INFORMATION TO USERS

This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer.

The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction.

In the unlikely event that the author didsend not UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wül indicate the deletion.

Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.

Photographs included in the origmal manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 Horth Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600

THOMAS KING AT SADLER'S WELLS AND DRURY LANE: PROPRIETORSHIP AND MANAGEMENT IN LATE EIGHTEENTH-CENTURY ENGLISH THEATRE, 1772-1788

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By

Evan M. Bridenstine, M.A., M.F.A.

*****

The Ohio State University 1997

Dissertation Committee: Approved by

Professor Alan Woods, Advisor

Professor Thomas Postlewait Advisor Professor Joy Reilly Department of Theatre UMI Number: 9813226

Copyright 1998 by Bridenstine, Evan Mark

All rights reserved.

UMI Microform 9813226 Copyright 1998, by UMI Company. All rights reserved.

This microform edition is protected against unauthorized copying under Title 17, United States Code.

UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT

Contrary to the traditional view that the Theatres

Royal Drury Lane and Covent Garden existed as a discrete

unit of the late eighteenth-century London entertainment

industry, this study postulates that an interplay of

"legitimate" and "irregular" performance venues existed

and was public knowledge. Whereas leading players such

as David Garrick and John Philip Kemble could find fairly consistent employment in the major houses, the majority of patent house company members appeared in the minor houses during the summer. While an individual performer's abilities might be expected to improve the quality of a minor venue, there is no indication that appearing in a lesser house cheapened that performer's reputation. If a performer assumed a managerial position, audience expectations could expand to include the performance venue as well. As an illustration of this phenomenon, this study examines Thomas King's management of Sadler's Wells and Drury Lane.

In order to determine the basis for the public

i i perception of King's management of the Wells (1772-1782), this study provides a close reading of the available newspapers from the period. As a record of information that could be assumed to be common knowledge (as opposed to the private record of legal documents, letters and diaries which would be known only to a fairly small number of people) the extant newspapers contain a wide range of advertisements, puffs, columns of "theatrical intelligence," and other news items. Various analogies between Drury Lane and Sadler's Wells emerge in the areas of repertory, personnel, theatre architecture, and the nature of the newspaper record itself.

Just as King's gualities had shaped public expectations for his management of Sadler's Wells, his reputation as manager of that venue created audience expectations for his ascension into the management of

Drury Lane. Audiences familiar with Drury Lane under

Garrick's management model (the fusion of the leading player with the active managerial voice) could have reasonably assumed that that model, somewhat dormant after Garrick's retirement in 1776, had been restored in

King. As a public address printed in several newspapers revealed. King's resignation of this post in 1788 was a direct rejection of this public perception.

Ill VITA

June 12, 1960...... Born - Orrville, Ohio

1982...... B.A., Drama/Creative Writing Ashland University

1985-1987...... Graduate Assistant, School of Theatre, Kent State University

1987-1989...... Instructor, Department of Theatre Arts and Speech Communication, Ashland University

1988...... M.A., Theatre Kent State University

1989-1992...... Graduate Teaching Assistant, Department of Drama, University of Virginia

1992...... M.F.A., Playwriting University of Virginia

1992...... Guest Artist/Lecturer Washington and Lee University

1993-present...... Research and Graduate Council Fellowship, Graduate Teaching Assistant, The Ohio State University

FIELD OF STUDY Major Field; Theatre

IV TABLE OF CONTENTS

Page

Abstract...... ii

Vita...... iv

Chapters :

1. Introduction...... 1

2. "To Superintend the fidlers, tumblers and rope dancers": 1772-1774...... 36

3. A Sovereign Prince with a Small Principality: 1775-1777...... 84

4. A La Militaire: 1778-1782...... 128

5. "Mr. T. King— is sick of Management": 1782-1784 191

6. "I Was Not Manager": 1784-1788...... 223

7. Conclusion...... 269

Appendix: Sadler's Wells 1772-1784: Performance Calendar...... 277

List of Abbreviations...... 282

177 2 ...... 283

177 3 ...... 289

177 4 ...... 296

177 5 ...... 302

177 6 ...... 310

177 7 ...... 319

177 8 ...... 328

177 9 ...... 335 V 178 0 ...... 342

178 1 ...... 350

178 2 ...... 359

178 3 ...... 368

178 4 ...... 378

Bibliography...... 392

VI Chapter 1

Introduction

Traditional eighteenth-century theatre scholarship emphasizes the Theatres Royal Drury Lane and Covent

Garden and the sole licensed summer house, the Haymarket.

Other than noting attempts to challenge the theatrical monopoly, such as John Palmer's effort to establish the

Royalty Theatre as a second summer house in 1787, theatre historians have viewed the "regular" houses as a discrete unit of the entertainment industry. However, a strong connection between the "illegitimate" and "legitimate" performance venues existed, and the public was aware of this interplay. Therefore, any account of the London theatrical scene during the late eighteenth century is incomplete without some consideration of the kinds of entertainment and employment opportunities the irregular venues could and did provide. The work of even one performer in two of these performance venues would illustrate this phenomenon. With managerial experience at both Sadler's Wells and Drury Lane, the comic actor

Thomas King serves as an ideal candidate for study.

1 Although this phenomenon can be illustrated through the work of one performer, the actual scope of the interplay was extensive. Whereas top performers such as

David Garrick and John Philip Kemble could find fairly consistent employment in legitimate houses, the majority of company members belonging to the patent houses performed in the minor houses as well. While an individual performer's abilities might be expected to improve the quality of a minor venue, there is no indication that appearing in the lesser houses lowered that performer's reputation. Once a actor had demonstrated proficiency in a kind of character (tragic hero, old fool, and so on), brief items in the London newspapers would frequently suggest additional, comparable roles; similar items often advised the patent houses to engage singers and dancers who achieved success in the minor houses. This interplay extended beyond performers to include the producers of repertory. In

English Theatre Music in the Eighteenth Century, Roger

Fiske notes "that each playhouse usually had one particular composer on contract to provide whatever music was required," but Charles Dibdin the Elder wrote for and performed at both Ranelagh and Sadler's Wells while engaged as a composer for Drury Lane.l Within the available newspaper commentary, descriptions of the quality of Dibdin's music do not change in relation to

the venues in which it appears.

Thomas King had served as both proprietor and

manager of Sadler's Wells for slightly over a decade

immediately prior to moving into Drury Lane management in

1782. When King assumed his managerial positions at

Sadler's Wells and then at Drury Lane, newspaper items

published expectations for those institutions based upon

King's abilities, personality, reputation, and taste.

Therefore, because King had become the representative of

management at Sadler's Wells, the public understandably

could have assumed that King carried an equal amount of

authority to his new position at Drury Lane, even if

Sheridan's private agreement with King contradicted that

assumption. This perception would only be strengthened by those familiar with the model of management

established by David Garrick.

From the time David Garrick became co-proprietor and

acting manager of Drury Lane in the 1747-1748 season to his retirement at the end of the 1775-1776 season, management at Drury Lane had come to mean the tangible

presence of Garrick both on and off the stage. Within

living memory for King's Drury Lane audiences, a similar model had been employed at the Haymarket under both

Samuel Foote and George Colman. In "David Garrick, Manager: Notes on the Theatre as a Cultural Institution in England in the Eighteenth Century," Dougald MacMillan describes Garrick's leading role within the management as that of "a public official": MacMillan credits Garrick's social position, his personal popularity as an actor, his frugality, and his "manager's sense" for his success in leading Drury L a n e . 2 By portraying Garrick as the guardian of a cultural institution, MacMillan makes an unstated assumption that Drury Lane was also linked to

Garrick. This "Garrick" model of management could be traced back to the days of Davenant and Killigrew, but management centered in a leading player was the Drury

Lane model from 1747 to 1776. The theatrical public had dealt directly with Garrick, and, thus, directly with management, for almost thirty years. As a actor in the company from the 1759-1760 season onward, Thomas King would have known Garrick's management style. In fact, as a speaker of prologues. King had upon occasion spoken for

Garrick, but it would have been Garrick, not King, who would have been held responsible for managerial decisions.

After Garrick's retirement, the model of active, visible management linked with ownership was not sustained. The playwright Richard Brinsley Sheridan purchased the majority of Drury Lane and served as manager for two seasons. He then assigned the post to

his father, Thomas Sheridan, for two seasons, resumed it himself for another season, passed it to Joseph Younger

(formerly manager at Covent Garden) for a season, and

then included it as part of King's duties for the

1782-1783 season. King spent most of the 1783-1784

season touring in Scotland and Ireland, during which time the post of manager at Drury Lane was filled by Thomas

Linley, Sr., Sheridan's father-in-law. 3 King resumed his managerial role for the 1784-1785 season and continued in that post until his swift resignation in

September of 1788. The introductory pages of The London

Stage for these seasons (1782-1783, 1784-1785 through

1787-1788) describe them as a fallow period with few new performers and desperately few new plays. Although the quality of Sheridan's proprietorship has been blamed for the difficulties Drury Lane encountered after Garrick's departure, the foundation for those difficulties may be found in a shift of management models. Under Garrick, management and proprietorship were fused; under

Sheridan, management and proprietorship became separate.

At the beginning of the 1788-1789 theatre season in

London, Thomas King resigned his managerial post at Drury

Lane and left town; although he would return to London in 1790 and continue to act until his retirement in 1802, King never assumed another managerial position. Several weeks after his departure. King placed an "ADDRESS to the

PUBLIC" in the 8 October 1788 Morning Chronicle and

Morning Post which also appeared in the 9 October Public

Advertiser, an address which he had promised to deliver in a short letter printed or paraphrased in those same newspapers on 3 October. After citing the delays involved in having the public prints reach him while he was "more than two hundred miles from L o n d o n , "4 King denied that his decision had been based upon a salary dispute, or that he left due to some animosity against

John Philip Kemble, who succeeded to King's post. Both the 3 October letter and the later address indicate that

King's departure occasioned quite a bit of conjecture and outright gossip, some of which appeared in the London newspapers. Some writers debated why King had left, but most called for him to explain his actions. However,

King felt prompted to respond to the gossip only because those newspaper items identified him as "Manager."

Within King's address, he protests quite vigorously that, whatever his post had been, he had not possessed sufficient authority to make the full range of managerial decisions.

The distinction between proprietorship and management is the issue King confronts most strongly in his address. The statement, "I can only once more positively assert, I vas not Manager," carries a significant weight at this point in theatre history, since the dual functions of proprietor and manager had provided Garrick with the ability to make decisions on all facets of daily operations at Drury Lane. In his address. King claimed to have had no power to acquire or refuse plays, to hire or fire any performer, or even to make repairs in wardrobe stock. King then listed what he understood his duties to have been:

I was to bring before the publick [sic] eye, in

the best manner I could, under certain

limitations, such pieces and performers

as should be approved by the said proprietors:

I was to negociate [sic] between party and

party in forming engagements: to be generally

ready to answer the publick on any complaint,

disturbance, &c. during the time of

performance: to make (subject to the controul

[sic] of the patentees,) the best arrangements

I could as to the order of presenting the

plays in use, and to instruct such young or

other performers as might be likely to derive

advantage from a knowledge, which partiality

was pleased to allow I had acquired, by many

years observation and considerable practice.

7 In short. King was to supply the "on stage" role of

management that Garrick had provided without the

authority that Garrick's "off stage" proprietorship had

possessed. However, the public apparently assumed that

King possessed the authority to make decisions without

the approval of the proprietors, thereby restoring the

familiar "Garrick" model of management. Sheridan

maintained a low level of involvement with the company

after he ceased writing for the stage, and Sheridan's

partners, James Ford and Thomas Linley, Sr.,5 remained

relatively invisible. Under this model of management,

the public's expectations for King's management were in

direct conflict with the realities of Sheridan's

proprietorship. The confusion King described in his address would have been inevitable.

Theatre historians have discussed King's address to the public, but not in its full context: in his

introduction to the fifth part of The London Stage,

Charles Beecher Hogan uses King's list of duties quoted above to define the role of "acting manager"; the entry for King in the Biographical Dictionary of Actors,

Actresses, Musicians, Dancers, Managers & Other Stage

Personnel in London, 1660-1800 uses the initial and closing paragraphs of the address as evidence of King's temperament in dealing with Sheridan's lack of

8 involvement.® While both uses of the letters are valid, both omit substantial portions of the address.

Hogan ignores the frustration King expresses throughout the documents. The Biographical Dictionary omits King's

list of duties and focuses upon his attempt to force

Sheridan to create a written agreement that would define an "indefinable" position. Both fail to include any sense of the interplay between the major and minor houses and its potential impact upon King's decision.

In "English Drama and Theatre 1660-1800; New

Directions in Research," published in 1982, Robert D.

Hume assessed the field of eighteenth-century theatre research and enumerated a set of problems faced by theatre scholars approaching the eighteenth century: the perpetual division between those who view the plays as literature to be studied and those who attempt to determine the performance conditions for those same plays without crediting the plays themselves with any worth as entertainment; neglect or misuse of The London Stage, the Biographical Dictionary, and Leacroft's Development of the English Playhouse; inadequate editions of plays and bibliographies of plays from the period; criticism that failed to account for the author or the author's audience; a literary history based upon flawed, yet rarely questioned presuppositions; and a failure to account for theatrical music.?

9 The field has grown considerably since 1982, but not all of these problems have been addressed. Fifteen years later, a great deal of textual analysis continues to be produced, but several studies have attempted to ascertain how theatre effected or interacted with its audience.®

These few studies have begun to answer Hume's call for scholars to account for plays in performance. In the

1980s, Cambridge University Press began producing a series of English and American plays from the eighteenth and nineteenth centuries, and Garland Publishing began its own series of English drama from the eighteenth century, thereby beginning to fulfill the need for adequate editions of eighteenth-century playtexts. Some of the presuppositions informing pre-1982 eighteenth-century theatre scholarship have begun to fall in the light of these new editions. George Taylor's introduction to Plays by Samuel Foote and Arthur Murphy begins by dismissing the previously unquestioned presupposition "that comic drama in the eighteenth century, particularly in the forty years following the

1737 Licensing Act, lapsed into a state of lachrymose gentility known as Sentimentality."9 Hume's call for an examination of managerial practices, which he considered a proper use of The London Stage, remains largely unaddressed, however.

10 At the same time, even Hume's essay omits a

significant portion of late eighteenth-century theatre history: the performance record of the minor or

irregular houses where, according to the restrictions of the Licensing Act, regular dramas could not be performed.

Hume's list of problems reveals the literary bias that has ignored the value of the interplay between the major and minor houses. Performance venues such as Ranelagh

House, Vauxhall Gardens, Astley's Amphitheatre, and

Sadler's Wells provided Londoners with summer diversions and performers with summer employment. Since many of the singers, actors, and dancers of the regular houses also appeared at the irregular venues, examining even one of these venues would furnish a more complete depiction of the late eighteenth-century English theatre. Although

King's tenure as manager of Sadler's Wells probably influenced his managerial role at Drury Lane, no study exists to connect these two experiences in an attempt to understand his resignation in 1788. That is the purpose of this study.

This study does not intend to provide a biography of

King; however. King's career will be considered as representative of careers closer to "typical" than

Garrick's. The field of eighteenth-century theatre research is still heavily influenced by the "Great Men"

11 model that assumes the careers and acting styles of the theatre industry at this time could be discerned by examining the most popular performers: Betterton,

Cibber, Wilks, Booth, Quin, Macklin, Garrick, and Kemble.

This assumption overlooks the practical, daily lives of the majority of performers in London during this century and the connection between the major and minor houses as well. Therefore, a brief foray into King's history within the theatre will illustrate some of the difficulties presented to the theatre historian who looks beyond the "Great Men" model.

In The Critic by Richard Brinsley Sheridan, the character of Puff illustrates the "puff direct," a means of self-promotion through published hyperbole. While describing a performance of a play that has yet to be performed. Puff makes the following claim: "... but it is not in the power of language to do justice to Mr.

KING!"10 King originated the role of Puff in the

1779-1780 seasonal and continued to play it throughout the remainder of his career. Given the metatheatrical quality of this moment of performance, during which King complemented himself from the stage, one might expect an actor playing Puff to be willing to puff himself off stage as well. However, unlike several leading players of the century. King published no autobiography. His

12 diary, which the Biographical Dictionary locates in the

British M u s e u m , remains unpublished. To find King's history, the theatre historian must turn to somewhat contradictory biographies of King, some of which appeared during King's lifetime, but none of which provide anything close to a detailed account equivalent to those of Garrick and Cibber. Yielding the power to shape his image in the milieu of autobiography. King seems to have chosen shadow over light, silence over puffing. It is this reticence that creates the greatest difficulty for the theatre scholar. To paraphrase Puff, it is almost beyond the power of the historian to do justice to Thomas

King.

It should come as no surprise, then, that few scholars have considered King. Typical of the commentary on King's acting, Richard England's "The Technique of

Acting" is little more than an undocumented quotation of

James Boaden that credits King with the ability to speak

"uncommonly fast" and yet achieve "intelligibility . . . by massed balance of sentences and justness of emphasis."13 Christian Deelman's "The Original Cast of

The School for Scandal"!^ argues that the role of Sir

Peter was written with King's abilities in mind, especially his adeptness in employing comic business.

Although Sheridan based other characters upon the

13 personality traits of the performers who played them,

Deelman assumes that Sheridan wrote Sir Peter with King's

abilities in mind, not his personal characteristics. In

the second and third parts of Alan Hughes' "Art and

Eighteenth-Century Acting Style," Hughes uses James

Roberts' painting of the screen scene from The School for

Scandal as evidence of acting technique. Based upon the

content of the scene. King's expression and positioning

are meant to indicate s u s p i c i o n . 15 whenever King is

mentioned in a discussion of acting in the eighteenth

century, the evidence points to technique rather than

impersonation, comic precision rather than the recreation

of observed "reality." While these concepts are not

entirely fixed as opposites, it is clear that King's

competent acting differed from the "natural" style of

Garrick.

In his landmark essay, "Nature to Advantage Dressed:

Eighteenth-Century Acting," Alan S. Downer divides the

century into four schools of acting, each of which

corresponds to one or more of the Great Actors of the

century. The first, the Betterton school, played comedy without exaggeration and tragedy with a small range of

rhetorical gesture and a high amount of facial

expressiveness. The second school is centered on Cibber,

Booth, and Wilks. Downer points to a gradually increased

14 exaggeration of gesture and a vocal quality closer to declamation than restraint, a conscious strutting rather than restrained posing- Macklin and Garrick are the epitomes of Downer's third school, supposedly the most

"natural" of the four. Garrick emerges as a refiner of earlier techniques, Macklin as the teacher of renewed restraint mated with observed behavior. The fourth school, that of Kemble and Siddons, is typified by cold restraint and stiff posturing. Downer describes this as

"neo-classical in its accent on dignity, on carefully planned and minimum acting, on rhetorical speech, on claptraps and addresses to the a u d i e n c e . "16 ^s would be the case with most eighteenth-century actors. King's work falls between two of these schools chronologically, in King's case the schools of Garrick and Kemble; aesthetically, his work either looks ahead to Kemble or back to Cibber. Such a classification of performers emanates from the comparative lack of commentary on performers such as King, or, perhaps more precisely, from the overwhelming amount of commentary on the Great Men.

While Downer's essay does provide an overview of the period's august actors, he overlooks the larger number of actors working at any given point of the century and connects the Hamlets, not the Touchstones. Downer's essay and others like it have led scholars to ignore a

15 host of minor figures. While a similar body of evidence does not exist for each of these myriad performers, the available evidence suggests that the interplay between the major and minor houses provided the average actor with opportunities to perform that the "Great Men" would not require. Under the "Great Men" model. King's abilities, considerable as they may have been, have not yet drawn sufficient attention to him to merit extended study.

While the "Great Men" model codifies the period's acting styles through an examination of the leading players of the patent houses, a similar model related to repertory defines the eighteenth century as a period of low literary merit, and the dramaturgy that sustained the theatre industry is either ignored or devalued. King's efforts as a playwright produced five short works, most of which entered the repertory in benefit performances, generally without King's name on the playbill. The first. Love at First Sight, appeared at Drury Lane seven times within a two-month period in 1763, but the play did not return to the repertory afterward. King's second effort. Wit's Last Stake, fared slightly better. After its 14 April 1768 premiere, the play did not appear on a

Drury Lane playbill until January of the following year.

Then, after a run of nine performances in a two-month

16 period, the play emerged sporadically for a total of twenty-three performances over sixteen years. Although far from an unqualified success. Wit's Last Stake eclipsed Love at First Sight. Both featured clever servant roles, which King himself played. The Triumph of

Mirth, a pantomime known now by a description in the

Public Advertiser, had a stage life confined to the

1782-1783 Drury Lane season with a total of thirty-five performances. A second pantomime, Hurly Burly; or. The

Fairy of the Well, was staged in the 1785-1786 Drury Lane season and ran for twenty-two performances. Lover's

Quarrels, King's adaptation of Vanbrugh's The Mistake, premiered at Covent Garden in 1790 and appeared in each season through the end of the century for a total of thirty performances. These works are the total of King's literary efforts. Few studies have examined King as playwright. The Performers and Their Plays, a 1982 anthology edited by Shirley Strum Kenny, contains King's first two plays. Donald D. Eddy's "John Hawkesworth:

Book Reviewer in the Gentleman's Magazine" lists Wit's

Last Stake in a table of works reviewed by both the

Gentleman's Magazine and the Monthly Review. It would be difficult to claim that King deserves more than this for his theatrical writings, but other performers wrote plays with themselves in mind, particularly short farces with

17 strong central roles. Therefore, King's efforts at playwriting qualify him as an "average" or "typical" eighteenth-century theatrical performer/playwright.

King's management position at Drury Lane was his final entry into the eighteenth-century managerial realm.

He had been part of the management of the Orchard Street

Theatre in Bath during the 1755-1756 season, and he was a partner with Matthew Clarke at the King Street Theatre in

Bristol from 1769 to late in 1771. King's sale of his share in King Street provided the funds for his purchase of a three-quarter share in Sadler's Wells,which he held from 1772 to 1784. After the 1782 summer season at

Sadler's Wells, King assumed the management of Drury

Lane. For the 1783 and 1784 seasons, he continued as a proprietor of the Wells while Richard Wroughton assumed the management of that minor house. Wroughton then purchased King's share in 1785.

By the time of King's purchase in 1772, Sadler's

Wells could already claim a fairly extensive history dating back to Richard Sadler's discovery of what he assumed were medicinal springs in 1683. Thomas Rosoman and Peter Hough reopened Sadler's Wells as a place of entertainment in 1746. After the Wells achieved sufficient popularity, Rosoman dismantled the wooden building and replaced it with a stone structure in 1765.

18 In the following year, Rosoman renegotiated the lease with the Lloyd family, who owned the ground upon which

Sadler's Wells stood. Rosoman remained both manager and proprietor of Sadler's Wells until the sale to King in

1772, but he sold a quarter share to a goldsmith named

Thomas Arnold in 1771.

As a place of public entertainment, Sadler's Wells had come to be known for tumbling and rope dancing; by the time of King's purchase, Sadler's Wells produced two major pantomimes each season. The summer season opened on the Monday after Easter and continued until both of the winter theatres performed daily, usually in the second week of October. Direct competition for the Wells came in various forms: regular drama at the Haymarket and, for the initial and closing weeks of the summer season, Drury Lane and Covent Garden; public concerts at music gardens such as Ranelagh, Vauxhall and the

Pantheon; subscription concerts such as those held at

Hanover Square; masquerades held at private residences or hired halls; equestrian performances at Astley's

Amphitheatre or Hughes' Riding School; displays of portraits or other novelties in museums such as Cox's or

Lever's; and any number of public lectures or readings.

Biographical accounts of King, including those written before his death in 1805, are somewhat terse

19 regarding his management of Sadler's Wells. The Thespian

Dictionary, published in 1802, records King's 1771 purchase of a three-quarter share of Sadler's Wells and credits him with two major changes: ". . .he extended and beautified [Sadler's Wells], and conducted [it] in such a manner, that it became a fashionable place of entertainment. "18 other than recording King's assignment of managerial control to Wroughton in 1782,

The Thespian Dictionary makes no further comment upon

King's tenure at Sadler's Wells. Similarly, the

Biographie Dramatica, published in 1782 and updated in

1811, gives October of 1771 as the time of King's purchase, repeats the phrase "extended and beautified," but then credits the increased reputation of Sadler's

Wells to "the expense and respectability of the entertainments."19 Again, no further comment on King's management follows other than the sale to Wroughton.

The Dictionary of National Biography, first published in 1882, notes nine thousand pounds as the purchase price for King's three-quarter share and giyes the name of Arnold as the holder of the remaining quarter share. Then a list of managerial policies follows:

He made some changes in the performances,

raised the prices of admission, and provided

horse patrols, to guard through the dangerous

district the fashionable yisitors whom he

20 attracted. His prices, three shillings boxes,

eighteenpence pit, and a shilling gallery,

entitled the visitor to receive a pint of wine

at an added cost of s i x p e n c e . 20

While this seems to provide a few more clues as to how

King functioned as a manager, this list gives no indication as to when all of these policies were implemented. The vague statement, "changes in the performances," does not specify what those changes were.

The admission prices for the benefit season of 1771 had been two shillings sixpence for the boxes and one shilling sixpence for the pit or g a l l e r y . 21 Therefore, although the cost of the boxes had increased, the price for the pit remained the same, and tickets for the gallery actually decreased. The horse patrols do not appear in Public Advertiser advertisements until after

Wroughton assumed managerial control in 1783. In addition, the PNB gives 1778 as the date of the sale to

Wroughton. Although listing the Thespian Dictionary and the Biographie Dramatica as sources, the DNB's account of

King's management of the Wells does not concur with them.

It is unclear how King's record came to be thus obscured, but the DNB is clearly incorrect.

When King enters into historical accounts of the eighteenth century written in the twentieth century, the

21 subject of his management of Sadler's Wells receives little more attention than it had during King's lifetime.

Published in 1904, H. Barton Baker's History of the

London Stage and its Famous Players (1596-1903) reiterates some of the general statements made during

King's lifetime. Recording the purchase from Rosoman as having taken place in 1772, Baker asserts that

"fashionable audiences" followed King to his new enterprise: "After a while the interior was entirely remodelled [sic], but the style of entertainment remained much the same as b e f o r e . "22 He then cites five acts from playbills: Miss Richer on the tight rope, a contortionist named Joseph Dorton, and two tumblers, Paul

Redige and Lawrence. From this meager evidence. Baker concludes, "Here we have our present music-hall attractions anticipated, and we thought they were novelties !"23 This statement reveals at least two assumptions in Baker's work: first, that the attractions he lists were indicative of King's offerings for a period of at least a decade; and second, that both King's offerings and those of the "present music-hall" are equivalent entertainments, but not "legitimate" theatre.

In light of Baker's larger subject, the London stage and its performers, it is no great surprise that players on the legitimate stage are valued over those of the lesser

22 houses. Nor is it any wonder that Baker's discussion of

Joseph Grimaldi, who also performed at the more respected

Drury Lane, overlaps Baker's brief commentary on King's management. Having followed Grimaldi's career into 1794,

Baker must then resume his narrative of Sadler's Wells with the sale to Wroughton, which he dates as occurring in 1782. According to Baker's account, Wroughton made the purchase for twelve thousand pounds.24 The narrative then traces ownership of the Wells through

Wroughton and Arnold to "Mrs. Siddons' husband" to

Charles Dibdin the younger and his water spectacles, and eventually to the legitimate offerings of Samuel Phelps after the Theatre Regulation Act of 1843.

A similar bias emerges in Edward J. Dent's A Theatre for Everybody; The Story of the Old Vic and Sadler's

Wells, first published in 1945. Where Baker's aim had been to record the history of the London stage and its players. Dent attempts to use the history of the two theatres to argue for a national theatre. The period of

King's management is condensed into a terse, generalized theatre history. Dent leaps from Rosoman to Dibdin, with one sweeping statement between them: "By this time the theatre could be carried on with considerable popular success, but only with entertainments of comparatively humble character."25 Dent describes the district as a

23 dangerous place, and then takes up Dibdin*s aquatic spectacles. Prior narratives credit King with making the

Wells a fashionable place, but King's name never appears in Dent's work. While supporting his argument with some commentary on Phelps, Dent relies heavily upon late nineteenth-century and early twentieth-century efforts, particularly those of Miss Conns and Miss Baylis, whose prestigious stagings of Shakespeare had created the base for the "Old Vic," in order to make his case for a national theatre.

Dennis Arundell's The Story of Sadler's Wells

1683-1977, expanded from its 1965 edition to include more recent events rather than to re-evaluate the past record, remains the only account of Sadler's Wells that provides any extended discussion on the period of King's tenure as proprietor and manager. Arundell's account is flawed, however, by a paucity of footnotes and the absence of any bibliography. As such, although the record is presented in an entertaining fashion, the account is almost purely anecdotal, particularly prior to the twentieth century.

Arundell does identify some of King's managerial changes, but he also indicates that King began his tenure with a promise to enlarge upon prior management practices rather than make substantial r e f o r m s . 26 upon occasion, these changes do indeed seem miniscule: the first change

24 Arundell notes is the featuring of performers' names in advertisements, an established practice at the regular houses. Arundell's narrative of King's reign at Sadler's

Wells provies many titles and the names of some performers, as well as some description of the structural renovations of 1775 and 1778. King's reliance upon the music of Charles Dibdin, Abraham Fisher, and James Hook seems more of a fostering of new talent than a change in staffing policy. The topicality of such works as A Trip to Coxheath, All Alive at Jersey, and Queen Elizabeth at

Tilbury, offered by King in 1778 and 1779, provide evidence of managerial policy related to repertory.

However, most other performance venues in London produced entertainments on similar subjects. All of these items are hints which Arundell draws in broad strokes. No documentation is provided other than references included in his foreward that credit the British Museum, the

Finsbury Public Library, and Hardwicke Court, Gloucester.

The Biographical Dictionary printed its account of

Thomas King in its ninth volume, published in 1984.

Citing a legal agreement found in the British Museum, this account assumes that King may have controlled

Sadler's Wells for several years prior to the actual sale in 1771.27 King's partners in the sale are named:

"Mr. Serjeant, a musician of the Royal Band, and Thomas

25 Arnold, a g o l d s m i t h . "28 while admitting that the music hall fare to which Baker objected remained in the offerings, the Biographical Dictionary classifies the increase in the amount of music performed as a managerial change. The 1775 renovations are not discussed, but the raised ceiling and raked pit of 1778 are noted. As with other accounts, the Biographical Dictionary concludes its commentary on King's management of the Wells with the sale to Wroughton in 1785. This account includes Arnold as Wroughton's partner in the purchase and acknowledges the introduction of Joseph Grimaldi as King's major discovery of theatrical talent.

As evidenced in this brief overview, few studies discuss King's managerial efforts at Sadler's Wells.

Although there is some disagreement as to the degree of change in the bill of fare, all accounts acknowledge that

King obeyed the restrictions of the Licensing Act of 1737 by offering music, dancing, tumbling, tight rope dancing and other specialty acts. It is generally assumed that

Sadler's Wells became a fashionable place at some point during King's management, but how this change came to pass has not been examined. No study has assumed that

King's management of Sadler's Wells had any impact upon public perception of his managerial role at Drury Lane.

In addition to accepting the interplay between minor and

26 major theatres as a context for studying this period, this study also assumes that the "Garrick" model of management provides a means of understanding both the methods King employed during his tenure at the Wells and the difficulties King faced in managing Drury Lane.

This study assumes that Garrick's fusion of management and proprietorship had developed into a model for the theatre as a business, a model which playwrights, performers, and theatrical suppliers had come to know quite well by the time Garrick retired in 1776. Since

Thomas King had been in daily contact with that management model himself, this study postulates that

King's management of Sadler's Wells followed that model.

It will be further postulated that, although Sheridan had abandoned the "Garrick" model by the time King entered

Drury Lane management in 1782, public expectations tied to the connection between Sadler's Wells and Drury Lane provided by King's presence in both institutions had a direct impact upon King's decision to retire from management in 1788.

The first three chapters of this study will concentrate upon King's tenure at Sadler's Wells. The lack of a performance record for the minor houses equivalent to that of The London Stage necessitates greater emphasis upon this portion of King's managerial

27 career. The first chapter will cover 1772 through 1774,

the period in which King's sweeping changes in personnel,

advertising strategies, and repertory established him as

the controlling figure to whom concerns regarding the

Wells were to be addressed; at the same time and through

the same policies, Sadler's Wells began to imitate the

operations of the patent houses. The second chapter will

cover 1775 through 1777, the period in which gradually

reduced attention from the newspapers would seem to

indicate that the novelties King provided were no longer

noteworthy; at the same time, newspaper coverage of the

Sadler's Wells pantomimes separated the minor house from

other "music houses" such as Vauxhall and Ranelagh. The

third chapter will cover 1778 through 1782, the halcyon period during which a series of patriotic spectacles renewed interest in the Wells; at the same time, similar productions at both major and minor houses tend to link the entire entertainment industry. The next two chapters will shift to King's work in management under Sheridan at

Drury Lane. One chapter will consider the transitional period between 1782 and 1784 during which King appears to have had full authority over Drury Lane and to have relinquished Sadler's Wells to Richard Wroughton; both sets of circumstances appeared to conform to the

"Garrick" model of management. The final major chapter

28 will examine the four seasons between 1784 and 1788, taking special notice of the reasons behind King's resignation as published in King's address to the public.

Areas to be examined for both theatres include, but are not restricted to, repertory and personnel, since King's address stressed these two areas of management. An appendix will then provide a calendar of Sadler's Wells personnel and entertainments featured during King's proprietorship.

Primarily, this study will draw upon the microfilm collection entitled Early English Newspapers, produced by

Research Publications in 1983. This microfilm series consists of the holdings of the Burney collection from the British Museum and the Nicholls collection from the

Bodeleian Library at Oxford. Chief among the newspapers included in this series are the Gazetteer and New Daily

Advertiser, the General Evening Post (London), Lloyd's

Evening Post, the London Chronicle, the London Courant, the London Evening Post, the Morning Chronicle, the

Morning Herald, the Morning Post, St. James' Chronicle, the Public Advertiser, and the Whitehall Evening Post.

Close examination of these newspapers will encompass the following topic areas: advertising strategies, including featured items in the advertising copy and changes in personnel; the use of puff pieces to promote specific

29 offerings; descriptions of full performances or segments of performances, which illuminate production conditions and theatre architecture; the publication of lyrics and prologues; news items such as explanations for the absence of specific performers; and negative news related to theatre personnel and audience members.

While the newspaper record can provide a survey of the materials from which a public understanding of King's function in both Sadler's Wells and Drury Lane could have been drawn, any conclusion based upon the newspaper record alone is necessarily limited. First, the newspaper record is incomplete. Entire months, weeks, and even years of certain publications are no longer extant. Although extant editions of one newspaper may overlap the lacuna of another, any retractions or corrections that might clarify matters may have been lost. Second, creating a narrative of late eighteenth-century theatre management based exclusively upon the newspaper record will result in a history of impressions rather than the "hard" facts found in the extant financial records, correspondence, and other documents that could fall into the broad category of the

"private record." Third, one cannot assume objectivity on the part of newspaper publishers who printed puffs or on the part of the generally unknown authors who wrote

30 them/ nor does it necessarily follow that each member of the reading public would have read those puffs in the same way.

However, the newspaper record provides the only available materials for studying King's management of

Sadler's Wells. In 1988, Harvester Microform produced a microfilm collection entitled Records of the Great

Playhouses, Series One; The Sadler's Wells Archives from

Finsbury Central Library, London. Holdings prior to the nineteenth century are irregular at best. Few of the performers under King are included in the biographical files. The majority of the sheet music and other printed lyrics that are part of this collection also exist within the newspaper record; although sheet music is another kind of public discourse, that which is available here would yield little in determining public perceptions of management. This collection contains no lease or other legal document from King's era, and there are no playbills or other programs prior to 1880. The records

Arundell presumably uses for his study have not been microfilmed.

The absence of such records should not be considered a weakness in the present study. Public knowledge of the interplay between the major and minor houses would exist most clearly in the public record provided by the

31 newspapers. Letters, diaries, and legal documents could be said to reflect popular impressions, but they are often in conflict with the newspaper record. Since private documents are not public discourse, the newspapers must be given priority in any attempt to establish the basis of public perceptions.

In the chapters that follow, this study will focus upon a series of interrelated issues regarding both

Thomas King and the entertainment industry in London in the late eighteenth century; the tendency for a performer's reputation to follow him from one venue to another; the fusion of manager and entertainment institution into a single entity; the impact of a manager's personality upon a performance venue; the cultural dynamic contained in the connection between the major and minor houses; and the role of the newspapers as a mediating forum for all these issues. This study will create a narrative of public impressions of the London entertainment industry near the end of the eighteenth century, a narrative that has not been assembled elsewhere, a narrative for which a close reading of the existing newspaper texts is essential.

32 NOTES

iRoger Fiske, English Theatre Music In the Eighteenth Century/ second edition (Oxford and New York: Oxford UP, 1986), 261.

^Dougald MacMillan, "David Garrick, Manager: Notes on the Theatre as a Cultural Institution in England in the Eighteenth Century," Studies in Philology 45 (1948): 630-646. A similar assumption informs David Garrick: Director by Kalman A. Burnim (Pittsburgh: Ü of Pittsburgh P, 1961).

^Charles Beecher Hogan, editor of The London Stage for this period, assumes that King may possibly have influenced Mrs. Siddons’ decision to take up the role of Lady Macbeth during the 1783-1784 season. Charles Beecher Hogan, The London Stage, 1660-1800: Part Five. William Van Lennep, general editor (Carbondale and Edwardsville: Ü of Southern Illinois P, 1968), 5.727.

4&11 quotations from King’s address to the public are from the following sources: Morning Chronicle 8 October 1788, 3; Morning Post 8 October 1788, 2; Public Advertiser 9 October 1788, 3-4.

^The London Stage, 5.1001.

Gphilip H. Highfill, Jr., Kalman A. Burnim and Edward A. Langhans, A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800, vol. 9 (Carbondale and Edwardsville: Southern Illinois UP, 1983): 31.

^Robert D. Hume, "English Drama and Theatre 1660-1800: New Directions for Research," Theatre Survey 23 (1982): 71-100.

8See, for example. Spectacular Politics: Theatrical Power and Mass Culture in Early Modern England by Paula Backscheider (Baltimore: Johns Hopkins UP, 1993), Cultural Readings of Restoration and Eighteenth-Century English Theater by J. Douglas Canfield and Deborah C. Payne (Athens, GA: U of Georgia P, 1995), and Sexual Suspects: Eighteenth-Century Players and Sexual Ideology by Kristina Straub (Princeton: Princeton UP, 1992).

^George Taylor, introduction. Plays by Samuel Foote and Arthur Murphy, ed. George Taylor (Cambridge: Cambridge UP, 1982) 1.

33 lORichard Brinsley Sheridan, The Critic; or, A Tragedy Rehearsed, a Dramatic Piece in Three Acts as it is Performed at the Theatre Royal in Drury Lane (London: T. Becket, 1781) 40.

llThe London Stage, 5.292. Original performance, with King as Puff, took place on Saturday, 30 October 1779. Cast list drawn from 1781 printing by T. Becket listed above.

^^Biographical Dictionary 9.31.

13Richard England, "The Technique of Acting," Theatre Notebook 1.2 (January 1942): 14.

l^Christine Deelman, "The Original Cast of The School for Scandal," Review of English Studies 13 (1962): 257-266.

l^Alan Hughes, "Art and Eighteenth-Century Acting Style Part III: Passions," Theatre Notebook 41 (1987): 135.

l^Alan S. Downer, "Nature to Advantage Dressed: Eighteenth-Century Acting," PMLA 58 (1943): 1021.

1^Biographical Dictionary 9.29.

18"King (Thomas)," The Thespian Dictionary; or Dramatic Biography of the Eighteenth Century; Containing Sketches of the Lives, Productions, &c. of All the Principal Managers, Dramatists, Composers, Commentators, Actors, and Actresses, of the United Kingdom: Interspersed with Several Original Anecdotes; and Forming a Concise History of the English Stage. J. Cundee, 1802.

19"King, Thomas," Biographia Dramatica; or a Companion to the Playhouse, 1.437.

20"King, Thomas (1730-1805)," Dictionary of National Biography, 1963 edition.

Zlcited 1771 admission prices are taken from benefit performance advertisements in the Public Advertiser.

22h . Barton Barker, History of the London Stage and its Famous Players (1596-1903) (London: Routledge, 1904) 360.

ZSgarker 361. 34 24Barker 364.

25Edward J. Dent, A Theatre for Everybody; The Story of the Old Vic and Sadler's Wells (London: Boardman and Co., 1946) 15.

ZGoennis Arundell, The Story of Sadler's Wells 1683-1977, second edition (London: David & Charise, 1978) 28.

^^Biographical Dictionary 9.29.

^^Biographical Dictionary 9.29.

35 Chapter 2

"To Superintend the fidlers, tumblers, and rope dancers”

1772-1774

At the time when he purchased a controlling interest in Sadler's Wells and became its manager as well, Thomas

King was a fairly popular comic actor who, although certainly not one of the "great actors" of the period, possessed a reputation for quality performances.

According to the Biographical Dictionary, King had been

"Drury Lane's chief comedian and principal attraction after Garrick.By 1772, Sadler's Wells was known for its tumbling, rope dancing, and pantomimes; this minor house possessed a reputation for novel entertainments and good wines, and a comfortable environment in which to enjoy them. According to Dennis Arundell, when Rosoman built the stone structure in 1765, he had "the backs of the seats fitted with shelves for wine-bottles and glasses."2 The earliest response to King's purchase was not shock over a quality performer reducing himself to low entertainments, but protest over the potential for change

36 in Sadler's Wells. As this chapter will show, this expectation and the changes that King did indeed implement provide evidence of King's use of Garrick's model of management and of the interplay between Sadler's Wells and the patent houses.

The first three summers of King's management were primarily transitional. While promising Sadler's Wells' audiences there would be no sweeping reforms. King replaced a significant number of featured performers; a substantial portion of the new company members also performed in the patent houses. Although he fulfilled a promise to continue producing pantomimes. King promoted the musical pieces of various composers, especially those of Charles Dibdin the Elder, thereby expanding the use of music at the Wells. Many of the new musical pieces left the Sadler's Wells repertory after the management passed to Wroughton in 1783, so this could also be seen as the development of a "King" repertory. During the 1771 season, Rosoman had featured only the featured pantomime and a small number of performers in advertisements. After initially following Rosoman's advertising strategies in

1772, King gradually increased both the content of the advertisements and the frequency and locations in which they appeared. Throughout the period. King took active steps to establish himself as the voice of Sadler's Wells

37 management. By 1115, several managerial policies were firmly established, the membership of the company had stabilized to a degree, and King's name was as securely linked to Sadler's Wells as it was to Drury Lane.

The first public statement of King's proprietorship appeared in an advertisement in the 8 February 1772 edition of the Public Advertiser. King complained that

"vague and contradictory Reports" had led readers to believe two rumors: first, that certain performers had been engaged for the season who were actually not engaged; second, that King intended to discontinue the practice of

"delivering Wines" to his patrons. To answer the first of these rumors. King protested, "that the General

Entertainment will, in its Kind, vary little from that heretofore exhibited," although he intended to incur more expense in doing so than Rosoman had in previous seasons.

At best, this seems to have been an evasion of the issue, since the performances were not the object of the rumor.

To answer the second rumor. King promised that the "Custom of delivering Wines, &c, will be continued, and the best of each Sort provided for that Purpose."3 During the majority of the 1772 season, fully half of the daily advertisements printed in the Public Advertiser explained that a glass of wine was included in the price of a ticket, and four wines were available for selection.4

38 Closing the statement with the promise of a timely announcement of the proprietors' plans for the 1772 season. King labelled himself "Director" as well as "the present Manager," and concluded this statement with his name. While acknowledging the existence of his partner.

King did not give Arnold's name; therefore, only King's name was publicly connected to the Wells through the newspapers at this time. Before King's initial summer season at the Wells had begun, the "Garrick" model of management fused with proprietorship was already in place.

The materials included in Early English Newspapers provide only two news items that could have led to the placement of King's statement. The Gazetteer and New

Daily Advertiser had announced on 25 January that Mr.

Vernon would appear at the Wells; on 3 February, a retraction of that item was printed. In its 6-8 February

1772 edition, the General Evening Post (London) claimed that "Some of the news-papers have published letters to

Mr. King. . . desiring the exhibition of plays at Sadlers

[sic] Wells, without considering that such performances are expresly [sic] prohibited by act of Parliament."5

Although this raises the question of changes in performances that King did indeed address, the General

Evening Post (London) did not indicate which newspapers had printed such letters. Within the available materials,

39 there is no mention of the policy of delivering wines.

After publication of the statement, only one item appears prior to the initial season advertisements; on 10 March, the Public Advertiser announced that a Miss Froment had been engaged as a dancer and occasional singer.

Although King provided the visible face of management for the Wells, any popularity the Wells might have attained during 1772 does not seem to have been due to

King's presence upon the stage. In fact, more than one newspaper advertises his appearances at the Theatre Royal,

Richmond-Green.6 Even so, the reputation of Sadler's

Wells did rise, and that elevation of reputation was directly attributed to King. During late May in 1773, the

Morning Chronicle pointed to Sadler's Wells as an example of the increased quality of available entertainment. The writer depicts Rosoman's era as a time when "an honest tradesman" could enjoy his beer in a place where his children could enjoy "rough and unpolished" entertainments which relied upon scenic tricks and tumblers. Although only wines had been mentioned in advertisements under either Rosoman or King, the direct reference to beer in this item is, perhaps, disconcerting; it is possible that the comparison between the humble entertainments offered by Rosoman and the more pleasing one offered by King was extended to include the alcohol available for consumption,

40 but this need not be the case. The writer's point was that, under King, a new era of rationality had arrived:

There is now a mixture of the rational with

the pleasing. Music and words, which would

grace a theatre of the highest stile [sic],

are nightly to be heard at the Wells; and the

improved idea, the alteration in the species

of exhibition at this place of amusement,

has begot in the minds of the public, is

visible from the amazing overflow of box

company on Thursday evening.?

Not only had King improved the quality of the allowed entertainment, he had also led the Morning Chronicle writer to a direct comparison with the patent houses, a comparison that placed Sadler's Wells on an even footing with theatres "of the highest stile." Two days after this glowing description, the Morning Chronicle placed Sadler's

Wells on a list of "public places of entertainment" suitable to the tastes of the gentry.® From the close placement of these two items, one might suspect these items were puffs intended to bring the gentry to the Wells rather than report their presence. However, items regarding the Wells during this season tended to be brief announcements of new performances, so such extended paragraphs appearing in only one newspaper were just as

41 likely not to be puffs. In addition. The Morning

Chronicle continued to praise the Wells. The initial

paragraph of a column on the 1773 pantomime Whim-Wham; or.

Harlequin Captive describes the season as one of financial hardship for all places of entertainment, due in part to a particularly English penchant for following novelty.

Sadler's Wells under King's leadership is noted as especially "attentive" to the whims of the public:

One week we see a new pantomime announced,

the next a new cantata, the third a new

ballet, the fourth a second new cantata, the

fifth a second new ballet, the sixth a

third new cantata, and the seventh a second new

pantomime. Let us hope, that cooks, who so

studiously aim at serving up dishes so

likely to prove palatable to the public

taste, receive some profit as well as some

praise.9

The writer also remarks that the mechanical effects used in pantomime were executed more adeptly at Sadler's Wells than at any other theatre: "We heartily wish, for this and other reasons, pantomimes were to be seen at no other place of entertainment but Sadler's Wells." In a short span of time, the Wells had ascended from an equal footing with the patent houses to a superiority over them. The

42 improved quality and quantity of the entertainment, a result of King's management rather than of his performance, seem to have been the reasons for the increased reputation of the Wells.

Various news items comment upon large audiences during the 1773 season. On 28 July, the Public Advertiser reported that the Wells had turned away several customers due to lack of room. The Morning Chronicle reported a larger number being disappointed on 29 July, since all parts of the house had been filled; a sold out house this late in the season was "a circumstance never known 'till

[sic] this summer."10 In reporting an equally full house on 12 August, the Morning Chronicle remarked upon "a new set of windows, or rather passages for the air"H that allowed the audience to remain cool in close company.

Again, King's managerial care, not his presence as a performer, draws attention.

As successful as the 1773 season may have been, a letter to Thomas King printed in the Morning Chronicle on

20 September chastises King as a miser. At issue is the policy of charging full prices for wine during the benefit season rather than extending the usual policy of including a glass of wine with the purchase of a ticket. Praising

King's generosity in hiring a singer named Thomas Lowe, the writer (who signs himself "Helvetius") chides King for

43 treating his waiters badly, for placing too great a burden

upon the performers, and for failing to include that glass

of wine during the benefit season. Helvetius closes the

letter by asking King to reform and not "draw on yourself

these hateful epithets any m o r e . "12 The letter contains

several instances of faulty reasoning; for example, the

connection between providing the wine and bettering the

lot of the waiters is never established. It is difficult

to determine whether King took this advice; there is no

indication of any policy regarding wines in 1774.

However, this letter confirms the presence of the

"Garrick" model of management. Whatever the outcome,

Arnold is not mentioned in the attack; only King is held

responsible for this managerial policy.

Because the "Garrick" model was established. King was

also open to attack in another way: the use of his name without his consent. In June of 1774, the Gazetteer and

New Daily Advertiser printed a letter signed "T.K." The

letter proposes to contradict a report published in the

Gazetteer that placed a Mr. Herries in performance at

Sadler's Wells: "We have no occasion for the Scotch

Orator Herries, having long ago engaged our scaramouches and posture-masters."13 While the tone of this letter is not consistent with the usual formality of King's announcements. King moved quickly to protect his name. A

44 retraction of the item was printed shortly thereafter, claiming that King had not placed the letter, nor had he authorized it to be s e n t . 14 what is important here seems to be avoidance of slander, but this series of notices also provides evidence of King's managerial power and tight control.

Over time. King employed an increasingly aggressive advertising strategy. In 1772, King relied almost exclusively upon daily advertisements printed in the

Public Advertiser; benefit performances were also publicized in the Gazetteer and New Daily Advertiser.

During the regular season, the standard daily advertisement listed the featured performers and the pantomime. Additions to the nightly offerings were publicized in short news items, but these were inconsistent at best. The standard daily advertisements published prior to the benefit season changed only twice during 1772: the first change removed the name of Signora

Radicatti after her death; the second change came upon the presentation of the second pantomime for that year.

