SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Worshipful Company of IronMongers"/1) | (@(roleclean,performerclean) "Worshipful Company of IronMongers")') 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 1846 matches on Event Comments, 92 matches on Performance Comments, 24 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: Mainpiece: Not acted these 3 years. [This was Mrs Bulkley's 1st appearance as a member of the DL company. As from CG, she had acted at this theatre on 9 Apr. 1778, and on other occasions.] Receipts: #144 11s. (109/3/0; 35/5/6; 0/2/6)

Performances

Mainpiece Title: Twelfth Night

Afterpiece Title: Robinson Crusoe

Dance: Afterpiece to conclude with a Dance by Williamson, the Miss Stageldoirs, &c

Monologue: 1782 09 21 As 17 Sept

Event Comment: Mainpiece [1st time; CO 3, by John O'Keeffe, altered from his The Banditti (see 28 Nov. 1781). Text in his Dramatic Works, Vol. 1 (T. Woodfall, 1798)]: With new Scenes [by Carver (O'Keeffe, u, 38)], Dresses, and a new Overture. The Selected Airs by Handel, Vento, Giordani, Giardini, Bertoni, Dr Arne, and Carolan, the Irish Bard. The Overture and New Airs composed by Dr Arnold. Books of the Songs to be had at the Theatre. [This was Sga Sestini's 1st appearance on the English-speaking stage. For several preceding seasons she had been a member of the Italian opera company performing at the King's.] "Sestini . . . was handsome, sprightly, and a good actress, if great exuberance of gesticulation, activity of motion, and affected Italian smorfie could make her one; but her voice was gritty and sharp (something like singing through a comb), and she was nothing of a singer, except for lively comic airs. Yet she was . . . long a favourite with the mass of the public, though not with the connoisseurs" (Mount-Edgcumbe, p. 33). Account-Book, 30 June 1783: Paid O'Keeffe in full for The Castle of Andalusia #368 18s. 6d. Receipts: #166 2s. 6d. (165/9/0; 0/13/6)

Performances

Mainpiece Title: The Castle Of Andalusia

Afterpiece Title: Cross Purposes

Performances

Mainpiece Title: The Merry Wives Of Windsor

Afterpiece Title: Lord Mayor's Day

Event Comment: "The company [of spectators] was so numerous that there was hardly room on the stage for the performers to go through their pans . . . Mme Simonet displayed all that power of acting for which she has been so justly celebrated since the first introduction of the ballets called 0?Action when first Vestris held the sceptre of Terpsychore at the King's Theatre [in 1780-81]" (Public Advertiser, 18 Feb., which also has a synopsis of the action)

Performances

Mainpiece Title: Il Convito

Dance: End of Act I Le Tuteur Trompe, as17830128; End of Act II an entirely new ballet of Serious, Comic, and Demi-characters, composed by Lepicq, Les spouses Persanes; or, The Persian Wives, by Lepicq, Mme Rossi, Slingsby, Henry, Zuchelli, Sga Crespi, Mlle Theodore, Mme Simonet. [Cast from Public Advertiser, 18 Feb.: Tamas-Lepicq; Hircana-Mme Rossi; Osman-Slingsby; Mahmoud-Henry; Boulganzar-Zuchelli; Slaves-Sga Crespi, Mlle Theodore; Fatima-Mme Simonet; Assan-Degville Sen.]

Event Comment: Benefit for Wilson. 1st piece: Taken from Beaumont and Fletcher. 2nd piece [1st time; F 2, by John Dent. Prologue by Turner (see text)]. 4th piece: A Tragical, Comical, Operatical, Pastorical, Pantomimical, Farcical, Burlettical, Preludical, Interludical, Whimsical, Rhetorical, Diabolical, Oratorical Representation, being the most Comical Tragedy that ever was Tragedized by any Comical Company of Tragedians. With the Triumphal Entry of Chrononhotonthologos into Queerumania, attended with Drums, Trumpets, Fiddles, Flutes, Fifes, Flagelcts, Lutes, Bag-Pipes, Tabours and Pipes, Marrowbones and Cleavers, Post-Horns, French-Horns, Salt Box, Broomstickados, &c

Performances

Mainpiece Title: The Triumph Of Honour

Afterpiece Title: The Receipt Tax

Afterpiece Title: The Dead Alive

Afterpiece Title: Chrononhotonthologos

Monologue: 1783 08 13 End of 2nd piece Joe Haynes's Epilogue by Wilson, riding on an Ass

