SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "de la Motte"/1) | (@(roleclean,performerclean) "de la Motte")') 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 2890 matches on Performance Title, 713 matches on Performance Comments, 293 matches on Event Comments, 158 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: Entertainments Of Music And Dancing

Dance: End I: La Mort d' Hercule, as17910411, Hercule -Vestris Sen

Ballet: End II: a new Historical Dance L'Amadriade; ou, La Nimphe des Bois. Pheruse Amadriade-Mlle Hilligsberg; Hilas Berger Thesalien, Amant d' Amadriade-Vestris [Jun.]; Bergere Thesalienne-Mlle Mozon; Berger Thesalien-Victor; Faulne-Vermilly; Nimphe de Bois-Mlle St.Amand; Minuet de la Cour-Vestris Sen

Performances

Mainpiece Title: L'ecole Des Jaloux; Or, The Fausse Turquise

Afterpiece Title: La Retour de la Foire de Bezons

Dance:

Performances

Mainpiece Title: La Vie Est Un Songe; Ou, Arlequin Boufon A La Cour De Naples; Or, Life Is A Dream

Afterpiece Title: Arlequin Cartouche, Grand Provost & Judge

Dance:

Performances

Mainpiece Title: Caio Mario

Dance: La Fete du Village, as17760504; Diane et Endymion, as17760504; Minuet de la Cour, as17760504

Performances

Mainpiece Title: Antigono

Dance: La Fete du Village, as17760504; Diane et Endymion, as17760504; Le Minuet de la Cour, as17760504

Performances

Mainpiece Title: Les Chinois; Ou, Arlequin Major Ridicule

Afterpiece Title: La Retour de la Foire

Entertainment:

Performances

Mainpiece Title: Les Deux Arlequins

Afterpiece Title: La Baron de la Crasse

Dance: Dangeville

Entertainment: Tumbling=-Francisque

Performances

Mainpiece Title: Les Deux Arlequin & Les Enchantemens D'arlequin & D'arlequine Danse Comique

Afterpiece Title: La Baron de la Grasse

Afterpiece Title: The Hat

Dance:

Performances

Mainpiece Title: Elfrida

Dance: End I: Le Triomphe de Themis, as17971226; Pas Russe-Laborie, Mme Hilligsberg; End Opera: a new Pastoral Ballet in 4 acts, composed by S. Gallet, Elisa; ou, Le Triomphe de la Nature-Laborie, Mme Hilligsberg, Didelot, Mme Rose, Miss Hilligsberg, Mme Laborie, Gourlier, Master Laborie

Performances

Mainpiece Title: Armida

Dance: End of Act I Les Amans Surpris (not performed these 4 years [not since 30 June 1781]) by Vestris, Rochfort (1st appearance in England), Fabiani, Mlle Mozon, Mlle Baccelli; End of Opera Ninette a la Cour (not performed these 4 years [not since 3 July 1781]) by Vestris, Rochfort, Fabiani, Mlle Mozon, Mlle Baccelli. In the course of the ballet The Minuet de la Cour, with a favourite Gavotte, by Fabiani and Mlle Carolina, and a Pas de Deux of a particular Invention (the music newly composed by Mortellari) by Mlle Baccelli and Vestris

Performances

Mainpiece Title: Richard Coeur De Lion

Afterpiece Title: The Romp

Performances

Mainpiece Title: The Roman Father

Afterpiece Title: Richard Coeur de Lion

Song: In V: a Roman Ovation-; Vocal Parts-Johnstone, Darley, Cubitt, Brown, Mrs Martyr, Miss Stevenson, Miss Stuart, Miss Cranfield, Mrs Kennedy

Performances

Mainpiece Title: L'empereur Dans La Lune

Afterpiece Title: De la Cavalcade Espagnolles

Dance:

Performances

Mainpiece Title: La Belle Esclave

Afterpiece Title: La Serenade

Performances

Mainpiece Title: The Mistake

Afterpiece Title: Flora

Dance: In Flora: Wrestling Dance-Lanyon, Newhouse; Entr'acte: French Peasant-de St.Luce; French Sailors-Salle, Mrs Laguerre; Pierrot-de St.Luce; Flag Dance-Nivelon

Music: Preamble on Kettle Drum-Job Baker

Performances

Mainpiece Title: L Foire De St

Performances

Mainpiece Title: Le These Des Dames

Afterpiece Title: La Serenade

Dance:

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

Performances

Mainpiece Title: La Caduta De Giganti; Or, The Fall Of The Giants

Performances

Mainpiece Title: La Scuola De Gelosi

Dance: End of Act I Divertissement Villageois, as17860218; End of Opera a New Divertissement (composed by Giroux) by Vestris, Sga Carolina, Sga Crespi, Henry, Marseilles, Duquesney Jun., the two Mlles Simonet, Mlle Mozon, Fabiani (1st King's appearance in England)

Performances

Mainpiece Title: La Bella Pescatrice

Dance: As17920607

Ballet: La Foire de Smirne. As17920607

Performances

Mainpiece Title: She Wou'd If She Cou'd

Dance: I: Harlequin by Maker. II: The Nassau, as17340117 III: French Shepherd and Shepherdess by Maker and Mlle Salle. V: Pigmalion: Pigmalion-Maker; Statue-Mlle Salle; others by Dupre, Pelling, Duke, Le Sac, Newhouse, De la Garde

Song: I: English Cantata by Mrs Wright. IV: The Black and White Joke by Leveridge and Laguerre

Performances

Mainpiece Title: La Frascatana

Dance: As17940531 throughout

Performances

Mainpiece Title: La Governante

Dance: End I: new Ballet, Les Paysans Voles-Banti, Sga Tinti, Sg and Sga Zuchelli; End II: Ballet by Fairies, as17790302End Opera: new Ballet Espagnol, La Serenade Interrompuee-Simonet, Mlle Baccelli, Sg and Sga Zuchelli, LeDet; with a Pas de Deux du Masque-Simonet, Mlle Baccelli; accompanied on the Guittar-Noferi

Performances

Mainpiece Title: La Modista Raggiratrice

Dance: As17960412