In the final weeks of the season, benefit publicity changed daily to indicate specific songs, dances, or feats of agility. In 1773, benefit advertisements were also published in the Morning Chronicle. The Public Advertiser bills changed more frequently, usually in order to

45 announce a new musical piece or dance; these additions were frequently repeated in a news item. In 1774, advertisements were placed in the Chronicle and the

Gazetteer when changes occurred in the daily bills, usually on a Monday. With the 1775 season came more frequent changes in daily and weekly advertising and a greater reliance upon specialty acts other than the rope dancing and tumbling which had been associated with the

Wells prior to King's tenure. It should be noted that this trend does not necessarily indicate an increase in repertory; what this indicates is an increase in the number of offerings featured in advertisements. As a result, advertisements for Sadler's Wells came to resemble those of the patent houses. While the other minor houses tended to list no more than the dates and times of performances, Sadler's Wells began to emphasize the titles of musical pieces and dances in much the same way the patent houses listed plays and afterpieces. Of the minor houses, only advertisements for Astley's exhibitions came close to the detail of those for Sadler's Wells, but

Astley's advertisements remained static for the majority of the summer seasons.

King's role as manager is quite clear. Near the beginning of the 1774-1775 Drury Lane season, David

Garrick staged his own The Meeting of the Company, or

46 Bayes's Art of Acting. King played Bayes, an acting coach who alienates an entire company by insisting upon exaggerated acting. When he is rejected, he curses himself in a moment of metatheatricality typical of eighteenth-century theatrical practice. In the earliest publication related to the script, the London Chronicle account records the self-curse in this manner:

that if he is to be there, [he] may be

doomed to be an Actor all the Winter, and

to have no other engagement during the

Summer than to superintend the fidlers [sic],

tumblers, and rope-dancers at Sadler's Wells.15

In order for such self-parody to be understood. King's roles at both Drury Lane and Sadler's Wells would have to have been clear to the general public: an actor at Drury

Lane, a manager at Sadler's Wells. This assumption of public awareness provides evidence of both the interplay between the major and minor houses through familiarity of

King's function in both venues and of King's strong managerial presence establishing the "Garrick" model at

Sadler's Wells.

Advertisements, news items, and printed lyrics provide a substantial list of company members, and that list changes greatly between these three seasons.

47 Although King's statement prior to the 1772 season had promised that the entertainments themselves would change very little from those Sadler's Wells audiences had come

to expect, a large number of new performers appeared in

1772,16 most of whom were dancers and singers. In

addition to Miss Froment, nine new dancers joined the

company; Charles Atkins, Signora Gertrude Radicatti,

Peter Daigueville, his wife and his students John Holland,

Richard Scriven, Mary Ross, Elizabeth Armstrong, and

Harriet Medlicot.l^ With the exception of Radicatti,

all had danced at Drury Lane in the 1771-1772 season.

Radicatti had recently retired from the opera company that performed at King's Theatre, Haymarket; the 23 May 1772

edition of the Morning Chronicle and London Advertiser announced her death on 22 May.18 Atkins had appeared at

Sadler's Wells twenty years prior to this season, and the

Biographical Dictionary cites a contract between King and

Daigueville as evidence of King's management prior to

1772,19 but neither Atkins, Daigueville, nor his pupils appear in the 1771 advertisements. When added to the four dancers remaining from the 1771 season, this group of company members indicates a shift towards an increased emphasis upon dance and a clear indication of the

interplay between Sadler's Wells and Drury Lane.

A similar shift appears in the area of sung music.

48 Several new names emerge: Mr. Herryman, Miss Dowson, and

Thomas Lowe. According to the Biographical Dictionary,

Herryman had been performing at the Wells as early as

1 7 6 7 . 2 0 but he does not appear as a featured performer until this season. Lowe joined the Wells near the end of a long career and remained there until his death in 1 7 8 3 .

Although new to the Wells in 1 7 7 2 , he had performed at

Drury Lane, Vauxhall, Marybone Gardens, and Finch's Grotto

Gardens; he had managed Marybone Gardens from 1 7 6 3 to

1769.21 Most accounts of King's management consider his hiring of Lowe an act of generosity.22 The remaining featured singer, James Thomas Kear, had joined the Wells in 1 7 7 1 . These singers remained for a number of years, providing a solid base in sung music.

The list of tumblers remained close to that of 1 7 7 1 : a Mr. Thompson joined William Rayner, John Porter, and

P e t e r 2 3 Garman. Porter had joined the Wells in 1 7 7 1 , but Garman and Rayner had both been appearing there for over a decade. The F e r z i 2 4 family continued to dominate the list of rope dancers; Garman and Rayner appear as

Ferzi's p u p i l s . 2 5 Several other names extend into the

1 7 7 2 season: Mr. Burrell, the pit and box office keeper;

James Warner, who had appeared as a clown as early as

1 7 6 2 ; and Mr. Mather, a carpenter.

In all, seventeen new performers joined fourteen

49 established company members. This is perhaps an inaccurate assumption. Since this study is based upon a close examination of newspaper texts, the names cited above are those that appeared in advertisements or news items. Therefore, what emerges is a list of featured members, not an exhaustive list of employees. Rosoman listed fewer names than King: the initial advertisements from 1771 list eight names; King's initial advertisements in 1772 list thirteen. Under the advertising policies of both managers, additional names appear during the benefit seasons. It is more accurate, then, to claim that King featured more performers than Rosoman had.

A similar shift in company membership occurred at the beginning of the 1773 season. Twelve members did not return: Radicatti, Thompson, Porter, Wingate, Holloway,

Betts, Froment, Daigueville, his wife, and his pupils. In exchange, fourteen new or returning names appear. Mrs.

Burnett replaced Miss Froment in the ranks of the singers; a column describing a performance of The Ladle called her

"a lady almost new to the audience, as she has not for a considerable time appeared on any stage, and is by no means likely to disgrace the Wells."26 ^ Mrs. Burton appears only once, for a benefit performance on September

29; it is possible, although not certain, that this name is a misprinting of "Burnett.” When Thompson's name is no

50 longer printed on the list of tumblers, a Mr. Oliver takes that place.

Half of the nev arrivals were dancers. Byrne and Le

Mercier had appeared at Drury Lane during the winter, and

Miss Catherine Collet had been enrolled at the Drury Lane school in 1772.27 Miss Mary Capon and Miss Catherine

Valois had appeared at Covent Garden. Sig. Fontenelle and

Mr. Delegal do not seem to have been attached to either theatre. These additions may indicate that King's search for talent had extended beyond his personal acquaintances at Drury Lane. The physical interplay of common performers had both continued with Drury Lane and expanded to Covent Garden.

With the addition of Jacques Richer and his family.

King brought a new form of entertainment to Sadler's

Wells: ladder dancing. Richer was the only one of the new performers mentioned by name prior to the initial advertisements for 1773. The Public Advertiser printed the following item on 10 April:

It is said the Manager of Sadler's Wells

has great Expectations from the Performance

of Monsieur Richer, the Ladder Dancer, who

has been greatly followed at all the Fairs

and Places of Spectacle on the C o n t i n e n t . 28

Richer's name heads the lists of featured performers for the majority of King's tenure.

51 Only four names from 1773 fail to appear during the

1774 season. Miss Capon began using her married name,

Mrs. Stephens. Dennis and Fontenelle simply fail to

reappear. As stated above, Mrs. Burton was possibly a misprinting of Mrs. Burnett's name. Four new names are

listed: a new dancer named Mrs. Huntley; a Mr. Crown, a box door keeper whose name had last been published in a

1771 benefit advertisement; a "Dr. K," puffed in identical notices in the Public Advertiser and the Morning Chronicle

as a Shakespearean Lecturer who proposed to exhibit on the

slack wire;29 and the Sigels brothers.

The Sigels brothers became something of a sensation,

appearing at the Wells for three seasons. Exhibiting

feats of strength and agility unspecified in newspaper accounts, they caused the London Chronicle to claim, "The

Sigels seemed to have put the power of the human muscles to the severest test, and to have made themselves masters of such situations as no man before ever imagined they could be thrown into."30 The Morning Chronicle predicted that the Sigels brothers would make Sadler's

Wells "as much the resort of the nobility and gentry as

Ranelagh and the Opera House" since the Duke of Gloucester had already attended.31 in early June, the Morning

Chronicle noted that "the Wells have been visited of late as much by customers from the West as the East end of

52 town."32 Due to their popularity, the Sigels brothers were expected to extend the interplay between Sadler's

Wells and the patent houses to include audience members.

As with Richer, the Sigels brothers represent a new category of entertainment; their names appear above the title of the pantomimes.

For the first time under King's management, news items and letters began to evidence devotion to specific performers at Sadler's Wells. What appears to be a puff piece in support of Miss Dowson was printed in the Morning

Chronicle. Admiring "the elegance of her person, and the sweetness of her voice," the writer wonders at her absence during the winter season.33 ^ letter signed "A.B." was printed several months later, repeating those sentiments; confessing that a partiality for Dibdin's music had brought him to the Wells, the writer professes "peculiar pleasure" in hearing Miss Dowson sing.34 since both

Dibdin and Dowson had connections to Drury Lane, it is likely that this audience member had developed expectations for Sadler's Wells based upon his experience at the patent house. Within a week, a letter signed "your

Constant Reader, and an Admirer of Sadler's Wells" argued that only drunkenness could have led "A.B." to prefer Miss

Dowson over Mrs. Burnett.35 shortly before the benefit season, a few columns entitled "Intelligence from SADLER'S

53 WELLS" predicted great success based upon Mr. Warner's

"person," the personal charm and ability of Kear, and the popularity of Miss D o w s o n . 36 Mrs. Stephens and Miss

Valois were compared as rival Columbines in several l e t t e r s . 37 jf these letters were not written by partisans, they could then be considered part of King's increasingly aggressive advertising strategy.

By 1774, King had assembled a fairly stable company.

Few seasons after 1773 witnessed the massive departures and arrivals equal to those of 1772 and 1773. In terms of personnel. King's first three seasons create a model that found concrete expression in advertisements. The lists of featured performers appeared in the following order: ladder dancing, singing, dancing, rope dancing, and then strength and agility. Each area had core members advertised throughout the season and additional members featured during the benefits. Although it is uncertain that any hierarchy within the company was implied by the order of the categories in advertisements, this model continues through the rest of King's tenure. As occasional comments above have indicated, there were significant ties to both Drury Lane and Covent Garden established through common personnel, particularly in the area of dance.

In terms of repertory. King followed Rosoman's

54 pattern of offering two pantomimes each season: the first upon the opening on Easter Monday, the second in mid-to-late July.38 Most newspaper accounts of pantomimes at both Sadler's Wells and the patent houses throughout this period indicate a general absence of plot: most revolved around Harlequin's successful union with

Columbine over the objections of her Pantaloon father, a

Clown, and any number of suitors. Pantomimes seem to have been little more than excuses for scenic effects and elaborate machinery; as such, these entertainments cost more to produce than "regular" drama. In most seasons, the patent houses produced no more than one new pantomime each year, generally around the Christmas season.39 The detailed discussion of Sadler's Wells pantomimes that follows is necessary because this record has not been preserved in any catalog similar to The London Stage or

Oulton's History of the Theatres in London.

In 1772, King's first offering. The Monster of the

Woods, held the Sadler's Wells stage from 20 April to 11

July. This piece, which featured music by Fisher, Hook, and Dibdin and choreography by Daigueville, was advertised as new. When the Morning Chronicle printed a response to

Trick upon Trick, the season's second pantomime. The

Monster of the Woods was dismissed as "truly monstrous."40 ^ revival of a piece performed seven

55 seasons prior to 1772, Trick upon Trick met with considerably less rancor. The Morning Chronicle for 14

July and the General Evening Post (London) for 11-14 July printed columns entitled, "Intelligence from Sadler's

Wells": the Morning Chronicle column begins with a few sentences dismissing The Monster of the Woods, but, after that, the columns are identical. Trick Upon Trick is described as "a compound of business, pursuit, change of scene, hurly burly, and, as its title aptly expresses, a succession of trick upon trick."41 other than noting that the changes of scene had been well executed and that the audience had laughed throughout the performance, little of the substance of Trick upon Trick was discussed.

However, the subject of the masque which concluded the performance shows that Sadler's Wells entertainments assumed public knowledge of other minor venues. The performance concluded with a parody of Cox's Museum, an exhibition hall that featured portraits of the King and

Queen accompanied by mechanically produced music; lyrics from the masque entitled The Museum that concluded Trick upon Trick appeared in the Morning Chronicle, the General

Evening Post (London), the Public Advertiser and the

London Chronicle. Cox's portraits of the royal couple, coupled with general expressions of British pride, constitute the subject of the printed lyrics. Although

56 the commentary on the scenery indicates parody through exaggeration, the lyrics, sung by impersonations of

Mercury, Minerva and Neptune, do not seem particularly humorous. For example, this is the concluding chorus;

By native strength and valour fenc'd.

Against invasive hostile powers.

Let Arts adorn the times of peace.

And fill with joys her golden h o u r s ; 4 2

While this seems weak parody, the division between a parody of the portraits in Cox's Museum and a parody of the royal couple themselves would have been a troublesome distinction for King to attempt in his first season.

Although Trick upon Trick was a revival, the performance featured new music by Hook "and other eminent

Composers"43 and choreography by Daigueville.

At the beginning of the 1773 season. King broke with

Rosoman's repertory practices by reviving Trick upon Trick for three weeks. In order to provide himself with the means of changing his exhibit in terms of both finances and space within his exhibition hall, Cox had been applying to Parliament for permission to hold a lottery, thereby ridding himself of some of his holdings. He was eventually permitted to do so several weeks after Trick upon Trick left the Sadler's Wells s t a g e . 44 on the

Saturday prior to Easter Monday, the Morning Chronicle

57 reported that "the proprietors of Sadler's Wells have disposed of the scene representing Mr. Cox's Museum, to a theatre in a neighboring kingdom."45 in this instance, the satire seems to have extended off the stage; once again, knowledge of other minor venues appears in an item regarding Sadler's Wells.

The first new pantomime for 1773, Vineyard Revels; or. Harlequin Bacchanal, debuted on 3 May, in the fourth week of the season. A puff piece in the Public Advertiser proclaimed that the piece "contains more Variety and has been prepared at a much greater Expence [sic] than any one hitherto exhibited at that Place."46 prior to printing the "Hop-Pickers Song," the General Evening Post (London) printed a description of seven scenes featured in the entertainment ;

a lively, well-painted scene of a Vineyard,

with a butt of flowing wine, raised on a

pedestal in the centre . . . Lovett's Lottery

Office under St. Denstan's Church, the

Obelisk in St. George's-fields, and the

inside of Wedgewood's shop, replete with

Queen's ware, Chinese pictures, vases, and

other articles in the pottery way. There

are also scenes of a farm and hop-ground,

an optical instrument maker's shop, and an

elegant scene with a transparency exhibiting

58 Britannia and two smiling boys, which

terminates the p r o s p e c t . 47

The mixture of specific and generalized scenes and the use of a transparency as a frame, while providing an

indication of the complexity of scenic devices used at

Sadler's Wells, were not uncommon scenic practices at this point in the century. Although not notably different than systems in use at both Drury Lane and Covent Garden, this very similarity provides evidence that Sadler's Wells was capable of producing entertainments equivalent to those found in the major houses.

On 27 July, King brought forward the second new pantomime of 1773, Whim-Wham; or. Harlequin Captive.

Almost identical columns in the Morning Chronicle and the

General Evening Post (London) list seven scenes used for the entertainment, two of which were specific locations:

"Brooks's bird-shop, Holborn" and "a view of the rock in

Marybone-gardens— Vulcan's forge, &c. as exhibited by

Signor T o r r e . "48 only one song is included in either account, and, after Harlequin and Columbine are taken prisoner by a Turk and then set free by a magician, the newspaper accounts favor scenic effects over the events of the pantomime.

Due to the magnificence of the Sigels brothers, both the London Chronicle and the Morning Chronicle dismiss the

59 first new pantomime of 1774, The Cave of Enchantment, as

"a mere vehicle for music, mechanism, and painting."49

However, both of those newspapers and the Gazetteer and

New Daily Advertiser do provide a list of the transformations accomplished within the pantomime;

an inchanted [sic] cave turned into a

beautiful garden; an inn, into a wood, with

a parcel of gypsies boiling their pot; a

hermit's cell transformed into a watch-house;

a gardener's melon ground converted into the

Lactarium in St. George's fields, and that

afterwards turned into a printseller's

shop; a wall changed to a glass-house; and,

finally, the glass-house turned into a

splendid palace. A scene of Old Palace-yard,

Westminster, and some other street views,

were also exhibited.50

This description indicates the established use of generalized and specific settings, but it also reveals another step into how these scenes were employed. There would appear to be a distinction between changing from one scene to the next and transforming the scene from one location into another. By dividing the transformation sequences into units of two or three settings, this account seems to indicate a magical quality to the transformations.

60 The Cave of Enchantment opened with a musical piece

entitled The Bower of Flora; lyrics for this portion of

the pantomime were published in the Morning Chronicle and

the General Evening Post (London). Composed by Thomas

Hull of Covent Garden, The Bower of Flora provides an

initial, albeit limited indication of the content of a

pantomime. Allegorical figures of Innocence, Health,

Content, and Laughter beg for and receive admission into

Flora's entourage; each figure sings an air and is

welcomed by the chorus. Such a scene could have taken

place in the first pair of settings, but there is no

indication that these characters appeared in any other

portion of the performance.

Harleguin Restored, the second pantomime of the

season, opened on 28 June 1774; since this date breaks

the pattern of placing the second pantomime in July, The

Cave of Enchantment may have failed to please. Identical

accounts were printed in the Morning Chronicle, the London

Chronicle, and the General Evening Post (London). A

Magician brings a sculpture of Harlequin to life: "he

soon finds a Columbine, and conveys her safe through an

infinity of hair-breadth scapes."51 They are finally

protected by the Magician and led into the Temple of

Hymen. The accounts list five transformations: ten

settings divided into pairs. The accounts conclude with

61

I & the lyrics to a duet sung by milkmaids. On 29 June, the

Morning Chronicle noted that, "An additional number of lights gave great brilliancy to the admired transparencies which form the temple of H y m e n . " 5 2

Upon examining the several accounts of these six pantomimes, some conclusions can be made. First, scenic effects took priority over all other aspects of performance. This does not make Sadler's Wells unique; both Drury Lane and Covent Garden included similarly produced pantomimes. The execution of these effects seems to have set Sadler's Wells apart from its competition.

This direct comparison between the Wells and the patent theatres provides a clear indication of the interplay between these institutions. Due to partially analogous repertory provided in large measure by Dibdin of Drury

Lane and Hull of Covent Garden, a link could reasonably have emerged in audience expectations. Second, the appearance of almost identical columns in several newspapers raises questions as to their source; that these columns were puffery can only be argued by ignoring the disdain directed at The Monster of the Woods and the dismissive tone applied to The Cave of Enchantment. The most likely source is the Morning Chronicle; columns in that newspaper tend to include paragraphs of judgement or indications of general trends, not only the descriptions

62 of scenic efforts that appear in the other newspapers.

Although one might suspect that the Morning Chronicle had simply added its judgements to puff pieces provided by

King, the writer's professed inability to describe

Vineyard Revels in 1773 due to audience behavior, which will be taken up later in this chapter, would seem to deflate such suspicions. The specific author of the

Morning Chronicle columns is also elusive. In Theatrical

Criticism in London to 1795, Charles Harold Gray concludes that William Woodfall, publisher of the Morning Chronicle, increased theatrical criticism after 1774,53 but the authorship of such columns prior to that time can not be determined.

Although the pantomimes were usually the final offerings of an evening's entertainment, Sadler's Wells seems to have established a tradition of long runs unequalled at the major houses. The Whim-Wham; or,

Harleguin Captive held the shortest run at sixty-eight performances; with runs consisting of twelve weeks, even critical failures such as The Monster of the Woods,

Vineyard Revels; or, Harleguin Bacchanal, and The Cave of

Enchantment could each claim seventy-two performances;

Harlequin Restored had eighty-seven; and Trick upon Trick ran for seventy-five nights in its initial run and eighteen in its revival for a total of ninety-three

63 performances. It should be noted, however, that these pantomimes represented only the final element in a fairly complex evening of musical pieces, tumbling, rope and ladder dancing, feats of strength and agility, and dancing. Of these performance elements, only the musical pieces received much attention in the newspapers under study.

Musical pieces were most frequently represented through printed lyrics, but not every named musical piece appeared in print. In 1772, a piece entitled The Cobler

Appeas'd was advertised along with an untitled canzonette several times during the benefit season; neither of these works was published. In addition to the lyrics to The

Museum, only two other musical pieces from the 1772 season were published in these newspapers: a musical prologue titled The Palace of Mirth and a dialogue called The

Brick-dust Man and Milk Maid.

The Palace of Mirth, printed as "a musical introduction to the entertainments of Sadler's Wells," features the four primary singers as deities who unite to bless King's efforts as the new manager. Bacchus pledges the best wines. Euphrosyne promises "mirthful devices."

Momus plans to make the audience laugh by tickling them.

Fortune agrees to follow these plans. Each deity sings a recitative and air, and the piece begins and ends with a

64 full chorus. The closing lines bless the audience as well: "Then let us attend on the cits, beaus and belles,/And shew favour to those who smile on the Wells."54

Entering the Sadler's Wells repertory on 29 June,

Brick-dust Man and Milk Maid appeared in print shortly thereafter in the General Evening Post (London), the

London Evening Post and the St. James's Chronicle.55

The two title characters meet. The Brick-dust Man protests his love. The Milk Maid chastises him for failing to marry her three months ago. He explains that he left her after hearing she had been seen with another man. She accuses him of going walking with another girl.

Both explain their conduct and agree to get married immediately. Their dialogue consists of a series of four airs with recitatives connecting them; the man sings the first two, the woman the third, and both sing the final air. Composed by Dibdin, this dialogue appeared frequently throughout King's tenure as proprietor and manager of the Wells.

Because the 1773 season began with a revival of Trick upon Trick, commentary related to the opening of the Wells centered upon another work by Dibdin, The Ladle. Portions of this musical piece were published in the Morning

Chronicle, the General Evening Post (London), Lloyd's

65 Evening Post, and the London Chronicle. The first two newspapers published accounts which provide a sense of what an evening's entertainment offered:

After the musical opening which was given

last summer,56 a series of tumbling by

Monsieur Ferci and his agile companions,

and a dance, in which the two principals

were humourously habited as Nobody and

Somebody, and very grotesquely preserved

their characters, a new musical entertainment

called The Ladle was introduced.57

After the published lyrics, the Morning Chronicle described the rest of the evening's fare.

After the Ladle, Monsieur Richer exhibited

his ladder-dancing, and he certainly, in

that extraordinary kind of performance, has

great merit. The manner in which he stands

on the topmost round of the ladder, in the

most perfect equilibrium, which he makes it

dance along the stage, is wonderful beyond

description. The new ballet, in which Mr.

Atkins, Signor Fontenelle, Miss Valois, and

Miss Capon were principals, was lively,

comic, and pleasing. The pantomime we spoke

of last summer.58

66 In a series of seven events. The Ladle came fourth. It is difficult to determine the substance of this musical piece, since the newspapers carrying the more extended accounts assume audience familiarity with a fable upon which the work is based. The fable concerns three wishes; the second "that the Host's Wife might be dumb, and the third, that she might recover her speech."59 Since an air sung by Lowe calls upon the assistance of spirits, it is apparent that his character grants the wishes. The remaining airs consist of an ode to May sung by Rear, a song in which Mrs. Burnett sings of a succession of lovers, Lowe's invocation of spirits, and the concluding chorus, in which each character expresses contentment with life as it was known before the wishes were made.

Less can be said of The Grenadier, which entered the repertory a week later. Two of its airs were published in the Morning Chronicle, the General Evening Post (London), and the London Chronicle.50 The first, sung by Lowe in the character of a soldier, probably the grenadier of the title, pleads love to Jenny, comparing her wit, tongue and glance to weaponry. The second, sung by Miss Dowson as

Jenny, proclaims her preference for deeds of love rather than fine speeches. She insists, "I'll handle the broom, and the mop ever twirl,/Before the best man shall make me a bad girl." The three newspapers printed identical

67 accounts, indicating that the audience greeted the performance "with shouts and clapping."

Billed as a "characteristic cantata," The Mischance is built on another tale assumed to be common knowledge by the Morning Chronicle and the General Evening Post

(London).61 This time, however, the lyrics published in both newspapers provide a sense of the story connecting the songs. Sue, an Oyster Woman, sings of how losing the love of Joe, an Egg Seller, has ruined her business instincts. Bet, a Potato Woman, sings of how her love for

Joe has nothing to do with money. Joe sings of his plans to make a fortune from the sale of his eggs. In the midst of his song, he kicks a basket and breaks the eggs. Sue laughs at him. Bet encourages him to be content with his lot. Joe resolves to marry Bet and to get his cousin to marry Sue. Together, they resolve never again to "reckon your chickens before they are hatch'd." Together with The

Ladle, The Grenadier, Brick-dust Man and Milk Maid, and

Whim-Wham, The Mischance solidified Dibdin's reputation as

"the Poet of Sadler's Wells,"62 strengthening the connection between the Wells and Drury Lane through the quality of music heard in both places of entertainment.

The Morning Chronicle found Dibdin's style "peculiarly adapted to light subjects and efforts of a comic nature."63 a s the reputation of Sadler's Wells increased, Dibdin's stock rose as well.

68 The Pilgrim appeared on 24 August 1773. Thomas Hull based this musical piece upon a familiar ballad that was included in the score. The printed lyrics consist of four airs introduced by recitatives. The Pilgrim of the title asks a Widow for food and shelter, which she agrees to provide. They enter her house. A Clown sings "The widow of Abingdon," a song claiming that the widow has offered herself as well. A Servant-Maid chastises the Clown for suggesting that such a worthy woman would offer anything but charity; her refrain concludes, "to slander a neighbor's a sin and a shame." When the Pilgrim and Widow return, their final duet suggests that the Clown's suspicions are correct: "0, gentle Pilgrim, should you/Return this way, I would do/As much as woman could do,/But all for charity."64 Evidently, this musical piece entered the repertory without being adequately rehearsed; on 30 August, the Public Advertiser claimed,

"The Performers seem to have now made themselves Masters of it, and there is not an Evening passes without Parts of it being attended with a very loud Encore."65

Only two musical pieces from the 1774 season were published. The first. The Surprize, appeared on 6 June.

Descriptions in the Morning Chronicle and the General

Evening Post (London) provide a fairly complete sense of the piece's plot. To test the fidelity of Patty, Sam

69 disguises himself as a rich old man and tries to woo her.

Patty rejects the offer. He then makes similar advances to Patty's friend, Rachel, and is accepted. Rachel mocks

Patty's foolishness. Sam drops his disguise and praises

Patty's faithfulness. Rachel resolves to find another m a n . 6 6 Cross Purposes entered the repertory on 1

August. The usual identical columns appear in the Morning

Chronicle and the General Evening Post (London), and a portion of those columns was also published in the London

Chronicle ;

. . . two old fools doat upon a couple of

young persons, but after being convinced of

the idleness of their pursuit, accord in

condemning their conduct, and recommending

an union between the objects of their passion.

This piece like others of its kind is neither

very well nor very ill written.67

Although ambivalent towards this piece, the columns begin by praising the managers for the consistent novelty of the offering at Sadler's Wells.

Most of these musical pieces would be revived several times during King's tenure, especially during the benefit season when specific performers would sing a series of their most popular roles; therefore, this first period provides the base for a musical repertory closely

70 associated with King. In English Theatre Music in the

Eighteenth Century, Roger Fiske assumes a certain sameness to these dialogues; in selecting The Brickdust Man for an examination of form, Fiske asserts, "An account of one

Dialogue will suffice for all."68 while this may be true of the music, the theatrical form that can be found in the published lyrics and descriptions also reveals a certain similarity. None of these eight works required more than a single setting; none of them contained more than a few characters. In opposition to the excessive production of the pantomimes, the musical pieces seem to have been economical. Their subject matter is generally quite simple, predominantly based upon tales or ballads known to the audience.

The newspapers are curiously silent about the dances offered at Sadler's Wells. Of the twelve dances performed during the 1772 season, nine are named; the majority of these dances are first mentioned during the benefit season. The Chinese Feast was mentioned in the 15 June

Public Advertiser; two weeks later, the Public Advertiser and the Morning Chronicle announced the addition of

Punch's Wedding.69 This last dance was described as comic; as such. Punch's Wedding received the most commentary of any dance that season. In 1773, at least two new dances entered the repertory: The Maypole on 21

71 June and The Garland on 27 September. Tvo dances from

1772 were revived: The Sailor's Return and The

Plough-boy.

Commentary upon the dance increases in 1774, but not

by a large measure. After the dance of Nobody and

Somebody is described in the columns describing The Ladle,

the dances, now staged by Atkins, receive little attention

other than the more consistent publication of titles. Of

the four titles, two continue into following seasons:

Harvest Home and The Bird's Nest. Harvest Home received

mention in a letter printed in the Morning Chronicle:

"the little story in it is well conveyed; and the tunes of

the Introduction, taken from some of the late comic

operas, admirably chosen."70 The Fete Champetre also

benefited to a minor degree from its topical nature.

Early in June, Lord Stanley had given an elaborate

entertainment to celebrate his marriage to Lady Betty

Hamilton. The evening included masquerades of shepherds

and peasants, various dances, the display of a grand

ballroom built for the occasion, and singing by Mr. Vernon

and Mrs. Barthelemon of Vauxhall.71 Accounts of the

event were published in many newspapers, and poems on the

subject crowded poetry columns for months afterwards. The

dance at Sadler's Wells received this commentary in the

Morning Chronicle: "After a few airs the scene was opened

72

1 and the dancers entered, when an exceeding pretty ballet was presented to the audience, and was deservedly much

applauded."72 Since this brief survey comprises the entirety of commentary upon dance at Sadler's Wells during

these three initial seasons, it is, therefore, difficult

to ascertain a "Sadler's Wells" style of dance that could be analogous to dance at either of the patent houses.

However, the major choreographers, Daigueville in 1772 and

Atkins in both 1773 and 1774, were choreographers for

Drury Lane during the winter. Even with evidence this thin, a link between the major and minor houses can be established.

An examination of the Sadler's Wells audience during these three seasons proves equally enigmatic. In 1988,

Harvester Microform created a guide to its microfilm collection of Sadler's Wells materials. Records of the

Great Playhouses, Series One; The Sadler's Wells Archives

from Finsbury Central Library, London.73 Drawn from archives in the Finsbury Central Library, London, the collection includes managerial documents, but none from the period of King's tenure. Without an account book, no exact record of audience members, or even any exact record of seats sold in the various sections of the house, can be determined. The historian must rely upon conjecture based upon problematic news items. Specificity must be

73 abandoned; other than the Duke of Gloucester's 1774 visit, audience members are not identified by name but by group.

Late in the 1772 season, the Mornincr Chronicle reported an accident during Trick upon Trick;

As Mr. Kear was coming up one of the trap

doors, in the character of the Conjurer,

just as he had reached the top, one of the

ropes which support the rising board

accidently [sic] broke, and he fell

immediately to the bottom of the under room.74

The accident prevented Kear from appearing as Neptune at the end of the pantomime. The news item claims that, other than this omission, the audience "were not in the least impeded" by the event. This item suggests several things. First and most obvious, the performance required the use of trap doors in the stage floor which, in turn, required a room underneath the stage. Second, the claim that the audience may not have noticed Kear's absence until he failed to appear as Neptune implies an informality to the context in which the performance took place. This is meager evidence at best, but such an assumption can also find support in the single news item related to audience behavior. The 10 August 1772 Morning

Chronicle reported that a drunken sailor had jumped onto

74 the stage from the gallery, breaking his arm and cutting his mouth in the fall.?5 Since Sadler's Wells served various wines during the evening, it is perhaps surprising that more notices of drunkenness do not appear. On 2

June, the Gazetteer and New Daily Advertiser printed a prologue that was "intended" to have been spoken; the

Wells had opened on 20 April, so it is unclear whether this prologue had actually been delivered at any time during the 1772 season. Within the prologue, the speaker promises beautiful female performers; special mention is made of the female dancers' legs, just in case the various acts themselves fail to entertain. A list of the available wines precedes a claim that great expense has been made in costume, decoration and scenery. The traditional division of the house into boxes, gallery, pit, and, in particular, the "Bucks, who in side-boxes shove" follows.76 Taken together, these three pieces of evidence from 1772 indicate an informal performance context, but the first and last of these items also indicate analogies in theatre architecture between

Sadler's Wells and the patent houses: the trap door and

"under room" mentioned in Kear's accident and the division of the auditorium into box, pit, and gallery stated in the rhetoric of the prologue. This implies no innovation under King; the stone structure erected by Thomas Rosoman

75 in 1765 had not yet been renovated. The trap door and under room would have been in place prior to King's tenure. The rhetorical strategy of the prologue follows the standard pattern of prologues at the patent houses.

Nor can the current study argue that similar structures were not in place at other performance venues such as

Astley's, although it is unlikely the pleasure gardens of

Ranelagh had equivalent accommodations. However, these observations provide further evidence of the interplay between the minor houses and the patent theatres through analogous architecture.

Other than the various puffs claiming that audience members had been turned away for want of room, the 1773 season provides only one comment upon audience conduct.

The Morning Chronicle column on Vineyard Revels complains about the drunken behavior of three audience members seated in the boxes ;

. . . whether these gentlemen had been

captivated by the title of the pantomime,

and imagined that by coming in liquor to

the Wells, they would add to the effect

of Vineyard Revels, we will not say.77

One of the three is identified as "a tradesman not far from Fleet-street," and the others are assumed to be his friends. Unable to hear the opening chorus, the writer

76 confesses an inability to judge the quality of the performance. The printed lyrics from two airs and a

"catch" praise Bacchus for wine. A second song extolling the qualities of British beer appeared in the Morning

Chronicle, the General Evening Post (London), and the

London Chronicle as the "Hop-Pickers Song."78 While gaps in the available materials might contain more reports of public drunkenness, it should be noted that the relative scarcity of such events would seem to indicate that this behavior was the exception rather than the rule.

The writer's assumption that these men had been drinking prior to arriving at Sadler's Wells would support this belief. That songs in praise of drink performed in a place of public entertainment that served as a sort of tavern as well were interrupted by drunken audience members does not seem to have been received with any sense of irony.

The sensation surrounding the arrival of the Sigels brothers in 1774 seems to indicate a shift towards the gentry and the nobility, if only because these classes were mentioned in the early commentary already discussed above. Added to the partisans of specific performers also previously mentioned, the historian may conclude that audience members had begun to treat Sadler's Wells with greater respect.

77 By the end of the 1774 season, then, Thomas King had established himself as the public face by which the management of the Wells was known. Newspapers had

increased the amount of attention given to the Wells, and

King had also augmented his advertising strategies in those same newspapers. With the addition of specialty performers like the Sigels brothers, the next three years show King building upon a solid base.

As this chapter has shown, audience expectations for entertainments at the Wells were closely linked to King's reputation as a performer. The fact that he did not actually perform at the Wells during this period did not break the link between management (King) and institution

(Sadler's Wells); rather, public knowledge of the interplay between Drury Lane and the Wells extended to include King and provide the basis for satire in Garrick's

A Meeting of the Company. The physical presence of other patent house performers and the analogies in repertory

(pantomime), music (Dibdin) and theatre architecture established a connection between the Wells and the patent houses that was acknowledged quickly. However, as the next chapter will show, the acknowledgement of that connection was secondary to King's attempts to provide

"novelty" in sustaining interest in the Wells.

78 NOTES

^Biographical Dictionary 9.28.

2Arundell/ 24.

^Public Advertiser 8 February 1772, 1.

^Comments regarding alcohol policy are dropped after July 23.

^General Evening Post (London) 6-8 February 1772, 4.

^Gazetteer and New Daily Advertiser 25 June 1772, 4; Morning Chronicle 28 June 1772, 3.

^Morning Chronicle 29 May 1773, 3.

^Morning Chronicle 31 May 1773, 3.

^Morning Chronicle 27 July 1773, 2.

lOMorning Chronicle 30 July 1773, 2.

llMorning Chronicle 12 August 1773, 2.

l^Morning Chronicle 20 September 1773, 4.

l^Gazetteer and New Daily Advertiser 10 June 1774, 1 .

l^Gazetteer and New Daily Advertiser 11 June 1774, 2; Morning Chronicle 11 June 1774, 2.

^^London Chronicle 17-20 September 1774, 269.

l^References to 1771 performers are drawn from benefit advertisements in the Public Advertiser; September 23-26 and October 1-4, 1771.

^^Biographical Dictionary 4.274. Scriven and Medlicot are not mentioned in regular or benefit advertisements.

IBMorning Chronicle 23 May 1772, 3.

^^Biographical Dictionary 4.274.

ZOpiographical Dictionary 7.279. 79 ^^Biographical Dictionary 9.374.

22see, for example, Roger Fiske's English Theatre Music in the Eighteenth Century (New York; Oxford UP, 1986), 390-396.

^^Biographical Dictionary 5.470. Carman's name appears as both Peter and Francis.

24perci's name was regularly misspelled as Farci, Ferci, Firzi or Furzi.

25public Advertiser, 13 July 1772, 1.

Z^Morning Chronicle 13 April 1773, 2; General Evening Post (London) 10-13 April 1773, 3.

^^Biographical Dictionary 3.390.

28public Advertiser 10 April 1773, 3.

29public Advertiser 13 August 1773, 2; Morning Chronicle 13 August 1773, 2.

SOpondon Chronicle 2-5 April 1774, 328.

3lMorning Chronicle 25 April 1774, 3.

S^Morning Chronicle 1 June 1774, 3.

^^Morning Chronicle 31 March 1774, 2.

S^Morning Chronicle 30 June 1774, 4.

S^Morning Chronicle 5 July 1774, 4.

36ÿ|orning Chronicle 9 September 1774, 4.

S^Morning Chronicle September 26-28, 1774.

38ln 1771, Rosoman opened with The Boarding-School Romp; or. Columbine's Visiting Day on April 1. The Imprisonment of Harleguin opened on July 15.

S^The literary bias of most accounts of eighteenth-century English repertory minimize or even exclude extended discussion of pantomimes. This study has been informed by Leo Hughes' The Drama's Patrons (Austin and London: U of Texas P, 1971). His discussion of pantomimes defines their form and uses them as an example of management yielding to audience demands. 80 ^^Morninq Chronicle 14 July 1772, 2.

4lMorninq Chronicle 14 July 1772, 2; General Evening Post (London) 11-14 July 1772, 3.

^^Morninq Chronicle 14 July 1772, 2; General Evening Post (London) 11-14 July 1772, 3; Public Advertiser 17 July 1772, 4; London Chronicle 14-16 July 1772, 56.

^^Public Advertiser 13 July 1772, 1.

44gt. James's Chronicle 27-29 May 1773, 4.

45Morninq Chronicle 10 April 1773, 3.

46pubiic Advertiser 3 May 1773, 3.

4?General Evening Post (London) 1-4 May 1773, 4.

48Morning Chronicle 27 July 1773, 2; General Evening Post (London) 24-27 July 1773, 4.

49London Chronicle 2-5 April 1774, 328; Morning Chronicle 5 April 1774, 2.

SOçazetteer and Nev Daily Advertiser 6 April 1774, 4.

SlMorning Chronicle 28 June 1774, 2; London Chronicle 25-28 June 1774, 615; General Evening Post (London) 28-30 June 1774, 4.

S^Morning Chronicle 29 June 1774, 3.

53charles Harold Gray, Theatrical Criticism in London to 1795 (New York: Columbia UP, 1931), 220.

54General Evening Post (London) 21-23 April 1772, 2 .

SSgeneral Evening Post (London) 23-25 July 1772, 2; London Evening Post 25-28 July 1772, 3; St. James's Chronicle 23-24 July 1772, 4.

SSprobably The Palace of Mirth.

S^Morning Chronicle 13 April 1773, 2; General Evening Post (London) 10-13 April 1773, 3.

5&Morning Chronicle 13 April 1773, 3. 81 59see note 54.

GOMorning Chronicle 21 April 1773, 2; General Evening Post (London) 20-22 April 1773, 2; London Chronicle 20-22 April 1773, 381.

GlMorning Chronicle 13 July 1773, 2; General Evening Post (London) 10-13 July 1773, 4.

G^Morning Chronicle 13 April 1773, 2; General Evening Post (London) 10-13 April 1773, 3.

G3Morning Chronicle 13 July 1773, 2.

G^Morning Chronicle 24 August 1773, 2; General Evening Post (London) 21-24 August 1773, 4.

GSpublic Advertiser 30 August 1773, 2.

GGworning Chronicle 7 June 1774, 1; General Evening Post (London) 7-9 June 1774, 2.

G?Morning Chronicle 2 August 1774, 2; General Evening Post (London) 2-4 August 1774, 4; London Chronicle 30 July to 2 August 1774, 112.

GSpiske, 392.

G9public Advertiser 30 June 1772, 2; Morning Chronicle 30 June 1772, 2.

70Morning Chronicle 15 July 1774, 4.

71see Gazetteer and Nev Daily Advertiser 13 June 1774 and General Evening Post (London) 14-16 July 1774.

72Morning Chronicle 27 September 1774, 3.

73Records of the Great Playhouses, Series One; The Sadler's Wells Archives from Finsbury Central Library, London (Harvester Microform, 1988). Caroline Byard-Jones, Senior Editor.

'^^Morning Chronicle 17 September 1772, 2.

75Morning Chronicle 10 August 1772, 2.

^Gçazetteer and Mew Daily Advertiser 2 June 1772, 4.

7?Morning Chronicle 4 May 1773, 2 82 78Mornina Chronicle 4 May 1773, 2; General Evening Post (London) 4-6 May 1773, 3; London Chronicle 1-4 May 1773, 423.

83 Chapter 3

A Sovereign Prince with a Small Principality

1775-1777

By the 1775 summer season, King's position as sole managerial voice for Sadler's Wells was firmly in place; although Thomas Arnold owned a quarter share of the

Wells, his name does not appear in the various items and letters concerning policy at the Wells. With the

"Garrick" model of management now also the "King" model, a sense of stability prevailed that was reflected in personnel and repertory. That very stability, however, led the newspapers to a shift in attitude towards the

Wells that was evidenced in a change in coverage that, while apparently negative, began to perceive Sadler's

Wells as more analogous to the patent houses than to the minor houses.

There are several methods for dividing a study such as this one; by changes in architecture or decoration, by shifts in personnel or policy, by changes in proprietorship, by noticeable shifts in the composition

84 of the audience, and so on. The period from 1775 to 1777 could be set aside for reasons related to most of those considerations, but it is perhaps more notable for a gradual decrease in attention from the newspapers that form the basis of this study.

In 1775, King redecorated the Wells for the first time since assuming proprietorship in 1772. The 1772 season had boasted unspecified enlargements and beautifications; columns in the Morning Chronicle and the

General Evening Post at the beginning of the 1775 season note a new color scheme of "milk white, pale green, and a beautiful pink" and claim that the design "produce[s] a cool, delicate effect."! While these descriptions provide few specifics as to how those colors were employed, the 1775 changes are certainly clearer than those of 1772.

Sadler's Wells also enters into eighteenth-century popular culture as a point of reference due to its own public image and reputation by 1775. As demonstrated in the previous chapter. King's role at the Wells was known well enough to be parodied by the end of the 1774 season, but several items printed from 1775 onward indicate that

Sadler's Wells had also become an icon of sorts. A

London Chronicle discussion of Digges' portrayal of

Macbeth compared his death spasms to tumbling: the

85 writer dismisses the performance by asking, "Don't you

think a tumbler at Sadler's Wells could do these things

as well."2 While this item classified Digges'

performance as one of low quality, the writer expects the

quality of tumbling at Sadler's Wells to be known by his

readership. The Morning Post reported the presence of a

"Sadler's Wells Tumbler" as a costume at a masquerade

held in May.3 Because there is no description of the

costume, the writer assumes an understanding on the part

of the reading public; presumably, people would

recognize such a costume if they saw it. In August, the

Gazetteer published a list of the performers at Drury

Lane and Covent Garden and described them in military

terms. King appears as "a sovereign Prince, [who] has a

small principality, which produces a good revenue, and

some light troops for the main army."4 Since the

Sadler's Wells company included minor players from the

patent houses, the phrase "light troops for the main

army" is an appropriate extension of the military

metaphor. This item is the first clear acknowledgement

of the physical interplay of performers between Sadler's

Wells and the patent houses.

The military metaphor may have been particularly

apt. King faced two challenges during these three

seasons, and he addressed both quickly and decisively.

86

‘ ft The name of Thomas Arnold does not appear in either case.

The first came from the carpenters in July of 1775.

According to identical items in the Public Advertiser and the Morning Chronicle, "the majority of the scenemen and carpenters" threatened to halt work on 10 July "unless their wages were immediately i n c r e a s e d . "5 This demand was refused; the threat was fulfilled. Various mistakes occurred in the performance, ostensibly leading to the placement of the news items as a means of apologizing to the public. Although the tone is ingratiating, these items place the blame upon the rebellious carpenters. In commenting upon a similar strike by the royal shipwrights less than two weeks later, the Morning Chronicle prophesied that the shipwrights "will meet with the same reward" the Sadler's Wells carpenters had received.

Rather than granting that the carpenters had had power over performance quality, the writer states that King

"told them that he would sooner shut up his House than be imposed upon." He supposedly dismissed them that night and refused to reinstate them later.® Any pretense of powerlessness is gone; King emerges as almost tyrannical. However the story is told, it is clear that the carpenters were no longer part of the company, and this strike led to their release. The carpenter Mather does not appear in the benefits for the 1775 season; in

87 his place a new pair of carpenters appear, Grosvenor and

Henwood. Of note within the Morning Chronicle account is the claim reportedly made by King that Sadler's Wells was

"his House." There is no mention of Arnold's participation in this event.

The second challenge came at the beginning of the

1776 season. Before Sadler's Wells opened, the Gazetteer received a letter addressed to King. After wavering and then declining to print the letter, the Gazetteer then acquiesced to King's request that the letter be printed so that he could answer the charges it contained. The letter (signed "Hint") charged King with misuse of the funds gained by the increased ticket prices implemented in 1772. In the writer's opinion, the "gaudy scenes" had not proven worthy of "your vast expences [sic]." There is an assumption that the increase in ticket prices was to have been temporary and that King was currently taking advantage of an indulgent public which was now beginning to turn against him. The letter closes with the reminder that "your function lays you under great obligations to the public."7 in omitting any reference to Arnold,

Hint's letter reaffirms the public perception that King's management followed the "Garrick" model.

In requesting that the letter against him be printed. King also asked for the opportunity to respond

88 to the charges on the day following that publication.

The letter from Hint was published on 11 April; King's defense was printed on 12 April. Covering almost two full columns. King answered each of Hint's charges at length, usually by turning the argument back upon his accuser. The "gaudy scenes" from the previous season, the only ones Hint could have seen before writing his letter, were judged as "proofs of very great expence

[sic]" by any "artist or mechanic that has beheld them."

The public was showing no intention of rising against him, nor did they assume the increase in ticket price had been a temporary measure. Having found no signs of audience dissatisfaction. King concludes "you wished to rouse the public against me" through "misrepresentations if not with malice," by bringing such unfounded charges to the public immediately prior to the opening of the season. King then explained the cause for the initial price increase: after engaging performers the public would approve

I came to compare the saleries [sic] I had

undertaken to pay, with those paid by my

predecessor, I was alarmed at the difference;

and on a near inspection of every other part

of the concern, I found I had so far encreased

[sic] the expences [sic], that ruin was more

probable than gain.8

89 In order to provide quality. King had found himself forced to increase the admission prices. While this represents an admirable approach to administration. King also admitted to a lack of planning in budgetary concerns. His own estimate places his operating costs two thirds higher than those of Rosoman, yet he considers the increased ticket prices that resulted from his miscalculation no imposition on the public. Rather than providing this explanation as an apology. King challenged

Hint to compare the current account books to Rosoman*s with "any three, four, or five persons of respectable character, who have hitherto been, or now are, of your way of thinking," provided that they were willing to sign their names to a statement countering Hint's accusations after that examination. Except for that inspection. King refused to enter into any further debate with anonymous critics. No such item appeared. In fact, on 17 April the Morning Chronicle printed a letter signed "Public

Approbation" which offered a defense of King's character.9 With King this assertive and Arnold this invisible, Sadler's Wells possessed a clear, stable leadership patterned after the "Garrick" model.

This stability extended into the company as well.

The lists of featured personnel remained fairly stable throughout these three seasons. Although Miss Richer was

90 listed for the first time during the 1775 benefit

season,10 Ferzi himself continued to dominate rope

dancing. Except for a brief absence due to an injury in

1777,11 Richer continued as the sole ladder dancer.

Oliver left the ranks of tumblers and a Mr. Huntley took

his place, presumably the husband of the dancer, Mrs.

Huntley, who does not appear in notices after the 1775

season. The Sigels brothers left at the end of the 1776

season. The principal quartet of vocalists (Lowe, Kear,

Burnett and Dowson) remained intact for the majority of

these three seasons, in spite of a rumor to the contrary.

On 17 June 1775, the Morning Post reported that Kear had

d i e d . 12 within the week, both the Morning Chronicle

and the London Evening Post printed items identifying the

deceased as a Mr. Keen, a former Sadler's Wells

singer.13

Among the singers. Miss Dowson continued as the

object of audience partisanship. During Dowson's absence

in the 1775 benefit season. Miss Collett stepped in to

perform established s o n g s . 14 Collett replaced Dowson

during a similar absence in 1776, but the new musical

piece entitled The Impostors was delayed until Dowson

returned.15 Shortly after Dowson's return, a poem

appeared in the Morning Chronicle, praising her singing

in Tit For Tat, Easter Monday, and The Impostors. The

91

i i poet, who signed himself "Carlos,” not only finds her voice charming, but also finds her person desirable, a longing he assumes to be generally shared: "Each wanton eye beholds her with surprize [sic],/And long [sic] to taste the sweets beneath her e y e s . "16 in August of that same year, the Morning Chronicle recorded a wager made by two drunken gentlemen as to "whether Miss Dowson or Miss Catley had the most pleasing voice." At the point of swordplay, the gentlemen agreed to accept the verdict of "six Vocal Performers, who gave it in favour of" Dowson due to her "feeling sensibility."17 since

Dowson continued to sing at Drury Lane and Catley sang at

Covent Garden, this could be read as a direct comparison between the patent houses; since the wager was placed at

Sadler's Wells, the comparison also includes the minor house. Another poem, printed on 8 April 1777 by the

Morning Chronicle, refers to her performances in The

Norwood Gypsies and The Wizard of the Silver Rock. The poet, signed this time as "Charles Seville," rhapsodizes over Dowson's beauty and repeats Carlos' wish "To steal the sweets beneath those lovely eyes,/To press those lips, or catch thy love-born sighs."18 While there is little reason to doubt the sincerity of either the 1776 or the 1777 poem, the timing of these publications may cause a slight suspicion. The 1776 poem is printed

92 shortly after Dowson's return and praises her for the songs she sang that season, the last of which had premiered only a short time before the poem could have been written. It is perhaps even easier to suspect the

1777 poem, since both the roles alluded to were performed for the first time only a week prior to the publication of the poem. That slight suspicion aside, it is clear that Dowson's popularity was quite high.

The 1777 season also contained the one apparent mistake in personnel King had made to this point: a Mrs.