Event Comment: Mainpiece: As altered in 3 acts by Garrick. 2nd piece [1st time; ball, p 2, composed by the principal characters, who were from Audinot's company in Paris. Synopsis of action in London Chronicle, 10 Oct.]: A Dramatic Romance told in Action. With New Dresses, Scenery and Decorations. The Music selected from the most Eminent Composers. The Story will be delivered (Gratis) at the Theatre. Receipts: #158 19s. 6d. (157/2/0; 1/17/6)

Performances

Mainpiece Title: The Winter's Tale

Afterpiece Title: The Rival Knights

Afterpiece Title: The Devil upon Two Sticks

Performances

Mainpiece Title: King Henry The Eighth

Afterpiece Title: Lord Mayor's Day; or, A Flight from Lapland in an Air Balloon

Song: In Act III of mainpiece a song by Mrs Kennedy

Performances

Mainpiece Title: Robin Hood

Afterpiece Title: Lord Mayor's Day; or, A Flight from Lapland in an Air Balloon

Event Comment: [In mainpiece the playbill assigns Frederick to Murray, but on the playbill in the New York Public Library Theatre Collection his name is deleted and a MS annotation substitutes Francis's.] Boxes 3s. Pit 2s. Gallery 1s. To begin precisely at 7:00. The Public are respectfully informed that the Company will perform here but four or five Weeks longer, being engaged elsewhere. The Theatre is not only very commodious, but also remarkably cool. The Days of performing will be regularly Mondays, Wednesdays and Fridays

Performances

Mainpiece Title: The Wonder: A Woman Keeps A Secret

Afterpiece Title: The Lying Valet

Song: After the Monologue, by Miss Cranford

Monologue: 1785 06 17 End of mainpiece an Occasional Address to the Audience by Wright

Event Comment: The Company will perform on Friday and Saturday next, and then finally close the Season

Performances

Mainpiece Title: The Fair Penitent

Afterpiece Title: Robinson Crusoe; or, Harlequin Friday

Song: Between the Acts of afterpiece, by Mrs Benson, &c

Event Comment: Boxes 3/. Pit 2X. Gallery u. To begin punctually at 7:00 [same throughout season]. Tickets to be had and Places taken of Waldron, No. 17, Dorville's Row. The Company will perform on Mondays, Wednesdays and Fridays

Performances

Mainpiece Title: She Stoops To Conquer; Or, The Mistakes Of A Night

Afterpiece Title: The Lying Valet

Song: End of Act I of mainpiece Nobody by Villars; End of mainpiece Freedom and his native Land by Price

Event Comment: "Friday night, about 20 minutes before eight o'clock, on the conclusion of the third act, a very serious alarm took place at Drury Lane Theatre. A fire broke out at an oil-shop, the corner of Little Brydges-street. The flames appearing through the windows at the back of the upper gallery, the alarm of fire spread through many parts of the house. [The audience was dismissed, those in the boxes] passing over the stage into Russel-street...Some of the box and pit company continued for a time on the stage with the performers, some of whom were dressed in character, others half dressed, and the appearance [was] truly motley" (Public Advertiser, 5 Feb.). Receipts: #133 12s. (129.10; "An Alarm of Fire prevented the 2nd Acct."; 3.12; tickets not come in: 0.10)

Performances

Mainpiece Title: Rule A Wife And Have A Wife [1st 3 Acts Only]

Event Comment: [Wroughton was from cg. This was his 1st appearance as a regular member of the dl company; he had previously acted at this theatre on one occasion, 1 Apr. 1780. Mrs Taylor was from the York theatre.] "On every first appearance, it falls to a performer to chuse their own parts. They do that part once, and in all probability they never do it again. We fear this will happen to Mrs Taylor. In Elwina there was nothing to recommend [but see 4 Oct., 27 Nov.]" (World, 1 Oct.). Receipts: #189 0s. 6d. (134.4.0; 53.9.0; 1.7.6)

Performances

Mainpiece Title: Percy

Afterpiece Title: The Irish Widow

Dance: End: The Capricious Lovers, as17870920; End I afterpiece: The Irish Fair-Ferrere, Miss Stageldoir

Event Comment: The last Night of the Company performing this Season. Receipts: #161 5s. 6d. [non-subscription]

Performances

Mainpiece Title: Giulio Sabino

Dance: As17880503

Event Comment: Benefit for Edwin. Afterpiece: With the Triumphal Entryv of King Chrononhotonthologos into Queerumania attended with Drums, Trumpets, Fiddles, Flutes, Fifes, Flagellets, Lutes, Bagpipes, Tabours and Pipes, Marrow-Bones and Cleavers, Post-Horns, French Horns, Cows Horns, Salt-Boxes, Broom-stickado's. The different Instruments will be played after the Manner of the Queen's Band at Queerum. The most comical Tragedy that ever was Tragedized by any comical Company of Tragedians. Public Advertiser, 23 Aug.: Tickets to be had of Edwin, No. 19, Piazza, Covent-Garden

