This playbill records a performance at the Theatre Royal in Covent Garden of The constant couple by George Farquhar (1676-1707) on 22 May 1755 in which Margaret Woffington (1720?-1760) played the leading part of Sir Harry Wildair - one of the roles for which she was most celebrated. The part of Lady Lurewell was performed by Esther Hamilton (d. 1787). Other actors in the cast include Theophilus Cibber (1703-1758) and John Arthur (1708?-1772), actor and stage designer -- it is likely that he was responsible for devising the “machinery” mentioned in a note at the foot of the sheet: “as any obstruction in the movement of the machinery will greatly prejudice the performance of the entertainment, it is hoped no persons will be displeased as their being refus'd admittance behind the scene.”
Description:
A playbill. and For further information, consult library staff.
Publisher:
publisher not identified
Subject (Geographic):
England and London.
Subject (Name):
Farquhar, George, 1677?-1707., Woffington, Margaret, -1760., and Covent Garden Theatre.
Title from first line of text., Playbill advertising a spectacular show of shadow theatre and mechanical representation of the Battle of the Nile., The Lewis Walpole Library: Blanks completed in manuscript for a performance in Bristol on Thursday evening July 21st at Mr. Walkers' gun[?]. Thursday evening appears as a pasted slip over "Wednesday"., and For further information, consult library staff.
This manuscript, a unique specimen of dramatic composition by Queen Elizabeth, represents the only surviving piece of stage property from the Elizabethan theater. It was passed from player to player during the great Theobalds Entertainment of 1591, and it is the only surviving original manuscript of any part of that Entertainment., Elizabeth was entertained by her Lord High Treasurer, Lord Burghley, at his Hertfordshire house, Theobalds, between 10 and 20 May 1591. In a contemporary manuscript text of the entertainments at Theobalds (British Library, Egerton MS. 2623), there is preserved a fanciful speech by a "Hermit," delivered to the Queen on Burghley's behalf, in which, pleading for royal permission to retire from public life, he requests her to restore to him his "cell," namely, Theobalds. The present document was prepared as an answer to Burghley's request and grants the "Hermit," her "woorthely belooved Coounceloour," the right to retire to his "cave," his "own houus," with "full & pacifik possession of all & every part thearof," and to be henceforth free from public duties if he so wishes., The text of the "charter" was printed in John Strype's Annals of the Reformation (1709), where it is described as having been "drawn up by the queen herself in a facetious style, to cheer the said treasurer." A highly characteristic example of Elizabethan wit, it has the form of a formal charter, certified and signed by Lord Chancellor Hatton, who is known to have taken part in a number of court entertainments. It bears the Great Seal and was no doubt read out and presented to Burghley, or to an actor representing him as a hermit. Instead of giving a simple answer to Burghley's request to retire from public life, Elizabeth evidently chose to enter into the spirit of the Hermit's request and frame her reply accordingly having this charter drawn up by one of her chancery scribes and passed by Hatton under the Great Seal, as part of a prearranged performance for the amusement of the court on the first day of her visit to Theobalds., The entertainment at Theobalds are described by E.K. Chambers in The Elizabethan Stage (II:247-248), Sir Walter Greg in the Review of English Studies (I[1924]:452-454), John Payne Collier in his History of English Dramatic Poetry (I:276), Alexander Dyce in The Works of George Peele (III:161-169), and John Nichols in his account of The Progress and Public Processions of Queen Elizabeth (III:74)., and Purchased 1985.
Caption title. and With the number "300" in black ink in upper right corner. For further information, consult library staff (object file: File 767 P69B Al452 1812 12/14+).
Publisher:
Davison, printer
Subject (Geographic):
England, Northumberland., and Northumberland (England)
An allegorical representation of the nationalistic riot occasioned by a troupe of French comedians in London. This satirical print refers to the controversy and protest surrounding a French theatrical company, nicknamed the 'French Strollers', who applied for and were granted a licence to perform at the Haymarket in the winter of 1749. Their arrival occasioned much discontent; as the Scots Magazine reported, they were 'bitterly pelted in the news-papers'. Asserting their right to perform, they persisted in a show on 14 November, but were met by an audience intent on sabotage. An eyewitness account of the incident appeared in the Monthly Review some years later (July 1761): 'People went early to the Theatre, as a crouded House was certain ... I soon perceived that we were visited by two Westminster Justices, Deveil and Manning. The Leaders, that had the conduct of the Opposition, were known to be there; one of whom called aloud for the song in praise of English roast beef, which was accordingly sung in the gallery, by a person prepared for that purpose; and the whole house besides joining in the chorus, saluted the close with three huzzas! This, Justice Deveil was pleased to say, was a riot'. Despite the Justice's assertions that the play was licensed by the King's command, the crowd had come prepared to produce disruption. They were equipped with instruments which they played discordantly as an accompaniment to their jeers, catcalls, and Francophobic songs: 'as an attempt at speaking was ridiculous, the Actors retired, and opened instead with a grand dance of twelve men and twelve women; but even that was prepared for, and they were directly saluted with a bushel or two of peas, which made their capering very unsafe'. Unable even to dance, and following another abortive attempt by the magistrates to assert the King's authority, the curtain fell for the final time. The eyewitness evidently relished the outcome, venturing 'that at no battle gained over the French, by the immortal Marlborough, the shoutings could be more joyous than on this occasion'. The print embodies similar sentiments; the French strollers attack British theatrical establishment--represented by an affronted Britannia--who stands between them and British theatre-goers. In the foreground stands a perplexed Othello, lamenting the loss of his occupation, and an injured man a man lies on the floor 'Almost kill'd for not understanding French'.
Alternative Title:
Modern cramers
Description:
Title etched below image., Date of publication based on date of the depicted event., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
publisher not identified
Subject (Geographic):
Great Britain, England, and London.
Subject (Topic):
Britannia (Symbolic character), Foreign public opinion, French, Theater, Actors, Actresses, Fighting, and Riots