Nathan. Commenting on her appearance on the opening night of that season, the Morning Chronicle described her as "a Lady with a good pipe, but who resembles an

Egyptian mummy, with her arms hanging close to her sides, and to all appearances useless."19 Two days later, a letter signed "Tantarabobus" presented the writer's claim to have been at Sadler's Wells for three consecutive evenings. Complaining only of Mrs. Nathan's appearance, the writer wonders "that a man, who has so much skill in stage matters, could ever imagine that the little

Isrealite you produced could stand any chance of pleasing the publick [sic]."20 Again, it is King's taste, not

Arnold's, that is under attack in this item. Although

Mrs. Nathan's name remained in the Public Advertiser notices for the rest of the week, Tantarabobus records

93 her absence after two nights, and her name disappears from all further advertisements after the first week of the season.

The ranks of Sadler's Wells dancers added few new names over the three seasons, but their ranks received the most alterations of any single group. Atkins died late in the 1775 season; his name was removed from advertisements after 22 July, and his death notice appeared shortly thereafter in the Public Advertiser, the

London Chronicle, and Lloyd's Evening Post.21 In the

1776 season, two new dancers appear: Mr. Vanscour and

Master Williamson. It is likely that Vanscour was considered to be Atkins' replacement, since Williamson was listed separately as a specialty dancer and pupil of

Grimaldi (hence, an associate of Drury Lane) in advertisements. Williamson danced the Egg Hornpipe, described in both the Morning Chronicle and the General

Evening Post (London) as follows:

The plan of this whimsical hornpipe . . . is to

dispose twelve eggs at equal distances on the

stage, among which the Dancer, being first

publickly [sic] blind-folded, goes through

the various steps of the hornpipe, without

breaking o n e . 2 2

Vanscour was replaced in 1777 by Mr. Langrish and Mr. and

94 Miss West; the Morning Chronicle identified the Wests as former dancers at the H a y m a r k e t . 23 Miss Froment, now appearing under her married name as Mrs. Sutton, joined

Sadler's Wells for most of the season. Only Le Mercier,

Collett and Williamson remained from the 1776 season.

At the beginning of the 1777 season, the Public

Advertiser reported that Ferzi had been injured when his horse fell; the injury was expected to keep him from performing for some t i m e . 24 ^ new performer. Signora

Rossi, who also performed on the rope, increased the number of her routines during his a b s e n c e . 25 its column describing the opening night's performances, the

Morning Chronicle called Rossi "the only new object this season, who appears calculated 'to elevate and s u r p r i z e 26 in addition to dancing on the rope,

Rossi played the violin and the German flute. Having seen her perform in Ireland, Tantarabobus professed pleasure in "seeing a wife wear the breeches" rather than the "petticoat, which she used to slip off while on the r o p e . "27 During Ferzi's absence, Rossi's name featured prominently in the weekly news items that supported the advertisements, each time noting that she received a great amount of a p p l a u s e . 28 items printed after Ferzi returned linked their names for the rest of the s e a s o n . 29 in an item publicizing her benefit on 23

95 September, the claim was made that "Her very sex renders

her merit greater. And as a woman of talents is ever

held worthy public encouragement, it is hoped that

Sadler's Wells will this evening be much c r o w d e d . "30

While it would be hazardous to make too much of this

item, it seems clear that Rossi's physical abilities were

admired as much as her physical charms.

Most notable among the new performers of these three

seasons. Signor Rossignol was included in thirty items in

1775, eighteen in 1776, and twenty in 1777.31 No other

Sadler's Wells performer received as much attention in

news items or advertisement copy. Most of these items

were direct puffs, but some featured his name prominently

in a listing of entertainments to be offered at the

Wells. Other items publicized benefit performances,

occasionally relying upon his name alone rather than

listing a performer's featured acts. This novelty performer apparently performed as a whistler or vocal mimic. Rossignol's specialties were imitating birds and

"playing on a violin without strings. "32 fie played

limited engagements at the Wells for each of these three

seasons: 12 June to 8 July and then from 4 September to

4 October in 1775; from 13 August to 11 October in 1776;

and from 1 September to 8 October in 1777. Each year, the final puffs regarding Rossignol announced his

96 departure due to another engagement; in a similar

fashion, the initial puffs regarding his arrival would

state the location of his most recent appearance.

However, Rossignol maintained a flexible schedule, since

closing notices usually appeared some weeks prior to his

actual departure. He apparently had the opportunity to

perform at other venues during his contract with King;

an item in the Public Advertiser places him at Breslaw's

Exhibition during portions of September 1776.33 As

such. Rossignol is an anomaly for the period, a performer not clearly connected to any specific place of entertainment. Perhaps this could be attributed to the nature of his performance. Sadler's Wells was known for

tumbling, rope dancing, music, and dancing; Rossignol's considerable abilities do not fall into those categories.

However, he did draw considerable attention to the Wells while he performed there. During the 1775 season, a rival house of sorts opened, the Grand Saloon, Exeter

'Change. Although it advertised only one title. The

World as it Wags, the Grand Saloon changed the contents of its offerings on a weekly basis in much the way

Sadler's Wells did. While Rossignol was in residence at the Wells, the Grand Saloon offered "a Green-Room Scene

(taken from the Life) by Fiddlestick Fuge Esq; Mr.

Cloudy, and Signor Whistlewell. "34 ^ description of

97 the performance in the Morning Post identified Rossignol,

but referred to King as "a certain musical m a n a g e r . "35

The identity of the third character is uncertain, but the

parody of Rossignol, King, and the Wells was direct.

Again, such satire could only have been understood if the

subject was familiar. No other Wells performer seems to

have been imitated in this way.

Along with the stability of King's management and

the relatively static lists of featured personnel came an

established sense of an evening's entertainment at the

Wells. With the exception of Rossignol's limited

engagements, King continued to offer entertainments

similar to those offered in previous seasons: two

pantomimes, several new musical pieces and dances, and

revivals of "favourite" entertainments. Perhaps more

striking is the change in the attention paid to Sadler's

Wells by the newspapers. Descriptions of pantomimes

expanded, but the printing of lyrics from the musical

pieces decreased sharply. During this period, newspapers would print a column of "theatrical intelligence" after

the debut of a new play or pantomime at the major houses;

depending upon the complexity of the plot, such columns

could cover half a page or more. Upon occasion, partial

scenes from afterpieces also found their way into print.

Since the songs featured at the minor houses tended to

98 lack plot, such explanations were unnecessary; lyrics to

favorite pieces appeared as poetry with the name of the minor house printed above the first line of text. By expanding coverage of Sadler's Wells pantomime and

decreasing the amount of published lyrics from musical pieces, the newspapers were, perhaps unintentionally,

casting Sadler's Wells in the image of the patent houses.

The Morning Chronicle column on the opening of the

1775 season provides the fullest description of an evening at Sadler's Wells to this point; a truncated version of this report appears in the General Evening

Post (London) as well. The evening began with a musical

introduction entitled The Seasons judged to be "a very passable and innocent m a t t e r . "36 This was followed by an unnamed dance and tumbling. The second musical piece.

The Raree-Show Man, came next, succeeded by the Sigels brothers and the rope dancers. Fully half of the columns furnish an account of the pantomime, Harleguin Neptune.

The structure of the piece is perhaps best summarized in a sentence found only in the Morning Chronicle account:

This pantomime consists, as usual, of several

mechanical tricks, many changes of the scene,

and some hair breadth 'scapes; after a

variety of laughable situations, it concludes

with a happy union of the Hero and Heroine

in a splendid p a l a c e . 3 7

99 After a prologue chorus of Tritons and Nymphs, Harlequin

rises from the troubled sea; he transforms from the

figure of Neptune into Harlequin as his "naval car" reaches the first set of waves. He then finds Columbine

in Pantaloon's house and takes her with him. Pantaloon and his servant, the Clown, chase Harlequin and Columbine until a Triton intervenes and leads them all to the

Temple of Neptune. During the pursuit. Harlequin has the ability to change a scene by waving his magic sword; this appears to have been what distinguished a transformation from a change of scene. Without such a cue, the scene was changed after all characters left the stage, and no character noted the change. After a transformation, characters were usually left bewildered by Harlequin's magic. Harlequin Neptune, as described by the Morning Chronicle, required at least twelve scenes; the account occasionally collapses business with phrases such as "at length" which suggest additional, undescribed scenes. As with former pantomimes, known locations appear: Valerian's "Chymist's shop" and "Mr. Pistor's shop . . . with the moving Turk's Head." There are two

"mechanical tricks": Harlequin hides Columbine in "a large rôtisseur before a large fire," but a "large pig" is found when the Clown opens the rôtisseur; two chairs in which Harlequin and Columbine fall asleep turn to

100 reveal two of Pantaloon's Dutch friends. The remainder of the account describes some bits of comic business, generally relating the means by which Harlequin confuses the Clown. After the Triton intervenes, "the pantomime concludes with a grand dance."

Although the Morning Chronicle repeated its usual wish that pantomimes "were confined to Sadler's Wells," the General Evening Post (London) does not provide much in the way of an opinion. The Morning Chronicle writer then gives the following rationale for his opinion:

The Islington Theatre is the proper field

of pantomime; it is the characteristic of the

place to produce such an entertainment as may

please, without injuring the morals of the

good folks who partake of it; on the other

hand, our regular theatres should not stop

here, their exhibitions should instruct while

they entertain, consequently the improvement

of the understanding ought to be the chief

aim of the Managers; but as these money-traps

are now conducted, pageantry and pomp are

preferred to manly sense and poignant faire;

the mind is sacrificed to the eye and ear,

and absurdity is suffered to elbow reason,

and drive it from the theatre.38

101 This direct comparison does indicate that more was expected from the patent houses than from Sadler's Wells, but the comparison goes beyond casting the Wells as "low" entertainment. By this writer's reasoning, Sadler's

Wells was the only theatre fulfilling its proper function, even if it was not actually a "legitimate" house. Clearly, the writer does not object to pantomime at this point, but to the tendency of the major houses to favor the frivolity of pantomime over the corrective function of drama. The only criticism of Sadler's Wells concerns a single moment in the performance when a scene changed early, causing Harlequin to strike the scene with his hand instead of with his sword as tradition required.

Although news items in the Public Advertiser and the

Morning Chronicle proclaimed the "very great Expence" of its final scene,39 The Novelty was a revival of a pantomime "of more than seven years [sic] standing," so the Morning Chronicle column on its 1775 opening on 10

July provides little detail. Two of the transformations identify the piece: "a pump was changed into a cage, and a brew-house cooperage into the Horse Guards edifice at

Whitehall."40 The "awkwardness and error peculiar to first representations" that the writer notes was undoubtedly influenced by the aforementioned carpenters' strike. In the second week of performance of The

102 Novelty, the Morning Chronicle attributed the innovation

of the final scene to "a new method of lighting it."41

The General Evening Post (London) did not print a column

on The Novelty. Although the Morning Chronicle tended

not to comment upon any revived work, the lack of any

comment in the General Evening Post (London) was a

departure from its usual practice of printing truncated

versions of the Morning Chronicle columns.

The first pantomime of 1776, The Sister Witches; or.

Mirth and Magic, follows a pattern similar to that of

Harleguin Neptune. Raised from enchanted slumber by the

titular witches. Harlequin finds Columbine at a country

dance. They are pursued by Pantaloon, Clown, and a

Squire until the witches intervene. The Morning

Chronicle again provides a substantial account, and an

abbreviated version of that column appears in the General

Evening Post ( L o n d o n ) . 42 least thirteen scenes are

indicated, including known locations such as "Sion

Gateway" and "the Obelisk in Bridge street," as well as a

number of generalized rooms, streets, and woods. Several bits of business are described, mostly the tricks by which Harlequin escapes his pursuers. Again, the pantomime ends with a grand dance. The final paragraphs of the Morning Chronicle column contain the usual wish

"that this heterogeneous species of theatric exhibition

103 was solely confined to Sadler's W e l l s . "43 The writer

also notes the performance of the elder Grimaldi, who had

taken over the role of the Clown from Warner; Warner had

died shortly after the 1775 s e a s o n . 44 ^ song sung by a

coachman appeared in the Morning Chronicle and the

General Evening Post (London) in the third week of the season.45

The second pantomime of 1776, Cupid's Frolick; or,

Harleguin's May Day, featured a similar pattern of

action. After being struck by Cupid's arrow. Harlequin

takes Columbine from a May Day celebration, stealing her

from "an emaciated Beau" who had been paired with her by

a game of chance. They are pursued until Cupid and Venus

intervene, and the entire cast dances an allemande inside

a temple. The usual columns in the Morning Chronicle and

the General Evening Post (London) indicate sixteen

scenes. These include known locations such as "the Vine

Tavern, kept by Bob, from the Rose" and generalized

locations such as "a Sausage stall and a Stick-seller's."

Chief among the machinery is "a garden, which Harlequin changes into a Country Kitchen, each part of the garden being metamorphosed into some part of the kitchen."46

The Morning Chronicle writer concludes by praising

Grimaldi, admiring the "new rural prospect," and proclaiming that Cupid's Frolick was "one of the most

104 laughable [pantomimes] we ever saw at the Wells." Before all this positive commentary, the writer makes the following comment;

We have so often given our opinion of

pantomimes, and have years since particularly

spoke of this, therefore to say what we think

of them in general, would be a needless

repetition n o w . 47

This comment, placed in the midst of praise, may not draw much attention to the subtle shift it represents:

Sadler's Wells could be depended upon for a certain kind of entertainment, but the only newspaper providing consistent coverage for the Wells considered that entertainment less than novel. Confined to this genre and yet creating excellent productions, Sadler's Wells and King found themselves subject to undeserved neglect in 1777.

The Morning Chronicle column on the opening of the

1777 season was not repeated in the General Evening Post

(London). While calling Sadler's Wells the "only booth in the fair for frolick and fun," the writer compares the entertainments of the Wells to a meal at a familiar inn:

"the chief difference of one year's feast from another consistes] in the quality of the dishes set before the guests, rather than in the quantity." As noted, the

105 appearance of Mrs. Nathan was found less than pleasing, and Sigorna Rossi was held to be the only new performer in the ranks who could please. The lengthy description of The Wizzard of the Silver Rock [sic] reveals that no known locations were required. The titular Wizard emerges from the trunk of a tree and summons a spirit from another tree stump. She then brings Harlequin on and gives him his sword. Harlequin abducts Columbine from a school for girls. The usual pursuit ensues and continues until the Wizard intervenes. A few transformation tricks are indicated, including that of "a firescreen into a box of perfumes." Perhaps most noteworthy is a water effect placed near the close of the pantomime; a scene includes "the noise of a rapid fall of water, which tumbles down . . . craggy tops" of mountains. The pantomime ends with a dance and a song, which the writer calls "the common two-part finale of every entertainment, of which Harlequin is the hero."

There is a dismissive tone beneath the writer's standard positive comments. The pantomime itself is

"like every other of its species . . . rather a vehicle for the sound and shew than sense." The performers portray their characters well, but "no more cats are employed at the Wells than can catch mice." The performer who played the spirit, presumably Mrs. Nathan,

106 is judged to be "the most spiritless spirit that ever trod on a i r . "48 Although the writer may simply have become bored with the predictability of the genre, the prejudice against pantomimes that the writer had expressed on several occasions now seems to have tempered his commentary on the Wells.

Any concern King may have had regarding The Wizard of the Silver Rock is difficult to discern. The pantomime held the stage for fifteen weeks. Praise came from items placed in two other newspapers. On 14 April,

The Morning Post printed a correspondent's claim that the pantomime "is by far the best pantomime that has been for many years exhibited, either at that or any other public place." The correspondent notes the "great expence

[sic]" of the scenes and proclaims them "uncommonly successful in the comic business of it."49 Another item in the Public Advertiser reported that "The Boxes at

Sadler's Wells were last Night very full, and the

Entertainment of the Wizard of the Silver Rock very highly a p p l a u d e d . "50 Both of these items were undoubtedly puffs, but the lack of further puffery may indicate that the public attended in spite of the objections of the Morning Chronicle.

The opening of second pantomime of 1777, Vineyard

Revels; or. Harlequin Bacchanal, was the first time King

107 revived one of his own pantomimes. Identical items in the Gazetteer, the Morning Chronicle, and the Morning

Post proclaimed that the pantomime would be produced

"with several alterations and additions; particularly in the last scene, which, though originally much admired, has been considerably embellished."51

Although the Morning Chronicle column in 1773 had protested that the songs could not be heard over the din of a few drunken patrons, the writer does not sense any need to describe the pantomime in its current staging.

Only substantial changes are noted: "The principal, and indeed the only alterations we last night perceived, were the introduction of a new scene representing the Buck’s

Head alehouse, which . . . is suddenly converted into a prison." The column includes an extensive description of the new final scene: the Palace of Bacchus. The writer then complains of "an unequal distribution of the stage lights, and from those placed behind the ulterior festoons, &c. not being sufficiently concealed from the spectators."52 while the description of the palace clearly indicates the presence of side wings, a back drop, and a fountain effect in addition to the placement of lights, the action of the piece remained undescribed.

The writer’s dismissive tone towards pantomimes added to the assumption that an incomplete column printed several

108 years in the past would provide adequate commentary on current performances continued the Morning Chronicle's declining attention to the Wells. At the same time, the frequent claim that Sadler's Wells pantomimes were superior to those of the regular houses lifted the minor house's reputation considerably. Such a comparison could only be made if each house's abilities were assumed to be common knowledge.

A similar and yet more noticeable decrease occurred in the printing of lyrics; such an editorial policy not only reduced public exposure for Sadler's Wells, but it also separated the Wells from music venues such as

Ranelagh and Vauxhall, whose lyrics appeared frequently.

All four of the new musical pieces in 1775 were published in more than one newspaper. The first two were presented in the opening performance: The Seasons and

The Raree-Show Man. In The Seasons, each of the seasons sings a recitative and air; all then join in a final chorus in which they set aside their differences and celebrate the opening of the Sadler's Wells season: "The season this, fame's trumpet tells,/The season this for

Sadler's W e l l s . "53 The Seasons was printed in its entirety in the Morning Chronicle, Lloyd's Evening Post, the General Evening Post (London), and the London Evening

Post.

109 The Raree-Show Man, which was printed in the Morning

Chronicle and the General Evening Post (London), has more of a plot. A Miller and his two daughters, Susan and

Lucy, sing an air in praise of their simple life; then the Miller's recitative sets them all to working.

Captain Cockade enters, disguised as a showman : the

"raree-show" of the title is an optical instrument in which the spectator views famous landscapes through a peephole. After the Captain sings of his love for Lucy, both girls enter and purchase a view of the show, which the Captain narrates. Susan goes to get the Miller, and the Captain "discovers himself." The Miller and Susan return to find the Captain and Lucy kissing. As a constable, the Miller prepares to arrest the Captain, but, when the Captain reveals his regimental uniform and offers to help Susan to a husband as well, the Miller blesses the m a r r i a g e . 54

The Farewell; or, India Hoa! premiered on 29 May, and was printed in the Morning Chronicle and the General

Evening Post (London) within the w e e k . 55 As a

Cockswain and a Corporal prepare to leave for India, they ask Kate, the woman they both love, to choose between them. She is unable to do so, and she admonishes them to behave properly so that they may return home with honor.

Before printing the piece, the Morning Chronicle

110 proclaimed that its choruses "are singularly pleasing and in point; indeed, ve do not remember any trifle of the kind so well c o m p o s e d . "56 The composer. Dr. Arnold, is the first composer of a musical piece to be identified in the 1775 season.

These three musical pieces were printed in their entirety. While The Seasons has a fairly simple structure of airs and recitatives that follow the predictable flow of seasons. The Raree-Show Man and The

Farewell; or, India Hoa! are structured as short scenes.

Both of the latter two pieces cover more than a single column. Perhaps the complexity of these two pieces prevented a single air from appearing separately; however, the "scene" structure is reminiscent of the offerings of the patent houses.

The reduction of printed lyrics began when the last new musical piece of the season debuted on 14 August:

Tit for Tat. Based upon a well-known ballad by a Mr.

Carey, the piece featured several new airs by Mr.

Barthelemon. In contrast to the previous three musical pieces of the 1775 season, no newspaper printed Tit for

Tat in its entirety. Lyrics to the new airs and the adapted old ballad appeared in the Morning Chronicle and the General Evening Post (London), but there are no recitatives to connect the airs and provide a sense of

111 the entire piece; the London Chronicle printed only the

new a i r s . 57 xn the first air, Mrs. Burnett sang of how

she pretended not to love the man she loved, thereby

losing him to a succession of wives. In the second air.

Miss Dowson sang of how her ideal lover would do what she

wanted almost without being asked. In the third air,

Lowe advises another man to do the opposite of what the

woman he loves asks him to do. The old ballad is the

first set of lyrics to give names to characters: Miss

Dowson plays Dolly, and Kear played Roger. These two

lovers argue. In the fourth new air, Roger pleads for

forgiveness. In the final quartette, Roger and Dolly are

reunited through her fear of being an old maid. Items

placed in several newspapers claimed that Tit for Tat met with "great applause" each time it was p e r f o r m e d . 58

Three new musical pieces were presented in the 1776 season: Easter Monday, The Impostors; or. All is Not

Gold That Glitters, and The Mountebank. The Morning

Chronicle was the only newspaper to print the lyrics to all three. Like The Seasons, Easter Monday is a series of songs celebrating the opening of Sadler's Wells: a group of three men and two women make their way towards

Sadler's Wells. However, the connecting recitatives were not printed, so it is difficult to discern a sense of the whole piece. In one of the choruses, a sailor sings of the entertainments he witnessed on his last visit:

112 The last time I was there, boys,

'Odslife, how they did jump!

And in a plate I swear, boys.

One danc'd upon his rump.

Another little fellow

Stood tip-toe on all four.

And but that I was mellow,

I should remember more.

We'll love and laugh.

And sing and quaff,

A long as money tells.

Then let us go.

And see the show.

And fun at Sadler's Wells.59

It is interesting to note the performance context implied in this description; not only did the sailor drink until he could not remember the entertainment, but he also plans to sing along with the show. As with Tit for Tat, only selected lyrics appeared in print; there is no sense of the total piece.

The Impostors; or. All is Not Gold That Glitters received slightly more attention. Although only the

Morning Chronicle printed the piece in its entirety, the

London Chronicle and the General Evening Post (London) joined the Morning Chronicle in printing a description of

113 the piece's events.60 Bridget pretends to be Lady

Fidget in order to marry a Lord, who is actually Tom

Essence in disguise. Both disguises are revealed when

McGee recognizes Bridget and discovers curling irons in

Tom's pockets. The final chorus predictably concludes,

"All is not gold that glitters."61

A description of The Mountebank's story appeared in the Morning Chronicle and the General Evening Post

(London) within days of its premiere on 29 July. A

Mountebank and his assistant, Andrew, contrive to separate a Farmer's daughter from her father so that the

Mountebank may marry her. While Andrew distracts the

Farmer, the Mountebank proposes to the daughter. In a stroke of unexpected compliance that the almost identical descriptions judge to be "founded on theatrical licence

[sic], and serves to help on the plot of many a better poet than the Sadler's Wells metre-monger ,"62 the

Farmer agrees to be tied to a chair in order to have a tooth pulled. This facilitates the lovers' escape to the church. When they return, all is reconciled. Dibdin, the composer of the piece, had fallen from the "poet of

Sadler's Wells" to "the Sadler's Wells metre-monger" in a relatively short span of time. The "known" quality of

Dibdin's work reflects the perceived lack of novelty in

Sadler's Wells entertainments. Lyrics to the lovers'

114 conversation before their escape, a song of protest from the bound Farmer, the Daughter's plea for forgiveness, and the final chorus in praise of love appeared in the

Public Advertiser, the Morning Chronicle, the London

Evening Post, Lloyd's Evening Post, the General Evening

Post (London), and the Gazetteer and New Daily

Advertiser.63 while this may seem something less than neglect, the attention paid to The Mountebank appears to have been an isolated incident.

The only lyrics printed during the 1777 season came from the pantomime The Wizard of the Silver Rock. A song sung by a female auctioneer played by Miss Dowson appeared in the Morning Chronicle and the London

Chronicle.64 Musical pieces from the season were known only by brief descriptions or comments in news items.

The Razor Grinder debuted on 21 April; the Morning

Chronicle found "the Air sung by Miss Dowson is very pleasing, and the Song which opens the Piece, in the character of a Razor Grinder, well set." The writer found that Dibdin's "serious Airs betray a little sameness, he is generally happy in those designed to be characteristick [sic]."65 Although three items publicized the second musical piece. The Dressing Room, close to its opening of 30 J u n e , 6 6 these only claim that the piece was popular; no description is given the

115 day after the debut, and no lyrics were printed. After

Yo Yea! or. The Friendly Tars premiered on 18 August, the

Morning Chronicle printed brief summaries of these two pieces in a single column. In The Dressing Room, the extramarital affairs of a man and his wife are revealed: the Morning Chronicle claimed "The plot (if it can be termed a plot) turns upon the discovery of the mutual want of regard, which is managed with some humour." In

Yo Yea! or. The Friendly Tars, two sailors test their loves. One loves a woman who wants a man with a full purse; the second sailor loans his purse to the first.

The second claims to be poor, but the woman he loves claims to love him still. The deceptions are confessed, and the piece ends with a double marriage. The writer places both of these pieces in one column because he had not attended the Wells for some time. In introducing The

Dressing Room, the writer states, "Since we were last at the Wells, another musical bagatelle has been p r e s e n t e d . "67 With this shift from the printing of lyrics to a description of content, the writer for the

Morning Chronicle seems to be admitting to neglect: not only did the lyrics remain unpublished, but the writer also confessed that he had not attended the debut of The

Dressing Room. The implication of plot, even weak plot, in both Yo Yea; or. The Friendly Tars and The Dressing

116 Room would ally these entertainments with the afterpieces

found in the patent houses. However, as with the

pantomimes, the Morning Chronicle seems to regard

Sadler's Wells' musical pieces as commodities whose

novelty had faded.

Items related to the Sadler's Wells audience do not

reflect a similar attitude; there is a distinct, if

faint, indication that the interplay between the Wells

and the patent houses had extended to audience

membership. In 1775, the sole audience member identified

in a news item is "the Prince of Hesse Cassel," who

attended the Sigels's benefit "with several of the

Nobility."68 Late in the season, the Public Advertiser

reported that Parliament would be considering "the Number

of Houses of Entertainment, in the environs of London, to

which the lower Ranks of People resort of Sundays and

Holidays" in its next session. Although the Wells

remained closed on such days, the writer believed that

"Tea-drinking Places, public Wells, &c. &c." should be

held to the same standards that theatres were required to

meet.69 While this might ally Sadler's Wells and the

patent houses, this perception was not yet universal. In

response to this call for reform, a poem printed in the

Morning Chronicle blamed the tone of reform on those who

would copy French manners and concluded: "May all such

117 false refiners swing,/And every British spirit sing, 'Of

Sadler's Wells God save the King.'"?0 There is no record of the reform impulse in Arundell's account of

King's tenure, nor is there any indication within these items that Sadler's Wells was not conducted properly.

The news item connects the Wells to the patent houses, and the poem links the Wells to the minor houses.

An explanation for the mix of people of fashion and the lower classes that the previous chapter attempted to resolve again hinges upon the popularity of the offered entertainments. On 29 April 1776, the Morning Chronicle promoted the Wells as proof that an

amusement could be contrived which while it

afforded the highest satisfaction to the

middling and lower order of the people was

not unworthy the attention of, nor barren of

entertainment to, those of superior rank.71

Following this claim, the writer reports the presence of

"the Duchess of Chandos and other persons of distinction." However, that season the Morning Chronicle also reported two violent incidents stemming from the audience. In the first, "a quart bottle was thrown from the gallery . . . which falling upon the harpsichord- player's arm, cut him very much, and otherwise hurt him."72 in the second, "a person in the Pit, either

118 wantonly or maliciously, cut the rope whereon Messrs.

Rayner and Ferzi were just going to perform.

Angered at this action, the audience threatened to throw the offender into the New River, but King interposed, and the man was turned over to the constable for prosecution.

These two incidents do not portray the entire audience as consistently violent, only these two persons. The vigilante justice implied in the second item indicates that cutting the rope was not acceptable or commonplace behavior.

Items commenting upon the Sadler's Wells audience placed during April of the 1777 season seem calculated to puff The Wizard of the Silver Rock. One in the Morning

Chronicle reported the presence of "Several of the

Nobility, and many Persons of Fashion" and "their approbation" of Signora Rossi and the pantomime.74 The

Gazetteer also commented on the presence of appreciative

"persons of fashion" and predicted "the Wizard of the

Silver Rock will prove to the proprietors a silver mine."75 soon after, the Morning Chronicle stated that

"Several persons of fashion were last night obliged to return from Sadler's Wells without their amusement, for want of room in the boxes" because the pantomime "seems to attract more powerfully than any thing of the kind ever exhibited at that Theatre."76 %n May, the Public

119 Advertiser announced that the current offerings would be continued in order to allow "several Ladies and

Gentlemen" who had been "disappointed of Places in the

Boxes" to return and see what they had missed.?? There seems to have been no attempt to comment upon the presence of audience members who were not part of the upper class or the nobility; by extension, the people of fashion became a part of the attractions at the Wells. A poem printed in the Public Advertiser and the General

Evening Post (London) near the end of July assumes this to be true:

While Crouds [sic] ascend to Sadlers Wells,

And Crouds to Bagnigge drive.

To grin at all the Beaus and Belles,

And see 'em— all alive

While this indicates great appeal in seeing "Beaus and

Belles . . . all alive," there is no sense of shock in finding such persons at Sadler's Wells. Most of the items using the phrase "persons of fashion" are undoubtedly puffery, but they also consider the presence of such people a novelty worthy of attention. A reader of the newspapers could logically have developed the perception that "persons of fashion" attended the Wells on a regular basis in 1777. However, not even the presence of such illustrious individuals was novelty sufficient to sustain the Wells.

120 At the end of the 1776 season. King sold a quarter

share to Richard Wroughton for "4000 Guineas.Since

King had purchased a three quarter share for nine

thousand, his stock had risen by at least a third of its value. One might question why he chose to sell a third

of his share to Wroughton at this particular point in time. The simplest explanation is that King wished to take a profit at a convenient time. Although the purchase of a share in a theatre company did not necessarily accompany the delegation of authority, Dennis

Arundell finds conditions for Wroughton's purchase in the

1777 lease with Katherine Lloyd, the ground owner. In order to extend the lease. King had offered to find another man both willing and able to take on the management of the Wells if King retired or died. It is possible that Wroughton was required to invest in order to ensure his later intentions. Without further documentation, Arundell states that Wroughton assumed control of the beginning months of the 1777 season while

King was occupied in creating the role of Sir Peter in

The School for S c a n d a l . 80 The addition of a new partner, particularly the active partner Arundell suggests, may have led to managerial changes. Nothing within the newspaper records indicates this early delegation of authority or even active participation from

Wroughton, however.

121 As this chapter has demonstrated, the stability achieved by the beginning of the 1775 season through

King's establishment of the "Garrick" model and the development of core personnel and repertory vas met with an odd increase in pantomime coverage and a reduction in the publication of lyrics. While this shift in coverage can be documented, little exists to explain the shift in attitude demonstrated towards the Wells. The simplest explanation, suggested by the aforementioned column on

The Wizard of the Silver Rock, would be that the Wells no longer provided a sustained sense of novelty in its offerings. Support for this explanation can be found in the shift in repertory King brought forward in 1778.

122 NOTES

1Morning Chronicle 18 April 1775, 2; General Evening Post (London) 15-18 April 1775, 4.

^London Chronicle 18-20 April 1775, 376.

^Morning Post 20 May 1775, 2.

^Gazetteer and New Daily Advertiser 15 August 1775, 4.

^Public Advertiser 11 July 1775, 3; Morning Chronicle 11 July 1775, 3.

^Morning Chronicle 20 July 1775, 2.

^Gazetteer and Nev Daily Advertiser 11 April 1776, 2 .

^Gazetteer and Nev Daily Advertiser 12 April 1776, 2 .

^Morning Chronicle 17 April 1776, 4.

iOpublic Advertiser 25 September 1775, 1.

llçazetteer and Nev Daily Advertiser 21 July 1777, 2; Morning Chronicle 21 July 1777, 3; Morning Post 21 July 1777, 2.

l^Morning Post 17 June 1775, 2.

13Morning Chronicle 21 June 1775, 3; London Evening Post 20-22 June 1775, 1.

l^Morning Chronicle 19 September 1775, 3.

^^Gazetteer and Nev Daily Advertiser 14 May 1776, 3; Gazetteer and Nev Daily Advertiser 27 May 1776, 3; Morning Chronicle 27 May 1776, 3.

l&Morning Chronicle 6 June 1776, 4.

l^Morning Chronicle 6 August 1776, 2.

IBMorning Chronicle 8 April 1777, 4.

123 1^Morning Chronicle 1 April 1777, 2.

^^Morning Chronicle 3 April 1777, 2.

Zlpublic Advertiser 1 August 1775, 3; London Chronicle 1-3 August 1775, 115; Lloyd's Evening Post 31 July to 2 August 1775, 110. The London Chronicle refers to him as a dancer at Drury Lane; no mention is made of Sadler's Wells.

22Morning Chronicle 9 April 1776, 2 ; General Evening Post (London) 6-9 April 1776, 3.

23Morning Chronicle 1 April 1777, 2 .

24public Advertiser 1 April 1777, 3.

25public Advertiser 1 April 1777, 3; Morning Chronicle 1 April 1777, 2 •

Z^Morning Chronicle 1 April 1777, 2.

Z^Morning Chronicle 3 April 1777, 2 .

28Morning Chronicle 7 April 1777, 3; Morning Chronicle 14 April 1777, 3; Morning Chronicle 29 Apr 1777, 3.

29pnblic Advertiser 281 April 1777 / 3; Morning Post 28 April 1777, 3; Morning Chronicle 28 April 1777, 3; Morning Chronicle 29 April 1777, 3.

SOMorning Chronicle 23 September 1777, 3.

31see, for example; Public Advertiser 13 June 1775, 3; Morning Post 14 June 1775, 2; Gazetteer and Nev Daily Advertiser 19 June 1775, 2; Morning Chronicle 26 June 1775, 3; Morning Chronicle 28 June 1775, 3; Public Advertiser 3 July 1775, 3; Morning Post 4 September 1775, 2; Public Advertiser 6 September 1775, 3; Morning Chronicle 11 September 1775, 3; Public Advertiser 18 September 1775, 2; Gazetteer and Nev Daily Advertiser 12 August 1776, 3; Morning Chronicle 13 August 1776, 3; Morning Post 19 August 1776, 2; Gazetteer and Nev Daily Advertiser 4 October 1776, 2; Public Advertiser 1 September 1777, 2; Morning Chronicle 2 September 1777, 2; Morning Chronicle 5 September 1777, 3; Gazetteer and New- Daily Advertiser 8 September 1777, 2; Morning Post 15 September 1777, 2; Public Advertiser 19 September 1777, 2 . 32pubiic Advertiser 19 June 1775, 2.

124 33publlc Advertiser 7 September 1776, 3.

34public Advertiser 18 July 1775, 1.

35Morninq Post 26 June 1775, 2.

36Mornlncr Chronicle 18 April 1775, 2; General Evening Post (London) 15-18 1775, 4.

S^Morning Chronicle 18 April 1775, 2.

3 8Morning Chronicle 18 April 1775, 2.

39public Advertiser 10 July 1775, 3; Morning Chronicle 10 July 1775, 3.

40Morning Chronicle 11 July 1775, 2.

4lMorning Chronicle 19 July 1775, 2.

42Morning Chronicle 9 April 1776, 2; General Evening Post (London) 6-9 April 1776, 3-4.

43Morning Chronicle 9 April 1776, 2.

'^^Biographical Dictionary, 16.278.

45Morning Chronicle 20 April 1776, 4; General Evening Post (London) 23-25 April 1776, 2.

46Morning Chronicle 9 July 1776, 2; General Evening Post (London) 6-9 July 1776, 4.

^“^Morning Chronicle 9 July 1776, 2.

48Morning Chronicle 1 April 1777, 2.

49Morning Post 14 April 1777, 2.

SOpublic Advertiser 18 April 1777, 3.

5^Gazetteer and New Daily Advertiser 14 July 1777, 3; Morning Chronicle 14 July 1777, 3; Morning Post 14 July 1777, 3.

S^Morning Chronicle 15 July 1777, 3.

53Morning Chronicle 20 April 1775, 4; Lloyd's Evening Post 19-21 April 1775, 380; General Evening Post (London) 20-22 April 1775, 4; London Evening Post 22-25 April 1775, 2.

125 ^^Morninq Chronicle 25 April 1775, 4; General Evening Post (London) 25-27 April 1775, 2.

S^Morning Chronicle 3 June 1775, 2; General Evening Post (London) 3-6 June 1775, 2.

S^Morning Chronicle 30 May 1775, 2.

S^Morning Chronicle 16 August 1775, 2; London Chronicle 17-19 August 1775, 172; General Evening Post (London) 17-19 August 1775, 3.

S&Morning Chronicle 21 August 1775, 3; Morning Post 21 August 1775, 2; Public Advertiser 21 August 1775, 3; Morning Post 28 August 1775, 3; Public Advertiser 29 August 1775, 3.

S^Morning Chronicle 15 April 1776, 4.

GOMorning Chronicle 28 May 1776, 2; London Chronicle 25-28 May 1776, 512; General Evening Post (London) 25-28 May 1776, 4.

GlMorning Chronicle 11 June 1776, 4.

^^Morning Chronicle 30 July 1776, 1-2; General Evening Post (London) 25-28 July 1776, 4.

63pubiic Advertiser 7 August 1776, 4; Morning Chronicle 6 August 1776, 2; London Evening Post 6-8 August 1776, 2; Lloyd's Evening Post 5-7 August 1776, 132; General Evening Post (London) 6-8 August 1776, 4; Gazetteer and Nev Daily Advertiser 8 August 1776, 4.

64Morning Chronicle 5 April 1777, 4; London Chronicle 3-5 April 1777, 328.

65Morning Chronicle 22 April 1777, 2.

6&Morning Post 8 July 1777, 2; Morning Chronicle 4 August 1777, 2; Morning Post 4 August 1777, 3.

67Morning Chronicle 19 August 1777, 2.

GBpublic Advertiser 15 September 1775, 3.

G9public Advertiser 29 September 1775, 2.

70Morninq Chronicle 30 September 1775, 4.

7lMorning Chronicle 29 April 1776, 3.

126 '^^Morninq Chronicle 29 June 1776, 3.

‘^^Morninq Chronicle 12 August 1776, 3.

^‘^Morninq Chronicle 14 April 1777, 3.

^^Gazetteer and Nev Daily Advertiser 14 April 1777, 2.

^^Morninq Chronicle 18 April 1777, 2.

77public Advertiser 12 May 1777, 3.

78pubiic Advertiser 21 July 1777, 2; General Evening Post (London) 19-22 July 1777, 4.

^^Gazetteer and Nev Daily Advertiser 14 October 1776, 2; General Evening Post (London) 10-12 October 1776, 4; Saint James's Chronicle 12-15 October 1776, 1; London Chronicle 12-15 October 1776, 267.

®®Arundell, 32.

127 Chapter 4

A La Militaire

1778-1782

By 1778, the interplay between Sadler's Wells and the patent theatres could be seen in a variety of ways.

During the first three summers of King's tenure at the

Wells (1772 to 1774), the interplay between the minor house and the patent houses was most easily seen in the physical presence of the same performers at both venues.

King's reputation as an actor at Drury Lane assisted in establishing him as a strong central managerial voice for the Wells in the "Garrick" model by 1774; therefore, since the presence of a single, active proprietor/manager at Drury Lane was echoed by King's management of the

Wells, the public could have discerned that analogous methods of management guided both institutions. From

1775 to 1777, newspaper coverage of repertory at Sadler's

Wells reveals that the minor house was now treated as an equal to the patent houses through an increased emphasis on pantomimes, the one entertainment form present at both the patent theatres and the Wells. By noting the

128 presence of the "Beaus and Belles" more commonly seen in the major venues, the newspapers also provide evidence that the interplay between the houses extended into the audience base. While the interplay existed in all these areas, most news items provide evidence of the patent theatres influencing the minor house. Although this continued to be case, the patriotic spectacles that began to appear at the Wells in 1778 prove that the interplay could also reverse directions so that the patent houses were influenced by the minor venues.

Throughout the final five seasons of his active management of the Wells, King maintained the "Garrick" model of management while expanding proprietorship to a fourth partner. The newspaper items regarding the audience base provided more specific names or titles of those in attendance. Announcements of the starting times of popular attractions seem to be expressly aimed at the

"persons of fashion" who filled the boxes with greater frequency than before. To increase the perception of novelty. King bolstered the ranks of Sadler's Wells tumblers with performers whose popularity placed them on equal footing with the featured pantomimes, advertised the scenic effects and topical references of pantomimes, and introduced a series of patriotic spectacles that responded to current events.

129 From 1778 to 1782, Thomas King gradually relinquished control of Sadler's Wells. Although an argument could be made that King's impulse to rid himself of the Wells began with the sale of a quarter share to the Covent Garden actor Richard Wroughton in 1776, there is no news item that would indicate he had any desire towards that impulse until the end of the 1782 season when the proprietors of Drury Lane extended King's contract to include managerial tasks. What changed over this period of time was the published understanding of who had control of the Wells.

In mid-June of 1778, the General Advertiser and the

Morning Post published "A LIST of the summer Engagements of the principal Performers of the Theatres Royal." In both lists. King's name is printed above Wroughton's, and a bracket links them to the phrase, "taking the benefit of the Wells."! It would be difficult to prove that the positioning of the two names in these lists connoted the terms of their partnership, but King still controlled a half share to Wroughton and Arnold's quarter shares, so he was still the majority shareholder in the Wells. In the first week of July, the St. James's Chronicle, the

London Evening Post, and the General Advertiser recorded a Mr. Serjeant's purchase of half of King's remaining interest in the Wells.2 The General Advertiser

130 identified Serjeant as a popular Covent Garden performer and punned on the military connotation of his name:

As the [performers] are to be partly drilled

under this gentleman's care and inspection,

the frequenters of the Wells will have an

opportunity of seeing the amusements of the

place, carried on in future a la militaire.3

With Serjeant's purchase, all four proprietors of the

Wells were at an equal level of ownership: each owned a quarter share. Although the news item cited above projected an active role for Serjeant, by the time he had joined the proprietors of the Wells, preparations were already underway for the first in a series of patriotic spectacles that will be discussed later in this chapter.

As will be seen at that point, the trend towards the martial was quite real.

The opportunity for King to take on the management of Drury Lane came after Sheridan had been elected to represent Stafford in the House of Commons in 1780.5

At the beginning of the 1780-1781 Drury Lane season, the

London Courant and the Whitehall Evening Post reported that fresh topical references had been added to

Sheridan's The Critic. First, when Sir Fretful Plagiary objected to giving his play to the manager of Drury Lane, he complained, "he's turned politician now . . . and he

131 writ [sic] nothing now but franks."® Sheridan's own

withdrawal from active control of Drury Lane did not

occur until several seasons later, but the reduction of

his theatrical writings from this point could be cited as

evidence of that shift. King, however, was still viewed

as a controlling force at Sadler's Wells. In a second

current reference in the same revival of The Critic,

Bannister, playing Whiskerandos, complained of having to

play his death spasms too many times with the added line,

"If this is the case, I had better apply to Mr. King at

Sadler's Wells, and turn tumbler at once."? King was

playing Puff, and this line was delivered to him.

By 1782, the direct references to King as manager of

the Wells reveal that he was relinquishing control. In

another list of summer occupations, the 13 May 1782

edition of the Public Advertiser places King "at his

elegant Villa at Hampton; where we hope he will largely

recruit his Health and Spirits for the Winter."® None

of the other proprietors appear on this list, but the

implication that King was leaving or had left active management of the Wells is clear. If this were not the

case, an item in the 13 November 1782 Morning Herald would seem to make any other conclusion invalid;

We hear Mr. King, in consequence of his

situation with the Manager of Drury-Lane

Theatre has expressed a desire to quit his

132 share of the property of Sadlers Wells, and

as his present partners mean to follow his

example, the whole will come to market

As will be seen in the next chapter, this report was not entirely accurate. However, King did take on the management of the 1782-1783 season at Drury Lane, and he did relinquish managerial control of the Wells before the

1783 season. While this summary of news items related to

Sadler's Wells indicates an increased involvement by both

Wroughton and Serjeant, the newspapers continued to use

King's name as representative of Sadler's Wells management. Even as the newspapers indicated that King's departure from the Wells was imminent, no other partner is identified as his likely successor.

By returning to 1778, we will see that the presence of multiple partners had not yet diminished the perception of King's managerial control. On 20 April, the opening day of the 1778 season, the Public Advertiser and the Morning Chronicle described the gamble King and his partners had taken in renovating the auditorium of the Wells. Citing the "very considerable expence [sic]" entailed in the as yet unspecified improvements, these reports claimed that "the proprietors have . . . solely considered the credit of their entertainments, and the accommodation of the publick [sic]" by reducing seating

133 capacity, thereby providing "a better sight of the spectacle, and a greater degree of coolness and convenience."10 In addition to building against the patent house trend of enlarging auditoriums, the results of this decision came near the end of a benefit season at the patent houses which the General Advertiser typified as "hardly . . . tolerable."H Along with the reduced seating, the Morning Chronicle noted a raised ceiling that allowed for better ventilation. The new design followed "the Adamitical plainness of modern architecture," gaining appeal "from the neatness of its shape and the simplicity of its ornaments." The color scheme had been changed to "a duck-egg green, relieved with pink, and decorated with a small share of carved work, painted a clear white." Before accepting the reduced seating as a substantial decrease in income, one should note the uncertainty of the Morning Chronicle's description: "if our eyes did not deceive us, there is now a seat less in the range of boxes throughout the

House." This seems to indicate that only a few seats had been removed, but the change was sufficient for the columnist to comment:

Other Managers have generally had the old

proverb in view, "The more the merrier"; our

Sadler's Wells Director seems to be of a

different opinion, and perhaps will say to

134 his customers, "The fewer the better cheer."

Be that as it may, the alteration at the Wells,

if it does not tend to encrease [sic] the

proprietor's profits, certainly deserves the

praise of the frequenters of that place as

it materially improves their entertainment,

by adding to their accommodation.12

Thus, mention of "proprietors" early in the column gives way to a single "Sadler's Wells Director" and

"proprietor" a few paragraphs later. The difference

between the "Sadler's Wells Director" making this

specific decision and the "proprietors" choosing to bear the expense of the renovation barely distinguishes one

from the other, but there is a strong sense of individual

leadership. This particular gamble may have been one of

the factors contributing to King's sale to Serjeant, but

it need not have been. There are no notices regarding

thin houses at the Wells. In fact, newspaper commentary upon audiences during these seasons would indicate that

the reputation of the Wells had increased, and that the

attraction drawing the upper classes was directly related

to personnel and the new patriotic spectacles.

However, not all news items related to personnel were positive. On 11 May 1778, the Morning Post reported that Ewin, treasurer of the Wells from the beginning of

135 King's tenure, had "absconded" with five hundred pounds,

"the property of his employer, Mr. King."13 In

addition to casting blame upon Ewin, this item also

locates authority in King by referring to him as Ewin's

"employer." Not surprisingly, Ewin's name does not

appear during the benefit season, but there is no further

record of prosecution against him. In 1780, a Mr.

Bootle, later spelled Bowtell, is listed in benefit

advertisements as treasurer and remains in that position

through the end of the period of Sadler's Wells history

under this current study.

New names appear in functions not previously

featured in advertisements. A Mr. Johnson was identified

as prompter for the first time in 1778 and took benefits

for at least three seasons. Thomas Greenwood, whose designs for the 1777 revival of Vineyard Revels; or.

Harlequin Bacchanal drew favorable comments from the

Morning Chronicle, now appeared in daily advertisements as the only named painter of scenes for the Wells.

For the first three years of this period, the ranks of singers and dancers received few additions. A Mrs.

Granger was added as a singer in 1779, and a Mr. Doyle replaced Mr. Kear in 1780; Herryman, whose name had appeared only during the benefit seasons of previous years, was featured in the daily advertisements starting in 1780. Mr. West left the Wells after the 1779 season.

136 signor Rossignol had his final limited engagements under King during the 1778 season. The first ran from

July 6 to July 18; Rossignol then returned on September

7 and remained until the benefit season ended on October

7. The first engagement was publicized with news items appearing on the Monday newspapers of those two w e e k s ; 14 the second engagement was publicized through the benefit advertisements. Since the earlier engagement had only two permutations over seven news items. King had actually reduced the variety if not the amount of publicity Rossignol had received in previous seasons.

Rossignol's absence after this season may also indicate that he, too, no longer created the impression of novelty.

In what was perhaps the most significant personnel decision of 1778, King engaged a group of specialty performers identified as Richer's pupils: Mynheer

Baptist, Master Gare, and Signora Mariana. While they may have been part of the company prior to this season, their performances clearly created a portion of the novelty that had been lacking. The Morning Chronicle column on the 1778 season's opening described their efforts in this way:

indeed those lookers on, must be more than

half asleep who will not be much surprized

[sic], and feel their admiration pretty

137 forcibly wakened by the strange flip flaps

and somersets [sic] of this pliable group of

human beings, who seem to have no bones in

their bodies, and whose feats are beyond

description.15

Within the column. Baptist is singled out for brief praise, even though his name was "a Dutch address tacked to a French surname." This is somewhat noteworthy, since, as will be clarified in the discussion of King's patriotic spectacles, British relations with France were anything but stable. Baptist, Gare, and Signora Mariana were again featured in a Morning Chronicle news item describing their acts as "new and surprizing [sic] performances . . . in Turkish characters, which have been so much admired, and a p p l a u d e d . "16 For two weeks at the end of June and beginning of July, Baptist performed on the tight rope, pushing a wheelbarrow which contained

Richer's daughter, Catherine, and her p a r r o t . 17

In 1779, Signora Mariana began to perform on the slack wire. On 19 June, the Public Advertiser attributed the pleasure of her performance to its novelty, "and though she was not so unembarrassed as she in future will be, her Peformance [sic] (which was a Sort of stolen

March on the Public) received great A p p l a u s e . "16 it is difficult to determine what the writer means by

138 "unembarrassed": there is no indication that she fell, but a fairly clear indication that she was not yet prepared to perform the "stolen March" to perfection. On the same date, the Morning Chronicle assumed that King and his partners were attempting to recreate the popularity of Miss Wilkinson, a rope dancer who had appeared at the Wells prior to King's tenure. Comparing the two, the Morning Chronicle concluded, "It cannot be said Signora Mariana is at present so easy or so powerful on the wire as Miss Wilkinson was, but the little tricks she plays are new, and she deserved and received very great encouragement."19 Although items in the Morning

Post and the Morning Chronicle stated that her performances on the slack wire would end on 3 J u l y , 20 she continued for at least another w e e k . 21 Again, the nature of the performance created the impression of novelty, and Signora Mariana's popularity kept the act in the evening's offerings.

Other new tumblers were added to the ranks as well: a Mr. Sulley in 1778, and a Mr. Granger in 1779.

