palmer; Gadshill-Cooke; Peto-Benson; Bardolph-Alfred; Francis-Bannister Jun.; Carriers-Moody, Burton; Sheriff-Maddocks; Traveller-Lyons; Messenger-Banks; Lady Percy-Mrs Powell; Mrs Quickly-Mrs Hopkins.

Afterpiece Title: The Devil to Pay

Event Comment: [As afterpiece the playbill announces Richard Coeur de Lion, but "On acct. of Mrs Jordan's Indisposition [it] was put off and The Humourist substituted in its stead" (MS annotation on Kemble playbill). Kemble Mem. lists The Humourist, and notes "Mrs Jordan sent word she cd not act in Coeur de Lion, and forced me to change the Farce."] Receipts: #198 9s. (155.6; 36.19; 6.4)

Performances

Mainpiece Title: The Confederacy

Afterpiece Title: The Humourist

Event Comment: [The playbill retains Mrs Jordan as Matilda and Mrs Crouch as Laurette, but Mrs Jordan "sent word she was too ill to perform this Evening. The audience called for Crouch to act Matilda" (Kemble Mem.). "She instantly complied...and was received with the most marked respect" (Morning Chronicle, 28 Nov.). The audience refused to believe that Mrs Jordan's illness was genuine, and for several days she was treated harshly by letters to and paragraphs in the newspapers. For her letter explaining her "real inability from illness to sustain her part in the entertainment" see Oulton, 1796, II, 103-6; see also 10 Dec. "Richard Coeur de Lion was advertised as the afterpiece; but on account of the sudden illness of Mrs Jordan, High Life below Stairs was proposed to be substituted; the house, however, seeming to disapprove of this change, Mrs Crouch kindly undertook the part of Matilda; Miss Hagley took hers of Laurette" (Public Advertiser, 28 Nov.).] Receipts: #285 10s. (220.3; 64.10; 0.17)

Performances

Mainpiece Title: The Heiress

Afterpiece Title: Richard Coeur de Lion

Performance Comment: As17911116, but Matilda-Mrs Crouch; Laurette-Miss Hagley.
Event Comment: Mainpiece: 32nd Night [i.e. in continuation, erroneously, of the reckoning for the preceding season, when it was acted 28 times]. With new Music, Scenes, Dresses, and Decorations. The Music (with a few Exceptions) composed entirely new by Shield. And new Scenery designed and chiefly executed by Richards. Books of the Songs to be had at the Theatre. "Covent-garden is the National Theatre. I was there on 10th Dec. and saw an opera called The Woodman. It was the very day on which the life story of Madam Billington, both from the good as well as from the bad sides was announced [i.e. Memoirs of Mrs Billington, and An Answer to the Memoirs of Mrs Billington, both anonymous, both predated 1792]...She sang rather timidly this evening, but very well all the same. The first tenor [Incledon] has a good voice and quite a good style, but he uses the falsetto to excess. He sang a trill on high C and ran up to G. The 2nd tenor [Johnstone] tries to imitate him, but could not make the change from the falsetto to the natural voice, and apart from that is most unmusical...But the cast is entirely used to him. The leader is Herr Baumgartner [sic], a German who, however, has almost forgotten his mother-tongue. The Theatre is very dark and dirty, and is almost as large as the Vienna Court Theatre. The common people in the galleries of all the theatres are very impertinent; they set the fashion with all their unrestrained impetuosity, and whether something is repeated or not is determined by their yells. The parterre and all the boxes sometimes have to applaud a great deal to have something good repeated. That was just what happened this evening, with the Duet in the 3rd Act, which was very beautiful; and the pro's and contra's went on for nearly a quarter of an hour, till finally the parterre and the boxes won, and they repeated the Duet. Both the performers stood on the stage quite terrified, first retiring, then again coming forward. The orchestra is sleepy" (Haydn, 273-74). Receipts: #194 11s. (191.8; 3.3)

Performances

Mainpiece Title: The Woodman

Afterpiece Title: Modern Antiques