Performances

Mainpiece Title: The Good-natured Man

Afterpiece Title: Chrononhotonthologos

Song: End III: Four@and@twenty Perriwigs all on a Row-Edwin

Entertainment: Monologue. End: Lingo's Opinions on Men and Manners (a Comical, Whimsical, Operatical, Farcical Rhapsody)-Edwin

Event Comment: 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 3 Nov.]. [No playbill this season lists the various prices of admission; they were probably, as usual: Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s.] Afterpiece: To conclude with a Grand Representation of Regattav. Kemble Mem.: No Manager [i.e. King had resigned as acting manager; but see 23 Sept.]. Ivory Tickets introduced. [These tickets, also called "bones," were for the use of actors and other members of the company in gaining admission for themselves or their friends to the front of the house. They replaced paper orders (World, 18 Oct. 1788).] Receipts: #112 3s. 6d. (75.6.0; 35.10.0; 1.7.6)

Performances

Mainpiece Title: The Chances

Afterpiece Title: The Waterman

Event Comment: Benefit for Jones. Tickets to be had of Jones at the White Horse, Parson's Green; at the King's Arms, Fulham; Ship, Fulham; and the George, Walham Green. Afterpiece: It is hoped that the greatest Attention will be paid, as it is impossible for the Company to cogitate throughtout the Cogibundity of Cogitations, unless the most profound Profundity of Thought is observed. Pit 2s. Gallery 1s. Good Fires in the Pit

Performances

Mainpiece Title: Inkle And Yarico

Afterpiece Title: Chrononhotonthologos

Entertainment: Monologue. End: the tale of Edwin and Emma-Jones

Event Comment: "Last night the Proprietors of this undertaking saw company to the number we imagine of Four Thousand Persons...Davide, in the Opera of Pirro, engrossed the whole of the applause that so matchless a singer may well merit" (Oracle, 11 Mar.)

Performances

Mainpiece Title: Pirro

Dance: Divertisement, Orpheus and Eurydice-Vestris Jun., Mlle Hilligsberg [and see17910326

Event Comment: The Nobility, Gentry and Public at large are respectfully informed that, in compliance with the wishes of many of the principal Subscribers an supporters of this undertaking, and it being found that, without offence to law, the entertainments advertised for the Hanover-square Rooms may be given at this Place. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. As the Proprietors would not presume, even to save themselves from utter ruin, to offend either the Authority of the King, or of the Laws, they forbear all idea of performing Operas until the hardship and justice of their case shall produce the proper influence upon his Majesty's benevolent mind; and, under the circumstances in which thy stand, with a Company of the most celebrated singers and dances in the world, in their respective departments, engaged at an expense of #18,000, they confide in the liberality to the Public that they will countenance and support such an Entertainment as they are legally warranted to give, until they shall recover their just right of performing Operas under his Majesty's license. "From dinner we all went to the Opera House in the Haymarket, where for the first time they performed for money [see 23 Feb., 10 and 22 Mar.]; the singers, to avoid the [licensing] Act, coming in their own dresses and confining themselves to the airs. It will be seen whether this restriction will be considered sufficient" (Windham Diary, 219). "The action of Orpheus and Eurydice has been seen before at both the rehearsals [see 10 and 22 Mar.], but the scenery could not be then sufficiently displayed. It was very correctly managed on Saturday night...The scene of the Elysian fields deserved the most admiration, where, by means of lights placed behind gauze, a filmy hue is thrown over the stage, and the figures assume the appearance of aerial beings" (Gazetteer, 28 Mar.)

Performances

Mainpiece Title: Entertainments Of Music And Dancing

Dance: End I: Divertisement-Vestris? Jun., Victor, Vermilly, Mlle Hilligsberg, Mlle Mozon, Mlle Dorival; End II: Orpheus and Eurydice-Vestris? Jun., Victor, Vermilly, Mlle Hilligsberg, Mlle Mozon, Mlle Dorival

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: The School for Scandal [advertised on playbill of 22 Sept., as was No Song No Supper for 3rd piece], intended for this Evening's Representation, is deferred till Tuesday, the Stage having been so constantly occupied by the Workmen preparing and adapting the various Scenes for this Theatre that the usual course of Rehearsals has been necessarily impeded. The Public are most respectfully informed that every Endeavour is exerting to remove all cause of Complaints respecting the Entrances and Passages to the different Doors of Admission. The large Hall below Stairs will be opened at Five o'Clock, for the accomodation of the Company frequenting the Pit previous to the opening the Office Doors. Receipts: #347 4s. (303.19; 43.2; 0.3)