Catherine Richer, listed as "Miss Kitty," performed for her father's benefit in 1779. 1780 saw no new tumblers, but this should not be taken as a sign of stagnation. An item in the Morning Chronicle noted that the Sadler's

Wells tumblers had "been honoured with particular notice"

139 that season and attributed that attention to "the number of the performers" and "their great agility and neatness in gracefully executing their various tricks." Given this popularity/ the item announced that the tumblers began their performance at seven o ' c l o c k . 22 This was the first appearance of a stated time of performance for a particular act at Sadler's Wells. Since the entertainments began at six o'clock, this was clearly not an indication of "half price" time; rather, the publication of a specific performance time would suggest that potential audience members did not want to miss this performance and had requested this information so that they could arrive in time. This item also indicates that audience members could and probably did arrive well after the performance began.

The Morning Chronicle printed one other account related to performers that summer. On 7 July, two fiddlers sat on the chain marking the edge of the New

River outside Sadler's Wells. As they played, one of the tumblers sat on the chain between them. The chain broke, and all three fell into the river:

At this instant the bell rang to call them

to business, upon the sound of which they

immediately entered upon the stage, made a

droll appearance, (not having time to change

their clothes) and were universally applauded

140 for their dexterity by a very crouded [sic]

house.23

While this account seems at first simply a pleasant anecdote, certain contexts of performance quickly emerge: the informality of audience and performer relationships prior to the official commencement of "performance," shown in the performers playing their instruments outside the official performance space; the use of a bell to mark the formal beginning of the official performance time; and the informality shown in an acknowledgement of the accident through applause rather than an expression of indignation at seeing two musicians and a tumbler in wet clothing. As later chapters will show, the use of the prompter's bell was also a practice of the patent houses; the absence of surprise regarding this practice at the

Wells shows the interplay also appeared in common procedures surrounding the performance.

In 1781, a number of new singers, dancers, tumblers and specialty performers joined the Wells, most of whom received little comment from the newspapers. A column entitled "Female Politics of the Week" appeared in both the Morning Herald and the Whitehall Evening Post early in the season; the writer announced the opening of the

Wells and described the entertainments as "the pleasures of sight [rather than] those of sense." However, the

141 brief item singled out Miss Pinto as a singer "whose

musical powers are very p r o m i s i n g . "24 when King

revived The Gypsies# the musical piece featured a new

song by Hook written for Miss P i n t o . 25 The Morning

Chronicle, in its column on the opening of the Wells,

said, "Miss Pinto seems to have musical knowledge, but

from the fear that generally attends a first appearance,

or some other cause, did not throw out the powers she

seems to p o s s e s s . "26 The bulk of newspaper commentary

for this season centered upon three new performers:

Signor Placido, Paul Redige (known as the Little Devil),

and Mr. Saunders.

Saunders performed on the slack wire. On opening

night, Saunders balanced a table set with glasses, wine,

and lit candles on the wire "in full swing," which the

Morning Chronicle noted "produced a surprizing [sic] and

pleasing effect."27 Later items reported him standing

"with his head on a drinking glass upon the wire in full

swing,"28 and, for his benefit on 27 September, he

stood "upon his head on the Point of a Sword upon the

Wire in full Swing, without holding with his Hands, and

discharge[d] a Brace of Pistols at the same time."29

In addition to these feats, Saunders balanced a peacock

feather with his breath.30 He failed to execute the

trick on 20 June; the feather stuck to his cap.

142 According to accounts in Lloyd's Evening Post and the

Morning Chronicle, an audience member claimed "that although Mr. Saunders had missed his aim, yet it was a feather in his c a p . "31

Placido and Redige were tumblers. On opening night,

Placido executed a series of "forward Somersets" over a handkerchief, and Redige "mount[ed] and dismount[ed] a chair, with such wonderful swiftness, that the sharpest eye could not discover how he ascended or descended."32

Placido played various instruments while on the tight rope, particularly the violin. Redige performed a dance in wooden shoes, breaking them in mid-air; his other featured acts included a musical duet with Placido, during which Redige played the drum while both danced on the tight rope.

According to the Morning Chronicle, Redige received the nickname "the Little Devil" from the King of France.

After witnessing Redige's "most whimsical and surprizing

[sic] tricks on the rope," the King

said to one of his Nobles, Qui est cet

Drolle la? The answer was, C'est le Petit

Paul ; the King after repeating. Le Petit

Paul ! said C'est le Petit Diable; from

which circumstance he took the name of the

Little Devil; and it must be allowed by the

English spectators, as well as the French King,

143 that he is a devilish clever f e l l o w . 3 3

This item was undoubtedly a puff, but the presumed wit of

the French King started a trend in puffery. Over the

course of the season, Redige's nickname became a source

of puns. A Morning Herald item stated that a gentleman

in a coffee house had "observed, that every Saturday

evening, at Sadler's Wells, they had the Devil to

P a y . "34 The London Courant printed the following

report that "a country gentleman, who has lately come to

town in a devilish hurry" had compared the Little Devil to the Great Devil, a performer at Astley's Amphitheatre.

A Morning Chronicle correspondent who had not been to

Sadler's Wells in twenty years claimed "that not only the place, but the performances in general, are a Devilish deal better than they were some years s i n c e . "35 in another Morning Chronicle item, a Covent Garden performer was reported to have noted "that while the publick [sic] were running headlong to the Devil, each Proprietor (as well as the other Rope-dancer) appeared with a placid countenance."36

Whether or not such puns were an indication of anything other than a specific range of wit, various managerial decisions reflect the popularity of these performers. First, items in the Morning Herald posted the times when these performers took the stage: Placido

144 and the Little Devil at half past six and half past s e v e n , 37 Saunders at seven o'c l o c k . 38 Given the range of these times, these items were clearly meant to advertise the starting times of popular acts. Second, after 28 May, the tumbling act was placed after the pantomime as a conclusion of the evening's offerings.39

Their novelty proved sufficient to alter a pattern that had been in place for a number of years; prior to 1781, the pantomime had been the conclusion of an evening's performance. Several puffs identified Saunders, Placido, and Redige as the cause of large crowds which forced people to be turned away for lack of room almost every night early in the s e a s o n . 40 These performances were not without risk. On two separate occasions, the Morning

Chronicle printed reports of Redige returning after recovering from injuries suffered during his act.41

On 6 October, the Morning Herald advertised that the

Little Dwarf and the Tall Giant would be part of the offerings on 8 October.42 while the nature of the

Little Dwarf's performance is unspecified, the Tall Giant seems to have appeared only as an object over which

Redige jumped. After the 1781 season concluded, Placido and Redige toured the continent43 ^^d returned the following season with two new performers, Dupuis and

Meunier.

145 Columns in the Morning Chronicle and the Morning

Herald discussing the opening of the 1782 season describe

Dupuis and Meunier in the following manner:

the first is a tumbler of uncommon abilities;

as we think, one of the finest figures ever

presented to the public; the last an admirable

comic performer in the same way; and we will

venture to pronounce, that when he is a little

acquainted with the genius and manners of the

spectators before whom he is now engaged to

exhibit, he will be one of the greatest

favourites ever retained at the place.44

Dupuis was particularly known for using a trampoline to

leap over a set of "elevated lustres."45 Their names,

along with Redige, Placido, and Saunders, headed almost

every news item that listed offerings at the Wells that

season. As in the 1781 season, the tumblers were given

credit for drawing overflowing crowds early in the season.46

Over these five seasons, there are few indications

of audience behavior other than the witticisms listed

earlier. What seems to have been important during this

period was who was attending, not what those people did.

The continued presence of "people of fashion" and the nobility gains a limited amount of detail over these five

146 seasons. On 29 May 1778, the Duke and Duchess of

Gloucester attended a performance. 47 According to extended comments in the London Chronicle and the General

Advertiser, the "young Princess" joined them. The audience applauded their entrance into and departure from the theatre, and "The performers caught fire from the audience, and vied with each other in endeavouring to outdo their usual performances ."48 on 10 August 1778, the Public Advertiser reported the presence of "two

Foreign Ambassadors and several Persons of the first

F a s h i o n " 49 on 7 August, but there is no equivalent report of applause from the audience or increased efforts on the stage. The importance of the presence of the nobility at Sadler's Wells is again evidenced in the 1781 season. Two days before the season opening, the Morning

Chronicle announced that the Prince of Wales intended to attend on the opening n i g h t . 50 on the opening day, both the Morning Chronicle and the Morning Herald printed retractions of that item, along with the proprietors' claim "that they have had no notice of any such intention, and believe the said paragraph was sent to the printer with no friendly view to the p l a c e . " 5 1 what should be noted here is not only that someone intended to do harm to the Wells, but that it was plausible for the

Prince of Wales to attend a performance. While the

147 continual mention of unspecified "persons of fashion" could lead audience members to expect to find someone of that character in the audience, the promised visit of a specific member of the royal family rather than a report of a previous night's visit of such a person could create dangerous expectations. The latter tactic of puffery was far more commonly utilized when mentioning "persons of fashion" and the nobility. A puff printed on 18 April claimed "that last Night Hundreds of Persons left the

Place for want of Room."52 Several days later, the

Morning Herald and the Morning Chronicle reported that the Duke of Cumberland, the Earl of Chesterfield, Sir

Watkin W. Wynne,53 and Lord Jersey and "many people of distinction" had "expressed great satisfaction at their entertainments,"54 particularly the feats of Placido,

Saunders, and Redige. The Morning Chronicle reported the attendance of "the Russian and Sardinian ambassadors" in

May55 and the Persian Ambassadors' "third or fourth" visit in August.56 After the isolated visit of the

Duke and Duchess of Glouchester in 1778, 1781 appears to have been the year of Sadler's Wells' highest popularity with people of fashion.

At the same time that items became more specific about who was attending Sadler's Wells, the commentary on pantomimes and the publication of lyrics from musical

148 pieces declined quickly. 1778 marks the last time the

Morning Chronicle provided a full description for a

Sadler's Wells pantomime under King's management. More

detailed than previous descriptions, the column on

Eastern Maaick; or. Harlequin Nabob covered the majority

of a p a g e . 57 As it was printed separately from the

column discussing the opening night of the season, this

description was intended for those with "a pantomime

penchant."58 Finding the pantomime to be neither better nor worse than those that had gone before it, the

Morning Chronicle singled out Greenwood's "view of

London" as "one of the most beautiful stage prospects

ever presented." The London Evening Post claimed that

"The story . . . has no inconsiderable share of

pantomimic merit; but the paintings . . . deserve to be

taken more notice of."59 Although coverage of Eastern

Magick was more extensive than that given to any other pantomime under King's management, the Morning Chronicle did not give similar treatment to any pantomime after

Eastern Magick. The second pantomime of 1778, a revival of Whim-Wham; or. Harlequin Captive was not discussed by any newspaper.

In its column on the opening of the 1779 season, the

Morning Chronicle claimed to have insufficient room to print a description of the pantomime. The Nymph of the

149 Grotto; or. Harlequin's Rambles, but again chose to praise Greenwood's scenic wonders, particularly a view from Richmond Hill.60 a card printed in the Morning

Chronicle on 14 April requested that this scene be displayed "independent of the business of the pantomime, particularly as the clarionet [sic] air . . . is a very pleasing one."61 This request was apparently honored, since items announce that the scene would "remain a longer time in the view of the spectators" to satisfy numerous requests of "many Ladies and Gentlemen."62

Items placed shortly before the pantomime was withdrawn include a prominent mention of the Richmond Hill view.63 Perhaps following this pattern of advertising scenic effects, the initial puffs related to the second

1779 pantomime, a revival of The Cave of Enchantment, proclaim "The last Scene in particular is esteemed one of the most striking Things of the Kind ever exhibited,"64 but the scene itself is not named, and the pantomime is not described.

Again in 1780, the Morning Chronicle praised

Greenwood's scenery over the initial pantomime,

Harleguin's Trip; or. The Golden Forest. A number of scene changes or transformations are listed, but there is no single view favored above all o t h e r s . 65 por the first time in several years, the General Evening Post

150 (London) printed a portion of the Morning Chronicle column, as did the Whitehall Evening P o s t . 6 6 The

London Courant also praised Greenwood's paintings, but argued, "notwithstanding it is necessary that every thing upon the stage should be heightened to make it appear natural to an audience, that the moon light scene was rather too strong" and that the final scene depicting the forest of the title was "rather gaudy than pleasing."67

It should be noted that none of these columns described the action of the pantomime, only the scenic elements.

The second pantomime of 1780, a revival of Harleguin

Neptune, was not discussed by any newspaper.

As noted earlier, the opening night columns for 1781 focus almost entirely upon Saunders, Placido, and Redige; since the first pantomime was a revival of The Wizard of the Silver Rock, the columns assume familiarity with that entertainment. The 1781 season was a distinct departure from King's repertory policies to that point, because the second pantomime was a revival as well. The Sister

Witches; or. Mirth and Magic. Rather than simply restaging the work or providing it with new scenes, topical references were added related to the recently opened Temple of Health and Hymen. This treatment center for infertility featured a device called the Celestial

Bed on which the couple would have intercourse or, at

151 least, spend the night together. As the device was setting up operation in 1780, an advertisement promised

"odoriferous transparent aether [sic]— the musical modulations of imperial air— the iron firmness of magnetism— and the divine energy— the transcendent glory of the celestial f i r e ! " 6 8 The Temple seems to have been somewhat of a failure, but the comic song and mechanical device added to The Sister Witches was a success. The Morning Herald reported that the Temple

"could only attract a few persons, and most of those masked, a very inferior, though whimsical representation of a part of it drew together more than fifteen hundred spectators. "69 Although it printed no column on the revived pantomime, the Morning Chronicle printed a card giving advice on how the entertainment might be improved; the new song was "well written for the purpose, and very properly met with great encouragemet [sic]" and the mechanical effect, during which "the celestial bed [was] changed to a hot bed, producing nothing but horns, is admirable."70 Items in the London Courant and the

Morning Herald state that the bed at the Wells would

"produce, being differently pressed, either celestial or diabolical s o u n d s . "71 Perhaps more notable, considering the paucity of lyrics printed over the past few seasons, the song added to The Sister Witches was

152 printed in the Morning Chronicle, the Morning Herald, the

Whitehall Evening Post, the Public Advertiser, Lloyd's

Evening Post, and the London C h r o n i c l e . in the song, couples are invited to experience the wonders of the bed.

Each of the four verses ends with the refrain, "Come see,/Where electricity/Tickles ye all from the top to the toe." These are the only lyrics printed during this period that were not associated with the patriotic spectacles.

The first pantomime of 1782, The Regions of Fancy; or, Harleguin's Home, barely enters into the two columns discussing the opening night. Identical columns in the

Morning Chronicle and the Morning Herald protested that

"To enter into a description of the changes in the different pieces of machinery, would be to intercept some part of the pleasure of those who will behold them in f u t u r e . "73 Although Greenwood is not named, the paintings are highly praised, but not listed.

As in 1781, the second pantomime of 1782, a revival of The Nymph of the Grotto, was extended with topical references. A particularly popular form of gambling known as "E.O. Tables" had emerged over several years.

Although the practical workings of the game do not seem to have ever been described, the manipulation of the gamblers became a frequent object of published letters.

153 One told of how a gambler had to be admitted through a series of five doors in order to play the game and that the gaming room was equipped with trap doors that would hide the tables if a constable should gain e n t r a n c e .

Another claimed that excessive losses had led to s u i c i d e s . 75 in April 1782, a Court of Aldermen held a meeting to determine what recourse was available for dealing with this form of gambling, particularly when magistrates had not acted against the t a b l e s . 76 close to the pantomime's opening on 30 July, the Morning

Chronicle printed a suicide note presumably written by a man who had lost everything he owned by playing the game.

His description of his early successes gives a slight indication as to how the game was played:

By curiosity, I was first led to the E.O.

Ashamed to stand idle, I put upon E ., it

came E; upon 0, it came 0. Fortune

favoured me, as I foolishly phrased it;

and I came away w i n n e r . 77

Although the pantomime was not discussed, items listing

Sadler's Wells offerings placed "a musical Eulogy on the prevailing game of E.O."78 at the end of the evening's entertainments. One item indicates that the celestial bed from the 1781 season had been rigged to transform into an E.O. table, only to be broken into p i e c e s . 79

154 As commentary on the pantomimes quickly declined, the musical pieces received even less attention than in

1 7 7 7 . Nev musical pieces were produced, but no lyrics were published. Few musical pieces received any extended commentary. The Morning Chronicle column of 2 1 April

1 7 7 8 promises to print the lyrics to Rear's song "The wisest man there cannot make hog or dog on't" from

Dibdin's She's Mad for a Husband,80 but that promise was not fulfilled. The Morning Chronicle's discussion of

The Old Woman of Eighty identifies three songs: Miss

Dowson's "I will your knapsack bear," Lowe's song as a

Prussian soldier, and Mrs. Burnett's "crack song" taken from the title of the work. The writer praised the piece as having "a great share of merit," but found that Dibdin

"has not been much in luck in the Catch which concludes it. " 8 1 The only mention of the 1 7 7 9 work, A Pennyworth of Wit, was the Morning Chronicle's observation that the piece "seemed to be much relished; the airs were not new, but remarkably well a d a p t e d . "82 The opening night columns of 1 7 8 0 give Joan of Deptford little attention.

The Morning Chronicle, the Whitehall Evening Post, and the General Evening Post (London) printed the opening lines: "A soldier and a sailor,/ A tinker, and a tailor,

& c . " 8 3 The first two of those publications identify the musical piece as an adaptation of a farce produced by the

155 Haymarket in 1778. The London Courant identified the

piece as Buxom Joan, the title of the Haymarket farce,

and traced its source to a ballad by C o n g r e v e . 84 The

second musical piece of 1780, Riddle-me-Ree; or. The

Sergeant and Taylor is known only by three items printed

on 20 June, the day after it first appeared. The

Gazetteer claimed the audience had been "attracted by the

oddity of the title" and found it "very laughable, and

the music extremely p l e a s i n g . "85 The Morning Chronicle

found it "a good addition to the bill of fare" and

claimed that the piece "promises to be as great a

favourite as any of those laughable petit pieces which that place abounds w i t h . " 8 6 The Morning Post praised

Herryman's performance of the "taylor [sic]" but added

"The execution of this little piece did credit to all the p e r f o r m e r s ."87 The last musical piece to receive any mention in the newspapers, Man, Boy, and Dapple; or. Hard to Please All, was traced to its root in a familiar f a b l e . 8 8 This is all that was printed relative to the musical pieces; few comments on performance, but virtual silence on content. The coverage continued to classify the musical pieces as a known commodity which, though pleasing, lacked novelty and were, therefore, less than noteworthy.

Several of the dances received more commentary than

156 had been typical prior to this period. In 1780, Holiday

Time, choreographed by Langrish, was credited with a story: "a few journeymen of different occupations, (a butcher, a cook, a waterman, and some others) meet in the fields with their lasses, and after some holiday gambols, join in a festive d a n c e . "89 The Morning Chronicle and the Whitehall Evening Post suggested that the meat on the butcher's tray be repainted since "it looked more like slunk calf, than ribs of wholesome beef!"90 The London

Courant did not find a plot in the work, but admitted that "from the different little symbolical manoeuvres introduced in it, had more of a story than any that has been seen upon our stages for some time past."91

Fire and Faggot; or. The Collier's Revenge premiered on 22 April 1782. The Morning Chronicle summarized the dance as follows: "the colliers awkwardly perform with musquets [sic], a part of the manual exercise, their wives adroitly with faggots repeat it; Mr. Meunier, as a sort of Amazon, headed the f e m a l e s . "92 Le Ballet des

Sauteurs; or. The Tumblers Morris was performed for the first time on 19 August 1782. The Morning Chronicle asserted that "though of no great consequence . . . it deserves notice." The dance featured Placido, Redige,

Dupuis and Meunier and was, therefore, more of a tumbling performance than a dance. Of particular note in the

157 Morning Chronicle column is a description of an effect employed during the dance: "The change of dresses after the jump through the scene, by the whole group, from red to white, had a very pleasing effect."93

Admittedly brief, these descriptions mark a departure from the Morning Chronicle's standard reporting of dance at the Wells. If one assumes that the comments regarding Holiday Time were in fact the case, that dances did not have much story to them, one may begin to understand why newspapers rarely commented upon dances at

Sadler's Wells: there may not have been any substance to describe other than the skills of the performers. Others may have hinged upon comic concepts such as Fire and

Faggot. There is no indication that scenic effects were employed in any dance prior to Le Ballet des Sauteurs.

This is, of course, conjecture; however, these three items do show an increased amount of newspaper coverage, as low as that amount may have been.

As indicated several times thus far in this chapter, a distinct shift in repertory began late in the 1778 season with the first in a series of patriotic spectacles, A Trip to Coxheath. The emphasis upon the patriotic is understandable: the conflict with the colonies had escalated into warfare, and the various nations that formed alliances with the colonies (France

158 and Spain in particular) now represented a fairly constant physical threat throughout these five seasons.

From the 1778 season onward. King began to rely less and less upon new musical pieces; Dibdin's works were frequently revived, but he produced no new works from the

Wells after 1780. The patriotic spectacles featured singing and dancing; most of the songs used seem to have been familiar songs adapted to the situation that framed the piece. Building upon the established form of the

Sadler's Wells musical piece and utilizing scenic effects equal to those employed in the pantomimes, the patriotic spectacles created a strong sense of novelty. Even the least successful spectacle received more newspaper coverage than any pantomime after 1778's Eastern Magick; or. Harlequin N a b o b .

The first of these spectacles, A Trip to Coxheath, entered the Wells repertory late in the 1778 season.

Over the course of that summer, training camps for the military had been established at Coxheath and Warley

Common in order to prepare troops to both join the effort against the colonies and defend British soil from foreign invasion. Larger than the Warley Common encampment,

Coxheath drew more attention in the newspapers: plans of the camp appeared both while it was in preparation and after its completion in J u l y . ^2 people did indeed take

159 trips to visit the encampments. To accommodate their

readership, both the General Advertiser and the Morning

Post set up branch offices to receive letters and

distribute newspapers to the militia and their

visitors.93 On the first Monday in August, Sadler's

Wells presented A Trip to Coxheath, "a new little piece

of singing and dancing" that featured "a distant view of

the camp, and a roast beef c h o r u s . "94 Paragraphs

printed in newspapers the following day lauded both scene

and song. The General Advertiser claimed that the song

"had a very loyal effect."95 The Morning Chronicle

asserted that the song had been "better sung by Mr. Lowe

than any thing of the kind we ever r e m e m b e r . "96 The

Gazetteer, the Morning Chronicle, the General Advertiser

and the Public Advertiser all reported great amounts of

a p p l a u s e . 97 The Morning Chronicle column on A Trip to

Coxheath concluded as follows:

The Proprietors of Sadler's Wells merit much

praise for that constant attention to their

best patrons, which they afford ample and

undeniable proofs of, in seizing hold of every

temporary occurrence, in any shape likely to

add to the variety of their entertainments,

and to enrich their bill of f a r e . 98

The use of the plural is significant here; Serjeant had

160 made his purchase well before this piece entered the

repertory. Much could be made of the claim that the

Wells had used "every temporary occurrence" by making

reference to the Coxheath encampment, but that would hardly be applicable only to the Wells. Vauxhall presented a song at nearly the same time which had the

refrain, "To the Camp, then all repair,/Gallant swains and blooming fair;/Gayly laughing, let us tramp/To the merry, merry Camp."99 At the opening of the winter season, Drury Lane presented The Camp, which featured a view of the Coxheath encampment by De Loutherborg.lOO

However, A Trip to Coxheath marks the first time that

Sadler's Wells actually led rather than imitated the patent houses. Since the winter theatres had closed before the popularity of the camps made them fashionable, the Wells' leadership may have been due to the accident of chronology. Nevertheless, the interplay between the

Wells and the major houses reversed.

The Sadler's Wells entertainment seems to have been popular. A week after A Trip to Coxheath premiered, the

General Advertiser and the Gazetteer announced that the entertainment took the stage at a quarter past seven.101 As with the advertised times of tumbling mentioned earlier, this would have been too early to be considered a "half-price" time, so this notice provided

161 information regarding a popular offering. This would be

confirmed by the presence of "persons of fashion," both

specified and unspecified, who attended or attempted to attend the performance. The Morning Chronicle reported that the Spanish and Danish ambassadors had attended on 7

August,102 and the General Advertiser printed a list of those who had attended on 10 August: "his Royal Highness the Duke of Gloucester, Lady Spencer, Lady Mary Lowther,

Lady Anna Maria Stanhope, and several people of f a s h i o n . "103 The boxes supposedly overflowed several times during the second w e e k . 104 At the end of the month, a new policy forbidding servants to hold boxes after seven o'clock was implemented. 105 Given the number of boxes supposedly being sold out, the presence of servants in those boxes during the featured attraction was apparently unacceptable.

When A Trip to Coxheath was revived during the 1779 season, the paragraphs announcing its return called it

"the great favourite of last year" and stated that the piece had been "embellished with some occasional alterations."106 The nature of those alterations was never specified, but the Public Advertiser reported that they had been "most favourably received" and "extremely well relished."107 correspondent for the Gazetteer visiting the Wells for the first time in three years was

162 "warm in his commendation" of the piece.108 A final

paragraph printed in the Morning Chronicle credits A Trip

to Coxheath with universal appeal: "For a few nights

past, Sadlers [sic] Wells has been the resort of a great

deal of the first company; nor have the pit and gallery

frequenters forgot their old favourite, the Trip to

Coxheath."109 The piece remained on stage for four weeks, and was mentioned first in paragraphs listing the

offerings at the Wells, but the commentary given above was published within the first four days of the revival.

A Trip to Coxheath had proven commercially viable, and most of the patriotic spectacles were added into the

repertory in similar fashion: a premiere at a point

somewhat after opening night and a revival in the

following season.

Although the patriotic spectacles were primarily based upon current events, the emotional response to those events varied. The establishment of the camps had created a sense of confidence; the alliances of France and Spain with the rebellious colonies created a sense of fear. At some point over King's tenure at the Wells, nearly all newspapers published lists numbering the

Spanish or French fleets; nearly all printed speculations as to when an invasion from either nation might be possible. In 1779, these possibilities became quite

163 real. On 1 May, the French fleet attempted an invasion of the isle of Jersey. They were repelled by the local militia and forced to withdraw from the coast after encountering Admiral Arbuthnot and the New York fleet.110 Three weeks after this attempted invasion.

All Alive at Jersey; or, A Pier for the French premiered at Sadler's Wells. Paragraphs announcing the addition of the piece described a combination of "Airs selected from the works of very eminent masters" and "decorations entirely new. "HI A correspondent for the Morning

Chronicle called the piece "a whimsical advantage of the present political passions of the English" which featured humor, "pretty decoration, and some sprightly music and dancing."112 The column concluded that Sadler's Wells was able to "'catch the living manners' better than any of the numerous caterers for the publick [sic] either in or near the metropolis." Whereas the reversal of the interplay had at first been attributable to the timing of historical events, this item clearly shows that the Wells now led the winter houses in such entertainments. Puffs printed on the Wednesday following the opening claimed that houses were crowded.113 Confirming evidence of the piece's popularity appeared two days later; the

Morning Chronicle and the Gazetteer announced that All

Alive at Jersey began each night "on at or near seven

164 o ' c l o c k . "114 The content of the piece is difficult to

determine, but there are more clues available for this piece than exist for A Trip to Coxheath. A paragraph in the 31 May 1779 issue of the Morning Chronicle gives a brief list of items to be "introduced" in the piece that night: "a characteristic dance and procession, with various emblematical [sic] decorations, and a naval prospect."11^ This slight hint as to apparently new content might indicate that the piece evolved over time, but it is just as likely that the dance, procession, decorations, and naval prospect were simply reported for the first time on that date. It was not uncommon for an advertisement or an item placed in columns of theatrical news to claim that a piece was new or "never performed" substantially beyond a first performance. The Morning

Chronicle printed the lyrics to two songs from the piece.

The first, published on 5 June, was a declaration of defiance against the French sung by an English sailor: the second verse ends with "Each nation shall wonder,/

Each Frenchman knock under,/Who dares to engage with a brave English T a r . "116 The second song, published on

19 June, expressed a mother's fear that her children would be "ravished" by a F r e n c h m a n . 117 when All Alive at Jersey was revived for six weeks in 1780, the

Gazetteer claimed the "performance is very much improved

165 by the introduction of Hr. Doyle and Miss Collett,"118

but no further comment on changes vas made.

While All Alive at Jersey had appeared shortly after

the attempted French invasion, a second patriotic

spectacle. The Prophecy; or Queen Elizabeth at Tilbury premiered during a time of crisis. A report that the

French and Spanish fleets had joined forces on 12 July

1 7 7 9 119 led to increased speculation as to where a direct invasion would take place and how the militia could defend against such a threat. Parliament attempted to raise additional forces. The combined French and

Spanish fleets were seen off the coast at Plymouth on 2

AugustlZO and remained in sight until early in

September. The threat of an actual invasion as opposed to a speculative one remained present until the combined fleet sailed west. In this context, Sadler's Wells brought forward the most popular and the most discussed of its patriotic spectacles. The Prophecy; or. Queen

Elizabeth at Tilbury.

Columns describing The Prophecy were printed in the

Morning Chronicle, the General Evening Post (London), the

Gazetteer, and the Public Advertiser, but all appear to have been written by the same h a n d . 123 with the exception of a closing paragraph in the Morning

Chronicle, the columns are identical. The piece was

166 called "not only a very allowable, but a very commendable use of an historical event, which happily suits the circumstances of the present time." The scenery depicted

Tilbury during the time of Queen Elizabeth I. Having heard that the Queen is expected, various characters assemble, singing various songs as they wait for her arrival. The Queen arrives "on a fine palfrey richly caparizoned" and is greeted with "a loyal chorus." She responds with a song ending with her resolution to laugh at the Spanish Armada. A deity named the Genius of

Britain arrives, shows all assembled the defeat of the

Spanish Armada. Then, after waving his scepter to part the clouds, he reveals a vision in which the current

Spanish and French fleets are "broken, dismasted, and vanquished." The piece concludes with an encouragingly familiar song about King Arthur. At this point the

Morning Chronicle column praises Mr. Olive for his selection and arrangement of the songs, the scenery, especially the "naval representation" which featured ships moving independently, and the performances, especially Miss Dowson's portrayal of the Queen. The column concludes with a wish that "the events with which time now labours, do not prove it extremely fallaciousi"124

Reports of overflowing crowds and considerable

167 applause quickly followed the first performance: six paragraphs on the piece appeared during the first week.

The Gazetteer claimed that several of the songs were

"universally e n c o r e d . "^25 The Morning Chronicle noted the expense of the production.126 Miss Dowson's portrayal of Elizabeth placed her at the center of several notices. The Public Advertiser called her song

"one of the most spirited Things we have heard for some

Time."127 The Morning Post added that "the audience seemed so caught with it yesterday evening, that one half of them could not help joining in the chorus."128 & correspondent for the Post who had seen the piece twice predicted "that the present Queen Elizabeth will draw more people after her to Islington, than her great predecessor did to Tilbury."129 By week's end, the

Gazetteer was reporting that patrons had been turned away

"for want of room."120

As with All Alive at Jersey, the lyrics to two songs appeared in print with relative speed, but the songs from

The Prophecy were printed in a greater number of the newspapers. The first, the Queen's reply to the people, was published in the Morning Chronicle, the Gazetteer, the General Evening Post (London), the London Chronicle, and the Public Advertiser.121 The second, a song by a woman and her two daughters, was printed in the Morning

168 Chronicle and the Public Advertiser. 1^2 Although not

particularly patriotic, this second song closes with a

chorus advocating a positive outlook:

'Bout present, or future, then no more ado.

One thing, when I think on't, will still make

me rue,

There's not eating one's cake, and then having

it too.

Which nobody can deny.

The tone of these two songs seems less aggressive than

the sailor's song in All Alive at Jersey and certainly

less fearful than the mother's song in the earlier piece.

Whatever the tone. The Prophecy came at a particularly opportune moment for either patriotic or escapist fare.

As with the earlier patriotic spectacles. The

Prophecy appeared first in any paragraph listing the offerings for the week. However, additional puffery or commentary was published. In the midst of the second week, the Morning Chronicle claimed that "some hundreds went away for want of room" at Monday's performance.133

A letter in the third week complained that Lowe's song as the genius of Britain slowed the proceeding too much, but observed that houses were consistently c r o w d e d . 1 3 4

Both the Morning Chronicle and the Morning Post asserted that The Prophecy reflected the patriotic fervor of the

169 times and expressed the sentiments of its p a t r o n s . 135

The "war-horse" Miss Dowson rode onto the stage was

proclaimed as the "publick [sic] hobby-horse. "136 The

Morning Chronicle used The Prophecy as the foundation of

a social critique/ complaining that the time of such

feminine strength had passed and "too many of our men

have turned w o m e n . "137 A s the benefit season drew

near, the Morning Post reported that "the people seem to

flock there, apprehensive it will shut before they have

paid their respects to a Queen so justly admir'd for her

spirited conduct at the approach of an i n v a s i o n . "138

At the beginning of the last week of regular

performances, a paragraph printed in four newspapers warned patrons that the proprietors could not guarantee

The Prophecy would be performed during the benefit

season.139 As the performance calendar shows, all of

the benefits that year featured The Prophecy. In fact,

this spectacle received attention during the benefit

season as well, a feat achieved by no other offering at

the Wells during King's tenure. The Gazetteer and the

Morning Chronicle printed columns explaining the custom of eating goose on Michaelmas day, September 29th, to commemorate Queen Elizabeth's meal as she waited for the

Spanish Armada to attack; both columns connect the story to The P r o p h e c y . 140 The Morning Chronicle printed two

170 other items: a whimsical account of an unnamed Duchess' plans to attend the Wells on 30 September in order "to know how [the Queen's] dinner of goose sits upon her s t o m a c h " and a puff piece warning that crowds coming to see The Prophecy's final performances would "be both noble and n u m e r o u s . "142 The great amount of attention The Prophecy received could be indicative of several things: popularity of the piece, the comfort of a nostalgic example for living under the threat of invasion, the attraction of the familiar ballads and choruses, and so on. Although any piece heavily puffed may cause the theatre scholar to doubt its popularity, there is sufficient variety within the commentary to credit The Prophecy with the appeal proclaimed therein.

When The Prophecy was revived near the end of the

1780 season, several changes had been made. A new set of transparencies reflected more recent events:

Prince William Henry attended by two naval

officers; Fame hovering over him, and about to

crown him with the laurel: in the front are

various emblems, and several striking figures,

representing the Cardinal virtues; and at the

bottom France and Spain suing for p e a c e . 143

Queen Elizabeth and the Genius of England sang a duet "in honour of the young hero," and the piece concluded with a

171 military exercise, "song and chorus" in honor of the

London Military Association.

This revival has been partially preserved in an

engraving of the military exercise, published in 1964 in

Sybil Rosenfeld's "A Transparency by Thomas Greenwood the

E l d e r . "144 Rosenfeld assumes that the two naval

officers were Admirals Digby and Rodney. The first was

Prince William's commanding officer in 1779; the second had fought in the West Indies "off Cape St. Vincent." A brief examination of the engraving reveals several

details. First, in addition to the eighteen figures

forming the ranks of the miliary exercise, there are six

figures on either side of the stage. Some of these may be part of the decorations; it is difficult to discern, but the figures of France and Spain do not appear to be present. Each side of the stage has a series of four wings depicting trees, but there is no indication of border pieces above the performing area. There is also no indication of audience space.

As had been the case for A Trip to Coxheath and All

Alive at Jersey, puff pieces quickly reported the presence of large crowds and substantial applause. The song honoring the London Military Association was said to

"give great spirit to the conclusion of the p i e c e . "145

The by now standard items listing the starting time of

172 "seven o'clock, or a quarter after" appeared twice over

two w e e k s . 146 An unusual indication of audience

composition can be found in an item printed in the

Gazetteer; instead of people desiring boxes being turned

away, "many people were turned away from the pit and

g a l l e r y . "147 This is the first of these spectacles for which such a claim was made. This does not indicate, however, that persons of fashion and the nobility did not

attend. During the benefit season, the Morning Chronicle printed the following item:

The greater part of our Nobility, and several

of the Royal Family, have this summer visited

Sadler's Wells, merely to see and have their

petite exhibition; and this evening, if report

may be credited, the two stage boxes will be

filled by those whose near alliance to the

Crown, and whose rank in the State leaves

ground for reasonable hope that they will not

be useless spectators, but will hereafter

prove, that their wish is to restore Great

Britain to the splendor and importance which

she possessed in the eyes of all the world

when Elizabeth swayed the sceptre of these

realms.148

The identity of these potential spectators is never

173 revealed, but the nostalgia present in The Prophecy seems

clear. The context within which the revival was staged

raises questions as to why the London Military

Association had been singled out for such praise.

In April of 1780, Lord George Gordon circulated a

petition through a group that came to be known as the

Protestant Association. His intent was to repeal an Act

of 1778 that had eased restrictions on Roman Catholics

and allowed them to teach the children of Protestants.

The petition was presented to Parliament and tabled until

early June. In order to impress upon the House of Lords

the mass appeal of the measure. Lord George Gordon led a

parade of sorts into town; the Gazetteer estimated a

crowd of "one hundred thousand at l e a s t " 1 4 9 converging

upon the town from two directions. The demonstration

remained peaceful until the House delayed the matter once

again, placing the debate on Tuesday, 6 June 1780.

Rioting broke out, and, when the matter was indeed

debated, crowds in the streets assaulted members of the

House who were against the petition. Determining that

action on the matter could not proceed under such

circumstances, the House adjourned. The rioting

escalated: Fleet, Bridewell, and Borough prisons were

emptied and set on fire. Mobs attacked any home not marked with the words, "No Popery." A handbill was

174 circulated that warned "all peaceable subjects to keep

themselves quietly in their own houses, lest they should

suffer with the guilty."150 Many establishments,

including Sadler's Wells, closed their doors early on

Friday, 9 June. The London Military Association joined with soldiers from encampments in Hyde and St. James's

Parks in an attempt to keep the peace. Reports indicate

several incidents in which the armed forces fired into

the drunken crowd. Many were arrested; records of their

trials filled newspaper columns throughout the summer,

including the imprisonment of Lord George Gordon.

Although this would seem a little less than commendable to a twentieth-century mindset, newspapers of the day tended to praise the Military Association for its role during the riots. Lloyd's Evening Post makes special note of Association members serving as guards at

Newgate prison in order to prevent rioters from burning that edifice as well.151 The Morning Post makes much of their serving a similar function "at the Mitre Tavern, in Fleet-street."152 There is no direct mention of the

Association in relation to the soldiers who did fire into the crowds, and heavy drinking is frequently listed as a contributing factor to deaths as well as to riotous behavior. It is, therefore, reasonable to assume that the London Military Association would be admired for their known protective actions.

175 The new patriotic spectacle for 1780, All for

Scarlet; or, Ding-Dong to the Park, premiered on 3 July,

less than a month after the anti-Popery riots. Taking

the military encampments in public parks as its subject.

All for Scarlet would seem to have taken A Trip to

Coxheath as its model. The Morning Chronicle column made

such a comparison, concluding that A Trip to Coxheath had

been a new kind of entertainment but that All for Scarlet was "infinitely its s u p e r i o r . "153 As with All Alive at

Jersey, the new piece consisted of a variety of music,

some of which was familiar to writers for the Morning

Chronicle and the London C o u r a n t . 154 Both newspapers considered the format of the Sadler's Wells patriotic spectacle well established, but both also considered All for Scarlet to be an exemplary achievement within that form. There is, therefore, no sense of lost novelty as yet, but All for Scarlet received less coverage than The

Prophecy or All Alive at Jersey. No lyrics were printed other than the initial lines of two songs; "Brutes and

Barbarians," sung by Miss Collett,155 and "'Twas you that tried to force the door," possibly by Mr.

D o y l e . 156 Although a letter printed in the Morning

Chronicle calls attention to dancing by Langrish and Mrs.

Sutton,157 the writer mostly commends the improvement in Langrish's dancing in general. As with previous

176 pieces, the starting time of seven o'clock was advertised

shortly after the initial performances, presumably to

answer the requests of "persons of distinction" who had been unable to get into the boxes earlier in the w e e k . 158 the start of the fourth week, items warned that All for Scarlet would "be continued for a few nights o n l y . "159 The piece continued to hold the stage for an additional three weeks, adding the song "Chaise Marine" by special request on 14 August.150 When the piece was revived in 1781, an unspecified song was added for Miss

Pinto,151 but All for Scarlet received little additional attention, even though it remained in the repertory for twelve weeks that year.

The Medley; or, A Masque in Masquerade broke the established pattern of presenting the new patriotic spectacle at least halfway through the season. Eclipsed by Redige, Placido, and Saunders, The Medley opened the

1781 season. Advertised as "a new Serio-Comic,

Prophetic, Political, Musical Piece consisting of

Recitative, Songs, Choruses, Dancing, & c . , " 1 5 2 the piece does not appear to have connected to any specific social context described in the newspapers. The Morning

Chronicle called the piece "not without merit" and listed three characters who sang "characteristick [sic]" songs:

"a Dutchman . . . a Frenchman, and . . . an English

177 t a r . "163 The Morning Herald provides an extended description;

the persons represented are Britannia— the

genius of America— A Frenchman— A Dutchman—

a Spaniard— an American soldier, and an

English sailor. The masquerade opens in a

grand saloon, representing that part of Cox's

late museum, in which the portraits of their

Majesties, were surrounded with illuminated

rays of many colours. The group come on to a

march, which is followed by a dance, after

which the masque begins: the different

characters of France, Spain, and Holland,

address the genius of America, and promise

her their assistance; but upon seeing

Britannia, she renounces her former opinion of

independency [sic], and vows, that with her,

"she'll fall or rise!" The Frenchman,

Spaniard, and Dutchman retire; the English

sailor and American soldier shake hands, and

the piece concludes with a trio and

chorus.164

While this would appear to present a desirable end to the conflict with the Colonies, there is an understandable revisionist impulse at work. The genius of America needs

178 only to "see" Britannia in order to prevent alliances

vith France, Spain, and Holland, to recognize her quality

in order to resolve the conflict. Unlike all of the

other patriotic spectacles produced during King's tenure

at the Wells, The Medley did not receive much attention

through puffs and news items, and the piece was not

revived the following season.

On 12 April 1782, the Compte de Grasse surrendered

to Admiral Rodney, bringing a long conflict in the West

Indies to an e n d . 165 on 10 June 1782, Huzza for Old

England ! entered the Sadler's Wells repertory and

continued through the end of the season on 8 October.

Initial advertisements promised

a lively Representation of The late ACTION in

the WEST-INDIES. Descending grand

Transparencies, representing the gallant

DE GRASSE surrendering his Sword to

VICTORIOUS RODNEY. Fame hovering over the

Latter, about to crown him with the Laurel

Wreath. Striking Figures representing the

Cardinal Virtues; and, at the Bottom, FRANCE

and SPAIN suing for PEACE.166

If this description seems familiar, that is because it contains features of the revival of The Prophecy ; the figure of Fame crowning a victorious Englishman, a

179 grouping of the Virtues, and abject figures of France and

Spain. The opening performance was less than ideal; the

Morning Chronicle reported that both Miss Collett and

Doyle were unable to appear due to influenza and that the sea battle was not managed very w e l l . 167 Lady Rodney and her daughters attended the second performance; the

Morning Chronicle stated that their presence "added greatly to the effect on that particular night."168

Later, lists of offerings identified the piece as

"Rodney's Triumph."

Huzza for Old England marked the end of an era; after 1782, Sadler's Wells ceased the production of new patriotic spectacles. Both the series of patriotic spectacles and King's reign at the Wells concluded as international conflicts began to be resolved. These five seasons had proven to be especially significant for the scholar examining the eighteenth-century entertainment industry. While these spectacles were undoubtedly an attempt towards recreating and sustaining a sense of novelty at the Wells, the interplay between the Wells and the patent houses had reversed because the new form of the patriotic spectacle was worthy of imitation through works such as Drury Lane's The Camp. Because established studies of theatre history such as The London Stage overlook the offerings at the Wells, the theatre scholar

180 could easily miss the creative impulse that spread from this minor house to the winter theatres. What has also been missed is King's reputation as a strong manager and stager of scenic effects. This reputation followed him into his managerial role at Drury Lane and created expectations that will be examined in the next chapter.

By overlooking King's management of the Wells, theatre scholars have ignored these expectations; as will be seen in the chapters related to King's managerial role at

Drury Lane, these expectations formed, at the very least, part of the context for King's 1788 resignation.

181 NOTES

^General Advertiser 13 June 1778, 3; Morning Post 15 June 1778, 2.

2st. James's Chronicle 4-7 July 1778, 3; London Evening Post 4-7 July 1778, 3; General Advertiser 6 July 1778, 3. Unlike Thomas Arnold and Richard Wroughton, there is no clear record of Serjeant's first name.

^General Advertiser 6 July 1778, 3.

‘^Public Advertiser 28 July 1781, 4.

^Morning Post 18 September 1780, 2. SLondon Courant 6 October 1780, 3; Whitehall Evening Post 5-7 October 1780, 2.

?See note 6.

Bpublic Advertiser 13 May 1782, 2.

^Morning Herald 13 November 1782, 3.

lOpublic Advertiser 20 April 1778, 3; Morning Chronicle 20 April 1778, 2.

llGeneral Advertiser 21 April 1778, 2.

l^Morning Chronicle 21 April 1778, 2.

l^Morning Post 11 May 1778, 2.

14pubiic Advertiser 6 July 1778, 3; Gazetteer and New Daily Advertiser 6 July 1778, 2; Morning Chronicle 6 July 1778, 2; Gazetteer and New Daily Advertiser 13 July 1778, 2; General Advertiser 13 July 1778, 3; Morning Chronicle 13 July 1778, 3; Public Advertiser 13 July 1778, 3.

l^Morning Chronicle 21 April 1778, 2.

IGworning Chronicle 4 May 1778, 3.

l?Morning Chronicle 22 June 1778, 2; Gazetteer and New Daily Advertiser 22 June 1778, 2. See the performance calendar for the wording used in the daily advertisements. 182 IBpublic Advertiser 19 June 1779, 3.

^^Morning Chronicle 19 June 1779, 3.

Z^Morning Post 21 June 1779, 3; Morning Chronicle 21 June 1779, 3.

ZlMorning Chronicle 5 July 1779, 3.

2^Morning Chronicle 24 April 1780, 3.

23Morning Chronicle 12 July 1780, 2-3.

24Morning Herald 23 April 1781, 4; Whitehall Evening Post 21-24 April 1781, 3.

25cazetteer and New Daily Advertiser 4 June 1781, 3.

26Morning Chronicle 17 April 1781, 3.

2?Morning Chronicle 17 April 1781, 3.

28Morning Chronicle 21 May 1781, 3.

29public Advertiser 27 September 1781, 1.

30Morning Herald 14 June 1781, 2; Morning Chronicle 18 June 1781, 3.

3lLlovd's Evening Post 20-22 June 1781, 595; Morning Chronicle 21 June 1781, 3.

32Morning Chronicle 17 April 1781, 3.

33Morning Chronicle 21 April 1781, 3.

34Morning Herald 28 April 1781, 3.

35Morning Chronicle 4 October 1781, 3.

36Morning Chronicle 26 April 1781, 4.

37Morning Herald 30 April 1781, 3.

38Morning Herald 3 May 1781, 3.

39Qazetteer and New Daily Advertiser 28 May 1781, 3; London Courant 28 May 1781, 3; Morning Chronicle 28 May 1781, 3.

183 40London Courant 7 May 1781, 3; Morning Herald 7 May 1781, 3; Gazetteer and New Daily Advertiser 11 May 1781, 3.

4lMorning Chronicle 21 May 1781, 3; Morning Chronicle 9 July 1781, 3.

^^Morning Herald 6 October 1781, 3.

43Gazetteer and Nev Daily Advertiser 5 October 1781, 3; Morning Chronicle 5 October 1781, 3.

44Morning Chronicle 2 April 1782, 3; Morning Herald 3 April 1782, 3.

45Morning Herald 26 June 1782, 3.

46Morning Chronicle 21 May 1782, 3.

47ceneral Evening Post (London) 28-20 May 1778, 3; Morning Chronicle 30 May 1778, 2.

48London Chronicle 28-30 May 1778, 520; General Advertiser 30 May 1778, 3.

49public Advertiser 10 August 1778, 3.

SOMorning Chronicle 14 April 1781, 3.

SlMorning Chronicle 16 April 1781, 3; Morning Herald 16 April 1781, 3.

52pubiic Advertiser 18 April 1781, 4.

S^Morning Herald 23 April 1781, 3.

54Morning Chronicle 23 April 1781, 3. The Morning Herald list does not include Lord Jersey.

SSworning Chronicle 11 May 1781, 4.

S^Morning Chronicle 16 August 1781, 3.

5?Morning Chronicle 21 April 1778, 4.

S^Morning Chronicle 21 April 1778, 2.

SSpondon Evening Post 18-21 April 1778, 3.

GOMorning Chronicle 6 April 1779, 2.

GlMorning Chronicle 14 April 1779, 2. 184 Q^Mornlnq Post 19 April 1779, 3; Morning Chronicle 19 April 1779, 3.

63Morninq Post 12 July 1779, 2; Morning Chronicle 12 July 1779, 3.

Q^Public Advertiser 21 July 1779, 3; Morning Chronicle 21 July 1779, 3.

GSMorning Chronicle 28 March 1780, 3.

GGgeneral Evening Post (London) 25-28 March 1780, 4; Whitehall Evening Post 25-28 March 1780, 3.

GTPondon Courant 28 March 1780, 3-

GSMorning Post 28 September 1780, 3.

69Morning Herald 19 July 1781, 3.

70Morning Chronicle 19 July 1781, 3.

71London Courant 23 July 1781, 4; Morning Herald 23 July 1781, 3.

72Morning Chronicle 26 July 1781, 4; Morning Herald 26 July 1781, 4; Whitehall Evening Post 24-26 July 1781, 4; Public Advertiser 27 July 1781, 4; Lloyd's Evening Post 27-30 July 1781, 103; London Chronicle 26-28 July 1781, 93.

73Morning Chronicle 2 April 1782, 3; Morning Herald 3 April 1782, 3.

74Morning Herald 8 May 1781, 4.

75General Advertiser 13 April 1782, 4.

76Gazetteer and New Daily Advertiser 25 April 1782, 3.

7?Morning Chronicle 19 July 1782, 2.

78Morning Herald 29 July 1782, 3; Morning Chronicle 5 August 1782, 3.

79Morning Chronicle 8 August 1782, 3.

GOMorning Chronicle 21 April 1778, 2.

G^Morning Chronicle 3 June 1778, 3. 185 S^Mornlnq Chronicle 6 April 1779, 2.

S^Morninq Chronicle 28 March 1780, 3; Whitehall Eveninq Post 25-28 March 1780, 3; General Eveninq Post (London) 25-28 March 1780, 4.

Q^London Courant 28 March 1780, 3.

S^Gazetteer and New Daily Advertiser 20 June 1780, 3.

8&Morninq Chronicle 20 June 1780, 3.

8?Morninq Post 20 June 1780, 2.

Q^Gazetteer and New Daily Advertiser 20 August 1781, 3; Morninq Chronicle 20 August 1781, 3; Morninq Chronicle 21 August 1781, 2.

B^Morninq Chronicle 28 March 1780, 3; Whitehall Eveninq Post 25-28 March 1780, 3; General Eveninq Post (London) 25-28 March 1780, 4.

SOMorninq Chronicle 28 March 1780, 3; Whitehall Eveninq Post 25-28 March 1780, 3.

^^London Courant 28 March 1780, 3.

^^Morninq Chronicle 23 April 1782, 4.

S^Morninq Chronicle 21 August 1782, 2.

S^Morninq Chronicle 25 June 1778, 4; Morninq Chronicle 23 July 1778, 4. These charts appeared in other daily newspapers as well.

^^Morninq Post 20 June 1778, 2; General Advertiser 11 July 1778, 2.

SGgeneral Advertiser 3 August 1778, 3; Gazetteer and New Daily Advertiser 3 August 1778, 2; Public Advertiser 3 August 1778, 3.

9?General Advertiser 4 August 1778, 3.

S^Morninq Chronicle 4 August 1778, 2.

S^Gazetteer and New Daily Advertiser 4 August 1778, 2; Morninq Chronicle 4 August 1778, 3; General Advertiser 4 August 1778, 3; Public Advertiser 4 August 1778, 3. 186 lOOMornlnq Chronicle 4 August 1778, 2.

lOlQeneral Eveninq Post (London) 6-8 August 1778, 4 .

lO^Morninq Post 18 September 1778, 1.

lOSgeneral Advertiser 10 August 1778, 3; Gazetteer and New Daily Advertiser 10 August 1778, 3.

^Q^Morninq Chronicle 12 August 1778, 3.

lOSpeneral Advertiser 12 August 1778, 3.

lOGMorninq Chronicle 17 August 1778, 3.

Gazetteer and Nev Daily Advertiser 24 August 1778, 3; Morninq Chronicle 24 August 1778, 2; Public Advertiser 24 August 1778, 3.

iO^Gazetteer and Nev Daily Advertiser 19 July 1779, 3; Morninq Chronicle 19 July 1779, 3; Morninq Post 19 July 1779, 3; Public Advertiser 19 July 1779, 3.

109public Advertiser 20 July 1779, 3.

ll^Gazetteer and Mew Daily Advertiser 21 July 1779, 2.

lllMorninq Chronicle 22 July 1779, 2.

^Gazetteer and Nev Daily Advertiser 10 May 1779, 2. Nearly all newspapers carried some version of this account.

ll^Gazetteer and New Daily Advertiser 24 May 1779, 3; General Advertiser 24 May 1779, 3; Morninq Chronicle 24 May 1779, 2; Morninq Post 24 May 1779, 2; Public Advertiser 24 May 1779, 3.

ll^Morninq Chronicle 25 May 1779, 3.

ll^Morninq Chronicle 26 May 1779, 3; Public Advertiser 26 May 1779, 2.

llG^oj-ninq Chronicle 28 May 1779, 3; Gazetteer and New Daily Advertiser 28 May 1779, 2.

ll^Morninq Chronicle 31 May 1779, 3.

ll^Morninq Chronicle 5 June 1779, 2. 187 lig^orning Chronicle 19 June 1779, 4.

IZOpazetteer and Nev Daily Advertiser 16 May 1780, 4.

IZlÇazetteer and Nev Daily Advertiser 31 July 1779, 3.

122Morninq Chronicle 6 September 1779, 2.

123Morning Chronicle 10 August 1779, 2; General Evening Post (London) 7-10 August 1779, 4; Gazetteer and Nev Daily Advertiser 11 August 1779, 4; Public Advertiser 11 August 1779, 4.

IZ^Morning Chronicle 10 August 1779, 2.

IZSgazetteer and Nev Daily Advertiser 10 August 1779, 3.

IZ&Morning Chronicle 10 August 1779, 3.

127public Advertiser 10 August 1779, 3.

128Morning Post 11 August 1779, 3.

129Morning Post 13 August 1779, 3.

ISOGazetteer and Nev Daily Advertiser 13 August 1779, 3.

13looming Chronicle 12 August 1779, 2; Gazetteer and Nev Daily Advertiser 14 August 1779, 4; General Evening Post (London) 12-14 August 1779, 4; London Chronicle 12-14 August 1779, 147; Public Advertiser 13 August 1779, 4.

132Morning Chronicle 17 August 1779, 2; Public Advertiser 18 August 1779, 4

133Morning Chronicle 19 August 1779, 3.

134i4orning Chronicle 24 August 1779, 4.

13Scorning Chronicle 24 August 1779, 2; Morning Post 24 August 1779, 3.

136Morning Chronicle 26 August 1779, 2 .

IS^Morning Chronicle 2 September 1779 , 2.

188 138Morninq Post 9 September 1779, 2.

IS^Gazetteer and Nev Daily Advertiser 13 September 1779, 3; Morninq Chronicle 13 September 1779, 3; Public Advertiser 13 September 1779, 3; Morninq Post 15 September 1779, 3.

l^Ogazetteer and New Daily Advertiser 29 September 1779, 3; Morninq Chronicle 29 September 1779, 3.

14lMorninq Chronicle 30 September 1779, 2.

142Morninq Chronicle 1 October 1779, 3.

143Morninq Chronicle 22 August 1780, 2; Whitehall Eveninq Post 19-22 August 1780, 3.

144sybil Rosenfeld, "A Transparency by Thomas Greenwood the Elder," Theatre Notebook 19 (1964): 21-22.

^45gazetteer and New Daily Advertiser 28 August 1780, 3; Morning Chronicle 28 August 1780, 3.

146pubij[c Advertiser 31 August 1780, 3; Gazetteer and New Daily Advertiser 11 September 1780, 4.

^47gazetteer and New Daily Advertiser 28 August 1780, 3.

148Morninq Chronicle 29 September 1780, 2.

149ga2etteer and New Daily Advertiser 8 June 1780, 3.

ISOpondon Courant 9 June 1780, 3.

ISlpioyd's Eveninq Post 26-28 June 1780, 610.

152Morninq Post 29 August 1780, 3.

153Morninq Chronicle 4 July 1780, 2.

IS^London Courant 5 July 1780, 3.

ISSgaggtteer and New Daily Advertiser 5 July 1780, 3; Gazetteer and Mew Daily Advertiser 7 July 1780, 3.

156Morninq Chronicle 5 July 1780, 3; Gazetteer and New Daily Advertiser 11 July 1780, 3.

157Morninq Chronicle 7 July 1780, 2.

189 158gazetteer and Nev Daily Advertiser 8 July 1780, 3; Public Advertiser 8 July 1780, 3; Public Advertiser 15 July 170, 4.

IS^Gazetteer and Nev Daily Advertiser 24 July 1780, 3; Morninq Chronicle 24 July 1780, 3.

IGOMorninq Chronicle 14 August 1780, 3; Morninq Post 14 August 1780, 3; Gazetteer and Nev Daily Advertiser 15 August 1780, 2; Public Advertiser 15 August 1780, 3.

IGlMorninq Chronicle 25 June 1781, 3; Morninq Herald 25 June 1781, 3; London Courant 25 June, 1781, 3.

162public Advertiser 9 April 1781, 1.

163Morninq Chronicle 17 April 1781, 2.

l^^Morninq Herald 17 April 1781, 2.

165& full account of the action was printed in the 12 August 1782 edition of the Morninq Post (3), but portions of the story found their way into print throughout the summer.

166public Advertiser 10 June 1782, 1.

^^“^Morninq Chronicle 11 June 1782, 3.

IG&Moruinu Chronicle 13 June 1782, 3.

190 Chapter 5

"Mr. T. Ring— is sick of Management”

1782-1784

From 1772 to 1782, Thomas King was the visible, active representative of management at Sadler's Wells, providing stable leadership that was frequently linked in newspaper items to his reputation for good taste. In contrast to the stability of the Wells under King, Drury

Lane lacked solid leadership after Garrick's resignation

in 1776. Management passed from Richard Brinsley Sheridan

(1776-1778) to Thomas Sheridan (1778-1780) back to Richard

Sheridan (1780-1781) to Joseph Younger (1781-1782) and then to Thomas King (1782-1783). Richard Sheridan's active role in leading Drury Lane diminished after he was elected to Parliament in 1780, but announcements related to his actual withdrawal from management did not appear until the summer of 1782. With Sheridan's apparent detachment from Drury Lane added to King's reputation for strong leadership at the Wells, the reading public could easily have assumed that active management was passed to

191 King after the summer of 1782. Even in the 1782-1783

season, the perception that King possessed the authority

to operate Drury Lane found confirmation in newspaper

items related to staging, repertory and personnel.

Therefore, the root of King's 1788 resignation can be

found in this season.

King's ascension into Drury Lane management appeared

to mark Sheridan's withdrawal from leadership, but this

impression was not entirely correct. In the midst of the

1782 summer season, the Morning Chronicle and the Morning

Herald announced that Sheridan had given up the governance

of his portion of Drury Lane to his fellow proprietors,

James Ford and Thomas Linley, Sr.; Thomas King was to

manage the theatre. Neither announcement described the

nature of the governance to be provided by Ford and

Linley; both newspapers use the phrase, "either assigned

over to Dr. Ford and Mr. Linley, or left to their

protection." King's role as manager is the only part of

the announcement offered without any qualification, but his financial arrangement with the proprietors lacks such clarity; at this point, the newspapers assume that he had

"either purchased a share in the patent" or that he had been offered the opportunity to do so at a later date.l

A week later, the Morning Chronicle and the Morning Post provided additional information. King was to be paid for

192 his managerial duties, with the option of purchasing a

share after two years of service in that capacity. Linley

was to continue as director of music and to assist King in

staging productions. Ford was to oversee the financial

operation of the theatre. Sheridan would receive an

annuity, a "proportion of the renters [sic] shares . . .

in lieu of the eventual profit in his share, with a

reserved right of continuing or appointing a certain

number of persons to the free list."2 in early August,

the Morning Post confirmed annual payments amounting to

twenty-six hundred pounds, including eight hundred to

Sheridan, four hundred each to King and Younger, who was

to serve as "deputy" manager, and five hundred to

Linley.3 Ford was not mentioned in this list.

In the weeks between these announcements and the

opening of Drury Lane on 17 September, numerous items

documented or made conjectures upon the activities of the

new management team. Items related to King revolved

primarily around which performers would enter the lists

for the coming season and his apparent inability to secure

the best performers for Drury Lane. Similar tempests of

speculation could be found for most eighteenth-century

English theatrical seasons, but the narrative that emerged here described a tendency to delay finalizing contracts,

thereby enabling Covent Garden to secure key performers.

193 On 5 August, the Morning Post recorded the acquisition of

Ross and Mrs. Siddons and the loss of Bannister.4 On 13

August, the Morning Post added Mrs. Abington to the list, naming her and King as comic leads and Ross and Mrs.

Siddons as "the Garrick and Cibber of the present day."5

Near the end of the month, the Morning Herald placed

Abington at Covent Garden and claimed that Bannister, although not engaged at either theatre, would be likely

"to evacuate the lines of Drury Lane."6 Early in

September, the Morning Herald, impatient with King's failure to finalize a contract, encouraged King to secure

Ross.7 Items in both the Morning Chronicle and the

Morning Herald doubt that Mrs. Crawford was to be engaged at Drury Lane, since Mrs. Siddons had been brought into the company to replace the more temperamental actress.8

As the winter season began, Mrs. Abington had not been engaged at either theatre. A poem printed in the Morning

Chronicle consisted of brief arguments for both theatres, a protest of indecision for Abington, and a request from the "Town" that she make a decision. The argument from

Covent Garden concludes that, in addition to the novelty of performing in a new company, "What tho' a King presides their scene,/Come to us, you shall be Queen."9

Of all these performers, only Mrs. Siddons was actually part of the Drury Lane company that season.

194 King's ability to engage the best specialty players for

Sadler's Wells apparently did not find a parallel in his

ability to engage the most popular actors for Drury Lane.

Although no public explanation for his failure was offered

at this time, the additional step of obtaining the

approval of the proprietors probably caused the delays

that led to that failure.

In the same period, key news items described the pre-season competition between the theatres in areas not

related to personnel. First, three reports announced a mutual policy to "force" the season by presenting "their most powerful coups d'eclat" early, thereby gaining

sufficient momentum to "play every night" from the start of the season.10 Second, Harris, proprietor of Covent

Garden, had planned to open a second theatre under the

"dormant patent" he held, but Ford and Linley obtained an audience with the King and attempted to thwart Harris' project.11 At the beginning of September, the Morning

Chronicle published an item in which Sheridan refuted the claim that he had "parted with his power in Drury-Lane

Theatre." All reports to the contrary, he claimed, were

"grounded in misinformation."12 These were more clearly the actions of proprietors than managers; King's

involvement in this activity is difficult to ascertain.

With Sheridan's assertion of control. King's position as manager needed public definition.

195 with the apparent aim of clarifying his role. King wrotel3 a "dramatic Oglio" and performed it during the first five nights of the season. Although no newspaper printed the monologue, several described the nature of the piece. The Morning Chronicle account provides the fullest indication of the monologue's content:

It consisted of a whimsical medley of altered

quotation [sic] from Shakespeare, and irregular

comic poetry, obviously prepared for the purpose

of telling the Town, by the mouth of Tom King

himself, that he had ventured to undertake the

management of the Old Playhouse; that, though

different descriptions of persons might

entertain various doubts of his ability, there

should exist no ground for imputing any

remissness [sic] of intention to him; and that

his chief wish was; to treat the Performers with

all the friendship of fraternal feeling, and the

Publick [sic] with all the respect arising from

the deepest sense of duty and obligation. 14

The oglio divided this content into three parts. The

Morning Chronicle charted these stages: "it began in burlesque gravity, proceeded into facetious familiarity, and ended in sincere promises, of what we really believe to be Mr. King's feelings." In concluding its account of

196 the opening night, the Morning Chronicle claimed that no better man could have been chosen to manage Drury Lane; he possessed the respect of his fellow performers and was held in high esteem by the town. The selection of The

Clandestine Marriage, which featured his signature role of

Lord Ogleby, was lauded as "ambitious" and "auspicious."

In a considerably shorter account of the opening night, the Morning Herald provided a simpler summation of the monologue; "[it] principally turned upon his having commenced manager of the Old House, and the various remarks that would be made by the public and performers on the same."15 Published several days after the opening, the Gazetteer account described the oglio as "an opportunity of doing, what wise men usually avoid on the commencement of great undertakings, we mean engagements and promises." After defining the tone of the piece as one of self deprecation, the writer states that the opinions expressed in the monologue are not likely to have been held by the town. Unlike the other two accounts, the writer for the Gazetteer seems skeptical; while undoubtedly motivated by good intentions. King had not proven himself capable of staging anything other than pantomimes, "which have infested the Theatres under the denominations of Comedies and Tragedies." The Gazetteer closed its commentary by acknowledging "we have our hopes

197 and wishes, but not unmingled with apprehensions. "16

The interplay between Sadler's Wells and Drury Lane had again reversed: whereas King's arrival at the Wells led to assumptions of improved entertainments, his ascension into Drury Lane management led at least the Gazetteer writer to fear that Drury Lane's repertory would decline into pantomime.

By using the newspapers to determine the basis for public perceptions of King's management of Drury Lane, one finds ambiguity in the available items. There is both direct mention of King by name and indirect inference to

King through his title "manager." While it is not clear that every use of "manager" relates to King, the words

"managers" or "management" tend to refer to the team of

King, Linley, and Ford. There are references to Sheridan, but little to indicate much direct involvement with running Drury Lane. The majority of commentary related to

Sheridan appeals to his abilities as an author.

In the items which name him. King appears to recreate the "Garrick" model of visible, active management, apparently independent of Sheridan's control. For example, an audience member, upon seeing Mrs. Siddons perform Isabella, supposedly commented, "The business of the Theatre . . . is conducted with great ability. If

Sheridan would write, and King continue to manage, the

198 proprietors would soon make fortunes."17 Even the obligatory puns on King's name place the management securely under his control. The Morning Herald and the

Morning Post printed the observation "that the two deputy managers of both theatres are literally Monarchs in their several departments: that of Drury-lane [sic] being governed by a British King."18 in another item, an audience member, while watching King leading King George to the royal box, observed that one King was indeed leading another, the former being "the Monarch of

Drury ."19

The commentary occasionally dissipates into generalizations, however. Identical items in the

Gazetteer and the Morning Herald report that new pieces were in rehearsal early in the season, "the motto of the present management being vigilance and activity."20

Another set of identical items in the Morning Chronicle and the Morning Herald described a contest between the managers of Covent Garden and Drury Lane in which both were "striving which shall get their new pieces most forward."21 it is often a sense of expectation rather than a report of actual deeds that provides the basis for the newspapers' commentary upon management. A letter printed in the Morning Chronicle in early October prophesied,

the public will be indebted to Mr. King's

199 station, not only for one of the best actors

this or any other age or country hath produced,

but for the best regulated scheme of dramatic

entertainments that can be contrived; where

excellence of every stamp (no longer crushed by

partiality, envy, or parsimony) will succeed to

its just right; where retired merit will be

drawn forth, and every latent power be sought

after and produced, which can in any form

contribute to the amusement, and deserve the

approbation of the t o w n . 2 2

The messianic tone of this letter places control of Drury

Lane solidly in King's hands; the "partiality, envy" and

"parsimony" which had held back talent are most likely attributable to Sheridan. An immense amount of hope surrounds King's new reign, but such hope is expressed almost without proof. The writer (identified as

"Philo-Dramaticus") had seen a performance of As You Like

It and admired Mrs. Bulkley's Rosalind and King's

Touchstone. While Philo-Dramaticus praises King's taste, the letter reads as an endorsement of Mrs. Bulkley. Other than casting her in the role. King's managerial achievements remain unclear.

Certain policies regarding the daily operation of the theatre were attributed to King's efforts. A column on

200 You Like It printed in the Morning Post noted that the auditorium was "remarkably clean" and "much better lighted than for many years past," that the scene changes were correctly executed, and that the various supernumeraries were "neat and uniform in their dresses, and are acquainted with their entrances and exits." Listing these as positive changes effected by King, the column concludes that "we fancy Drury-lane Treasury will prove a shining testimony of his abilities, and amply repay his industry and attention."23

Other items suggested changes in policy or improvements in the house, most of which focused on minor concerns. In April, the Morning Chronicle called for better ventilation and demanded that the owner of the house next to the Pit and Gallery entrance off Vinegar

Yard "should be positively prevented from opening his private door that communicates with this entrance to the theatre."24 Beginning with a request to "the manager" on 8 November, a series of letters and commentaries in the

Morning Herald debated whether the prompter should interrupt the interlude music or wait until the music had concluded before ringing his b e l l . 2 5 such extended commentary on a single issue would indicate that Drury

Lane was generally run efficiently.

The majority of newspaper commentary on King's

201 management of Drury Lane falls into three categories:

staging, repertory, and personnel. On the first of these, the focus ranges from the placement of scenic elements to the interpretation of a specific role. A Public

Advertiser item offers the terse observation that "the

Manager has spared no Cost in the Dresses and Decorations"

for The School for Vanity.26 The Morning Herald suggested "the representation of an ivy bush to be fixt

[sic] in the right hand corner of the stage" in order to provide Mr. Dodd with an aesthetically pleasing place to hide after his stage combat with Mrs. Bulkley in Twelfth

Night.27 The Gazetteer found fault with Mr. Aickin's lack of dignity and unsuitable costume for his role of Sir

Oliver in The School for Scandal: "he remembered, indeed, to change his laced suit for plain cloaths [sic], but seemed rather remiss in retaining the gold buttons, silk lining, and chapeau bras, while he personated one who was reduced to ask charity of a more wealthy relation."28 & letter in the Public Advertiser found several faults with

King's staging of Othello : Aickin had appeared at a window in a manner that clearly revealed that he was standing on a ladder; several costume errors were noted, particularly the moment in which Othello and Desdemona appear fully dressed after supposedly being in bed for some time; and verisimilitude had been broken by placing

202 Emilia in a chair for her death scene. The writer expects that King "will see the Necessity of attending to" such d e t a i l s . 29 xn this case, as in several others, i t is interesting to note that King was held responsible for the interpretation of individual performances. The Morning

Chronicle, while generally appreciative of Mrs. Siddons'

Isabella, claimed that "there wanted, we will venture to say, a little relief." Although offering this comment directly to Mrs. Siddons, the writer trusted "that Mr.

King will make a proper use of what we have suggested."20 After praising King's Shylock in The

Merchant of Venice, the Morning Herald asked "but where was his managerial authority, to permit Waldron to destroy the effect of one of the finest scenes that Shakespeare has written?"21 Apparently, Waldron, as Tubal, anticipated King's responses with facial expressions, thereby upstaging King. Not all commentary enters this far into interpretation. The Public Advertiser also recommended that King provide Mrs. Siddons with additional attendants in Isabella since waiting for them to appear made her fainting scene "rather longer than what Nature allows."22 The commentary communicates greater attention to detail than had been applied to Sadler's

Wells under his reign; King was held responsible for all aspects of staging and interpretation.

203 In terms of repertory. King was credited more for revivals than for the production of new plays. False

Delicacy, The Confederacy and The Double Gallant were each praised as excellent selections, each chosen by King for revival.33 Only once was King credited with the ability to accept a new script, however; the 22 October 1782 edition of the Morning Post reported that Samuel Pratt had submitted an unnamed comedy to King.34 when this piece.

The School for Vanity, appeared in January, King's name was not mentioned; there is no clear indication that King approved the piece, only that it had been given to him.

With regard to new pieces, items only claim that King had that authority to schedule the repertory. An afterpiece entitled Too Civil by Half, although not particularly admired by any of the newspapers, was placed before the public twenty-one times. For the first author's benefit, the afterpiece was paired with The School for Scandal, a decision the Public Advertiser offered as evidence of

King's compassionate management but found to be "Too Civil by Half."35 The Public Advertiser repeated that sentiment when the afterpiece was paired with Isabella on another benefit for the author.36 such wordplay also colored the initial reception of The Fatal Interview; although the play provided Mrs. Siddons with another plum role, the Morning Chronicle asserted that if King had

204 extended the piece beyond the third night, "his interview with its author would have proved fatal to old D r u r y . "37

King does seem to have scheduled the repertory with a fair degree of autonomy; only one instance of Sheridan's intervention was recorded by the daily press. Before The

Best Bidder was offered in late November, Sheridan had insisted that its criticism of Parliament be softened or r e m o v e d . 38 whereas King was held responsible for all aspects of staging and interpretation, his control of repertory was apparently restricted to scheduling.

On the subject of personnel, the newspapers commented upon King's recruitment of actors, his casting of roles, and his treatment of company members. Speculation as to whether King would engage Kemble during the 1782-1783 season continued into January,39 but rumors of his need and desire to recruit company members to compete effectively with Covent Garden ended in D e c e m b e r . 40

That King was responsible for casting all productions seems to have never been in much doubt, although his selections for casting were sometimes questioned. Shortly after the season began, the Morning Chronicle found that

"Mr. King means to make a point of giving real ability the utmost scope," and looked forward to seeing Mr. Farren as

Othello.41 The same newspaper claimed in its column on an early October revival of The Gamesters that "Mr. King

205 has cast the characters with so much judgment, that the whole is now a very powerful comic performance."42 The

Public Advertiser found fault with King's casting of Don

John and Constantia in The Chances; the column on this production ends by asking why King had not placed himself in the role of Don John.43 when The West Indian was staged in January, the Public Advertiser asked why King had relinquished one of his successful roles to Bannister, jr., but the Gazetteer favored Bannister's performance, claiming that King had never made the role "his chef d 'oeuvre."44

However the newspapers may have felt about the majority of the Drury Lane actors for this season, their concern for the casting and treatment of Mrs. Siddons easily makes her the most discussed Drury Lane performer that year. This season marked Mrs. Siddons' return to the

London stage after almost a decade of playing at Bath. As indicated in The London Stage, her appearances easily doubled the usual receipts, a feat matched only by royal visits or benefits for charities.45 i n fact, her tragic skills in screaming and fainting probably kept Drury Lane from experiencing a substantial financial loss, so King's use of her abilities was indeed critical to his success.

In direct contrast to the amount of money her appearances generated, newspaper commentary tends to create the

206 impression that King could have used Mrs. Siddons' abilities more wisely. In column after column, writers protest her casting in poorly written vehicles. The

Grecian Daughter was considered beneath her quality,46 her appearance as Isabella too frequently present on the bill,47 her casting as Louisa in The Fatal Interview an unfortunate duty,48 her Andromache in The Distressed

Mother "no more than we expected."49 These opinions were not universal; a role one newspaper considered contemptible would be considered a proper vehicle by another. Throughout the season, each newspaper offered suggestions for casting the Siddons as Isabella, as

Euphrasia, as Juliet, as Belvidera, as Indiana, as Lady

Constance, and so on.50 The chief difficulty King encountered was finding supporting players for the

Siddons. Both the Public Advertiser and the Morning Post encouraged the two theatres to exchange players so that

Miss Younge could play Alicia to Siddons' Jane Shore.51

In order to cast these roles within the Drury Lane company, the Public Advertiser advocated casting Miss

Farren rather than Mrs. Ward.52 suitable partner emerged in January: a "Miss Kemble," presumably

E l i z a . 5 3

Since Mrs. Siddons proved to be central to the success of Drury Lane, King's treatment of her also became

207 the subject of commentary throughout the season. Several

items encouraged King to limit the number of her

appearances in any given week so that she could bring her

full strength to each performance. The Public Advertiser

suggested she appear no more than twice a week and hoped

"that Mr. King the Manager will not suffer Interest to preponderate beyond Humanity; by this Means he will have more Glory by his wonderful Acquisition."54 ^ letter in the Morning Post declared that the nature of the roles

Siddons played could allow her to appear no more than three times a week "at least without injuring her constitution, and greatly lowering her powers of pleasing."55 The Morning Post writers found even three times a week would reduce public demand so that "if this favourite plays three nights in a week, the Managers are certain to play the other three to less than charges."56

At the beginning of December, Mrs. Siddons suffered "a severe cold," as die other performers, yet continued to perform.57 Later that month, the Public Advertiser urged King to preserve the Siddons as if she were a national treasure: "The Public cannot bear, that this wonderful, this amiable Actress should sink under the

Fatigue of performing THREE TRAGIC CHARACTERS IN ONE

WEEK." The writer concludes his comments by requesting that Siddons perform no more than two nights per week.58

208 The management team was credited with more than fair treatment of her financial concerns. She had been engaged under a contract that raised her weekly salary from ten to twelve pounds over three seasons and then to as much as twenty thereafter.59 The six boxes allotted to the managers had been granted to her in D e c e m b e r , 60 an act repeated only once more that season for Brereton's benefit in A p r i l . 61 Close to the end of the season, the Public

Advertiser suggested that the managers protect their investment by insuring Mrs. Siddons' journey to her summer engagement in Dublin.62 Relying this heavily upon Mrs.

Siddons did cause King to cancel a performance on 17 May

1783, a decision quickly attacked by someone claiming the title "One of your Renters": a card printed in the 20 May

Morning Herald demanded, "Suppose Mrs. Siddons to have been ill, nay, even dying, had you no other performer fit to entertain? If so, do you use the town well, not to engage such as can?"63 Although the renter seems to have been primarily concerned with his own financial losses from the cancellation of this performance, his question remained unanswered in the public press.

An apparently clear set of managerial functions can be derived from this survey of newspaper items. King was held responsible for a wide range of issues related to staging and interpretation. He controlled the scheduling

209 of plays, but did not seem to possess the authority to solicit new scripts. The majority of newspaper commentary on King's management centered upon the recruitment, casting, and treatment of the acting company.

At the end of the 1782-1783 season, there was little to foreshadow King's resignation. After the final performance. King delivered the usual address to the audience, thanking them for their patronage and promising them the managers' "most earnest endeavour to procure that novelty of entertainment against next season, as will best shew [sic] their gratitude, and encourage them to hope for a continuance of your protection."64 The Morning Herald summary of the speech made the quest for novelty a personal promise from King.65 Summaries of the season appeared in the Public Advertiser, the Morning Herald, and the Gazetteer; the first two commended the company, including King by name, but none indicated any imminent change of management.66 in mid-June, the Morning

Chronicle and the Gazetteer printed identical statements:

"Mr. King has resigned the management of the Theatre

Royal, Drury-Lane, and intends retiring from the stage."67 within days. King published a letter in the

Morning Chonicle, the Morning Herald, and the Gazetteer to inform the public that he had resigned as manager but did not intend to leave the stage: had he intended to do so,

210 he assured readers, "I certainly should, when I last appeared thereon, have embraced the opportunity of taking a formal and respectful leave of that Public to whom I consider myself so much beholden."68 Offering only this much information. King's letter did not explain why he had chosen to resign his post, and only one speculation upon the matter appeared. The Gazetteer seems to have placed the blame on Ford:

Mr. King's quitting the stage is owing to an

hydrophobia, or natural abhorrence he has to

water. Every body [sic] knows what a

disagreeable Ford there is to pass and repass

in Drury-lane house. Should its tide increase,

it will sweep away every good performer from

the Theatre. Mrs. Siddons's crocodile tears

are thought to have swelled and puffed it up

very much last winter.69

It is perhaps reading too much into this comment to conclude that Ford had been difficult. The presence of

Siddons had turned the repertory towards a heavy reliance upon tragedy, and King's own strength rested in comedy.

There is within this statement an implication that King's talents were not used, and several items published over the summer expressed the wish that King would reunite with

Abington at Covent Garden and make that house the leader

211 in c o m e d y . 70 when the winter season commenced. King remained unemployed by either of the patent houses; he spent the 1783-1784 season touring Scotland and Ireland.

A fitting, albeit terse, summary of King's situation may be found in a whimsical list entitled "The RAGING

DISTEMPERS of the TIMES" published in the Gazetteer on 1

July: "Mr. T. King— is sick of Management."71

Whereas King's ascension into Drury Lane management began in an ambiguous manner, Richard Wroughton's ascent into the management of Sadler's Wells was apparently quite clear. Although Arundell states that the final sale of

Sadler's Wells to Wroughton was not concluded until

1785,72 the daily newspapers note a transfer of management shortly before the 1783 season. The earliest indications of this shift were attached to columns on the death of Lowe. The Gazetteer recalled Lowe's entire career as a sort of morality tale to warn those with artistic promise to manage their finances well. The account includes a tribute to King's generosity in hiring

Lowe and the claim that "Wroughton, who succeeds Mr. King in authority and benevolence, intended to have retained the hardy veteran. "73 Morning Chronicle column anticipating the 1783 season begins with the statement

"Tom King and Tom Lowe came to Sadlers [sic] Wells and

212 left them together." The column claims that King had sold his remaining share to Wroughton and relinquished control

to Wroughton and Serjeant. The previous season had

apparently caused financial hardship due to wet w e a t h e r . 74 Both of these columns state that King's managerial duties at Drury Lane had contributed to this decision.

In mid-April, Wroughton published a response to a

letter he had received privately. This letter detailed

the events that had led King to sell what appears to have been his remaining share. First, since King had sold portions of his share over several years, Wroughton and

Serjeant believed, "it was evident he meant by degrees to get wholly out of the undertaking." Increasing expenses, especially the rising prices of the wines included with the purchase of a ticket, had led King to consider parting with his interest in the Wells; responding to the same costs, Wroughton and Serjeant found them insufficient "to induce them totally to relinquish, without some further exertion, every hope of some turn in their favour." They offered to purchase King's remaining share, and "he was very willing they should set their own price on it; and when they had done so, he, conscious of the risque [sic] they were about to run, made, unasked, an immediate abatement."75 Although the terms of this abatement and

213 the actual price agreed upon were not included in this letter, the transfer of managerial control was clearly stated.

As the season began, the Public Advertiser made the following observation:

On the Whole, there was apparent, as was

usual in the Days of the late King Thomas,

much Order, good Discipline, something like

a Wish to please;— all obviously the genuine

Pretensions to Favour, and what Mr. Wroughton,

like other Servants of the Public, will, we

hope. Experience to be urged not in vain.76

This item assumes that Wroughton would follow the example

"of the late King Thomas" rather than bring his own personality to managing the Wells. At first, this expectation appeared to be fulfilled. The Morning

Chronicle noted that Wroughton seemed "to have taken a hint from his Predecessor in the disposition of his business."77 High expectations for Wroughton's tenure as manager soon changed. The Pulic Advertiser published a column on summer entertainments: the segment on

Sadler's Wells indicates a return to lower class audiences :

Sadler's Wells, as usual in the Summer months,

exhibits a mockery of dramatic entertainment to

crowded mariners and their red-ribboned Mollies,

214 where the convivial pint of Portugal wine,

vintaged in Southampton, wets the lips of the

tar and his temporary wife. Jack eying [sic]

with delight the dexterity of the rope-dancer,

whilst Madam is thinking of somewhat for supper

at the Ship and Anchor at Wapping. Hilloa

here— avast there— hip in a third place— a song

in a fourth— damn my eyes in a fifth— pint of

wine, waiter, in a sixth— oranges, hoy, in a

seventh— and then hats off, hats off, all over

the house, give a true picture of this favourite

and long established place of public resort;

where more genuine good humour and real

happiness in the audience are to be found, than

in any the most fashionable theatres of the

Metropolis.78

King's reputation for good taste and his high reputation among the gentry are no longer in place. Any mention of the people of fashion who had attended in the seasons immediately preceding 1783 is curiously absent from this account.

Even without mentioning a shift in audience composition, there are several indications of the shift in managerial policy. Prime among these was an increase in the amount of advertising in the daily press: whereas

215 King had daily advertisements only in the Public

Advertiser and weekly advertisements in the other newspapers under study, Wroughton increased advertising in the Morning Chronicle and the Morning Herald to three times a week. Offerings at the Wells also changed. The

1784 season featured a set of dancing dogs trained by

Sieur Scaglioni. Over the next few seasons, Wroughton also featured animal acts including "two horses dancing a minuet; the laughable singing duck; and the learned pig.'«79 Setting aside any comment upon the quality of such performances, such acts had never appeared at

Sadler's Wells during King's reign. Clearly, an era had ended.

Expectations for King's management of Drury Lane and

Wroughton's management of the Wells were founded upon the character of the managers, not on the reputation of the houses. King's active leadership at the Wells (in the

"Garrick" model) created expectations for similar leadership of Drury Lane. King's reputation as a stager of pantomimes caused the Gazetteer to doubt his ability in staging regular drama; King's absence from the Wells led to distinct changes in the character of entertainments offered there. By touring Scotland and Ireland during the

1783-1784 season. King removed himself from management for that period of time. When he returned to management in

216 1784, King found himself subjected to similar expectations which would assist in leading to his 1788 resignation.

217 NOTES

iMorninq Chronicle 19 July 1782, 2; Morning Herald 20 July 1782, 3.

^Morning Chronicle 27 July 1782, 3; Morning Post 27 July 1782, 2.

^Morning Post 5 August 1782, 3.

^Morning Post 5 August 1782, 2.

^Morning Post 13 August 1782, 2.

^Morning Herald 28 August 1782, 2.

^Morning Herald 10 September 1782, 3

^Morning Chronicle 12 September 1782, 3; Morning Herald 13 September 1782, 2.

^Morning Chronicle 17 September 1782, 4.

lOMorning Post 1 August 1782, 2; Morning Herald 1 August 1782, 2; Morning Post 31 August, 1782, 2.

llMorning Herald 27 August 1782, 2; Morning Chronicle 28 August 1782, 3. For an account of Sheridan's attempt to purchase this dormant patent, see Watson Nicholson's The Struggle for a Free Stage in London (New York; Benjamin Blom, 1966. Reprint of 1906 edition.), 141-174.

1^Morning Chronicle 5 September 1782, 2.

l^Both the Morning Herald (14 September 1782, 2) and the Gazetteer and New Daily Advertiser (16 September 1782, 3) report that the monologue was "said to be the production of the intended speaker," and the London Stage (5.1.554) identifies the piece as "probably by Thomas K ing."

l^Morning Chronicle 18 September 1782, 3.

l^Morning Herald 18 September 1782, 2.

iScazetteer and New Daily Advertiser 20 September 1782, 3.

218 ^^Morning Post 16 October 1782, 2.

IBMorning Herald 26 October 1782, 2; Morning Post 26 October 1782, 3.

l^Morning Herald 4 January 1783, 2.

ZOpazetteer and New Daily Advertiser 20 September 1782, 2; Morning Herald 20 September 1782, 2.

ZlMorning Chronicle 8 October 1782, 2; Morning Herald 9 October 1782, 2.

Z^Morning Chronicle 4 October 1782, 4.

23Morning Post 30 September 1782, 2.

Z^Morning Chronicle 23 April 1783, 3.

25Morning Herald 8 November 1782, 2; Morning Herald 28 November 1782, 2; Morning Herald 30 November 1782, 4; Morning Herald 2 December 1782, 4; Morning Herald 4 December 1782, 4.

26public Advertiser 31 January 1783, 3.

27Morning Herald 24 September 1782, 3.

^Spazetteer and New Daily Advertiser 27 September 1782, 3.

2^Public Advertiser 4 October 1782, 1.

30Morning Chronicle 11 October 1782, 3.

SlMorning Herald 24 February 1783, 3.

32pubiic Advertiser 21 October 1782, 2.

S^Morning Herald 15 October 1782, 2; Morning Post 15 October 1782, 2; Morning Post 8 November 1782, 2; Public Advertiser 13 November 1782, 2.

3^Morning Post 22 October 1782, 2. This proved to be The School for Vanity, presented on 29 January 1782 only (London Stage 5.1.588).

35public Advertiser 16 November 1782, 3.

36public Advertiser 28 February 1783, 2.

37Morning Chronicle 22 November 1782, 3 219 38Morning Chronicle 29 November 1782, 3.

39public Advertiser 19 October 1782, 1; Morning Chronicle 30 November 1782, 3; Morning Chronicle 2 January 1783, 3.

40Morning Post 28 September 1782, 2; Gazetteer and New Daily Advertiser 13 December 1782, 3.

4lMorning Chronicle 27 September 1782, 3.

42Morning Chronicle 7 October 1782, 3.

43pubiic Advertiser 27 November 1782, 2.

44pubiic Advertiser 16 January 1783, 2; Gazetteer and New Daily Advertiser 16 January 1783, 3.

45London Stage 5.1.544, 553-619.

46public Advertiser 30 October 1782, 1.

47Morning Herald 29 October 1782, 2.

48Morning Herald 21 November 1782, 2.

49gazetteer and New Daily Advertiser 22 November 1782, 3.

SOpublic Advertiser 24 October 1782, 3; Morning Chronicle 1 November 1782, 2; Morning Chronicle 15 October 1782, 4.

51public Advertiser 22 October 1782, 3; Morning Post 23 October 1782, 3.

52public Advertiser 9 November 1782, 2.

53Morning Chronicle 13 January 1783, 3; Morning Herald 14 January 1783, 2.

34public Advertiser 27 November 1782, 3.

S^Morning Post 25 November 1782, 4.

S^Morning Post 29 November 1782, 2.

S^Morning Chronicle 4 December 1782, 3.

SBpublic Advertiser 26 December 1782, 2.

220 S^Morning Herald 31 March 1782, 3.

60public Advertiser 14 December 1782, 3.

61Public Advertiser 11 April 1782, 2.

GZpublic Advertiser 31 March 1783, 2.

G^Morning Herald 20 March 1783, 4.

G^Gazetteer and New Daily Advertiser 6 June 1783, 3.

G^Morning Herald 6 June 1783, 2.

GGpublic Advertiser 9 June 1783, 2; Morning Herald 10 June 1783, 2; Gazetteer and Nev Daily Advertiser 10 June 1783, 2-3.

G^Morning Chronicle 12 June 1783, 4; Gazetteer and Nev Daily Advertiser 13 June 1783, 3.

GGMorning Chronicle 14 June 1783, 3; Morning Herald 14 June 1783, 4; Gazetteer and Nev Daily Advertiser 16 June 1783, 2.

G^Gazetteer and Nev Daily Advertiser 27 June 1783, 3.

70Morning Herald 16 June 1783, 2; Morning Chronicle 27 June 1783, 3.

7lGazetteer and Nev Daily Advertiser 1 July 1783, 3.

^^Arundell, 39.

73Gazetteer and Nev Daily Advertiser 5 March 1783, 3. A similar account in the Public Advertiser (6 March 1783, 4) does not include Love's career at the Wells. The Morning Herald account (4 March 1783, 3) does not mention Wroughton's intention to retain Love.

'^^Morning Chronicle 7 March 1783, 4.

75Morning Herald 12 April 1783, 4; Morning Chronicle 13 April 1783, 4.

7Gpubiic Advertiser 21 April 1783, 2.

77Morning Chronicle 22 April 1783, 3.

221 78public Advertiser 2 June 1783, 4

^^Arundell, 38.

222 Chapter 6

"I Was Not Manager" 1784-1788

After breaking with the Drury Lane company at the end of the 1782-1783 season and touring Scotland and Ireland during the 1783-1784 season, Thomas King returned to

London and Drury Lane in 1784 and resumed his managerial post for four seasons. He then resigned this post in May of 1788, only to enter into negotiations that would reassign the role to him for the 1788-1789 season. At the start of the 1788-1789 season. King left both Drury Lane and London once again in what was apparently a sudden decision. John Philip Kemble, leading tragedian at Drury

Lane and brother of Mrs. Siddons, stepped into King's former position shortly after the season began. This quick shift did not go unnoticed; after a flurry of commentary, much of which found publication in the Morning

Post, King wrote the address to the public that was introduced in the first chapter of this study.

This chapter will use King's address as a framework

223 for a discussion of his managerial function throughout these four seasons, the continuing impact of expectations based upon the "Garrick" model of management, and the residual influence of the interplay between Sadler's Wells and Drury Lane through King's experience as a stager of spectacles and pantomimes. The letter itself divides into five sections: King's rationale for responding to newspaper items demanding an explanation for his departure from London; his general statement describing the vague nature of his managerial assignment; his brief discussion of three specific difficulties related to company members; an extended history of the causes for his departure; and his apology to the public.

King's "Address to the Public" was published on 8

October 1788 in the Morning Post and the Morning Chronicle and on 9 October in the Public Advertiser,! several weeks after the beginning of the 1788-1789 season. No news item published in these three newspapers prior to

Drury Lane's opening on 13 September 1788 had anticipated

King's departure. On 28 August, the Public Advertiser had reported that "Few changes of consequence are as yet spoken of amongst the arrangements of the Winter

Theatres."2 within the column containing that statement, the writer noted the addition of Madame Mara and the management's plans to fill roles vacated by

224 Smith's retirement. On 9 September, the Morning Post

considered Mara's engagement incomplete and the prospects

for Smith's substitutes "miserable": the same column

reported that a Mrs. Taylor had been refused by both of

the winter houses.3 The first mention of King for the

1788 season came with the Morning Chronicle's claim on 9

September that "King continues on the stage another year."

The writer closed his brief paragraph on King's career by

opining "The theatre would dearly abide his l o s s . "4

It is unlikely that King's decision to withdraw from

London was even suspected; anticipation or suspicion

generally led newspapers to print items regarding a

company member's resignation. Prior to any commentary on

King's separation from Drury Lane, the newspapers noted

two other departures. The first, mentioned by the Morning

Chronicle on 9 September, was the retirement of Dr. Ford

as proprietor.5 Shortly after the season began, the

Morning Post claimed that Sheridan had purchased Ford's

share of Drury L a n e . 6 On 20 September, the Morning Post

reported that Miss Farren had resigned "on account of some

dispute respecting a dress."? Two days later, the

Morning Chronicle suggested that, if the Post account had been true, a Mrs. Brookes "will meet with an engagement in her place."8 This second reported departure would

appear to have been either a rumor or a quickly abandoned

225 attempt at manipulation on Miss Barren's part, since she did indeed appear at Drury Lane that season.

The first mention of the shift in management at Drury

Lane came in identical announcements in the 24 September

1788 Morning Chronicle and the 25 September 1788 Public

Advertiser ;

We are authorised [sic] to say, that the

Theatre Royal of Drury-Lane is conducted

under the management of Mr. Linley and

Mr. Kemble; to whom all persons having

transactions relative to the business of

that Theatre, will be pleased to address

their applications.9

Although this did indeed serve as Kemble's introduction to

King's former position, such a transition does not seem to have been understood universally. On 29 September, the

Public Advertiser's "Theatrical Intelligence" column indicated that complaints had arisen over the lack of "an efficient and ostensible administration"19 at Drury

Lane. While such a claim does little to assess King's success within the position he held, the confusion left by his absence seems to have been considerable, if only lightly reported. It is possible that King's absence went unnoticed before the 24 September announcement, but such ignorance would have been hard for the average playgoer to

226 sustain once King's roles were taken up by other performers, a clear indication that his departure was more than temporary. Within a week of the 18 September opening. Palmer took up the roles of Moody in The Country

Girlll and Touchstone in As You Like I t . 12 The Public

Advertiser asserted that in his performance in the latter role Palmer "never appeared to less advantage"but attributed his awkwardness to his respect for King’s interpretation. On 26 September, the Morning Post lamented the loss of King's Sir Peter Teazle because no other actor possessed "equal ability" for the role; on 30

September, the Morning Post reported that Waldron, "who has played Sir Peter Teazle with more than his usual rate of ability" would now play the role in King's stead.14

Since King did not return to the Drury Lane stage that season, one can assume that the Theatre Royal could and did indeed survive his absence, but only after a period of intense public concern.

The first issue King discussed in his address was the need to provide the public with an explanation of any kind. He began the address with an attempt to excuse his silence on the issue. Claiming to be "rather more than two hundred miles from London," King stated that considerable time would pass between a newspaper's publication and his receipt of such prints. He had noted

227 that his departure had become the subject of public discourse :

One paper treats it as rather a fortunate

circumstance; while another allows, that my

loss as a performer will be severely felt;

but says, that neither the publick [sic] nor

proprietors will have cause to regret my

absence as a Manager. The last-mentioned

paragraph I cannot consider but as highly

complimentary: for it gives me positive

commendation in the line I undertook to fill,

and only obliquely censures me for not making

the most of a character, with which, I have

never been entrusted.15

While conceding that public figures were indeed open to public examination by the press. King argued that the publishers of these newspapers were not entirely free of overriding motives for the items they printed, nor were they entirely immune to being misinformed. In particular.

King noted an item that had stated his demand for "a thousand pounds a year, for seven years, in addition to my usual salary as an actor," a condition that King described as "strange and improbable."

Although King did not name specific newspapers, the

Morning Post published commentary on an almost daily basis

228 between 24 September and 8 October 1788. The item to

which King referred appeared on 24 September: according to

that item, two potential conflicts kept King from

continuing in management. The first was the financial

arrangement King described; the second was King's supposed

objection to "female influence last season."16 The

writer does not promote either of these reports as

factual. The next day, a series of paragraphs began the

Post's demand that King explain his actions:

[I]t really becomes at once a duty to

himself, and to that public, to let them know

if their partiality has been hitherto misplaced,

or if such measures were proposed to him as he

could not with propriety assent to.17

In another paragraph on the same day, Kemble's ascent to

management was attributed to Mrs. Siddons' purchase of a

portion of Ford's share. The promotion was viewed as an

usurpation of Palmer's rightful claim to the title. On 26

September, the Post predicted that Kemble's leadership

"will be characterised [sic] by the benign and gentle virtues"16 and called for Harris to employ King at

Covent Garden so that the public could enjoy his talents.

To this point, all of these items appeared within

columns of general news from correspondents. On 27

September, a writer signing himself "Candidas" took up the

229 issues that had been raised in this debate for the first time. Objecting to accounts that had claimed King's roles could be played by others, Candidas argued that King could not be dismissed without having defended himself, nor should the public accept glowing praise of the untested

Kemble. Candidas claimed the public had the right to demand an explanation for the manner in which King had left so suddenly, but he called for "proper respect to those who now countenance the Proprietors, and a remembrance of passed [sic] kindness on the mind of Mr.

King" to prevent injurious rumors. On the same day, the

Post published an item denying that financial concerns had led to King's departure; instead, the item continued. King

"only required that he might not possess a mere nominal authority in that situation, subject to the controul [sic] of caprice or parsimony."19

The items published on 27 September did not end speculation or rancor. On 29 September, a Morning Post item reported that King and the proprietors had been negotiating King's return as a performer.20 Another item, printed on 1 October, chastised a Kemble supporter for forgetting that King had brought the Kemble clan into the Drury Lane company.21 on 2 October, another item claimed that Mrs. Siddons' purchase of Ford's share had placed Kemble in a position that Wroughton had been intended to receive upon King's retirement.22

230 At this point. King himself entered the debate and attempted to nullify the gossip. A short letter from King which promised the address that was to follow appeared in the 2 October 1788 Morning Post and the 3 October 1788

Public Advertiser; a paraphrase of this letter was published in the 2 October Morning Chronicle.23 King protested that the reason for his departure from the Drury

Lane company, and London itself, had not been a salary dispute, nor had there been animosity between King and

Kemble. In an apparent response to rumors that Kemble had forced King's resignation in order to assume control of

Drury Lane, King claimed that Kemble was "wholly incapable of the arts attributed to him." With regard to the suspected machinations of the proprietors. King proclaimed that "the best friends are liable to differences and misunderstandings." Having addressed these rumors. King promised to provide a full explanation within two to three days. The Morning Post published an item on 3 October that paraphrased King's letter and then expressed the expectation that King's address would be "liberal and gentlemanlike."24 on 4 October, another item claimed that the tone of King's letter had already "induce[d] the most favourable sentiments of his conduct, and indeed, in some degree, of the conduct of those from whom he has separated."25 This item concluded by expressing the

231 desire that King's explanation would be rendered unnecessary by restoring him to his former position. A second letter from Candidas was published on 6 October in response to the 4 October item. Professing friendship with King, Candidas considered any restoration of King's position without an explanation for the breach "highly prejudicial" to King and "injurious to the Proprietors."

He assumed that such an arrangement would indicate that

King had been "bribed into silence" with a position the proprietors did not consider him worthy to hold, since they had made no apparent effort "to employ his talents in his profession." Had they valued him as an actor, the managerial position could have been given to Kemble without requiring King to leave the company. Candidus closed his letter with another plea for King to state his case clearly.26

Throughout the debate, the assumption that King was obliged to explain his actions was never questioned.

Although any conflict has two sides, no similar call was ever issued to the proprietors, nor was there any assumption that the proprietors should publish their own account of the events leading to King's departure. This initial portion of King's address acknowledges this obligation; however. King claimed that his decision to write the address was prompted by several items which

232 identified him as "Manager." The address serves not only to excuse King's actions, but to explain the context in which King had made his decision to act; central to that context is King's assertion "I was not Manager."