Performances

Mainpiece Title: Poor Old Drury

Afterpiece Title: The Haunted Tower

Afterpiece Title: The Devil to Pay

Event Comment: A New Comic Opera; compsoed by Pietro Guglielmi; under the direction of Mazzinghi. Pit Half a Guinea. Gallery 5s. No Money to be returned. The Doors to be opened at 6:30. To begin at 7:30 precisely [see 14 Feb. 1792]. 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 Door in Blenheim Mews will be shut during the Performance and opened only for the Company to go in Chairs. Subscriptions are received at Messrs Ransom, Morland and Hammersly's, No. 57, Pall-mall. And the Nobility and Gentry are earnestly requested to send a complete List of the Subscribers to their respective Boxes as soon as possible, since (by express Orders) no Person, on any account, can be admitted without producing a proper Ticket

Performances

Mainpiece Title: La Pastorella Nobile

Dance: End I: a new Ballet Demi-Caractere, composed by D'Auberval, La Fontaine d'Amour-

Ballet: End II: a new Pantomimic, Anacreontic Ballet, composed by D'Auberval, L'Amant Deguise. Alcindor-Laborie; Ciane-Mlle Hilligsberg; Euphrosine-Mme Theodore D'Auberval; Satyre-D'Egville; Nymphs-Mlles Simonet; Cupidon-Mlle Menage

Event Comment: By Permission of the Lord Chamberlain. Benefit for The Literary Fund. [In this performance the male parts were acted chiefly by amateurs; the female parts were acted by professionals. Prologue and Epilogue by Thomas Morris (Morning Herald, 17 Apr.).] The Committee for the Management of the Literary Fund respectfully inform the Public that affecting instabces of Merit in distress exceed their power of relief by the ordinary Subscription; and that they wish to have recourse to every honourable expedient to increase that power. The Admission will be by Tickets, at the Opera Prices. Boxes and Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. No more Company will be admitted than the House will hold with perfect convenience; and when the proper number of Tickets is issued, no means of admission can be obtained. The Doors to be opened at 6:00. To begin at 7:00 precisely. Registers: Thomas Dale, M. D.; Mr Deputy Nichols. Treasurers: Thomas Morris, Esq.; Mr E. Brooke. "In the course of the play we observed several restorations of Shakespeare's text, with some interpolations. The boldest of the latter was the introduction of Richard's son to him in the tent, the night befiredthedbefore the Battle of Bosworth field. This scene was borrowed, as we believe, from Thomas? Hull's Legendary Tale of Richard Plantagenet. It was well written, and produced a considerable degree of effect. The Ghosts were banished, and the start and stagger of Richard, heretofore the theatrical trick of the scene, necessarily omitted" (Diary, 17 Apr.)

Performances

Mainpiece Title: Richard Iii

Afterpiece Title: The Citizen

Event Comment: [This was Mrs Wells's last appearance as a regular member of the company of any London theatre.] Receipts: #290 11s. 6d

Performances

Mainpiece Title: Wild Oats

Afterpiece Title: Harlequin's Museum

Dance: As17921226

Event Comment: A new Comic Opera; the music by Cimarosa, under the direction of Federici. The music of both dances by Miller. With entirely new Dresses, Scenes and Decorations, both in the Theatre itself, and in the Representations. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. No Money to be returned. The Subscribers are respectfully entreated to observe that they are to produce their Tickets at the doors. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season, except on 15 May). The Ladies at the Head of the Boxes arc respectfully reminded that such Boxes as shall not be paid for at the opening of the Theatre become then vacant, and may be claimed by any of the old Subscribers. No one to be admitted behind the scenes. For the greater Safety of the Company in coming and going out of the Theatre Mr Townsend has taken charge of the Peace Officers, and will himself attend every night of Performance. [Morning Herald, 12 Jan., notes than the original gallery is now divided into two, a lower and an upper, and that the chief colors used in the repainting of the auditorium are blue, white and gold. Ibid, 13 Jan.: The scenes [in the opera], which were entirely new, have never been exceeded in splendour of general effect...One, representing the hall of an Italian villa, shews a ceiling designed like that of the theatre itself [which the same newspaper, 4 Jan., describes as being Apollo and the Muses, in a cove enriched with allegorical figures, flowers, and medals, in chiaroscuro].]

Performances

Mainpiece Title: Il Matrimonio Segreto

Dance: End of Act I a new Divertisement, composed by Noverre [performers not listed]; End of Act II a new Pantomimic Ballet, composed by Noverre, Adelaide; ou, La Bergere des Alpes, by Aumer, Gentili, Mme Del Caro, Mlle Hilligsberg, Mme M. L. Hilligsberg Sen