The second portion of King's address consists of an attempt to define his role at Drury Lane. He again reaffirmed his earlier assertion that financial matters had not motivated his decision. The difficulty appears to have been a lack of clearly defined authority:

[T]here has been, for some few years past,

something undefined, if not undefinable,

in my situation; the consequences of which

have been, that I have sustained many

inconveniences, and have been liable to

very disagreeable attacks.

Authors had complained to him of "breach of promise in the non performance of works I never before heard of," performers had objected to being rejected by him even when he had no authority to employ them, and others, presumably audience members, had complained of "the very limited number of pieces produced, which it was not any part of my province to provide." King did not deny that these were managerial tasks; in asserting that these duties were beyond his authority. King denied the title to which these tasks were attached.

I can only once more positively assert, I

233 was not Manager; for I had not the power by

my agreement, nor indeed had I the wish, to

approve or reject any dramatick [sic] work,

the liberty of engaging, encouraging, or

discharging any one performer, nor sufficient

authority to command the cleaning of a coat,

or adding, by way of decoration, a yard of

copper lace: both which, it must be allowed,

were often much wanted.

Having repeated the duties that were beyond his authority.

King refused to proceed further into specific cases. His objective in writing the address, he continued, was not to blame others but to justify his own actions. With that stated. King then defined his duties as he understood them:

I was to bring before the publick [sic] eye,

in the best manner I could, under certain

limitations, such pieces and performers as

should be approved by the said proprietors:

I was to negociate [sic] between party and

party in forming engagements: to be generally

ready to answer the publick [sic] on any

complaint, disturbance, &c. during the time

of performance: to make (subject to the

controul [sic] of the patentees,) the best

arrangements I could as to the order of

234 presenting the plays in use, and to instruct

such young or other performers as might be

likely to derive advantage from a knowledge,

which partiality was pleased to allow I had

acquired, by many years observation and

considerable practice.

King was particularly careful to indicate the lack of authority he had possessed over the past four seasons: the mention of "certain limitations" and "controul" seems discrete but clear. His actual duties consisted of five functions: to introduce those new plays and performers approved by the proprietors; to act as a liason in negotiating contracts; to provide an "on stage" voice for the proprietors at times when the public had to be addressed directly; to schedule the existing repertory; and to train less experienced performers. Had King's position been understood by the general public, such an explanation or definition would not have been necessary.

To what extent did the newspapers under study assist in defining or failing to define King's role within Drury

Lane management?

An examination of the newspaper record for these four seasons reveals a distinct contrast between the authority implied by naming King as "manager" and the actual duties reported as having been fulfilled by King. The crucial

235 period for defining King's position would have come at or near the beginning of the 1784-1785 season. In one of the earliest announcements of King's reinstatement, the 3

August 1784 Morning Post announced that "The Proprietors of Drury Lane are now sensible of their error" and, having found "that no state can exist without the dignity of a monarch to give effect and energy to its proceedings," they had "resolved to restore. . . King to his wonted s p l e n d o r . "27 However, reports of Younger's death in early September named him as acting manager or deputy manager even after King had been engaged for the s e a s o n , 28 go it is possible that the Morning Post item had referred only to King's dominance in comedy or that the item had used the word "monarch" only as a pun on

King's name. On 23 September, the Morning Chronicle seemed to indicate that King had been engaged as something more than a performer: "Mr. King's re-engagement at

Drury-lane Theatre, will not only give spirit to the comic representation of that stage, but lend a welcome degree of vigour to the conduct of the theatre."29 As with the

Morning Post item, no direct mention is made of King as manager. A poem printed in the 24 September Morning Post and the 2 5 September Public Advertiser provides the first clear identification of King as manager. Written as a letter from Garrick to King, "on his being invested with

236 the Diadem of Drury Lane Theatre," the poet connects

King's current position to that he held for the 1782-1783 season:

Dear Tom, I exult! Give you joy of my Throne,

And your imperial spirit in reigning alone.

I sav with regret, when you first got my Crown,

That, like the Stadtholder, your pow'r was kept

down!

And your plans over-rul'd in pleasing the Town.

With skill to conduct, and with talents admir'd.

The Heir of my Fame, by true genius inspir'd^O

The remainder of the poem advised King to follow George

Colman's example by providing novelty in entertainments and a balance of comedy and tragedy. Although such praise does not provide a clear definition of managerial tasks, this poem does provide at least one public perception of what King's role was to be. Not only was King's 1784 position portrayed as equal to that he possessed in 1782, but his current assignment was also directly equated with that filled by David Garrick. Overlooking the succession of managers between Garrick and King, the poet evokes the

"Garrick" model of management centered in a leading player and projects that authority onto King.

Clearer indications of King's position were soon published. An item in the "Theatricals" column of the 29

237 September 1784 Public Advertiser reported that King's present engagement was to be "on the same terms as were subsisting there the year before last."31 a day later, the Morning Herald claimed that King's "salary as manager as well as for acting" was to be "twelve hundred g u i n e a s . "32 Reports of King's first performance on 30

September include summaries of an address delivered by

King before The Clandestine M a r r i a g e . 33 The Morning

Post report indicates that the address simply referred to

King's return as primary comedian for the Drury Lane company. The Morning Herald account implies some authority if not a clear statement of managerial duties:

His address was to the following effect; That

when young Recruits were no longer found to

meet the dangers of war, the Greenwich Veteran

stepped forth to man the fleet. He applied the

allegory to himself, and gave a portrait of

his scene of retirement.

Shortly after this initial performance, items began to define King's position through negation. A Public

Advertiser item on 2 October reported that, while the proprietors had given King "a very liberal salary, and certain distinctions, for his performance, advice, and attention," King had imposed the condition "that he should

NOT be deemed MANAGER, or be active in accepting, or

238 rejecting either dramatic pieces or performers."34 This was the only clear statement regarding the proprietors' limitations of King's authority, but its impact was insufficient to last even a month. On 4 October, the

Morning Post stated that "Mr. King, it seems, is not the manager, but only a manager, at Drury Lane,"35 as the writer claimed most of the company appeared to be to him.

King's abilities in staging were acknowledged, connecting his current assignment to his 1782 Drury Lane post and his longer experience at Sadler's Wells. The 5 October

Morning Herald identified Linley as the manager and added that "The experience of Mr. King, in the superintendence

[sic] of the stage, is certainly a great addition to the good government of the theatre."36 gy 9 October, when the Gazetteer called King Drury Lane's "new counsellor,"37 an understanding of King's advisory function appears to have solidified. However, a 28

October Public Advertiser column on Tancred and Sigismunda offered the Town's compliments to King as "the ostensible manager of Drury-lane."38 ^ poem "addressed to Mr.

King" which appeared in the 31 October Morning Post seems to indicate an evolved perception through the employment of the term "Director." Having declared that Thalia had regained her powers at Old Drury, the final quatrain emphasizes King's role in the shift;

0 ! then let all the praises sing,

239 Of Comedy's Protector,

And long, long may our fav'rite King,

Be Actor and D i r e c t o r . ^9

Again, such poems are indications of perceptions, not

actual lists of duties. It is, of course, possible that

King is named "Director" in order to provide a rhyme for

"Protector." At the same time. King had identified himself as "Director" in his earliest public statement of

policy at Sadler's Wells. In the 1784-1785 season, then,

although an early item had stated the limits of King's

authority, the gradual application of managerial titles to

King obscured the nature of his authority. This

accumulation of assumed authority was not contradicted in

any news item during this season.

Near the beginning of the 1785-1786 season, the

Morning Herald reported that "King continues manager at

Drury-Lane."40 in a column complaining about the

overused phrases employed in puffs, the Public Advertiser

advised King and Lewis as "the Managers of both Theatres"

to substitute new hyperbole for old.41 On 11 October,

the Public Advertiser praised King because he "does not

spare himself in either of his capacities as a manager, or

as an actor."42 on 22 October, the Morning Post began

its listing of the strengths of the winter houses by

comparing the theatres to armies; "The whole army of Old

240 Drury is under the command of General King, one of the ablest Officers in E u r o p e . "43 An item in the 25 October

Public Advertiser summarized King's appearances in various comedies over the course of a single week but began with the claim, "Mr. King is indefatigable in his exertions, as a performer, no less than a manager, to entertain the t o w n . "44 Lamenting the illness that had kept King from performing in the early portion of January 1786, the

Morning Herald named him "the theatrical Monarch of Old

D r u r y . "45 on 4 April, the Public Advertiser published the following anecdote:

Who's the Dupe? was the farce announced—

and after some struggle for its being had at

all events— King said. Who was the Dupe he

could not tell, &c. To which one of the

spokesmen in the pit replied, we can tell

who you are. The Manager in D i s t r e s s . 46

This brief list contains all the instances in which the daily newspapers under study identified King as manager during the 1785-1786 season. While this could hardly be said to be a saturation, the anecdote, if true, would indicate that the public had also identified King as manager.

For the 1786-1787 season, only one item in the

Morning Post provides such an identification. On 18

241 September, a column discussing the opening of Drury Lane predicted a successful season based upon the continuance of King's guidance. Noting that the house had been

"exceedingly crowded," the writer concludes that such houses will continue "under the conduct of Mr. King, who so ably distinguished himself in his Managerial capacity during the last winter."47

Four identifications of King as manager were printed during the 1787-1788 season. The first of these came in a letter published in the 21 September Morning Chronicle.

In questioning King's decision to postpone the opening of

Drury Lane for two days, the writer asks, "As acting

Manager, are you empowered to defer opening the Theatre for two d a y s ? "48 Although this letter will be examined again later in this chapter, what should be noted here is that the writer has a title by which to address King but no understanding of the duties attached to that title. On

1 November, the Morning Chronicle claimed "King, is an excellent acting Manager. His endeavours [sic] to please are always agreeable, both behind the curtain and before it."49 In a column on "Irish Theatricals" published on

19 May 1788, the Morning Post noted that dividing acting and management tended to lead to success for managers such as Harris at Covent Garden, Colman at the Haymarket, and

Daly in Ireland. In making this statement, the writer

242 identifies King as an exception to the r u l e . 50 This praise apparently was intended to evaluate King's entire career as manager, since the Morning Post had carried the news of King's retirement from that position on 9 May

1788.51

In the majority of the cases cited in the above paragraphs, the newspapers provided little more than a managerial title when speaking of King. Most of these

identifications came near the beginning of a theatrical

season, close to the time period in which individual performers were also identified as having been engaged by either Drury Lane or Covent Garden. As such, these items

attached King's name to management but did not describe his duties.

Over the course of the four theatrical seasons that are the subject of this chapter, the newspapers employed similar strategies when discussing matters of repertory, personnel or policy that avoided attaching any specific authority to King. The use of the broader terms

"management" or "managers" tended to disperse responsibility for any individual decision; therefore, the scholar examining such items encounters difficulty in determining King's responsibility. If King's description of the rigid controls imposed upon him by the proprietors was accurate, almost none of these items can be said to

243 address matters under his authority. Upon occasion, the phrase "Old Drury" appeared, creating the sense that the

institution moved as a unit to present a play. In such cases, the actions of "Old Drury" are fairly broad and are generally considered correct decisions. Finally, a writer might ask why an individual performer did not bring forth a specific role suited to his or her abilities. Although a comparison of such requests against the performance calendars of The London Stage might reveal specific responses to these items, the indirect nature of such petitions creates difficulty for the scholar attempting to determine whether King was assumed to have the authority to fulfill the request. The only means of determining

King's responsibilities would appear to be an examination of items in which his name was attached directly to a

specific managerial task.

Such an examination yields five distinct events in the 1784-1785 season. The first concerns The Deception, a new comedy that premiered in October. According to notices placed in the Morning Chronicle, the Gazetteer, and the Public Advertiser;

Mr. King, who is certainly a good judge of

dramatic writing, as well as acting, has, it is

said, already given a proof of his high

opinion of the piece, by distributing the

parts to Parsons, Dodd, Bensley, Palmer,

244 Brereton, and Aickin, Miss Barren, Miss

Pope, and Mrs. W i l s o n . 52

In addition to stating that King had cast the roles, there is an implication of script approval in calling King "a good judge of writing" who had "a high opinion of the piece." When the comedy failed, however, accounts in the

Morning Chronicle attribute the decision to the "managers" and even "the author" but make no direct reference to

K i n g . 53 whereas casting and script approval do not appear on King's stated duties, the withdrawal of a new work could possibly have fallen under his obligation to bring forth new works under the guidance of the proprietors.

With the debut of Arthur and Emmeline in late

November comes the second task attributed to King. The

Public Advertiser praised him "for the superior stile

[sic] in which the new Piece . . . is got up." The writer notes that the performers were well rehearsed and that the mechanical devices used were well executed, both of which

"can only have been owing to the most extreme degree of attention and trouble in the M a n a g e r . "54 no doubt

King's experience in producing pantomimes at Sadler's

Wells proved useful in producing pageantry at Drury Lane.

This task falls clearly under King's first category of bringing forth new works.

245 The third event is contained in an anecdote published in the 10 January 1785 Morning Post. An unnamed "great

Lady" supposedly demanded that a sweeper be dismissed "for praising the memory of that inimitable actor Mr. Garrick, and saying there never would be his equal, either man or woman" when it was well known that Garrick "had used her

[the great Lady] ill." Rather than dismiss the sweeper, which King's list implies he would not have had the authority to do. King moved "the great Lady" to another dressing room.^^ Whether this constitutes negotiating between parties is debatable, but, even without the authority to fire employees. King seems to have assumed a mandate to preserve peaceable relationships within the company.

The fourth event concerns Mrs. Siddons' benefit. On

3 May, the Morning Herald reported that King had been

"authorized by the Proprietors to offer" an alternative to her selection of The Rival Candidates, "not merely as a compliment to her, but on a supposition it might be of service to the farce, by the certainty of exhibiting it to a very brilliant and crowded a u d i e n c e . "56 Speaking for the proprietors. King promoted a new farce over the known afterpiece, fulfilling his mandate to produce new works and negotiate between parties.

Finally, as would be the case in each of these four

246 theatrical seasons. King delivered the closing night address to the audience on behalf of the proprietors and performers.57 Although this did not constitute a moment of crisis during which the audience would have to be addressed, such an address clearly fits into King's list of understood duties. As with all of these five events.

King appears to have functioned with tact and politeness.

During the 1 7 8 4 - 1 7 8 5 season, rumors of a shift in proprietorship involved King. On 13 December, the Public

Advertiser hinted that "a new arrangement is to take place respecting the patent of Drury-lane— that King, Mrs.

Siddons, and Henderson, have each been offered small s h a r e s . "58 Close to the end of the season, the 1 June

Public Advertiser stated that "The talk of some change in the Drury-lane management is not entirely at an end; tho' whether it is to be by alienation to new purchasers, or only by a short lease on an improved rent, is not s a i d . "59 However, the 6 June Morning Chronicle deflated the rumors with the clear statement that "The Drury-lane company remains in statu quo [sic], on the present recess.

Smith and King do not r e t i r e . "60

In the 1 7 8 5 - 1 7 8 6 season, the newspapers provide a series of instances in which managerial tasks are assumed to be under King's authority. The first of these was printed in the 2 8 September Public Advertiser. The writer

247 of this item asks King to bring established plays into the current repertory. Assuming that Colman's The Jealous

Wife was coming forward, the writer requests The

Clandestine Marriage and suggests that Smith and Miss

Barren appear as Mr. and Mrs. Oakley. King's own roles are then listed:

The manager, in justice to the town, ought now

to entertain them with his own Lord Ogleby,

and Miss Pope's Miss Sterling— Let us then

have Brass in the Confederacy, Sir Paul

Pliant, Sir Peter Teazle, encore Atall,

Puff again, &c. &c. &c.61

Acknowledging King's managerial role lifts this list above the usual request for an actor to take up a certain role.

The assumption that King would use his authority to appear frequently in his major roles, that the title of manager not only enabled but was expected to lead to such decisions, seems to this writer to have been a logical managerial choice. A similar notice appeared in the 24

November Morning Post. After an illness had prevented him from performing, the item reported that King had selected

The Clandestine Marriage for "his re-appearance on the s t a g e . "62 Although this item does not name King as a manager, the writer correctly assumed that King would have the authority to make such a selection.

248 The second of these tasks appeared in the 27 October

Morning Chronicle. King came forward "in the night-gown of Lord Ogilby [sic] to announce the next day's performance. "63 While King was expected to make such announcements, the writer notes that the audience was

surprised by his doing so in costume. The writer adopted the line of reasoning held forth by an audience member who claimed "that it was King's characteristic to despise all ceremony, and to be glad to see his friends, let his dress be what it would."

The third task attributed to King was the revival of

Garrick's The Jubilee. The 18 November Morning Post noted :

Much to the honour of Mr. King's head and

heart, is the revival of the above piece. It

is a mark of respect to the memory of his

deceased friend; and may it prove as a charm

to banish dullness, obscenity, and bad taste,

from the noblest and most rational of our

amusements ! 64

Other items indicate that King's participation in this revival had caused him both physical and emotional pain.

One report printed in the Morning Herald and the Morning

Post claimed that "the name and recollection of Garrick brought tears into the eyes of King and his other fellow

249 performers."65 A second item reported that King had

"appeared in the Jubilee after a most severe and dangerous fit of illness."66

The fourth task attributed to King for this season

was the staging of the Christmas pantomime, Hurly Burly.

On 17 December, the Morning Post, assuming King to be the author of the piece, claimed that his "long experience and extensive knowledge of theatrical business" would make

"him a proper person for such an undertaking."67 on the same day, the Public Advertiser named Tickell and Cobb as the authors and King as the manager of the mechanical effects.68 on 23 December, the Morning Chronicle identified King as the originator of "[t]he invention and conduct of the fable, scenery, &c. together with the greatest part of the dialogue" and composer of "the capital songs." On 4 January 1786, the Public Advertiser noted a specific moment within the pantomime: "The little child in the basket is an astonishing proof of Mr. King's abilities."70 This series of items provides little evidence of King's specific functions related to the production of this spectacle, but this event received more commentary than any other during King's management. As with Arthur and Emmeline, the staging of Hurly Burly would certainly have benefited from King's experience in staging

Sadler's Wells pantomimes.

250 Finally, King addressed the public from the stage twice. In the first of these, he apologized for Miss

Pope's hoarse voice prior to her appearance in The Heiress on 19 January.71 The second of these was the season closing speech, recorded in the Morning Herald, the

Morning Post, and the Public Advertiser. 72

Fewer such notices appeared in the 1786-1787 season.

The first mention of King for that year was an anecdote published in the 4 November Morning Chronicle. During that season, both Covent Garden and Drury Lane staged pageants entitled Richard Coeur de Lion. According to this item:

When Bannister received his part, he asked

Mr. King whether before assuming the title of

a Knight, it would not be proper for him to

carry a congratulatory address to Richard

on his d e l i v e r y . 73

This appears to have been simply the preservation of a rehearsal joke in which Bannister equated the title of his role to an actual title. At the same time, that he should address such a joke to King could imply that King had assigned the roles or was in charge of the rehearsal during which Bannister made his joke.

A letter in the 11 December Morning Chronicle took issue with a matter of staging. Signed "Middle Gallery,"

251 the writer objects to the number of supernumeraries used in the staging of Venice Preserv'd; citing Otway's stage directions, the writer argues that there should be ten senators rather than the six who appeared in the Drury

Lane staging. Perhaps more to the point of the current investigation, the item begins with an ambiguous address to "Mr. King, or whoever holds such superintendence. "74

Several direct addresses to the audience were reported during this season. The first, reported in the

11 December Morning Chronicle, was a simple indication that King had announced the next day's performance of The

School for G r e y b e a r d s .75 on 5 February 1787, the Public

Advertiser reported that Drury Lane had been evacuated after a fire broke out in a nearby building. When the flames of this fire were clearly visible through the windows of Drury Lane, word of the blaze began to spread through the audience, causing some to question whether

Drury Lane was itself on fire.

Mr. King replied, "that it was not; but

requested they would leave the Theatre in

a deliberate manner, as serious consequences

might arise."76

The remainder of this report would seem to indicate that

King was the sole source of reason in the midst of this perceived danger. Ladies fainted, audience members in the

252 boxes refused to leave, those in the gallery demanded a refund of admission charges, and audience members remained on stage with performers. Within the available materials, this is the only instance of King addressing the audience during a moment of crisis. The results of that address are difficult to assess, but King's demeanor during the event appears to have been exemplary. The third andfinal direct address to the audience was the customary speech on closing night recorded by the Morning Herald, the Morning

Chronicle, and the Public Advertiser.??

To determine King's managerial tasks for the

1787-1788 season, this study now resumes the discussion of the letter that appeared in the 21 September Morning

Chronicle. Objecting to the postponement of the opening, the writer takes specific issue with King's insistence upon consulting with Linley before making the decision.

Now, Sir, give me leave to ask you, on what

authority you asserted that the performance

was postponed? As acting Manager, are you

empowered to defer opening the Theatre for

two days? If you are, then the seeing or

not seeing Mr. Linley, had no more to do

with the business, than your not being able

to visit Constantinople, in an Air Balloon,

for the purpose of drinking coffee with the

Grand Vizier. If your authority does not

253 extend to an absolute right of postponing

the performance, it remains with you to

explain on what principle you ventured to

assume a power not vested in you by the

Managers.

This writer understood that an absolute authority rested somewhere between Linley and King, but he did not have a clear understanding of the specific authority King possessed. Linley's approval was either an unnecessary task or a missed step, but the writer could not determine which was the case. It is difficult to account for the existence of such confusion during King's fourth year in this position.

In the remainder of the season. King's direct addresses to the public are noted three times. The first of these, reported in the 14 November Morning Chronicle,

"Mr. King informed the audience, that Mrs. Crouch had, in her way to the Theatre been overturned in a coach and was considerably hurt."79 Second, as a result of announcing

Mara in Maudane, King seems to have forced the opera star to appear beyond the scope of her contractual agreement with the proprietors.80 The final address for the season was again the customary closing night speech recorded in the Morning Chronicle and the Morning

Post.8 i

254 This brief summary of the reporting of King's managerial tasks results in twenty items, most of which correspond in some way to the list of duties that appears in King's address. There is little to differentiate the four theatrical seasons between 1784 and 1788 from the

1782-1783 season, so the impression is of continuity rather than redefinition. While such notices did tend to link King to the managerial tasks he listed in his address to the public, they provided only infrequent glimpses of his daily functions.

Public perceptions of King's managerial role would also exist in a broader context of assumptions about management at both theatres. Near the beginning of the

1788-1789 season, the Morning Chronicle published a series of four fictional dialogues between a manager and various aspiring performers. Of the nine candidates that audition for the manager, few are willing to take any guidance in developing their talents, and only one is hired for his tumbling a b i l i t i e s . &ii four dialogues were published prior to King's address, but only the faintest of coincidences tie these interviews to King's situation at the time. While the hiring of the tumbler as a Harlequin was probably intended to represent that patent house's reliance upon pantomime. King's own reputation as a skilled producer of pantomime is also evoked by the

255 manager's quick hiring of a skilled specialty performer.

What should be noted for the purposes of this study is the public conception of theatre management upon which these dialogues are based. Although the manager possesses the authority to engage performers, each applicant assumes that offering such engagements is the manager's duty to the public. Those not offered engagements and those offered engagements under the stipulation of further training display either sorrow, distraction or even anger over the manager's inability or unwillingness to recognize their innate talent and to let them enter the company.

The candidates arrive either with or without appointments, drawing the manager away from working in his office or even eating his meals. Both his work and private space are invaded with little apparent necessity for apologies.

Although these dialogues are offered as fictional accounts, these attitudes are reflected in King's complaint about personal attacks regarding the engagement of individual performers.

Given the imprecise use of managerial titles by the newspapers, the low amount of reported tasks performed by

King over four seasons, and the public's presumed right to make demands upon any individual known to be a "manager," the "undefined if not undefinable" nature of King's position is understandable. It is important to note that

256 no published item contradicted the assignment of managerial control to King.

Having described the general quality of his position.

King used the next segment of his address to discuss specific difficulties related to three leading company members during the 1787-1788 season; the illness of

Parsons, the retirement of Smith, and the near loss of

Palmer. As regards the first of these. Parsons' health had been in a gradual decline since December of 1786, but a substantial relapse early in 1788 had led the Morning

Post to announce, "Parsons continues so ill, it is not expected he can act at the Winter Theatre this s e a s o n . "83 in his address. King assumed that Parsons planned "to take up his abode for a time in the south of

France" in order to fully recover. In a similar manner, the question of Smith's retirement had also extended over several seasons. Although Smith did not actually retire until the end of the 1787-1788 s e a s o n , 84 rumors had speculated he would retire at the end of the 1785-1786 and

1786-1787 s e a s o n s . 85 Perhaps most troublesome of these three issues. Palmer's plan to open the Royalty Theatre in

Wellclose Square had been known as early as October of

1785.8 6 Although early announcements had indicated that

Palmer intended to operate his theatre after the pattern established at Sadler's Wells, the initial performance on

257 20 June 1787 featured As You Like It and Miss in her

Teens. Considering this an infringement upon their

rights, the patentees of the major houses succeeded in

closing the Royalty immediately after this first

performance. Litigation and petitions to Parliament

continued throughout the 1787-1788 season, during which

time the Royalty remained open by presenting music and

pantomimes. Palmer did not appear at Drury Lane until 26

April 1788.87 According to his address. King attempted

to divert the blame for these losses and near losses by

offering his own resignation at the end of the 1787-1788

season.

Having established the reasons for his initial

resignation in May, King used the next segment of his

address to detail the events that led up to his departure

from London in September. In spite of his resignation at

the end of the 1787-1788 season. King entered into

negotiations with an unnamed representative of the

proprietors, presumably Sheridan, on 7 August 1788. At

the request of this representative. King agreed to return,

but only if his managerial position could be defined in writing. King claimed to have requested this, not in

order to have his authority increased, but "to have its

limits particularly described, and committed to paper."

The representative agreed the request was reasonable, but

258 no such document ever appeared. During this period of negotiation, the representative mentioned a plan to change

"the form and substance of the Play-house Articles" and revive the practice whereby each performer would be required to sign this agreement. In order to have sufficient time to appease company members "in case [the changes] should be offensive," King requested that the document be provided "some time before opening the

Theatre." Although agreeing to provide the revised

Articles quickly, the representative did not do so. King does not ascribe any maliciousness to the proprietor, instead pointing to the great amount of business to which this unnamed person had to attend.On the day before the opening King claimed to have been "attacked in the usual way." Rather than enter into the business of Drury Lane without full authority. King elected to remain passive:

I saw my danger and did all I could to avoid

it— that is to say, conscious that if I once

embarked, the first six days would involve me

in a variety of engagements, positive or

conditional, from which it would be difficult

to retreat. I determined not to appear, either

as Manager or Actor, till I was properly

warranted so to do.

The unnamed proprietor, surprised at King's absence on the

259 opening night of the season, sent a message to King's house, asking King to expect a call that evening. No one had appeared by three o'clock in the morning. "My patience being then exhausted," King wrote a letter to the proprietors in which he resigned his position in the company, both as actor and manager. The next day. King left town.

With his reasons for leaving Drury Lane now explained. King again acknowledged the necessity for providing such an explanation. The address concludes with an apology to the public; then, in a postscript. King asserted:

Called on as I have been, I could not

whatever might be my wish, with safety to

myself, withhold from the publick [sic] the

foregoing particulars; but I beg leave to add

a solemn declaration, that I do not mean, by

any thing I have said, to imply that the

gentleman who appeared for the proprietors

had any sinister views in keeping back either

the article or memorandum alluded to.

By concluding in this way, and by refusing to name the representative of the proprietors. King succeeded in apologizing for his own actions without attacking anyone directly. If nothing else, the address is a study in tact.

260 Response to King's address came quickly. Candidas

published two more letters in the Morning Post. On 9

October, he proclaimed that anyone who had read King's

address would find "that he has fairly vindicated his

character, and deserves to be esteemed for his good

temper, politeness, and liberality." Raising the question

of why King would stay so long in a position he found

"mortifying" for as long as he had, Candidas assumes that

King's longstanding friendly relationships within the

company and his expectations for the promised improved

conditions would have sufficed. Having no such

relationships or hopes, Kemble would not have the same

reasons and would not be likely to remain in the position

as long as King had.88 on 10 October, Candidas began

the call to bring King back into the acting company of

Drury Lane, assuming that "[t]he Proprietors indeed can

have no reasonable objection to restore Mr. King to his

professional duty, as there is obviously no difference

between them but on the ground of the management."89 On

10 October, the Morning Chronicle praised "the mildness

and temper" of King's address, noting the lack of "any

thing like acrimony" in a man who considered himself wronged by the proprietors.90 ^n item published on 13

October announced that, in apparent compliance with public

demand, "Drury-lane Theatre is, and ever will be, open to

261 receive [King], in his professional character, on the most liberal t e r m s . "91 on 14 October, both the Morning

Chronicle and the Morning Post published a paragraph comparing King's description of his position as

"unenviable" to similar comments by G a r r i c k . 92

In a very short span of time, attention shifted from the mystery of King's departure to the difficulties Kemble would inevitably face. To counter such expectations,

Kemble published an address in the Morning Post in which he insisted "no humiliation degrades my services to those who do me the honour to employ m e . "93 To assure the public that Kemble had sufficient authority to maintain costume stock, a short letter signed "Ask the Mantua

Makers," argued "that not a Lady's petticoat is trimmed without first consulting Mr. K e m b l e . "94 By the month's end, longer letters signed "Dramaticus" proclaimed that

Kemble had already become a success as manager of Drury

L a n e . 95 with these protests that managerial control now rested in the leading tragedian, Kemble could easily be seen as restoring the "Garrick" model once again.

As this chapter has shown, public perceptions of

King's managerial function cast him in the "Garrick" model of active, visible management centered in a leading player. Newspaper items assigned King the title of

"manager" without explaining, or perhaps understanding,

262 the distinction between the authority Garrick had possessed as a proprietor and the authority King lacked as

a manager under Sheridan's proprietorship. The reporting of managerial tasks tended to obfuscate rather than enlighten. It is uncertain, however, how much clearer the public record could have become. King's description of his managerial role as "undefined or undefinable" and his account of the difficulties he encountered getting the

"representative" to commit an agreement to paper would indicate that not even Sheridan had defined the limits of

King's authority. Why would the reading public have assumed anything but a reinstatement of the "Garrick" model from a man who had successfully run Sadler's Wells for over a decade, from a man who was revered for his staging of pantomimes and other spectacles, from a man who provided little to contradict such a public perception?

263 NOTES

^Morning Chronicle 8 October 1788, 3; Morning Post 8 October 1788, 2; Public Advertiser 9 October 1788, 3-4.

^Public Advertiser 28 August 1788, 1.

^Morning Post 9 September 1788, 2.

'^Morning Chronicle 9 September 1788, 4.

^Morning Chronicle 9 September 1788, 2.

^Morning Post 7 September 1788, 3.

^Morning Chronicle 20 September 1788, 3.

^Morning Chronicle 22 September 1788, 2.

^Morning Chronicle 24 September 1788, 2; Public Advertiser 25 September 1788, 3.

lOpublic Advertiser 29 September 1788, 1.

llMorning Chronicle 25 September 1788, 2; Morning Post 30 September 1788, 3.

^^Morning Post 29 September 1788, 2.

13public Advertiser 3 October 1788, 2.

l^Morning Chronicle 26 September 1788, 2; Morning Post 30 September 1788, 3.

l^All quotations from King's address are from the following sources: Morning Chronicle 8 October 1788, 3; Morning Post 8 October 1788, 2; Public Advertiser 9 October 1788, 3-4.

IGMorning Post 24 September 1788, 3.

l?Morning Post 25 September 1788, 3.

IBxorning Post 26 September 1788, 2.

l^Morning Post 27 September 1788, 3.

Z^Morning Post 29 September 1788, 2.

264 ZlMorning Post 1 October 1788, 3.

^^Morning Post 2 October 1788, 3.

23Morning Post 2 October 1788, 2; Public Advertiser 3 October 1788, 2; Morning Chronicle 2 October 1788, 2.

2^Morning Post 3 October 1788, 2.

25Morning Post 4 October 1788, 2.

26Morning Post 6 October 1788, 2.

27Morning Post 3 August 1784, 3.

28Morning Post 9 September 1784, 2; Morning Chronicle 10 September 1784, 2; Morning Chronicle 11 September 1784, 3.

29Morning Chronicle 23 September 1784, 3.

30Morning Post 24 September 1784, 4; Public Advertiser 25 September 1784, 2.

31public Advertiser 29 September 1784, 2.

32Morning Herald 30 September 1784, 2.

33Morning Herald 1 October 1784, 2; Morning Post 1 October 1784, 2.

34public Advertiser 2 October 1784, 3.

35Morning Post 4 October 1784, 2.

36Morning Herald 5 October 1784, 2.

37Qazetteer and New Daily Advertiser 9 October 1784, 3.

38public Advertiser 28 October 1784, 2.

3^Morning Post 31 October 1784, 4.

40Morning Herald 30 August 1785, 2.

41public Advertiser 22 September 1785, 2.

42public Advertiser 11 October 1785, 2.

43Morning Post 22 October 1785, 2.

265 44public Advertiser 25 October 1785, 3.

45Morning Herald 10 January 1786, 2.

46public Advertiser 4 April 1786, 2.

^ ’^Morninq Post 18 September 1786, 2.

48Morning Chronicle 21 September 1787, 4.

4^Morninq Chronicle 1 November 1787, 2.

SOMorning Post 19 May 1788, 2.

^1Morning Post 9 May 1788, 3.

S^Morning Chronicle 14 October 1784, 2; Gazetteer and New Daily Advertiser 15 October 1784, 2; Public Advertiser 15 October 1784, 3.

S^Morning Chronicle 29 October 1784, 3; Morning Chronicle 30 October 1784, 3.

54public Advertiser 24 November 1784, 3.

^^Morning Post 10 January 1785, 2.

^^Morning Herald 3 May 1785, 2.

S^Morning Herald 31 May 1785, 4.

58public Advertiser 13 December 1784, 3.

59public Advertiser 1 June 1785, 3.

GOMorning Chronicle 6 June 1785, 2.

Glpublic Advertiser 28 September 1785, 3.

GZMorning Post 24 November 1785, 3.

63Morning Chronicle 27 October 1785, 2.

64Morning Post 18 November 1785, 2.

^^Morning Herald 2 November 1785, 2; Morning Post 3 November 1785, 2.

G^Morning Post 25 November 1785, 2.

G^Morning Post 17 December 1785, 2.

266 68public Advertiser 17 December 1785, 2.

^^Mornlnq Chronicle 23 December 1785, 2.

70public Advertiser 4 January 1786, 2.

^^Morninq Post 20 January 1786, 2.

72Mornlnq Herald 9 June 1786, 2; Morning Post 9 June 1786, 2; Public Advertiser 10 June 1786, 4.

^^Morninq Chronicle 4 November 1786, 2.

^^Morninq Chronicle 11 December 1786, 2.

75Morninq Chronicle 11 December 1786, 2.

76pubiic Advertiser 5 February 1787, 3.

^^Morninq Herald 10 June 1787, 2; Morning Chronicle 11 June 1787, 2; Public Advertiser 11 June 1787, 2.

78Morninq Chronicle 21 September 1787, 4.

79Morninq Chronicle 14 November 1787, 2.

BOMorninq Post 14 April 1788, 2.

BlMorninq Chronicle 14 June 1788, 3; Morning Post 14 June 1788, 3.

B^Morninq Chronicle 29 August 1788, 4; Morning Chronicle 7 September 1788, 4; Morning Chronicle 13 September 1788, 4; Morning Chronicle 3 October 1788, 4.

B3Morninq Post 30 January 1788, 3.

B^Morninq Chronicle 9 June 1788, 3; Morning Post 10 June 1788, 2.

B^Morning Post 11 May 1786, 2; Morning Post 10 April 1786, 3; Morning Herald 14 April 1786, 2; Morning Herald 10 June 1786, 3.

B^Morning Chronicle 10 October 1785, 3; Morning Post 10 October 1785, 2; Morning Herald 11 October 1785, 2 .

B^Morning Chronicle 26 April 1788, 3; Morning Post 26 April 1788, 2; Public Advertiser 26 April 1788, 2. For a complete account of the patentee's efforts to close the 267 Royalty Theatre, see the fifth chapter of Watson Nicholson's The Struggle for a Free Stage in London (1906; New York: Benjamin Blom, 1966).

Q^Morning Post 9 October 1788, 3.

Q^Morning Post 10 October 1788, 2.

^^Morning Chronicle 10 October, 2.

SlMorning Chronicle 13 October, 3.

92Mbrning Chronicle 14 October, 1; Morning Post 14 October, 3.

93Morning Post 11 October 1788, 2.

^^Morning Post 16 October 1788, 2.

95Norning Post 17 October 1788, 3; Morning Post 20 October 1788, 4.

268 Chapter 7

Conclusion

In my examination of the newspaper record covering

Thomas King's career in management at both Sadler's Wells

from 1772 to 1782 and the Theatre Royal, Drury Lane, from

1782 to 1788, I have discovered a series of interrelated

issues regarding both King and the London theatre scene

during this era. In this final chapter, I will attempt to

delineate these issues and explain their significance to

the field of eighteenth-century English theatre research.

First, Thomas King's success as a performer created a

reputation for good taste and high quality that followed him into his managerial career at Sadler's Wells. Public expectations based on this reputation varied from the anticipation that the Wells would shift its repertory to more "legitimate" offerings to the fear that King would change the very nature of the Wells by terminating the policy of "delivering Wines" with the price of admission.

Over his tenure at the Wells, King added to his reputation by becoming an effective stager of pantomime and

269 spectacle. When he assumed his managerial post at Drury

Lane in 1782, a new set of assumptions based upon his work

at the Wells either led to approval of King as a man who was well respected by the town and the Drury Lane company or to misapprehensions and doubts that the repertory would descend into pantomime and pageantry. In both cases, these assumptions or expectations associated an institution (Sadler's Wells or Drury Lane) so strongly with the public image of its leader (Thomas King) that the two were inseparable.

Such a public impression would appear to lift King from obscurity into the "Great Man" model of theatre history, but this is not the case argued here. This fusion of manager and entertainment institution was in evidence before either of King's managerial attempts. I have referred to this as the "Garrick" model of management throughout this study. Newspaper writers consistently maintained the assumption that a leading player holding a managerial title was the representative of the proprietors and possessed authority to conduct the theatre's business on all levels. As the representative of management at the

Wells, King was able to sustain the "Garrick" model and provide over a decade of successful leadership. However, once subject to Sheridan's limitations, limitations which

King's address states were never formalized into a written

270 agreement. King was unable to provide similar leadership

for Drury Lane. Of course. King was also a proprietor at

the Wells, but the public did not distinguish between

proprietorship and management.

Second, King's management shaped Sadler's Wells in a

distinct way. The considerable detail I have presented in

the previous chapters and in the performance calendar which follows reveals that, in spite of his promise to

continue producing the offerings which the Sadler's Wells

audience had come to expect. King actually lifted the

image of the Wells. As a result, the Wells functioned as

a provider of "illegitimate" entertainments (rope dancing,

ladder dancing, tumbling, pantomimes, dances, music and

spectacle) permitted by the Licensing Act, but did so in a manner resembling the "legitimate" houses. The key to

King's reshaping of the Wells' image rests in his use of

advertisements. As the performance calendar shows. King

increased the number of performers' names featured and the number of offerings announced in the advertisements. The

frequency with which these items were changed cause the

Wells to stand out from the other minor houses.

King's policies for managing the Wells, added to his own reputation for good taste and high quality, made

Sadler's Wells the fashionable place it became for a short time. After his departure, the Wells returned to its

271 former reputation as a place for the lower classes to

enjoy themselves. While Richard Wroughton's leadership

was different from that provided by Thomas Rosoman, the

high reputation the Wells had achieved under King changed

rather quickly.

The information on Sadler's Wells compiled here does

not appear in this detail in any other study. As I

discussed in the first chapter, most theatre history texts

overlook Sadler's Wells until after the Theatre Regulation

Act of 1843 allowed Samuel Phelps to stage his noteworthy,

"legitimate" productions of Shakespearean texts. Thus,

the close examination of newspaper texts I have assembled

provides new information on eighteenth-century theatre.

Third, a cultural dynamic I have referred to as the

interplay between the major and minor houses has been

overlooked by theatre scholars. The reading public

(hence, the probable audience for both Sadler's Wells and

Drury Lane) was aware of the careers of the performers in both major and minor houses. As I have already stated.

King's reputation at Drury Lane created assumptions and expectations for his management of Sadler's Wells, and his success in staging pantomime and spectacle at Sadler's

Wells created approval or doubts regarding his management of Drury Lane. King's leadership in either position was necessarily perceived as having been shaped by his

272 previous experience. Therefore, although King did not rise into the ranks of the "Great Men" of this period, his work in both institutions is illustrative of a larger trend to view the major and minor houses as interrelated rather than discrete.

King was not the only object of such perceptions. As

I stated earlier, the public tended to view manager and entertainment institution as a single entity. Sadler's

Wells benefited from King's reputation, but King was not the only link between the Wells and Drury Lane. Numerous performers from both of the winter theatres appeared on the Sadler's Wells stage. The music of Charles Dibdin the

Elder became a staple of Sadler's Wells repertory under

King, but Dibdin's music could also be heard at Drury Lane during the winter. The evidence I have examined also suggests analogies in theatre architecture, audience composition, and performance context. Clearly, the view that Drury Lane, Covent Garden and the Haymarket were a discrete unit of the eighteenth-century London entertainment industry can no longer be sustained.

Fourth, the newspaper industry was the mediating forum for all these issues. Both sets of assumptions or expectations I have mentioned in this chapter found public expression through the popular press. The various news items, letters and poems published in the newspapers under

273 study promoted the idea that King's ascension into Drury

Lane management had restored the "Garrick" model of management to that institution. Whether or not the publishers intended to create confusion, the use of the words "management" and "managers" in place of the actual names of persons of authority obfuscated public perception of Drury Lane's management structure. By citing King as the "ostensible manager" of Drury Lane in 1784, the publisher of the Public Advertiser undercut the redefinition of King's managerial role; as a result, the public could reasonably have believed King's duties were no different from those he had performed in the 1782-1783 season.

The majority of theatrical reporting would have been beyond King's control, particularly when negative items found their way into print. However, when criticisms of his policies at Sadler's Wells arose. King tended to respond by sending a letter to one of the newspapers.

While at Drury Lane, King responded to public concerns through the popular press only twice, each time addressing the subject of his resignation from the managerial position he held. He responded to no direct challenge regarding his actions at Drury Lane while serving in his managerial function, nor did King attempt to define his authority through a published letter prior to either

274 resignation. Obviously, King's silence contributed to the confusion regarding his managerial duties.

Although previous studies, even early histories such as W.C. Gulton's The History of the Theatres of London and

John Genest's Some Account of the English Stage From the

Restoration in 1660 to 1830, contain King's address either in whole or in part, no study has used them as evidence of either the interplay between the major and minor houses or of the public's insistence upon finding the "Garrick" model of management where it did not exist. However, both cultural dynamics are clearly present in the newspaper record.

No other study has examined this period with an exclusive use of the newspaper record as its methodology; most accounts of the period utilize the private record contained in legal documents, letters, diaries, and other sources that would not have been available to the reading public. Studies of the private record tend to overlook this portion of the historical context in which King attempted to manage these places of public entertainment.

If the newspaper record is examined as distinct from the private record, key contradictions present themselves.

For example, while other accounts of this period have depicted Sheridan as aloof, preoccupied, or even uncaring, the newspaper record creates no such image. Not even

275 King's address to the public named Sheridan directly, nor did King appear to have sustained anger or resentment towards Sheridan after resigning. That the impressions contained in the newspaper record contradict the "hard facts" of the private record does not provide sufficient evidence to overturn theatre history as it has been written, but an acknowledgement of these impressions does enhance an understanding of eighteenth-century theatre in its public context. The popular press had sufficient power to shape public perceptions, thereby assisting, consciously or not, in the creation of King's difficulties at Drury Lane and his success at Sadler's Wells.

276 APPENDIX Sadler's Wells 1772-1784

Performance Calendar

As stated in the introduction, the daily offerings of the minor theatres during the period under study here have been neglected by major theatrical history texts. For example. The London

Stage has only sporadic entries for operas at both the

Pantheon and Marybone Gardens, but there is no listing of even the pantomimes Sadler's Wells offered during this period. This may be due, in part, to the difficulty in locating materials from which to glean such information. Harvester Microform's Records of the Great Playhouses, Series One; The Sadler's Wells

Archives from Finsbury Central Library, London contains no playbills from 1772 to 1784; therefore, records equivalent to those found in The London Stage are not readily available.

What follows is a calendar drawn primarily from advertisements found on the front pages of the Public

277 Advertiser/ the Morning Chronicle, the Gazetteer and

New Daily Advertiser, the Morning Post, the Morning

Herald, the General Advertiser, and the London

Courant. Casting for some roles has been drawn either from the benefit advertisements or other short news

items placed in those newspapers or from similar advertisements, news items or printed lyrics in the

St. James's Chronicle, the General Evening Post

(London), the London Evening Post, Lloyd's Evening

Post, the London Chronicle, or the Whitehall Evening

Post. This study uses the Early English Newspapers collection, which consists of the holdings of the

Burney collection from the British Museum and the

Nicholls collection from the Bodeleian Library at

Oxford. While lacunae do exist within this series, the available materials are sufficient to provide a sense of repertory and personnel. Since this study must necessarily be founded upon newspapers rather than playbills, the performance calendar should be examined as a record of what was advertised to be performed, not necessarily what was actually performed.

Throughout Thomas King's tenure as proprietor and manager of Sadler's Wells, the Public Advertiser published daily advertisements listing, in varying

278 degrees of detail, the offerings for any given evening of the regular season. These advertisements provide the foundation for the calendar. In the performance calendar, a range of dates is listed for each week of the regular season. The information provided after any range of dates within the regular season has been drawn from the Public Advertiser. As time passed, advertisements appeared in other newspapers, but none developed the consistency of the Public Advertiser.

Within the performance calendar, parenthetical notes are provided after the range of dates for a given week to indicate when a new permutation of an advertisement in a newspaper other than the Public Advertiser was printed for the first time.

No newspaper carried advertisements for all the benefits, but the Public Advertiser continued to be the best source of information. Therefore, in the daily listings of the benefit seasons, the Public

Advertiser has provided the source material for any entry that does not have a parenthetical note following the date of the benefit performance. If a benefit performance is followed by a parenthetical note which does not include the Public Advertiser, then the Public Advertiser did not print an advertisement for that benefit.

279 Each year begins with a list of performers and other personnel: these are lists of featured performers, not exhaustive lists of personnel. Those performers who did not appear in the earliest advertisement for the year have the date of their first appearance in parentheses. Administrative positions such as treasurer or prompter are drawn from benefit advertisements. Personnel new to the company are printed in boldface.

In each year's performance calendar, new items are also printed in boldface on the date of their first appearance. The only exception to this would be a "Featured Entertainment" that had been revived from a previous season (i.e.. The Enchanted Wood appears as the second offering of 1783 and the first offering of

1784). Featured entertainments are in boldface for their first appearance in any season.

Within the calendar, Sadler's Wells offerings have been divided into four classifications: entertainment, musical piece, dance, and specialty.

An "entertainment" seems to have been roughly equivalent to a pantomime. Entertainments described by the Morning Chronicle generally feature a Harlequin and a Columbine escaping from Clowns and other suitors. Rather than containing any substantial plot.

280 entertainments appear to have been showcases for music, scenic effects, machinery, and

"transformations." A "musical piece" usually required only one setting; it could include both singing and dancing, but it was more frequently an opera in miniature consisting of various airs connected by recitative dialogue. The patriotic spectacles King brought forth starting in 1778 are identified as either a "musical piece" or an "entertainment" in the advertisements. The calendar lists them as they were classified in the advertisements. The clearest category of offering would be a dance, which appears to have been exactly that: a dance. Some dances seem to have been based upon situations, others are described as "characteristic," but the few available newspaper descriptions give no sense of narrative in either kind of dance. The final category,

"specialty," does not appear in the advertisements.

Even before King's tenure, Sadler's Wells had been known for tumbling and rope dancing; within his reign, audiences also saw ladder dancing, bird imitations, and trained dogs. The category of

"specialty" covers any such act that was featured within an advertisement.

281 List of Abbreviations

GA General Advertiser

GEP General Evening Post (London)

GNDA Gazetteer and New Daily Advertiser

LC London Chronicle

LCWC London Courant and Westminster Chronicle

LEP London Evening Post

Lloyd's Lloyd's Evening Post

MC Morning Chronicle

MH Morning Herald

MP Morning Post

PA Public Advertiser

SJC St. James's Chronicle

WEP Whitehall Evening Post

282 17721

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Rear, Miss Dowson, Miss Froment (Mrs. Sutton after 24 September).%

Dancers: Sieur Daigueville, Mr. Atkins, Madam Daigueville (added 15 June), Miss Froment (Mrs. Sutton after 24 September), Signora Radicatti (omitted after May 5), Miss Ferzi, Mr. Holland, Miss Ross, Miss Armstrong (added for Daigueville benefit, 23 September)^, Mr. Holloway, Master Betts (added for Holloway benefit, 2 5 September).

Tumblers: Mr. Thompson, Mr. Rayner, Mr. Porter, Mr. Carman.

Rope Dancers: Mr. Ferzi, Mr. C a r m a n . 4

Unspecified: Mr. Warner, Mr. Dennis (added 21 September), Mr. Herbert (added 1 October), Mr. Herryman, Mr. Wingate (added for their benefit, 6 October).

Pitt and Box Office Keeper: Mr. Burrell.

Carpenter: Mr. Mather.

PERFORMANCE CALENDAR

April 20-25 Featured Entertainment: The Monster of the Woods Featured Musical Piece: The Palace of Mirth Bacchus, Mr. Rear; Momus, Mr. Lowe Euphrosyne, Miss Froment; Fortune, Miss Dowson (CE P , 21-23 April 1772)

April 27 through May 2 Featured Entertainment: The Monster of the Woods

May 4-9 Featured Entertainment : The Monster of the Woods

May 11-16 Featured Entertainment: The Monster of the Woods

283 May 18-23 Featured Entertainment; The Monster of the Woods

May 25-30 Featured Entertainment: The Monster of the Woods

June 1-6 Featured Entertainment : The Monster of the Woods

June 8-13 Featured Entertainment : The Monster of the Woods

June 15-20 Featured Entertainment : The Monster of the Woods Featured Dances: The Chinese Feast— Daiguevilles and their pupils, "an Entire new Comic Dance by Mr. Atkins, Miss Froment, and others." (PA 15 June 1772)

June 22—27 Featured Entertainment: The Monster of the Woods

June 29 through July 4 Featured Entertainment: The Monster of the Woods Featured Dance: Punch's Wedding by Daiguevilles and Pupils. Featured Musical Piece: Brickdust-Man and Milk—Maid by Rear and Miss Dowson (PA 30 June 1772; 30 June 1772).

July 4 through 11 Featured Entertainment: The Monster of the Woods

July 13-18 Featured Entertainment: Trick Upon Trick, which concluded with a masque entitled The Museum Mercury, Mr. Lowe; Neptune, Mr. Rear, Minerva, Miss Dowson (PA 17 July 1772; AK 14 July 1772; LC 14-16 July 1772; GEP 11-14 July 1772).

July 20-25 Featured Entertainment: Trick Upon Trick Featured Musical Piece; Brickdust-man and Milk-maid

July 27 through August 1 Featured Entertainment: Trick Upon Trick

August 3-8 Featured Entertainment: Trick Upon Trick

284 Featured Entertainment : Trick Upon Trick

August 17-22 Featured Entertainment : Trick Upon Trick

August 24-29 Featured Entertainment : Trick Upon Trick

August 31 through September 5 Featured Entertainment : Trick Upon Trick

September 7-12 Featured Entertainment : Trick Upon Trick

September 14-19 Featured Entertainment: Trick Upon Trick

September 21: benefit, Mr. Warner Featured Entertainment : Trick Upon Trick Harlequin, Mr. Rayner; Magician, Mr. Rear; Squire, Mr. Garman; Farmer, Mr. Dennis; Columbine, Miss Froment; Clown, Mr. Warner (PA 21 September 1772; GNDA 21 September 1772).

September 22; benefit, Mr. Ferzi and Children Featured Entertainment: Trick Upon Trick Specialties added for the benefit: "Mr. Ferzi (for that Night only) will exhibit (besides his usual Exercises on the Tight-Rope) a FIREWORK, representing the China Hat; the Fire will play round him like Water, and entirely hide his body. Likewise the Rope will be tied from one End of the Stage to the Top of the Upper Gallery, where he will go up, with a Bottle upon his Head, and in the Middle of which he will drink to the Healths of the Company, with a Glass in his Hand." (PA 22 September 1772; GNDA 19 September 1772)

September 23: benefit, Sieur Daigueville Featured Entertainment: Trick Upon Trick Dances added for the benefit: 1. The European in America: Mess. Daiguevilles, Miss Ross, and Mrs. Daiguevilles 2. The Breton Market: Daigueville and Pupils, Miss Ferzi, Mrs. Daigueville 3. Pigmallion; or. The Statue Metamorphosed by Venus: Pigmallion, Mr. Holland; Statue, Miss Armstrong; Venus, Miss Ross. "With a 285 new Masonry Country Dance" by Daigueville's students 4. "A Minuet and Allemande, by Mr. Daigueville and Miss Ross, And the Dolphin Minuet and New Allemande, by Master Holland and Miss Armstrong." (PA 23 September 1772; GNDA 19 September 1772)

September 24; benefit, Mr. Lowe Featured Entertainment: Trick Upon Trick Music added for the benefit: "A new Canzonette will be sung by Mr. Lowe and Mr. Kear. The music by Mr. Samuel Jarvis." "A Musical Dialogue will be sung by Mr. Kear and Miss Dowson. The Music by Mr. Dibdin." "A Musical Piece call'd 'The Cobler appeas'd,' will be sung by Mr. Lowe, Mr. Kear and Miss Dowson. The Music by Mr. Olive." (PA 24 September 1772; GNDA 23 September 1772)

September 25: benefit, Mr. Holloway, Mr. Garman Featured Entertainment: Trick upon Trick Featured Dances: "a Louvre and Minuet by Mr. Holloway and Mad. Daigueville"; "a Hornpipe by Master Betts, apprentice to Mr. Holloway." Specialties added for the benefit: "particularly Mr. Rayner will fly over ten mens [sic] heads. "Mr. Ferzi will jump over a garter his own height, forwards and backwards; likewise Mr. Garman will dance on the tight-rope with two boys tied to his feet first, and afterwards with two men." (GNDA 25 September 1772)

September 26 : benefit, Mr. Burrell Featured Entertainment: Trick Upon Trick Specialties added for the benefit: "Mr. Ferci [sic] will (for this Night) jump the Garter backwards and forwards." (PA 26 September 1772; GNDA 26 September 1772)

September 2 8 : benefit, Mrs. Sutton (Froment) Featured Entertainment: Trick Upon Trick Dances added for the benefit; "...a new grand Turkish Dance, composed by Mr. Froment; in which Mrs. Sutton will appear in the Character of a Sultana Likewise (by particular Desire) a Comic Dance call'd The PLOW-BOY, by Mr. Atkins, Mrs. Sutton and others." (PA 28 September 1772; GNDA 28 September 1772)

286 September 29; benefit, Mr. Atkins Featured Entertainment; Trick upon Trick Featured Dances: "The Plough-boy, by Mr. Atkins, Miss Froment, and others"; "The Drunken Peasant; Peasant by Mr. Atkins; Clown by Mr. Garman"; "Also the last New Dance, called. The Sailor's Return, by Mr. Atkins, Miss Froment, and others." Specialty added for the benefit: "And, for that night, Mr. Ferzi will exhibit in wooden shoes." (GNDA 29 September 1772)

September 30: benefit. Miss Dowson Featured Entertainment: Trick upon Trick "The Haymaker's Song, by Miss Dowson" Featured Musical Pieces: Brick-dust Man and Milk Maid, the Cobler Appeased Featured Dances: "The Painters, by Sieur Daiguville, Mad. Daiguville, Mrs. Sutton... and others. The Plough-boy, by Mr. Atkins, Mrs. Sutton, and others. And the last new Dance, called The Sailor's Return, by Mr. Atkins, Mrs. Sutton, and others." (GNDA 30 September 1772)

October 1 : benefit, Mr. Kear Featured Entertainment: Trick Upon Trick Cast includes "Hay maker (with a Song), Miss Dowson." Music added for the benefit: "1. A Canzenet by Mr. Lowe and Mr. Kear. Composed by Mr. Jarvis. 2. Brick dust Duet, by Mr. Kear and Miss Dowson. Composed by Mr. Dibdin. 3. The Cobler appeas'd, by Mr. Lowe, Mr Kear and Miss Dowson. Composed by Mr. Olive." (PA 1 October 1772)

October 2 : benefit, Mr. Mather Featured Entertainment: Trick Upon Trick Specialty added for the benefit: "Particularly Mr. Rayner will fly over ten Men's Heads." (PA 2 October 1772)

October 3 : benefit, Mr. Herbert (GNDA 1 October 1772) Featured Entertainment: Trick Upon Trick

October 5: benefit, Mr. Thompson, Mr. Rayner Featured Entertainment: Trick Upon Trick Specialties added for the benefit: 287 "Particularly Mr. Rayner will fly over a Pyramid of Lights eight Feet high; and will fly over the Double Fountain of Men and Boys. Also, Mr. Thompson will walk under a Garter and fly over it from the Stage, and will throw twenty Flip-flaps upon the Carpet, with his Legs tied. Likewise Mr. Rayner will dance on a Deal Board laid loose on the Rope." (PA 3 October 1772)

October 6; benefit, Mr. Herryman, Mr. Wingate Featured Entertainment: Trick Upon Trick

October 7: benefit, the Waiters Featured Entertainment: Trick Upon Trick

288 17735

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Kear, Mrs. Burnett, Miss Dowson, Mrs. Burton (added 29 September).

Dancers: Mr Atkins, Sig. Fontanelle, Mons. Le Mercier (omitted 26 July, restored 20 September), Miss Ferzi (omitted 26 July, restored 20 September), Miss Collett (omitted 26 July, restored 20 September), Miss Capon, Miss Valois, Mr. Delegal (added for his benefit 29 September), Mr. Byrne (added for his benefit 29 September).

Tumblers: Mr. Thompson (omitted after 12 April), Mons. Richer, Mr. Rayner, Mr. Garman, Mr. Oliver (added 12 April).

Rope Dancers: Mr. Ferzi,® Mr. Rayner, Mr. Garman.

Ladder Dancer: Mons. Richer.

Unspecified: Mr. Warner (added for his benefit 20 September), Mr. Dennis (added 20 September), Mrs. Richer (added 20 September), Mr. Herryman (added for his benefit 5 October), Miss Webb (added for her benefit 5 October), Miss Watkins (added for her benefit 5 October).

Box and Pit Office Keeper: Mr. Burrell

Treasurer: Mr. Bvin

Carpenter: Mr. Mather

PERFORMANCE CALENDAR

April 12-17 Featured Entertainment: Trick Upon Trick Featured Musical Pieces: "the favourite Quartetto which was sung last Season" (PA 12 April 1773); The Ladle Dorcas, Mrs. Burnett; Bromius, Mr. Kear Conjurer, Mr. Lowe (Lloyd's 12-14 April 17737; ^ 13 April 1773; GEP 10-13 April 1773) 289 April 19-24 Featured Entertainment: Trick Upon Trick Featured Musical Pieces: Quartetto as on 12 April; The Ladle; The Grenadier "by Mr. Lowe, Mr. Kear, and Miss Dowson." (PA 19 April 1773; MÇ 19 April 1773): Grenadier, Mr. Lowe; Jenny, Miss Dowson (MÇ 21 April 1773; GEP 20-22 April 1773; LC 20-22 April 1773).

April 26 through May 1 (MC 26 April 1773) Featured Entertainment: Trick Upon Trick Featured Musical Pieces: Quartetto as on 12 April; The Ladle; The Grenadier

May 3-8 (MC 3 May 1773) Featured Entertainment: Vineyard Revels; or, Harlecmin Bacchanal Hop-Pickers, Mr. Lowe, Mr. Kear, Mrs. Burnett, Miss Dowson (MÇ 4 May 1773; GEP 4-6 May 1773 LC 1-4 May 1773)

May 10-15 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal

May 17-22 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal

May 24-29 (MC, 24 May 1773) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Cobler Appeased, The Grenadier

May 31 throuqh June 5 Featured Entertainment: Vineyard Revels; or, Harlequin Bacchanal

June 7-12 Featured Entertainment: Vineyard Revels; or, Harlequin Bacchanal

June 14-19 Featured Entertainment; Vineyard Revels; or. Harlequin Bacchanal

June 21—26 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Piece: The Pastoral "by Mr. Lowe, 290 Mr. Kear, and Miss Dowson" (PA 21 June 1773) Featured Dance: The Maypole "by Mr. Atkins, Miss Valois, and others" (PA 21 June 1773)

June 28 through July 3 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal

July 5-10 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal

July 12-17 (MÇ 12 July 1773) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Piece: The Mischance Joseph, Mr. Lowe; Sue, Miss Dowson; Bet, Mrs. Burnett (MC 13 July 1773; GEP 10-13 July 1773) Featured Dance: The Sailor's Return

July 19-24 (MC 19 July 1773) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Concluding ballet by Mr. Atkins, Miss Valois and others; concluding trio sung by Mr. Kear, Miss Dowson and Mrs. Burnett (GEP 24-27 July 1773) Featured Musical Piece: The Mischance Featured Dance : The Plough-boy

July 26-31 (MÇ 26 July 1773) Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Piece: The Mischance Featured Dance: The Maypole

August 2-7 Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Piece: The Mischance Featured Dance: The Maypole

August 9-14 (MC 9 August 1773) Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Grenadier, The Mischance Featured Dance: The Maypole

291 August 16-21 Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Grenadier, The Mischance Featured Dance: The Maypole

August 23-28 Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Mischance, The Pilgrim Pilgrim, Mr. Lowe; Widow, Miss Dowson Clown, Mr. Rear; Servant Maid, Mrs. Burnett (MC 24 August 1773; GEP 21-24 August 1773; LG 21-24 August 1773) Featured Dance: The Maypole

August 30 through September 4 Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Mischance, The Pilgrim Featured Dance: The Maypole

September 6-11 Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Mischance, The Pilgrim Featured Dance: The Maypole

September 13-18 Featured Entertainment: The Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Mischance, The Pilgrim Featured Dance: The Maypole

September 20 : benefit, Mr. Warner Featured Entertainment: The Whim-Wham; or. Harlequin Captive Harlequin, Mr. RAYNER; Magician, Mr. Rear; Turk, Mr. Dennis; Pantaloon, Mr. Garman; Totter, Mons. Richer; Colombine, Miss CAPON; Housewives, Mrs. Burnett and Miss Dowson; Attendants, Mrs. Richer, and others; Clown, Mr. WARNER. (PA 20 September 1773; MC 20 September 1773)

September 21 : benefit, Mr. Ferzi Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Dance: Hornpipe by Miss Ferzi 292 Specialties added for the benefit: "Mr. Ferzi...will jump forward and backward over a Garter seven Feet high, and exhibit with the Flag." (PA 21 September 1773; MC 21 September 1773)

September 22: benefit, Mr. Rear Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Musical Pieces: "a new Hunting Song by Mr. Lowe and Mr. Rear" (PA 22 September 1773; MC 22 September 1773); The Grenadier; The Pilgrim

September 23 : benefit, Mr. Lowe Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Musical Pieces: Hunting Song as on September 22, The Grenadier, The Pilgrim

September 24: benefit, Mr. Garman, Mr. Oliver Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Specialties added for the benefit: "Mr. Oliver (for this Night only) will stand upon one Arm, in the Form of a Weather-cock, for the first Time in public. "Mr. Garman will dance with two Boys tied to his Feet, and two Men afterwards." (PA 24 September 1773)

September 27 : benefit, Mr. Atkins Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Dances: "The Sailor's Return by Mr. Atkins, Miss Capon, and others. The Maypole by Mr. Atkins and Miss Valois, &c. The Garland by Atkins, Miss Capon, and Miss Valois." (PA 27 September 1773; MC 27 September 1773)

September 28: benefit. Miss Valois Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20

293 September 2 9 : benefit, Mr. Byrne, Mr. Delegal, Mr. Le Mercier Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20, but with Mr. Delegal as Harlequin. Featured Musical Pieces: Hunting song as on September 22, The Pilgrim Featured Dances: "Particularly a Hornpipe by Mr. Delegal; and a new Dance by Mr. Le Mercier, Miss Ferzi, and Miss Collet; which will conclude with an Allemande." Specialties added for the benefit: "With a favourite Grand Trick by Mr. Rayner and Mr. Garman, called The Sau de Carpe. "Mr. Rayner will likewise, for this Night only, fly over the Pyramid of Lights eight Feet high, and throw a Summerset over five Mens [sic] Heads, with Boys upon their Shoulders. "Mr. Ferzi will jump over a Garter seven Feet high upon the Rope, and dance with two Men tied to his Feet." (PA 29 September 1773; 27 September 1773)

September 30: benefit, Mrs. Burnett Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Musical Pieces: "A favourite Pastoral by Mr. Lowe, Mr. Rear, and Mrs. Burnett," The Pilgrim, The Mischance (PA 30 September 1773; MC 30 September 1773)

October 1 : benefit, Mr. Burrell (MÇ 1 October 1773) Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Musical Pieces: The Mischance, The Pilgrim

October 2: benefit, Mr. Ewin (irç 2 October 1773) Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Musical Pieces: Hunting song as on September 22 Featured Dances: The Sailor's Return, The Maypole Specialties added for the benefit: "Mr. Rayner will (for the last Time this Season) fly over a Pyramid of Lights eight Feet high, and throw a Summerset over five Mens [sic] Heads, with Boys upon their Shoulders. 294 "Mr. Ferzi will jump over a Garter seven Feet high upon the Rope, and back again." (PA 2 October 1773; MÇ 2 October 1773)

October 4; benefit. Miss Capon, Miss Dowson Featured Entertainment; The Whim-Wham; or. Harlequin Captive Cast as on September 20 Featured Musical Pieces: The Pilgrim, The Pastoral

October 5: benefit, Mr. Herryman, Miss Webb, Miss Watkins Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20 but with Miss Watkins as Columbine and Mr. Herryman as Totter. Featured Dances: The Garland, The Maypole Specialties added for the benefit: "Mr. Rayner will throw himself over five Men and three Boys, and will also throw a Somerset over a Pyramid of Lights. "Mr. Ferzi...will leap forwards and backwards upon the Rope over the Garter seven Feet high." (PA 5 October 1773)

October 6: benefit, the Waiters Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20

October 7: benefit, Mr. Mather (MC 7 October 1773) Featured Entertainment: The Whim-Wham; or. Harlequin Captive Cast as on September 20

295 1774

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Rear, Mrs. Burnett, Miss Dowson (omitted from 18 July to 22 August), Miss Collett (added from 20 July to 15 September), Mr. Goodman (added 26 September), Mr. Herryman (added for his benefit, 28 September).

Dancers: Mr. Atkins, Mr. Le Mercier, Mrs. Stephens, Mrs. Huntley, Miss Collett, Miss Valois, Mr. Byrne (added on his benefit, 28 September).

Tumblers: Mr. Rayner, Mr. Richer, Mr. Oliver, Mr. Garman.

Rope Dancing: Mr. Ferzi.

Ladder Dancing: Mr. Richer.

Specialty: the Sigels brothers. Dr. K. (13 August only?).

Unspecified: Mr. Warner (added on his benefit advertisement, 17 September), Miss Watkins (added on Ferzi benefit advertisement, 17 September), Mr. Herbert (added on his benefit advertisement, 23 September), Miss Webb (added for her benefit, 28 September).

Pit and Box Office Keeper: Mr. Burrell

Box Door Keeper: Mr. Crown

Treasurer: Mr. Ewin

Carpenter: Mr. Mather

PERFORMANCE CALENDAR

Monday, April 4 (MC 4 April 1774) Featured Entertainment; The Cave of Enchantment, which opened with the musical piece The Bower of Flora Innocence, Mrs. Burnett; Health, Mr. Rear Content, Miss Dowson; Laughter, Mr. Lowe (GEP 5-7 April 1774; MÇ 5 April 1774) Featured Musical Piece: The Match-Maker 296 Featured Entertainment : The Cave of Enchantment Featured Musical Piece: The Grenadier Featured Dance: The Garland

April 11-16 Featured Entertainment : The Cave of Enchantment

April 18-23 Featured Entertainment: The Cave of Enchantment

April 25-30 Featured Entertainment: The Cave of Enchantment

May 2-7 Featured Entertainment: The Cave of Enchantment

May 9-14 (GNDA 9 May 1774; MC 9 May 1774) Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Grenadier Featured Dance: The Garland

May 16-21 Featured Entertainment : The Cave of Enchantment

May 23-28 Featured Entertainment : The Cave of Enchantment

May 30 through June 4 Featured Entertainment : The Cave of Enchantment

June 6-11 (GNDA 6 June 1774; MC 6 June 1774) Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Surprize Sam Spritsail, Mr. Lowe; Patty Constant, Miss Dowson; Rachael Romp, Mrs. Burnett (GEP 7-9 June 1774; MÇ 7 June 1774) Featured Dance: The Bird's N e s t ^

June 13— 18 Featured Entertainment: The Cave of Enchantment

June 20-25 Featured Entertainment: The Cave of Enchantment

June 27 through July 2 (GNDA 27 June 1774; 27 June 1774) Featured Entertainment: Harlequin Restor'd Milkmaids, Miss Dowson and Mrs. Burnett

297 (LC 25-28 June 1774; GEP 28-30 June 1774; MC 28 June 1774)

July 4-9 Featured Entertainment: Harlequin Restor'd "The Performances of Mess. Sigels, which have been omitted in the Amusements of Sadlers Wells for some Nights past, on Account of the Indisposition of the younger Brother, will be this Evening restored, he being greatly recovered." (PA 5 July 1774)

July 11-16 (MC 11 July 1774) Featured Entertainment; Harlequin Restor'd Featured Musical Piece: The Mischance^ Featured Dance : Harvest-home

July 18-23 Featured Entertainment: Harlequin Restor'd Featured Dance: Harvest-home

July 25-30 (MC 25 July 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Piece: The Ladle, The MischancelO Featured Dance: Harvest-home

Auqust 1-6 (MC 1 August 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Piece: Cross Purposes Featured Dance: Harvest Homell "Mr. Sigel, jun. being perfectly recovered, the pleasing Performances of the two Brothers will be renewed at Sadler's Wells This Evening, which have been omitted for this Fortnight past." (PA 1 August 1774)

Auqust 8-13 Featured Entertainment: Harlequin Restor'd Specialty Performer: Dr. K. on the slack rope "The Doctor engages as usual for a certain Number of Nights, but is to have the same Pay, tho' he exhibits only half of them." (PA 13 August 1774)

Auqust 15-20 Featured Entertainment: Harlequin Restor'd

Auqust 22-27 (MC 22 August 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: Brickdust-man and 298 Milk-Maid, Cross Purposes Featured Dance: Harvest HomelZ

Auqust 29 through September 3 (MC 29 August 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: Cross Purposes, Brickdust-man and Milk-maid Featured Dance: Harvest Home^^

September 5-10 (MC 5 September 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: Cross Purposes, The Pilgrim Featured Dance: Harvest-home

September 12-14 (MC 12 September 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: Cross Purposes, The Pilgrim Featured Dance: Harvest Home^^

September 15: benefit. Mess. Sigels Featured Entertainment: Harlequin Restor'd "Mess. Sigels most respectfully give Notice, that they will on this Occasion exhibit several uncommon and pleasing Feats, the Particulars of which cannot be described in a Bill or an Advertisement." (PA 15 September 1774; ITC 15 September 1774)

"Last Night at Sadler's Wells the Applause to the two Sigels was uncommonly great; they went through the whole of their Exercises, which used on former Occasions to be divided into two Nights Performances, and added two or three Novelties. The same will be repeated This and To-Morrow Evening, and then the extra Performnaces [sic] will be discontinued." (PA 16 September 1774)

September 16-17 Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: Cross Purposes, The Pilgrim

September 1 9 : benefit, Mr. Warner Featured Entertainment: Harlequin Restor'd

September 2 0 : benefit, Mr. Ferzi (PA 17 and 20 September 1774; MC 20 September 1774) Featured Entertainment: Harlequin Restor'd with Miss Watkins as Columbine 299 Specialties added for the benefit: "Besides the usual Feats exhibited on the Rope Mr. Ferzi will jump over a Garter seven Feet high Likewise the pleasing and extraordinary Performance with the Flag; and (for that Night only) Mr. Ferzi will dance on the Rope with a Person on his Shoulders, and two others tied to his Feet."

September 21: benefit, Mr. Rear (PA 21 September 1774; ^ 21 September 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: Cross Purposes, Very Well, and What Not

September 22: benefit, Mr. Lowe (PA 22 September 1774) Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: Cross Purposes, Very Well, and What Not

September 23; benefit, Mr. Garman, Mr. Oliver (PA 23 September 1774; MÇ 23 September 1774) Featured Entertainment: Harlequin Restor'd

September 24: benefit, Mr. Herbert, Mr. Crown Featured Entertainment; Harlequin Restor'd

September 26: benefit, Mr. Atkins (PA 24 and 26 September 1774; MÇ 26 September 1774) Featured Entertainment: Harlequin Restor'd Featured Dances: The Bird's Nest by Mr. Atkins, Miss Collett, and Miss Valois; Harvest Home by Mr. Atkins and Miss Valois; The Fete Champetre by Mr. Atkins, Miss Collett, and Miss Valois.

September 27: benefit. Miss Valois, Mr. Ewin (PA 27 September 1774; MC 27 September 1774) Featured Entertainment: Harlequin Restor'd Featured Dances: Harvest Home by Mr. Atkins and Miss Valois; the Fete Champetre by Mr. Atkins, Miss Collett, and Miss Valois. Specialties added for the benefit; "Rope Dancing by Mr. Ferzi, who will jump over a Garter Seven Feet high, and exhibit his various Performances with the Flag."

September 28: benefit, Mr. Byrne, Mr. Herryman, and Miss Webb Featured Entertainment: Harlequin Restor'd Featured Dance: "a Hornpipe by Mr. Byrne" (PA 28 September 1774) 300 September 29; benefit, Mrs. Burnett 29 September 1774) Featured Entertainment; Harlequin Restor'd Featured Musical Pieces: Very Well and What Not, The Surprize, Cross Purposes Specialties added for the benefit: "By particular Desire, for that Night only, some favourite AIRS on the PIPE and TABOR, by Mr. BURNETT"

September 30: benefit, Mr. Burrell (PA 30 September 1774; MC 30 September 1774) Featured Entertainment: Harlequin Restor'd

October 3: benefit. Miss Dowson, Mr. Delegal Featured Entertainment: Harlequin Restor'd Featured Musical Pieces: The Surprize, Brickdust-man and Milk-maid Featured Dances: "a Hornpipe by Mr. Delegal," The Spinning Wheel by Mr. Delegal and Miss Collett (PA 3 October 1774)

October 4 : benefit, Mr. Mather (PA 4 October 1774; ^ 4 October 1774) Featured Entertainment: Harlequin Restor'd

October 5: benefit, the Waiters Featured Entertainment: Harlequin Restor'd

301 1775

FEATURED PERSONNEL Singers; Mr. Lowe, Mr. Rear, Mrs. Burnett, Miss Dowson, Mr. Herryman (added for his benefit 27 September).

Dancers: Mr. Atkins (omitted after 22 July. Atkins' death notice appears in the 1 August Public Advertiser), Mr. Le Mercier, Mr. Byrne, Mrs. Stephens, Miss Collett, Miss Valois (omitted 1 August), Mrs. Huntley (added on 17 July).

Tumblers: Mr. Rayner, Mr. Huntley, Mr. Richer, Mr. Garman.

Rope Dancing: Mr. Ferzi, Miss Richer (added for Richer's benefit 25 September).

Ladder Dancing: Mr. Richer.

Specialty: the Sigels brothers. Signor Rossignolle (two separate engagements: 12 June through 8 July, 4 September through 4 October).

Musicians: Hr. Burnett (added 28 September).

Unspecified: Mr. Warner (added for his benefit 18 September), Miss Brooker (added for Ferzi benefit 19 September), Miss Webb (added for her benefit 27 September), Mr. Herbert, Mr. Crown (added for their benefit 29 September).

Pit and Box Office-keeper: Mr. Burrell

Treasurer: Mr. Ewin

Carpenters: Mr. Henwood, Mr. Grosvenor

PERFORMANCE CALENDAR

April 17-22 (GNDA 17 April 1775; MÇ 17 April 1775; MP 17 April 1775) Featured Entertainment: Harlequin Weptune Featured Musical Pieces: The Seasons, The Raree-Show Man 302 Casting for The Seasons: Spring, Miss Dowson; Summer, Mrs. Burnett; Autumn, Mr. Rear; Winter, Mr. Lowe (GEP 15-18 April 1775; LEP 22-25 April 1775; MÇ 18 April 1775)

April 24-29 Featured Entertainment: Harlequin Neptune Featured Musical Pieces: The Seasons, The Raree-Shew Man

May 1-6 (GNDA 1 May 1775; MP 1 May 1775) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Raree-Show Man Featured Dance: Win Her and Wear Her

May 8-13 Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Raree-Show Man Featured Dance: Win Her and Wear Her

May 15-20 (MC 15 May 1775) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Raree-Show Man Featured Dance: Win Her and Wear Her

May 22-27 Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Raree-Show Man Featured Dance: Win Her and Wear Her

May 29 throuqh June 3 (GNDA 29 May 1775; MÇ 29 May 1775; MP 29 May 1775) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Farewell, or India Hoa! Featured Dance: Win Her and Wear Her^S

June 5-10 Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Farewell, or India Hoa! Featured Dance: Win Her and Wear Her

June 12-17 (MP 12 June 1775) Featured Entertainment: Harlequin Neptune Featured Musical Pieces: The Raree-Show Man; The Farewell, or India Hoa! Featured Dance: Win Her and Wear HerlG

"Last Night Signor Rosignol, who lately performed at the Theatre Royal in Covent-garden, made his Appearance at Sadlers Wells (where he is engaged to exhibit a few Nights) and went through his 303 Imitations of various Birds. The Theatre was much crouded [sic], his Performance met with uncommon Applause, and will be repeated this and every Evening this Week." (PA, 13 June 1775)

June 19-24 Featured Entertainment: Harlequin Neptune Featured Dance: Win Her and Wear Her

"Signor Rossignol will exhibit this and every Evening this Week at Sadler's Wells his Imitations of the Notes of various Birds; and, as an Addition to his Performance, accompany the Orchestra on a Fiddle without Strings." (PA, 19 June 1775)

June 26 throuqh July 1 (GNDA 26 June 1775; MC 26 July 1775; MP 26 June 1775) Featured Entertainment: Harlequin Neptune Featured Musical Pieces: The Raree-Show Man, Brickdust-man and Milk-maid Featured Dance: The Bird's Nest

"Sig. Rossignolle, (whose Contract with the Proprietors will expire on Saturday next) will also play on a Fiddle without Strings, and perform his usual Imitations of various Birds." (PA, 26 June 1775)

July 3-8 (MC 3 July 1775) Featured Entertainment: Harlequin Neptune Featured Musical Pieces: The Raree-Show Man, Brickdust-man and Milk-maid Featured Dance: The Bird's Nest

"Signor Rossignolle has made a fresh Agreement with the Proprietors of Sadlers Wells for six Nights, and his last Performance will positively be on Saturday next." (PA, 3 July 1775)

July 10-15 (GNDA 10 July 1775; MÇ 10 July 1775) Featured Entertainment: The Novelty? With the Death of Harlequin Featured Musical Pieces; The Mischance, Cross Purposes Featured Dance: The Bird's Nest

July 17-22 (GNDA 17 July 1775; MÇ 17 July 1775; MP 17 July 1775) Featured Entertainment: The Novelty; With the Death of Harlequin

304 Featured Musical Pieces: The Mischance, Cross Purposes Featured Dance: The Savoyard's Holiday by Mr. Atkins, Mr. Le Mercier, and Miss Valois (PA, 17 July 1775)

July 24-29 Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Mischance, Cross Purposes Featured Dance: The Bird's Nest

July 31 through August 5 (GNDA 31 July 1775; MC 31 July 1775; 31 July 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Piece: The Grenadier Featured Dances: The Cook's Shop, The Bird's Nest

August 7-12 (GNDA 7 August 1775; 2^ 7 August 1775) Featured Entertainment; The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, The Pilgrim Featured Dance: The Bird's Nest

Auqust 14-19 (GNDA 14 August 1775; ^ 14 August 1775; W 14 August 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, Tit for Tat Casting for Tit for Tat: Dolly, Miss Dowson; Roger, Mr. Kear; Ralph, Mr. Lowe; Bridget, Mrs. Burnett (GEP 17-19 August 1775; 18 August 1775) Featured Dance: The Bird's Nest

Auqust 21-26 (GNDA 21 August 1775; ^ 21 August 1775; ^ 21 August 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, Tit for Tat Featured Dance: The Savoyard's Holiday

Auqust 28 throuqh September 2 Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, Tit for Tat Featured Dance: The Savoyard's Holiday

305 September 4-9 (GNDA 4 September 1775; MÇ 4 September 1775; MP 4 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, Tit for Tat Featured Dance: The Savoyard’s Holiday

"Signor Rossignol...will play on a Fiddle without Strings, and imitate the Notes of various Birds."

September 11-13 Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, Tit for Tat Featured Dance: The Savoyard's Holiday

September 14: benefit, the Sigels 14 September 1775; MP 13 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin

"Mess. Sigels will not only go through their usual Exercises, but perform several curious Feats, which have never yet been exhibited; particularly Le Tour de la Boscule, and Le Grand Tourbillion."

"The Performances of the Sigels...were amazingly great, and met with universal Applause. The same extraordinary Feats will be repeated this and To-morrow Evening." (PA, 15 September 1775)

September 15-16 Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, Tit for Tat Featured Dance: The Savoyard's Holiday

September 18: benefit, Mr. Warner (PA 18 September 1775; MC 18 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin

September 19: benefit, Mr. Ferzi (MC 16 September 1775; PA 19 September 1775; GNDA 19 September 1775; MP 19 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Columbine by Miss Brooker Specialties added for the benefit: 306 "And (for that Night only) Mr. Ferzi will dance on the Rope with two Eggs tied under his Feet, without breaking them, and will (for the first Time) leap over two Garters on the Rope, seven Feet high, and six Feet distant from each other. With several other extraordinary Feats never attempted before."

September 20; benefit, Mr. Lowe Featured Entertainment: The Novelty; With the Death of Harlequin

September 21: benefit, Mr. Kear, Miss Dowson (PA 21 September 1775; GNDA 21 September 1775; MÇ 21 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: Brickdust-man and Milk-maid, Tit for Tat

September 22: benefit, Mr. Burrell (PA 22 September 1775; GNDA 22 September 1775; ^ 22 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin

September 25: benefit, Mr. Le Mercier, Mr. Richer (PA 25 September 1775; GNDA 25 September 1775; MC 25 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Piece: Tit for Tat Featured Dances: The Bird's Nest, The Savoyard's Holiday (listed as The Savoyard Travellers) Specialties added for the benefit: "Some new Feats, particularly by Mr. Richer, who will (for that Night only) perform a Somerset in a sack; and form a striking Metamorphosis."

September 26; benefit. Miss Valois, Mr. Ewin (PA 26 September 1775; MC 26 September 1775; MP 26 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Columbine by Miss Valois Featured Musical Piece: Tit for Tat Featured Dances: The Bird's Nest, The Savoyard's Holiday Specialty added for the benefit: "Mr. Ferzi will (for this Night) leap over a Garter seven Feet high"

307 September 27; benefit, Mr. Byrne, Miss Webb, Mr.Herryman (PA 27 September 1775; GNDA 27 September 1775; MÇ 27 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Piece: Tit for Tat Featured Dances: "a Hornpipe by Mr. Byrne," The Savoyard's Holiday

September 28: benefit, Mrs. Burnett, Mrs. Stephens (PA, 28 September 1775; ^ 28 September 1775; MP 16 September 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Harlequin, Mr. Rayner; Colombine, Mrs. Stephens Featured Musical Pieces: The Raree-Shew Man, Tit for Tat Featured Dance: The Bird's Nestl? Featured Music : "Mr. Burnett will (by particular Desire) perform several favourite Airs on the Pipe and Tabour"

September 29: benefit, Mr. Herbert, Mr. Crown (PA 29 September 1775; GNDA 29 September 1775; MÇ 29 September I 7 7 5 I 8 ) Featured Entertainment: The Novelty; With the Death of Harlequin Harlequin, Mr. Rayner; Colombine, Mrs. Stephens Featured Musical Pieces: The Raree-Shew Man, Tit for Tat

October 2: benefit, Mr. Rayner, Mr. Huntley (îrç 30 September 177519; 2 October 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Harlequin, Mr. Rayner; Colombine, Mrs. Stephens Featured Musical Piece: Tit for Tat Featured Dance: The Savoyard's Holiday Specialties added for the benefit: "Particularly, Mr. Rayner will fly over the Pyramid of Lights eight Feet high. Also Mr. Huntley will shew several Tricks with a Peacock's Feather." "Likewise Mr. Rayner will perform several Postures on the Vaulting-Rope, for that Night only."

October 3: benefit, Mr. Henwood, Mr. Grosvenor (PA 3 October 1775; MÇ 3 October 177520) Featured Entertainment: The Novelty; With the Death of Harlequin 308 Featured Musical Piece; Tit for Tat Featured Dances: The Savoyard’s Holiday, The Bird's Nest

October 4 : benefit, the Waiters (PA 4 October 1775; GNDA 4 October 1775; MÇ 4 October 1775) Featured Entertainment: The Novelty; With the Death of Harlequin Featured Musical Pieces: The Grenadier, Tit for Tat Featured Dance: The Bird's Nest

309 1776

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Kear, Mrs. Burnett, Miss Dowson (omitted from 14 May to 8 June), Miss Collett (added in Dowson's absence), Mr Herryman (added for his benefit 2 October).

Dancers: Mons. Vcinscour, Master ffilliaiison, Mr. Le Mercier, Mr. Byrne (omitted 1-6 July), Mrs. Stephens, Miss Collett, Miss Valois.

Tumblers: Mr. Rayner, Mr. Richer, Mr. Huntley, Mr. Garman.

Rope Dancing: Mr. Ferzi.

Ladder Dancing: Mr. Richer.

Specialty: the Sigels brothers. Signor Rossignol (added 13 August).

Unspecified: Sig. Grimaldi (added for his benefit 23 September), Mr. Bridge (added for his benefit 30 September), Miss Webb (added for his benefit 2 October), Mr. Herbert, Mr. Crown (added for their benefit 9 October).

Pit and Box Office Keeper: Mr. Burrell

Treasurer: Mr. Ewin

Carpenters: Mr. Henwood, Mr. Grosvenor

PERFORMANCE CALENDAR

April 8-13 (GNDA 8 April 1776; MÇ 8 April 1776; ^ 8 April 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces; The Bower of Flora, Easter Monday Cast for Easter Monday: Tom, Mr. Kear; Molly, Miss Dowson Featured Dance: La Danse des Oenfs; or. The Egg Hornpipe 310 April 15-20 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Bower of Flora, Easter Monday- Featured Dance: La Danse des Oeufs; or. The Egg Hornpipe

April 22-27 (MC 22 April 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: Easter Monday, Tit for Tat Featured Dance; La Danse des Oeufs; or. The Egg Hornpipe

April 29 through May 4 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: Easter Monday, Tit for Tat Featured Dance: La Danse des Oeufs; or. The Egg Hornpipe

May 6-11 (GNDA 6 May 1776; MÇ 6 May 1776; MP 7 May 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Piece: Tit for Tat Featured Dances: The Savoyard's Holiday; La Danse des Oeufs, or. The Egg Hornpipe

May 13 (GNDA 13 May 1776; MÇ 13 May 1776; MP 13 May 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Piece: The Impostors; or# All is Not Gold that Glitters Featured Dances: The Savoyard's Holiday; La Danse des Oeufs, or. The Egg Hornpipe

May 14-18 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Piece: Tit for Tat Featured Dances: The Savoyard's Holiday; La Danse des Oeufs, or. The Egg Hornpipe

May 20-25 (GNDA 20 May 1776; MÇ 20 May 1776; MP 21 May 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Raree-Show Man, Tit for Tat

311 Featured Dances: The Savoyard's Holiday; La Danse des Oeufs, or. The Egg Hornpipe

May 27 through June 1 (GNDA 27 May 1776; MC 27 May 1776; MP 27 May 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Raree-Show Man; The Impostors, or. All is Not Gold that Glitters Cast for The Impostors: M'Gee, Mr. Kear; Bridget, Miss Dowson; Essence, Mr. Lowe Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

June 3-8 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Raree-Show Man; The Impostors, or. All is Not Gold that Glitters Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

June 10-15 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: Easter Monday, The Grenadier Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

June 17-22 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: Easter Monday, The Grenadier Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

June 24-29 (GNDA 24 June 1776; MÇ 24 June 1776; MP 24 June 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Mischance; The Farewell, or, India Hoa! Featured Dances: The Bird's Nest; La Danse des Oeufs, or. The Egg Hornpipe

July 1-6 (GNDA 1 July 1776; MÇ 1 July 1776; MP 1 July 1776) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces; The Farewell, or, India 312 Hoa!; The Impostors, or. All is Not Gold that Glitters Featured Dances: The Taylors; La Danse des Oeufs, or. The Egg Hornpipe

July 8-13 (GNDA 8 July 1776; ^ 8 July 1776; W 8 July 1776) Featured Entertainment: Cupid's Prollck; or. Harlequin's May-day Featured Musical Pieces: The Farewell, or India Hoa! ; The Mischance Featured Dances: The Taylors; La Danse des Oeufs, or. The Egg Hornpipe

July 15-20 (GNDA 15 July 1776; ^ 15 July 1776; MP 15 July 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Easter Monday, The Pilgrim Featured Dances: The Savoyard's Holiday; La Danse des Oeufs, or. The Egg Hornpipe

July 22-27 Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Easter Monday, The Pilgrim Featured Dances: The Savoyard's Holiday; La Danse des Oeufs, or. The Egg Hornpipe

July 29 throuqh Auqust 3 (GNDA 29 July 1776; ^ 29 July 1776; ^ 29 July 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: The Pilgrim, The Mountebank Farmer, Mr. Kear; Daughter, Miss Dowson; Mountebank, Mr. Lowe (GNDA 8 August 1776; GEP 6-8 August 1776; Lloyd's 5-7 August 1776; LEP 6-8 August 1776; ^ 6 August 1776) Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

Auqust 5-10 Featured Entertainment; Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: The Pilgrim, The Mountebank by Mr. Lowe, Mr. Kear, and Miss Dowson (PA 7 August 1776) Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

313 August 12-17 (GNDA 12 August 1776; MC 12 August 1776; W 12 August 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: The Mountebank, Tit for Tat Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

"Last Night Sig. Rossignol made his first Appearance at Sadlers Wells, where he is engaged to perform twelve Nights. He received, which indeed he highly merited, very great Applause." (PA, 13 August 1776)

August 19-24 Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: The Mountebank, Tit for Tat Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

August 26-31 Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: The Mountebank, Tit for Tat Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

September 2-7 (MC 2 September 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Cross Purposes, Brickdust- man and Milk-maid Featured Dances: Harvest Home; La Danse des Oeufs, or. The Egg Hornpipe

September 9-14 Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Cross Purposes, Brickdust- man and Milk-maid Featured Dances: Harvest Home; La Danse des Oeufs, or. The Egg Hornpipe

September 16-18 (MC 16 September 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: "a Hunting Dialogue which has not been performed these four Years", 314 Tit for Tat Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or, The Egg Hornpipe

September 19: benefit, the Sigels (PA 19 September 1776; MC 19 September 1776; 14 September 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Dance: La Danse des Oeufs; or. The Egg Hornpipe Specialties added for the benefit: "Mess. Sigels will not only go thro' their usual Exercises, but perform several curious Feats, particularly Le Tour de la Boscule, and Le Grand Tourbillion"

September 20-21 Featured Entertainment: Cupid's Frolick; or, Harlequin's May-day Featured Musical Pieces: "a Hunting Dialogue which has not been performed these four Years", Tit for Tat Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

September 23: benefit, Sig. Grimaldi Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: The Mountebank, Tit for Tat Featured Dances: The Naval Review, or. Jack Bowsprit's Regatta; La Danse des Oeufs, or. The Egg Hornpipe

September 24: benefit, Mr. Ferzi Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Dance: La Danse des Oeufs; or. The Egg Hornpipe Specialties added for the benefit: "DANCING on the TIGHT ROPE by Mr. Ferzi, who will (for that Night only) dance on the Rope with two Eggs tied under his Feet, without breaking either: He will also perform a Comic Dance with two other Performers upon the Rope at the same Time: He will likewise jump over a Garter eight Feet high, with many other surprizing Feats of Activity and Tricks, without the Pole."

September 25: benefit, Mr. Lowe Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day 315 Featured Musical Pieces: Hunting Dialogue, The Mountebank Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

September 26: benefit, Mr. Kear, Miss Dowson (PA 26 September 1776; GNDA 26 September 1776; MC 26 September 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Brickdust-man and Milk-maid, The Raree-Show Man Featured Dances: Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe

September 27: benefit, Mr. Burrell (PA 27 September 1776; GNDA 27 September 1776; MÇ 27 September 1776) Featured Entertainment; Cupid's Frolick; or. Harlequin's May-day Featured Dance: La Danse des Oeufs; or. The Egg Hornpipe

September 30: benefit, Mr. Richer, Mr. Le Mercier, Mr. Bridge (PA 30 September 1776; MÇ 30 September 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Piece: The Grenadier^l Featured Dances: Harvest Home; Win Her and Wear Her; La Danse des Oeufs, or. The Egg Hornpipe Specialties added for the benefit: "Various surpirsing and pleasing Feats of Agility by Mess. Sigels, Particularly the TODRBILLIONS"

October 1 : benefit. Miss Valois (PA 30 September 1776; GNDA 1 October 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Dances: The Bird's Nest; Harvest Home; La Danse des Oeufs, or. The Egg Hornpipe Specialty added for the benefit: "Mr. Ferzi will jump over a Garter backwards and forwards."

October 2: benefit, Mr. Byrne, Mr. Herryman, Miss Webb (PA 2 October 1776; MÇ 2 October 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Easter Monday, The Raree-Show Man Featured Dances: Harvest Home; La Danse des Oeufs, or. The Egg Hornpipe 316 October 3 ; benefit, Mrs. Burnett, Mrs. Stephens^? (pa 2 October 1776; GNDA 3 October 1776; MÇ 3 October 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Colombine, Mrs. Stephens "In which Character she will dance a Hornpipe" Featured Musical Pieces: Tit for Tat, Easter Monday Featured Dances: Harvest Home; La Danse des Oeufs, or. The Egg Hornpipe

October 4 : benefit, Mr. Ewin (MÇ 4 October 1776) Featured Entertainment: Cupid's Frolick; Or, Harlequin's May-Dav Specialty added for the benefit; "Signor Rossignol will... imitate different Birds which he has never attempted in this country, particularly the Wood-lark, the Robin, etc."

October 7 : benefit, Mr. Rayner, Mr. Huntley (PA 5 October 1776; MÇ 7 October 1776) Featured Entertainment; Cupid's Frolick; or. Harlequin's May-day Featured Dances; Harvest Home; La Danse des Oeufs, or. The Egg Hornpipe Specialties added for the benefit: "Particularly Mr. Rayner will fly over the Pyramids of Lights, Eight Feet High. Also Mr. Huntley will fly through a Hogshead. "Particularly Mr. Ferzi will jump over the Garter seven Feet high. "Likewise Mr. Rayner will perform several Postures on the Slack Rope, for that Night only."

October 8; benefit, Mr. Garman, Mr. Vanscour, Master Williamson (PA 8 October 1776; GNDA 8 October 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day Featured Musical Piece; Tit for Tat Featured Dances: The Court Minuet and Allemande; The Savoyard's Holiday; La Danse des Oeufs, or. The Egg Hornpipe Specialty added for the benefit: "Mr. Garman will (for that Night) vault the SLACK ROPE."

October 9 : benefit, Mr. Herbert, Mr. Crown (PA 9 October 1776; MÇ 9 October 1776) Featured Entertainment: Cupid's Frolick; or. Harlequin's May-day

317 October 10: benefit, Mr. Henwood, Mr. Grosvenor Featured Entertainment; Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Brickdust-man and Milk-maid, Hunting duet Featured Dance; La Danse des Oeufs, or. The Egg Hornpipe; Harvest Home

October 11; benefit, the Waiters (PA 11 October 1776; MÇ 11 October 1776) Featured Entertainment; Cupid's Frolick; or. Harlequin's May-day Featured Musical Pieces: Brickdust-man and Milk-maid, Hunting dialogue Featured Dances: Harvest Home; La Danse des Oeufs, or. The Egg Hornpipe

318 1777

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Rear, Mrs. Burnett, Mrs. Nathan, Miss Dowson, Miss Collett (added 2-14 June), Mr. Herryman (added for his benefit 1 October).

Dancers: Mr West, Mr. Langrish, Miss West, Mr. Le Mercier, Miss Collett, Mrs. Sutton, Master Williamson (added 7 April).

Tumblers: Mr. Rayner, Mr. Huntley, Mr. Richer, Mr. Garman.

Rope Dancers: Signora Rossi, Mr. Ferzi (omitted 1-26 April).

Ladder Dancing: Mr. Richer (omitted after 25 June, reappeared after 21 July).

Specialty: Signor Rossignol (added 1 September)

Unspecified: Mr. Grimaldi (added 13 September), Mr. Herbert (added for his benefit 26 September), Miss Webb (added for her benefit 1 October).

Pit and Box Office Keeper: Mr. Burrell

Treasurer: Mr. Ewin

Carpenters: Mr. Henwood, Mr Grosvenor

PERFORMANCE CALENDAR

March 31 through April 5 (GNDA 31 March 1777; MÇ 31 March 1777; MP 31 March 1777) Featured Entertainment: The Wizard; or. The Silver Rock Female Auctioneer, Miss Dowson (I^ 3-5 April 1777; MÇ 5 April 1777) Featured Musical Pieces: Easter Monday, The Norwood Gipsies

April 7-12 (GNDA 7 April 1777; MÇ 7 April 1777; MP 7 April 1777) 319 Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: Easter Monday, Tit for Tat Featured Dances; The Village Feast; La Danse des Oeufs, or. The Egg Hornpipe

"Signora Rossi...vill perform on the Fiddle, in various Attitudes, and make a curious Display of two Flags."

April 14-19 (Iff 14 April 1777)23 Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: Easter Monday, Tit for Tat Featured Dances: The Village Feast; La Danse des Oeufs, or. The Egg Hornpipe

April 21-26 (GNDA 21 April 1777; MÇ 21 April 1777; MP 21 April 1777) Featured Entertainment: The Wizard of the Silver Rock Featured Musical Piece: The Razor Grinder Featured Dances: The Cow-Keeper, The Village Feast

April 28 through May 3 Featured Entertainment: The Wizard of the Silver Rock Featured Musical Piece: The Razor Grinder Featured Dances: The Cow-Keeper, The Village Feast

May 5-10 (MG 5 May 1777) Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: The Razor Grinder, The Grenadier Featured Dances: The Running Footmen by Mr. Langrish, Mrs. Sutton; La Danse des Oeufs, or. The Egg Hornpipe

May 12-17 Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: The Razor Grinder, The Grenadier Featured Dances: The Running Footmen; La Danse des Oeufs, or. The Egg Hornpipe

May 19-24 (GNDA 19 May 1777; Iff 19 May 1777) Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: The Razor Grinder, The Grenadier 320 Featured Dances: The Running Footmen; La Danse des Oeufs, or. The Egg Hornpipe

May 26-31 Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: The Razor Grinder, The Grenadier Featured Dances: The Running Footmen; La Danse des Oeufs, or. The Egg Hornpipe

June 2-7 (GNDA 2 June 1777; MC 2 June 1777) Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: Cross Purposes, The Razor Grinder Featured Dances: The Running Footmen; La Danse des Oeufs, or. The Egg Hornpipe

June 9-14 Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: Cross Purposes, The Razor Grinder Featured Dances: The Running Footmen; La Danse des Oeufs, or. The Egg Hornpipe

June 16-21 (GNDA 16 June 1777; MÇ 16 June 1777) Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: The Razor Grinder, The Pilgrim Featured Dances: The Faggot-Binder; La Danse des Oeufs, or. The Egg Hornpipe

June 23—28 Featured Entertainment; The Wizard of the Silver Rock Featured Musical Pieces: The Razor Grinder, The Pilgrim Featured Dances: The Faggot-Binder; La Danse des Oeufs, or. The Egg Hornpipe

June 30 through July 5 (GNDA 30 June 1777; 30 June 1777; MP 30 June 1777) Featured Entertainment: The Wizard of the Silver Rock Featured Musical Pieces: The Raree-Show Man, The Dressing Room Featured Dances: The Faggot-Binder; La Danse des Oeufs, or. The Egg Hornpipe

321 July 7-12 (GNDA 7 July 1777; MÇ 7 July 1777) Featured Entertainment; The Wizard of the Silver Rock Featured Musical Pieces: The Raree-Show Man, The Dressing Room Featured Dances: The Drunken Swiss; La Danse des Oeufs, or. The Egg Hornpipe

July 14-19 (GNDA 14 July 1777; MÇ 14 July 1777; MP 14 July 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Raree-Show Man, The Dressing Room Featured Dances: The Drunken Swiss; La Danse des Oeufs, or. The Egg Hornpipe

July 21-26 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Raree-Show Man, The Dressing Room Featured Dances: The Drunken Swiss; La Danse des Oeufs, or. The Egg Hornpipe

July 28 through August 2 (GNDA 28 July 1777; MÇ 28 July 1777; MP 28 July 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Mischance, The Dressing Room Featured Dances: The Drunken Swiss; La Danse des Oeufs, or. The Egg Hornpipe

August 4-9 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Mischance, The Dressing Room Featured Dances: The Drunken Swiss; La Danse des Oeufs, or. The Egg Hornpipe

August 11-16 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Mischance, The Dressing Room Featured Dances: The Drunken Swiss; La Danse des Oeufs, or. The Egg Hornpipe

August 18-23 (GNDA 18 August 1777; MÇ 18 August 1777) Featured Entertainment: Vineyard Revels; or, 322 Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; To Yea! or. The Friendly Tars Featured Dances: The Bird's Nest; La Danse des Oeufs, or. The Egg Hornpipe

August 25-30 (MP 25 August 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dances: The Bird's Nest; La Danse des Oeufs, or. The Egg Hornpipe

September 1-6 (MP 1 September 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dances: The Bird's Nest; La Danse des Oeufs, or. The Egg Hornpipe

September 8-13 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dances: The Bird's Nest; La Danse des Oeufs, or. The Egg Hornpipe

September 15-17 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dances: The Bird's Nest; La Danse des Oeufs, or. The Egg Hornpipe

September 18: benefit, Mr. Grimaldi (PA 18 September 1777; MP 18 September 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Piece: Tit for Tat Featured Dances: The Cow-Keeper, The Drunken Swiss Specialties added for the benefit: "Performances on the TIGHT ROPE by Signora Rossi, who will play on the Fiddle in various Attitudes, and Mr. Ferzi, who will jump over the Garter."

September 19 Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal 323 Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dances: The Bird's Nest; La Danse des Oeufs, or. The Egg Hornpipe

September 22: benefit, Mr. Ferzi (PA 20 September 1777; MÇ 22 September 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Bird's Nest Specialties added for the benefit: "And DANCING on the TIGHT ROPE by Signora Rossi, (lately arrived) who will perform on the Fiddle, in various Attitudes, and Mr. FERZI, who will (for that Night) dance in Wooden Shoes, jump over the Garter backwards and forwards, and exhibit with the Flag."

September 23: benefit. Signora Rossi (PA 23 September 1777; MÇ 23 September 1777; Iff 20 September 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Bird's Nest Specialties added for the benefit: "Performances on the TIGHT ROPE, by SIGNORA ROSSI who (by particular Desire) will, for that Night, while on the Rope, perform on Two Instruments at once, make a curious Display of two Flags, and play on the Fiddle, in various Attitudes; afterwards descend from the Rope, and perform on the German Flute, accompanied by the Band. "Mr. Ferzi will also dance on the Tight Rope, and jump over the Garter backwards and forwards. "And Signora Rossi will play the Second or the common Violin, the Piece of Signor Rossignol's Composition."

September 24: benefit, Mr. Lowe Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Bird's Nest

September 25: benefit, Mr. Rear, Mrs. Burnett (PA 25 September 1777; GNDA 25 September 1777; MC 25 September 1777) Featured Entertainment: Vineyard Revels; or, 324 Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Drunken Swiss

September 26: benefit, Mr. Herbert, Mr. Garman (PA 26 September 1777; MC 26 September 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Drunken Swiss, The Bird’s Nest24

September 29: benefit, Mr. Richer, Mr. Le Mercier (PA 29 September 1777; GNDA 29 September 1777; ^ 29 September 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Faggot Binder Specialties added for the benefit: "Mr. Richer...will (for that Night) perform some extra and singular Feats, particularly Le MONDE RENVERSE; or. The World turn’d upside down. Le SAUT D ’HERCULE, and the BEAST with TWO HEADS. "Signor ROSSIGNOL...will (for that Night) on a Fiddle without Strings play the Overture in the Deserter. ’’

September 30: benefit, Mr. and Mrs. West ( ^ 30 September 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Piece: The Dressing Room Featured Dances: The Cow-Keepers, The Drunken Swiss

October 1 : benefit, Mr. Herryman, Miss Webb, Miss Collett (PA 1 October 1777; GNDA 1 October 1777; MÇ 1 October 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room, Tit for Tat Featured Dance: The Drunken Swiss

October 2: benefit, Mr. Ewin (PA 2 October 1777; MÇ 2 October 1777) Featured Entertainment: Vineyard Revels; or, 325 Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Drunken Swiss Specialties added for the benefit: "Performances on the TIGHT ROPE by Signora ROSSI, who will play on the Fiddle in various Attitudes, and Mr. FERZI, who will jump over a Garter six Feet high backwards and forwards."

October 3: benefit, Mr. Burrell (PA 3 October 1777; GNDA 3 October 1777; ^ 3 October 1777) Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Drunken Swiss Specialties added for the benefit: "Mr. Ferzi...will jump over the Garter, and dance with Baskets to his Feet."

October 6: benefit, Mr. Rayner, Mr. Huntley Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Dance: The Cow-Keepers Specialties added for the benefit: "Particularly Mr. Rayner will fly over a Pyramid of Lights eight Feet high. "Likewise Mr. Huntley will fly through a Hogshead eight Feet high. "Mr. Ferzi...will jump over a Garter seven Feet high. "Likewise Mr. Rayner will perform several curious Tricks on the Vaulting Rope for that Night only."

October 7: benefit, Mr. Henwood, Mr. Grosvenor Featured Entertainment: Vineyard Revels; or. Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or. The Friendly Tars Featured Dance: The Drunken Swiss Specialties added for the benefit: "Performances on the TIGHT ROPE by Signora ROSSI, who will play on the Fiddle in various Attitudes, and Mr. Ferzi, who will (for the last Time this Season) jump over a Garter seven Feet high."

October 8: benefit, the Waiters (PA 8 October 1777; GNDA 8 October 1777; MÇ 8 October 1 7 7 7 ? 5 ' ) Featured Entertainment: Vineyard Revels; or, 326 Harlequin Bacchanal Featured Musical Pieces: The Dressing Room; Yo Yea! or, The Friendly Tars Featured Dance: The Drunken Swiss

327 1778

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Rear, Mrs. Burnett, Miss Dowson, Mr. Herryman (added 3 August), Miss Collett (added 17 August through 5 September).

Dancers: Mr. Le Mercier, Mr. West, Mr. Langrish, Miss Collett, Mrs. Huntley, Mrs. Sutton.

Tumblers: Mr. Rayner, Mr. Huntley, Mr. Garman, Mr. Sulley (omitted after 6 July).

Rope Dancers: Mr. Ferzi, Mr. Garman (added for his benefit 25 September).

Ladder Dancer: Mr. Richer (only on his benefit night 28 September).

Specialty: Mr. Richer, Mynheer Baptisti, Master Gare, Signora Mariana, Miss Catherine Richer (added 22 June through 4 July), Signor Rossignol (6-18 July, 7 September through 7 October).

Unspecified: Mr. Herbert (added for his benefit 25 September), Miss Webb (added for her benefit 30 September).

Painter (Scene Designer): Mr. Greenwood.

Prompter: Mr. Johnson

Pit and Box Office Keeper: Mr. Burrell

Carpenters: Mr. Henwood, Mr. Grosvenor

PERFORMANCE CALENDAR

April 20-21 (GNDA 20 April 1778; MÇ 20 April 1778; ^ 20 April 1778) Featured Entertainment; Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: The Palace of Mirth, She's Mad for a Husband

328 April 22-25 (MÇ 22 April 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: She's Mad for a Husband

April 27 through May 2 (GNDA 27 April 1778; GA 27 April 1778; W 27 April 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: She's Mad for a Husband

May 4-9 Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: She's Mad for a Husband

May 11-16 (GNDA 11 May 1778; MÇ 11 May 1778; MP 11 May 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: Tit for Tat, She's Mad for a Husband

May 18-23 Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: Tit for Tat, She's Mad for a Husband

May 25-30 Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: Tit for Tat, She's Mad for a Husband

June 1-6 (GNDA 1 June 1778; MÇ 1 June 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: She's Mad for a Husband, The Old Woman of Eighty Cast for Old Woman: Prussian Soldier, Mr. Love; Old Woman (?), Mrs. Burnett (MÇ 3 June 1778) Featured Dance: The Sleepy Miller

June 8-13 (MP 8 June 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: She's Mad for a Husband, The Old Woman of Eighty Featured Dance: The Sleepy Miller

329 June 15-20 (GA 15 June 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: She's Mad for a Husband, The Old Woman of Eighty Featured Dance: The Sleepy Miller

June 22-27 (GNDA 22 June 1778; ^ 22 June 1778; MP 22 June 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: The Old Woman of Eighty, The Dressing Room Featured Dance: The Sleepy Miller

"Mynheer Baptist will also drive a Wheel-Barrow on the Tight Rope, attended by Miss Catherine Richer and her favourite Parrot."

June 29 through July 4 Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: The Old Woman of Eighty, The Dressing Room Featured Dance: The Sleepy Miller

"Mynheer Baptist will also drive a Wheel-Barrow on the Tight Rope, attended by Miss Catherine Richer and her favourite Parrot."

July 6-11 (GNDA 6 July 1778; GA 6 July 1778; ^ 6 July 1778; MP 6 July 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: The Old Woman of Eighty, The Dressing Room Featured Dance: St. Patrick's Day

July 13-18 (GNDA 13 July 1778; MÇ 13 July 1778; MP 13 July 1778) Featured Entertainment: Oriental Magic; or. Harlequin Nabob Featured Musical Pieces: The Dressing Room; The Farewell, or, India Hoa!; The Old Woman of EightyZG Featured Dance: St. Patrick's Day

July 20-25 (GNDA 20 July 1778; ^ 20 July 1778; MP 20 July 1778) Featured Entertainment: Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Dressing Room; The 330 Farewell, or, India Hoa! Featured Dance; St. Patrick's Day

July 27 through August 1 Featured Entertainment: Whim-Wham; or. Harlequin Captive Featured Musical Pieces: The Dressing Room; The Farewell, or, India Hoa! Featured Dance: St. Patrick's Day

August 3-8 (GNDA 3 August 1778; ^ 3 August 1778; MP 3 August 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Casting for A Trip to Coxheath: Mr. Suds, Mr. Rear; Mrs. Suds, Mrs. Burnett; Jack Suds, Mr. Herryman (MC 4 August 1778) Featured Musical Piece: The Dressing Room Featured Dance: St. Patrick's Day

August 10-15 Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance; St. Patrick's Day

August 17-22 (GNDA 17 August 1778; MÇ 17 August 1778; MP 17 August 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

August 24-29 Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

August 31 through September 5 Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

September 7-12 Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

331 September 14-16 Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

September 17: benefit, Mr. Grimaldi Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: Tit for Tat Featured Dance: Harvest Home Specialties added for the benefit: "Mr. Ferzi...will go through the Military Exercise on the Tight Rope, a Performance never before attempted."

September 18-19 Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

September 21 : benefit, Mr. Ferzi (PA 21 September 1778; GA 21 September 1778; MP 21 September 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: Tit for Tat Featured Dance: The Savoyard's Holiday Specialty added for the benefit: "Mr. Ferzi...will go through the Military Exercise (for the last Time) on the tight Rope, being his second Exhibition."

September 22: benefit, Mrs. Sutton (PA 22 September 1778; GNDA 22 September 1778; ^ 22 September 1778) Featured Entertainments; Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Dances: Harvest Home, The Savoyard's Holiday

September 23 : benefit, Mr. Lowe Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

September 24 : benefit, Mr. Rear, Mr. Le Mercier (PA 24 September 1778; GNDA 24 September 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: Harvest Home 332 September 25; benefit, Mr. Garman, Mr. Herbert (PA 25 September 1778; MC 25 September 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Savoyard's Holiday

September 28: benefit, Mr. Richer (PA, 26 September 1778; GA 28 September 1778; MP 28 September 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: Tit for Tat Specialties added for the benefit: "Particularly a Feat (exhibited but once) called 'The Difficult Way of filling an Easy Chair.' "Mr. Ferzi..will go through the Military Exercise on the Tight Rope. "Signora Mariana will jump over the Garter."

September 29: benefit, Mr. Langrish, Mrs. Burnett (MÇ 29 September 1778) Featured Entertainments: Whim Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Old Woman of Eighty Featured Dance: St. Patrick's Day

September 30: benefit, Mr. Herryman, Miss Webb, Mr. Johnson (PA 30 September 1778; GNDA 30 September 1778; MC 30 September 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Old Woman of Eighty Featured Dance: Harvest Home

October 2 : benefit, Mr. Burrell (PA 2 October 1778; GNDA 2 October 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: Tit for Tat Featured Dance: St. Patrick's Day

October 5: benefit, Mr. Rayner, Mr. Huntley (PA 5 October 1778; MÇ 5 October 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Specialties added for the benefit: "Particularly Mr. Rayner will fly over ten Men's Heads, one standing before the other. "Mr. Ferzi...will go thro' the Military Exercise on the Tight Rope, positively for the last Time. 333 "Likewise Mr. Rayner will perform several curious Tricks on the Vaulting Rope, for this Night only."

October 6 ; benefit, Mr. Henwood, Mr. Grosvenor Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece: The Old Woman of Eighty Featured Dance: St. Patrick's Day

October 7 : benefit, the Waiters (PA 7 October 1778; GNDA 7 October 1778) Featured Entertainments: Whim-Wham; or. Harlequin Captive, A Trip to Coxheath Featured Musical Piece; The Old Woman of Eighty Featured Dance: St. Patrick's Day

334 1779

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Herryman, Mr. Rear, Mrs. Burnett, Mrs. Granger, Miss Dowson, Miss Collett (added 10 August).

Dancers: Mr. Le Mercier, Mr. Langrish, Mr. West, Mrs. Huntley, Mrs. Sutton, Miss Collett (added 19 July).

Tumblers: Mr. Rayner, Mr. Richer, Mr. Huntley, Mr. Granger, Mr. Garman.

Rope Dancers: Mr. Ferzi, Signora Mariana (added 19 July), Miss Kitty (added for Richer benefit 27 September).

Specialty: Mr. Richer, Mr. Baptist, Mr. Gare, Signora Mariana.

Unspecified: Mr. Grimaldi (added for his benefit 16 September), Mr. Herbert (added for his benefit 24 September), Miss Webb (added for her benefit 29 September), Mr. Cross, Mr. Swarbrook (added for their benefit 5 October).

Painter: Mr. Greenwood

Prompter: Mr. Johnson

Box and Pit Office Keeper: Mr. Burrell

Carpenters: Mr. Henwood, Mr. Grosvenor

PERFORMANCE CALENDAR

April 5-10 (GNDA 5 April 1779; GA 5 April 1779; MÇ 5 April 1779; MP 5 April 1779) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: The Venture; or, A Pennyworth of Wit Featured Dances: The Cow-Keepers, "and the new Dance by Mr. Lemercier, Mr. Langrish, and Mrs. Sutton" (MÇ 6 April 1779)

335 April 12-17 (GNDA 12 April 1779; GA 12 April 1779; MÇ 12 April 1779) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: The Venture; or, A Pennyworth of Wit Featured Dance: The Village Hostess

April 19-24 (MP 19 April 1779) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: The Venture; or, A Pennyworth of Wit Featured Dance: The Village Hostess

April 26 through May 1 Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: The Venture; or, A Pennyworth of Wit Featured Dance: The Village Hostess

May 3-8 Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: The Venture; or, A Pennyworth of Wit Featured Dance: The Village Hostess

May 10-15 Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: The Venture; or, A Pennyworth of Wit Featured Dance: The Village Hostess

May 17-22 (GNDA 17 May 1779; GA 17 May 1779; MC 17 May 1779; MP 17 May 1779) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: The Venture, or, A Pennyworth of Wit; The Merry Dyer, or, A Dip in True Blue Featured Dance: The Village Hostess

May 24-29 (GNDA 24 May 1779; MÇ 24 May 1779) Featured Entertainments: The Nymph of the Grotto; or. Harlequin's Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

336 May 31 through June 5 (GNDA 31 May 1779; GA 31 May 1779) Featured Entertainments: The Nymph of the Grotto; or. Harlequin's Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

June 7-12 Featured Entertainments: The Nymph of the Grotto; or. Harlequin's Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

June 14-19 Featured Entertainments: The Nymph of the Grotto; or. Harlequin's Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

June 21-26 (GNDA 21 June 1779; GA 21 June 1779; MÇ 21 June 1779) Featured Entertainments: The Nymph of the Grotto; or. Harlequin's Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

June 28 through July 3 Featured Entertainments: The Nymph of the Grotto; or. Harlequin’s Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

July 5-10 Featured Entertainments: The Nymph of the Grotto; or. Harlequin's Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

July 12-17 Featured Entertainments: The Nymph of the Grotto; or. Harlequin's Ramble, All Alive at Jersey; or, A Fig for the French Featured Musical Piece: The Merry Dyer; or, A Dip in True Blue

July 19-24 (GNDA 19 July 1779; MÇ 19 July 1779; MP 19 July 1779) 337 Featured Entertainments: The Cave of Enchantment, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Drunken Swiss

July 26-31 (MC 26 July 1779; ^ 26 July 1779) Featured Entertainments: The Cave of Enchantment, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Drunken Swiss

August 2-7 Featured Entertainments: The Cave of Enchantment, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Drunken Swiss

August 9^^ Featured Entertainments: The Cave of Enchantment, A Trip to Coxheath Featured Musical Piece: The Dressing Room Featured Dance: The Drunken Swiss

August 10-14 (GNDA 9 August 1779; MÇ 9 August 1779; MP 9 August 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury Queen Elizabeth, Miss Dowson ( ^ 10 August 1779); Genius of Britain, Mr. Lowe ( ^ 24 August 1779)

August 16-21 Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

August 23-28 Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

August 30 through September 4 Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

September 6-11 Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

338 September 13-15 Featured Entertainment; The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

September 16: benefit, Mr. Grimaldi (PA 16 September 1779; MC 16 September 1779; MP 16 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat

September 17 Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

September 20: benefit, Mr. Ferzi (PA 18 September 1779; MC 20 September 1779; ^ 20 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury Featured Dance: The Village Hostess Specialties added for the benefit: "Mr. Ferzi,...besides his usual Performances, will (for that Night only) exhibit several new and pleasing Feats (never yet performed) called The Manual Exercise, The Debassement Militaire, and The Drunken Soldier, upon the Tight Rope."

September 21: benefit, Mrs. Sutton (PA 21 September 1779; ^ 20 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury Featured Dances: The Drunken Swiss, The Savoyard's Holiday

September 22: benefit, Mr. Lowe Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Featured Dance: The Village Hostess

September 23: benefit, Mr. Rear, Mr Le Mercier (PA 23 September 1779; GNDA 23 September 1779; MÇ 23 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Featured Dance: The Village Hostess

339 September 2 4 ; benefit, Mr. Garman, Mr. Herbert (PA 24 September 1779; GNDA 24 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

September 27: benefit, Mr. Richer and his pupils (PA 27 September 1779; MÇ 27 September 1779; ^ 27 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Specialties added for the benefit: "Some curious Exhibitions by Mr. Richer and his Pupils, particularly the following Tricks: The Grand Colussus of Rhodes; a Grand Summer Seat; or. The New Easy Chair: and a surprizing Pyramid of four Persons one upon another. "Miss Kitty, a Child of four Years old, will dance on the Rope, and hold a Conversation with a Parissan Parrot."

September 28: benefit, Mr. Langrish, Mr. Bowtell (GNDA 25 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: Tit for Tat; The Prophecy, or Queen Elizabeth at Tilbury Featured Dance: The British Volunteers

September 29; benefit, Mr. Johnson, Miss Webb, Mr. Herryman (PA 29 September 1779; GNDA 29 September 1779; MC 29 September 177928) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat

September 30: benefit, Mrs. Burnett (MC 23, 27, 29 and 30 September 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: Tit for Tat; The Prophecy, or. Queen Elizabeth at Tilbury Featured Dance: The Village Hostess

October 1 : benefit, Mr. Burrell (PA 1 October 1779; GA 1 October 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Featured Dance: The British Volunteers

October 4 : benefit, Mr. Rayner, Mr. Huntley (PA 4 October 1779; GNDA 4 October 1779; 4 October 1779) 340 Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Featured Dance: The British Volunteers Specialty added for the benefit: "Particularly Mr. Rayner will fly over ten Men's Heads, with a Boy upon the middle Man's shoulders, for that Night only."

October 5 : benefit, Mr. Granger, Mr. Cross, Mr. Swarbrook (PA 5 October 1779; GNDA 5 October 1779; îrç 5 October 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Featured Dance: The British Volunteers^^ Specialty added for the benefit: "Particularly Mr. Granger will throw himself through a Cask of Fire."

October 6 : benefit, Mr. Henwood, Mr. Grosvenor Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Featured Dance: The British Volunteers Specialty added for the benefit: "By particular Desire Mr. Rayner will fly over the Double Fountain, a Pyramid of Men and Boys."

October 7 : benefit, the Waiters (PA 7 October 1779; GNDA 7 October 1779) Featured Entertainment: The Cave of Enchantment Featured Musical Pieces: The Prophecy, or. Queen Elizabeth at Tilbury; Tit for Tat Featured Dance: The British Volunteers Specialty added for the benefit: "By particular Desire Mr. Rayner will fly over the Double Fountain, a Pyramid of Men and B o y s . " 3 0

341 1780

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Doyle, Mr. Herryman, Mrs. Burnett, Miss Dowson (omitted 2-5 October), Miss Collett (added 1 May, omitted 4 and 11 May and 25 June), Mrs. Granger (added 2 October).

Dancers: Mr. Le Mercier, Mr. Langrish, Miss Collett, Mrs. Huntley, Mrs. Sutton.

Tumblers: Mr. Rayner, Mr. Sully, Mr. Huntley, Mr. Carman, Mr. Granger.

Rope Dancers: Mr. Rayner, Mr. Baptiste, Signora Mariana.

Specialty: Mr. Richer, Mr. Baptiste.

Unspecified: Mr. Grimaldi (added for his benefit 18 September), Mr. Herbert (added for his benefit 22 September), Miss Webb (added for her benefit 27 September).

Painter: Mr. Greenwood.

Prompter: Mr. Johnson

Box and Pit Office Keeper: Mr. Burrell

Treasurer: Mr. Boottle

Carpenters: Mr. Henwood, Mr. Grosvenor

PERFORMANCE CALENDAR

March 27 through April 1 (GNDA 27 March 1780; ^ 27 March 1780) Featured Entertainment: Harlequin's Trip? or. The Golden Forest Featured Musical Piece: Joan of D e p t f o r d ^ l Buxom Joan, Miss Dowson; Tinker, Mr. Lowe; Taylor, Mr. Doyle; Soldier, Mr. Herryman (MC 28 March 1780) Featured Dance: Holiday Time

342 April 3-8 (MF 3 April 1780) Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Dance: Holiday Time

"Particularly a MUSICAL PIECE, never yet performed. The Subject from a well-known old Ballad, and the Music from various Masters."

April 10-15 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Dance: Holiday Time

"Particularly a MUSICAL PIECE, never yet performed. The Subject from a well-known old Ballad, and the Music from various Masters."

April 17-22 (GNDA 17 April 1780; MÇ 17 April 1780) Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: The Surprise, Joan of Deptford Featured Dance: Holiday Time

April 24-29 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: The Surprise, Joan of Deptford Featured Dance: Holiday Time

May 1-3 (GNDA 1 May 1780; MÇ 1 May 1780) Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: Joan of Deptford, Cross Purposes Featured Dance: Holiday Time

May 4 (GNDA 4 May 1780) Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: Tit for Tat, The Old Woman of Eighty Featured Dance: Holiday Time

May 5-6 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: Joan of Deptford, Cross Purposes Featured Dance: Holiday Time 343 May 8-10 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: Joan of Deptford, Cross Purposes Featured Dance: Holiday Time

May 11 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: Tit for Tat, The Old Woman of Eighty Featured Dance: Holiday Time

May 12-13 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: Joan of Deptford, Cross Purposes Featured Dance: Holiday Time

May 15-20 (GNDA 15 May 1780; MÇ 15 May 1780) Featured Entertainments: Harlequin's Trip; or. The Golden Forest, All Alive at Jersey; or, A Fiq for the French

"Signora Mariana will exhibit some new and extraordinary Performances on the SLACK WIRE, particularly a curious Display of two Flags, and a pleasing Trick with a Hoop and three Glasses of Wine."

May 22-24 Featured Entertainments: Harlequin's Trip; or. The Golden Forest, All Alive at Jersey; or, A Fiq for the French

"Signora Mariana will exhibit some new and extraordinary Performances on the SLACK WIRE, particularly a curious Display of two Flags, and a pleasing Trick with a Hoop and three Glasses of Wine."

May 25 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Pieces: Tit for Tat, The Old Woman of Eighty Featured Dance; Holiday Time

344 Msy 26— 27 Featured Entertainments: Harlequin's Trip; or. The Golden Forest/ All Alive at Jersey; or, A Fiq for the French

"Signora Mariana will exhibit some new and extraordinary Performances on the SLACK WIRE, particularly a curious Display of two Flags, and a pleasing Trick with a Hoop and three Glasses of Wine." (PA, 26 May 1780)

May 29 throuqh June 3 Featured Entertainments: Harlequin's Trip; or. The Golden Forest, All Alive at Jersey; or, A Fiq for the French

"Signora Mariana will exhibit some new and extraordinary Performances on the SLACK WIRE, particularly a curious Display of two Flags, and a pleasing Trick with a Hoop and three Glasses of Wine."

June 5-8 (GNDA 5 June 1780; MÇ 5 June 1780) Featured Entertainments: Harlequin's Trip; or. The Golden Forest, All Alive at Jersey; or, A Fiq for the French Featured Dance: Hurry Scurry; or. The Rural Rumpus

June 9 (GNDA 9 June 1780) "The Public are most respectfully acquainted there WILL NOT BE ANY PERFORMANCE at this PLACE till further Notice."

June 12-17 (LCWC 12 June 1780) Featured Entertainments: Harlequin's Trip; or. The Golden Forest, All Alive at Jersey; or, A Fiq for the French Featured Dance: Hurry Scurry; or. The Rural Rumpus

June 19-24 (GNDA 19 June 1780; ^ 19 June 1780) Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Piece: Riddle Me—Ree; or. The Serjeant and Taylor Featured Dance: Hurry Scurry; or. The Rural Rumpus

June 26 throuqh July 1 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Piece: Riddle Me-Ree; or. The Serjeant and Taylor Featured Dance: Hurry Scurry; or. The Rural Rumpus 345 July 3-8 (GNDA 3 July 1780; LCWC 3 July 1780; 3 July 1780) Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Piece: All for Scarlet; or, Ding-Dong to the Park

July 10-15 (MP 10 July 1780) Featured Entertainment: Harlequin's Trip; or, The Golden Forest Featured Musical Piece: All for Scarlet; or, Ding-Dong to the Park

July 17-22 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Piece: All for Scarlet; or, Ding-Dong to the Park

July 23-29 Featured Entertainment: Harlequin's Trip; or. The Golden Forest Featured Musical Piece: All for Scarlet; or, Ding-Dong to the Park

July 31 throuqh Auqust 5 (GNDA 31 July 1780; LCWC 31 July 1780; MÇ 31 July 1780; 31 July 1780) Featured Entertainment: Harlequin Neptnne Featured Musical Piece: All for Scarlet; or, Ding-Dong to the Park

Auqust 7-12 Featured Entertainment: Harlequin Neptune Featured Musical Piece: All for Scarlet; or, Ding-Dong to the Park

Auqust 14-19 (GNDA 14 August 1780; MÇ 14 August 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece; All for Scarlet; or, Ding-Dong to the Park, including "a favourite Air called Chaise Marine sung by Mr. Doyle

Auqust 21-26 (GNDA 21 August 1780; LCWC 21 August 1780; M Ç 21 August 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury "The Whole to conclude with a short Martial Exhibition, and a Song and Chorus in Honour of the LOYAL LONDON MILITARY ASSOCIATION."

346 Auqust 28 through September 2 Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

September 4-9 (MP 4 September 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

September 11-15 Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or. Queen Elizabeth at Tilbury

September 18: benefit, Mr. Grimaldi (PA 18 September 1780; ^ 18 September 1780) Featured Entertainment: Harlequin Neptune

September 19; benefit, Mrs. Sutton (PA 19 September 1780; GNDA 19 September 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or Queen Elizabeth at Tilbury Featured Dances: Hurry Scurry, Harvest Home

September 20: benefit, Mr. Lowe Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or Queen Elizabeth at Tilbury

September 22: benefit, Mr. Garman, Mr. Herbert (PA 22 September 1780; GNDA 22 September 1780^2) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or Queen Elizabeth at Tilbury

September 25: benefit, Mr. Richer and his pupils (PA 25 September 1780; MÇ 25 September 1780; MP 25 September 1780) Featured Entertainment: Harlequin Neptune Specialties added for the benefit: "Particularly Mr. Richer will for that Night dance on the L a d d e r . 33 "Signora Mariana will Jump the Garter, and dance on the Rope with Eggs on her Feet; and Mr. Baptiste (on the Rope) will exhibit a comic Deception, called The Clown and Grand-Mother. The Parrot will make its first Appearance this Season."

347 September 26; benefit, Mr. Le Mercier, Mr. Langrish (PA 26 September 1780; GNDA 26 September 1780; MÇ 26 September 1780) Featured Entertainment; Harlequin Neptune Featured Musical Piece: The Prophecy; or Queen Elizabeth at Tilbury Featured Dances: Holiday Time; Hurry Scurry, or. The Rural Rumpus

September 27: benefit, Mr. Herryman, Mr. Johnson, Miss Webb (PA 27 September 1780; MÇ 27 September 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or Queen Elizabeth at Tilbury Featured Dances: Holiday Time; Hurry Scurry, or. The Rural Rumpus

September 28: benefit, Mrs. Burnett (ÎTC 28 September 1780) Featured Entertainment: Harlequin Neptune Featured Musical Pieces: Joan of Deptford; The Prophecy, or. Queen Elizabeth at Tilbury Featured Dance: Hurry Scurry

September 29: benefit, Mr. Burrell (PA 29 September 1780; GNDA 29 September 1780; ^ 29 September 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy; or Queen Elizabeth at Tilbury

October 2 : benefit, Mr. Rayner, Mr. Huntley (PA 2 October 1780; MÇ 2 October 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece; The Prophecy; or Queen Elizabeth at Tilbury Featured Dances: Hurry Scurry, Harvest Home Specialty added for the benefit: "Particularly Mr. Rayner will fly over a Man and Horse (for that Night only)."

October 3 : benefit, Mr. Granger, Mr. Boottle (PA 3 October 1780; MÇ 3 October 1780) Featured Entertainment: Harlequin Neptune Featured Musical Piece: The Prophecy, or Queen Elizabeth at Tilbury; Joan of Deptford Featured Dances: Hurry Scurry Specialties added for the benefit: "In the Course of Mr. Granger's Performance he will fly thro' a Hogshead of Fire suspended in the Air (for that Night only) with a Variety of other capital Performances."

348 October 4 ; benefit, Mr. Henwood, Mr. Grosvenor Featured Entertainment: Harlequin Neptune

October 5: benefit, the Waiters (PA 5 October 1780; GNDA 5 October 1780) Featured Entertainment: Harlequin Neptune

349 1781

FEATURED PERSONNEL Singers: Mr. Lowe, Mr. Doyle, Mr. Herryman, Miss Dowson, Miss Collett, Miss Pinto (Mrs. Saunders after 13 September), Mr. Sully (added 25 June), Master Snlly (added 30 August).

Dancers: Mr. Le Mercier, Mr. Langrish, Master and Miss Grimaldi (omitted 4 June), Mrs. Sutton (omitted 4 June, restored 25 June), the three Miss Stageldoirs (added 4 June).

Tumblers: Mr. Placido, Mr. Redige, Mr. Rayner, Mr. Sully, Mr. Huntley, Mr. Garman.

Slack Wire: Mr. Saunders.

Rope Dancers: Signor Placido, The Little Devil (Redige).

Specialty: The Astonishing Giant and the Little Dwarf (added 8 October only).

Unspecified: Mr. Herbert (added for his benefit 21 September), Mr. Bruguier, Mr. Cross, Mrs. C a m e (added for their benefit 9 October), Mr. Carter (added for his benefit 5 October).

Box and Pit Office Keeper: Mr. Burrell

Treasurer: Mr. Bowtell

Carpenters: Mr. Henwood, Mr. Grosvenor

PERFORMANCE CALENDAR

April 16-21 (LCWC 16 April 1781; MÇ 16 April 1781; fffl 16 April 1781) Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece: The Medley; or, A Masque in Masquerade

April 23-28 (MH 23 April 1781) Featured Entertainment: The Wizard of the Silver 350 Rock; or. Harlequin's Release Featured Musical Piece: The Medley; or, A Masque in Masquerade

April 30 throuqh May 5 Featured Entertainment; The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece: The Medley; or, A Masque in Masquerade

May 7-12 (GNDA 7 May 1781) Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece: The Medley; or, A Masque in Masquerade

May 14-19 (MH 14 May 1781) Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece: The Medley; or, A Masque in Masquerade

May 21-26 Featured Entertainment; The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece; The Medley; or, A Masque in Masquerade

May 28 throuqh June 2 Featured Entertainment; The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece: The Medley; or, A Masque in Masquerade

June 4-9 (MC 4 June 1781; MH ■4 June 1781) Featured Entertainment; The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece; The Gypsies Featured Dance: Hurry Scurry

June 11 (GNDA 11 June 1781; MH 18 June 1781) "THE Public are most respectfully informed that This Day the Doors of this Place will not be opened till HALF an HOUR AFTER FIVE o'Clock. The Performances will begin EXACTLY AT HALF AFTER SIX. "N.B. Most of the Public Places of Amusement in and about the Metropolis having within these few Years altered their Hours of Commencement, the Proprietors of the WELLS have, in consequence of several respectable Applications, adopted the above Regulation, which they mean to continue till 351 Saturday the First of September next."

June 12-16 Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece: The Gypsies Featured Dance: Hurry Scurry

June 18-23 Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Piece: The Gypsies Featured Dance: Hurry Scurry

June 25-30 (MC 25 June 1781) Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Pieces: All for Scarlet, or, Ding-Dong to the Park; The Mischance Featured Dance: "a dance by the three Miss Stageldoirs"

July 2-7 Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Pieces: All for Scarlet, or, Ding-Dong to the Park; The Mischance Featured Dance: "a dance by the three Miss Stageldoirs" (PA, 2 July 1781)

July 9-14 Featured Entertainment: The Wizard of the Silver Rock; or. Harlequin's Release Featured Musical Pieces: All for Scarlet, or, Ding-Dong to the Park; The Mischance Featured Dance: "a dance by the three Miss Stageldoirs" (PA, 9 July 1781)

July 16-21 Featured Entertainment: The Sister Witches; or. Mirth and Magic "In which will be introduced a pleasing Exhibition with a Peacock's Feather, by Mr. SAUNDERS "And by Mr. Lowe and Mr. Doyle will be delivered a new Satyrical, Whimsical, Musical Invitation to The Celestial Bed" Doctor's Porter, Mr. Doyle (Lloyd's 27-30 July 1781; LÇ 26-28 July 1781; MÇ 26 July 1781; MH 26 July 1781; WEP 24-26 July 1781) Featured Musical Pieces: All for Scarlet, or, Ding-Dong to the Park; The Mischance 352 July 23-28 (MÇ 23 July 178X34) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or, Ding-Dong to the Park; The Mischance

July 30 throuqh August 4 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or, Ding-Dong to the Park; The Mischance

August 6-11 (MH 6 August 1781)35 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or, Ding-Dong to the Park; The Mischance

August 13-18 (MC 13 August 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or Ding-Dong to the Park; Brick-dust Man Brickdust Man, Mr. Doyle; Milk Maid, Miss Dowson (LCWC 13 August 1781; M 13 August 1781)

August 20-25 (MH 20 August 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or Ding-Dong to the Park: Han, Boy, and Dapple

August 27 through September 1 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or Ding-Dong to the Park: Man, Boy, and Dapple

September 3-8 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or Ding-Dong to the Park: Man, Boy, and Dapple

September 10-12 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or Ding-Dong to the Park: Man, Boy, and Dapple

September 13: benefit, Mr. Grimaldi (PA 13 September 1781; MÇ 13 September 1781; m 12 September 1781) 353 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Dance: The Taylors Specialty added for the benefit: "Sig. Placido will (for this Night only) particularly distinguish himself with that pleasing Exhibit of the Peacock's Feather, in a Manner never before exhibited."

September 14 Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: All for Scarlet, or Ding-Dong to the Park: Man, Boy, and Dapple

September 17: benefit. Signor Placido (GNDA 17 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Piece: Man, Boy, and Dapple Featured Dance: The Taylors Specialties added for the benefit: "Among many other surprising Equilibres, he will stand upon his Head on a Drinking Glass upon the Wire in full swing without holding with his hands; he will balance a French Horn on his Lips, and sound a minuet on it, without toughing it with his hands, in full swing. He will walk upon a deal board, drink tea and coffee, balance two boys, and at the same time will balance a pyramid with fifteen glasses of wine on the edge of a hoop, while playing on the guitar all at once, and the wire on full swing. He will perform on divers instruments of music on the wire in full swing. He will balance an egg on the top of two straws, perform blindfold in a bag; and fly through a hoop eleven inches diameter on the wire in full swing. He will beat the March in Judas Maccabaeus on a side drum in full swing. He will astonish the spectators by balancing a pyramid of pipes sitting on a chair on the wire, and at the same time balancing a table on his foot, with bottles and glasses of wine, pipes and candles, all this in full swing; he will also stand on the wire, lay hold of the wire on each side with his hands, and then perform a continual somerset with a velocity equal to that of the fly of a Jack, insomuch, that it becomes impossible for the quickest eye to trace the human form, and the body appears like a wheel turning in the air with wonderful rapidity. 354 "N.B. Mr. Saunders will also stand upon his head on the point of a sword, upon the wire in full swing, without holding with his hands, and discharge a brace of pistols at the same time, to the surprise of every beholder. On account of the great number of new performances, Mr. Saunders will divide his Exhibition on the Wire into two acts, between which, he will balance a boy standing on the top of a ladder on his chin, and perform several new and curious exploits with a Peacock's Feather, and the Drinking Glass, so as not to be equalled by any other person in Europe. Also Master SAUNDERS, of twelve years of age, will blow a Peacock's Feather thirty feet high in the air; throws a Flip-Flap, and instantaneously catches the Feather on his face in a balance." (MC 15 September 1781)

September 18; benefit, Mrs. Sutton (PA 17 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic

September 19; benefit, Mr. Lowe Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Medley, or, A Masque in Masquerade; Man, Boy, and Dapple Featured Dance: The Taylors

September 21: benefit, Mr. Garman, Mr. Herbert (PA 21 September 1781; GNDA 21 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic

September 24: benefit, Mr. Redige (The Little Devil) (PA 22 September 1781; GNDA 24 September 1781; Iffl 24 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Dance: Le Ballet des Sauteurs; or. The Tumbler's Morrice Specialties added for the benefit: "Particularly, the LITTLE DEVIL will, on the Tight Rope, jump the Garter in a Manner never yet seen in this Kingdom. "He will also dance in Wooden Shoes, which he will break while in the Air, and go through his customary Performances. "Signor Placido will, in Addition to his usual Exhibitions on the Rope, go through the Military Exercise." 355 September 25; benefit, Mrs. Sutton (PA 25 September 1781; M 25 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Brick-dust Man; The Medley, or, A Masque in Masquerade Featured Dance: The Amorous Quaker by Mrs. Sutton, Mr. Langrish

September 26: benefit, Mr. Langrish, Mr. Le Mercier (PA 26 September 1781; MC 26 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Brick-dust Man; Man, Boy, and Dapple Featured Dances: The Amorous Quaker by Mr. Langrish and Mrs. Sutton; The Shepherd by Mr. Le Mercier and Mrs. Sutton; Le Ballet des Sauteurs, or. The Tumbler's Morrice

September 27: benefit, Mrs. Saunders (PA 27 September 1781; MC 27 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Specialty added for the benefit: "Particularly [Mr. Saunders] will stand upon his Head on the Point of a Sword upon the Wire in full Swing, without holding with his Hands, and discharge a Brace of Pistols at the same time, & c ."

September 28: benefit, Mr. Burrell Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Medley, or, A Masque in Masquerade; Man, Boy, and Dapple Featured Dance: The Taylors

October 1: benefit, Mr. Rayner, Mr. Sully (PA 29 September 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Piece: Man, Boy, and Dapple; or. Hard to Please All Featured Dance: The Taylors Specialties added for the benefit: "The LITTLE DEVIL will dance in a Pair of Wooden Shoes, which he will break while in the Air. "Mr. Rayner will fly through a Shower of Fire, for that Night only." 356 October 2; benefit, Mr. Herryman, Mr. Bowtell (PA 2 October 1781; GNDA 2 October 1781; MÇ 2 October 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: Man, Boy, and Dapple, or. Hard to Please All; The Medley, or, A Masque in Masquerade Featured Dance: The Amorous Quaker Specialties added for the benefit: "[Signor Placido and the Little Devil] will exhibit L'Exercise, De la Planche, de la Table, Sur la Corde."

October 3: benefit, Mr. Huntley, Mr. Williamson (PA 3 October 1781; MÇ 3 October 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Piece: Man, Boy, and Dapple; or. Hard to Please All Featured Dances: The Taylors, The Cow Keepers by Mr. Williamson and Mrs. Huntley Specialties added for the benefit: "[The Little Devil] will dance in a Pair of Wooden Shoes, which he will break while in the Air. "Mr. Rayner will fly through a Shower of Fire."

October 4: benefit, Mrs. Sutton Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Brick-dust Man; The Medley, or, A Masque in Masquerade Featured Dance: The Amorous Quaker

October 5: benefit, Mr. Henwood, Mr. Grosvenor, Mr. Carter Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Brick-dust Man by Miss Dowson and Mr. Doyle; The Medley, or, A Masque in Masquerade Featured Dance: The Amorous Quaker Specialty added for the benefit: "[The Little Devil] will dance in a Pair of Wooden Shoes, which he will break while in the Air."

October 8 (PA 8 October 1781; GNDA 6 October 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Specialties added for this performance: 357 "Sig. PLACIDO will play on the Violin, Accompanied by the LITTLE DEVIL on the Drum. "Sig. PLACIDO will go through the Military Exercise. "In that most pleasing Performance Le BALLET des SAUTEURS, They will, accompanied by a Set of the most accomplished Performers, display some wonderful Feats of Agility. "The LITTLE DEVIL will, from the TRAMPLIN, Throw a lofty and complete Somerset over the GIANT'S HEAD, In the Midst of several other M e n . "

October 9; benefit, Mr. Bruguier, Mr. Cross, Mrs. Carne (PA 9 October 1781; GNDA 9 October 1781) Featured Entertainment: The Sister Witches; or. Mirth and Magic Specialties added for the benefit: "The LITTLE DEVIL will perform the Exercise De la Planche, De la Table, and De la Chaise, on the Tight Rope. "The LITTLE DEVIL [will perform] a Somerset through a Shower of Fire."

October 10: benefit, the Waiters Featured Entertainment: The Sister Witches; or. Mirth and Magic Featured Musical Pieces: The Brick-dust Man by Miss Dowson and Mr. Doyle; The Medley, or, A Masque in Masquerade Featured Dance: The Bird's Nest by Mr. Le Mercier and Miss Stageldoirs Specialties added for the benefit: "[The Little Devil] will dance in a Pair of Wooden Shoes, which he will break while in the Air. And for this Night only (by particular Desire) will do L'Exercise De la Planche, De la Table, De la Chaise, sur la Carte. "[The Little Devil] will fly through a Shower of Fire, for the last Time this Season."

358 1782

FEATURED PERSONNEL Singers; Mr. Lowe, Mr. Doyle, Mr. Herryman, Mr. Sully, Miss Dowson, Mrs. Saunders, Miss Collett (added 15-20 April; 13 May through 8 October).

Dancers: Mr. Le Mercier, Mr. Williamson, Mrs. Huntley, Mrs. Sutton, Mr. Grimaldi (added for Placido benefit 16 September), Mr. Bruguier (added for his benefit 1 October).

Tumblers: Mr. Dupuis, Mr. Meunier, Mr. Rayner, Mr. Sully, Mr. Huntley, Signor Placido, the Little Devil (Redige), Mr. Whittow (added 19 August), Mr. Saunders, jun. (added 19 August).

Tight Rope Dancer: Signor Placido, the Little Devil (Redige)

Slack Wire: Mr. Saunders

Unspecified: Mr. Herbert (added for his benefit 20 September), Miss Rayner (added for her benefit 26 September), Miss Webb (added for her benefit 2 October).

Painter: Mr. Greenwood

Box and Pit Office Keeper: Mr. Burrell

Treasurer: Mr. Bowtell

PERFORMANCE CALENDAR

April 1-6 (GNDA 30 March 1782; GA 1 April 1782; MÇ 1 April 1782; MH 30 March 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: April Day; or. Who's the Fool?

April 8-13 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: April Day; or. Who's the Fool? 359 April 15-20 (MC 15 April 1782; MH 15 April 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: April Day, or. Who's the Fool?; The Gypsies

April 22-27 (GNDA 22 April 1782; MÇ 22 April 1782; MH 22 April 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: The Gypsies Featured Dance: Fire and Faggot; or. The Collier's Revenge

April 29 throuqh May 4 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: The Gypsies Featured Dance: Fire and Faggot; or. The Collier's Revenge

May 6-11 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: The Gypsies Featured Dance: Fire and Faggot; or. The Collier's Revenge

May 13-18 (MC 13 May 1782; MH 13 May 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: The Lottery Ticket; or. Advice from Old Simon Featured Dance: Fire and Faggot; or. The Collier's Revenge

May 20-25 (MC 20 May 1782; MH 20 May 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: The Lottery Ticket; or. Advice from Old Simon^G Featured Dance: Fire and Faggot; or. The Collier's Revenge

May 27 throuqh June 1 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: The Lottery Ticket; or. Advice from Old Simon Featured Dance: Fire and Faggot; or. The Collier's Revenge 360 June 3-8 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Piece: The Lottery Ticket; or. Advice from Old Simon Featured Dance: Fire and Faggot; or. The Collier's Revenge

June 10-15 (MC 10 June 1782; îffl 10 June 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells

June 17-22 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells

June 24-29 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells

July 1-6 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells

July 8-13 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells

July 15-20 (MC 15 June 1782; MP 15 July 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The Wev Wostnu; or. The Doctor Doctor'd by Mr. Dupuis, Mr. Meunier, Mrs. Sutton

July 22-27 (GNDA 22 July 1782) Featured Entertainment: The Regions of Fancy; or. Harlequin's Home Featured Musical Pieces: Huzza for Old England!, 361 A Sketch of the Wells Featured Dance: The New Nostrum; or. The Doctor Doctor'd

July 29 Featured Entertainment: The Regions of Fancy; or. Harlequin's Home^^ Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum; or. The Doctor Doctor'd

July 30 throuqh Auqust 3 (MC 29 July 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble "In which will be introduced a View of the late Celestial Bed, which will be followed by a Musical Eulogy on the Game of E.O." Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum; or. The Doctor Doctor'd

Auqust 5-10 (MH 5 August 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum; or. The Doctor Doctor'd

Auqust 12-17 (GNDA 12 August 1782; MP 12 August 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum; or. The Doctor Doctor'd

Auqust 19-24 (GNDA 19 August 1782; MÇ 19 August 1782; ^ 19 August 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells^S Featured Dance: The New Nostrum, or. The Doctor Doctor'd; Le Ballet des Sauteurs, or. The Tumblers Morris by Signor Placido, Mr. Dupuis, Mr. Meunier, Mr. Rayner, Mr. Huntley, Mr. Williamson, Mr. Whittow, Mr. Saunders, jun-, and the Little Devil. 362 Auqust 26-31 Featured Entertainment; The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum, or. The Doctor Doctor'd; Le Ballet des Sauteurs, or. The Tumblers Morris

September 2-7 Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum, or. The Doctor Doctor'd; Le Ballet des Sauteurs, or. The Tumblers Morris

September 9-11 Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum, or. The Doctor Doctor'd; Le Ballet des Sauteurs, or. The Tumblers Morris

September 12; benefit, Mr. Grimaldi 12 September 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble

September 13-14 Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!, A Sketch of the Wells Featured Dance: The New Nostrum, or. The Doctor Doctor'd; Le Ballet des Sauteurs, or. The Tumblers Morris

September 16: benefit, Signior Placido (PA 16 September 1782; GNDA 16 September 1782; MÇ 14 September 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: Huzza for Old England! Featured Dance: The Wood-cutter; or. The Lucky Mischance by Mr. Dupuis, Mr. Meunier, Mr. Grimaldi, Mrs. Sutton, Signior Placido, the Little Devil. Specialties added for the benefit: 363 "Great Variety of Rope Dancing, by Signior PLACIDO, who will, while on the Rope, go through the Military Exercise, jump over the Garter, and make a curious Display of the Flag; and the Little Devil will exhibit several very curious and new Performances. "The Tumbling will be uncommonly brilliant; Sig. Placido, Mr. Dupuis, Mr. Meunier, and the Little Devil, will particularly exert themselves; the first of whom will throw himself over a Silk Sash, held uncommonly high; afterwards a Display of several forward Summersets over a Handkerchief; and the last will, from the Trampolin, throw a Somerset through a close Hogshead."

September 17; benefit, Mr. Saunders (GNDA 16 September 1782; MÇ 17 September 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: April Day; Huzza for Old England Featured Dance: The New Nostrum, or the Doctor Doctor'd Specialties added for the benefit: Mr. Saunders will...balance a FRENCH HORN upon his LIPS, and sound a Minuet on it without touching it with his Hands, in full swing. He will stand on his HEAD on a DRINKING GLASS on the WIRE, without holding with his Hands, in full swing. He will perform blind-fold in a BAG on the WIRE, and will beat a Point of War on a Side Drum, in full swing. Mr. SAUNDERS will also perform a continual SUMMERSET on the WIRE, with a velocity equal to the fly of a jack, while Fireworks are playing from different parts of his body, insomuch that it becomes impossible for the quickest eye to trace the human form; for his body appears like a VERTICAL WHEEL of Fire, flying round in the AIR with wonderful rapidity."

September 19: benefit, Mrs. Sutton Featured Musical Piece: Huzza for Old England! Featured Dances: Fire and Faggot, or. The Collier's Revenge; The New Nostrum, or. The Doctor Doctor'd; Double Hornpipe by Mr. Williamson and Mrs. Sutton

September 20: benefit, Mr. Garman, Mr. Herbert (PA 20 September 1782; GNDA 20 September 1782)

364 Featured Entertainment; The Nymph of the Grotto; or. Harlequin's Ramble

September 23: benefit, Mr. Redige (the Little Devil) (PA 23 September 1782; GNDA 23 September 1782; MÇ 21 September 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: Huzza for Old England! Featured Dance: The New Nostrum; or. The Doctor Doctor * d Specialties added for the benefit: "[Signior Placido] will, while on the Rope, go through the Military Exercise, and perform the Drunken Man. "The LITTLE DEVIL will exert himself in a very particular Manner; he will first dance in Wooden Shoes, which he will break while elevated several Feet. The favourite Trick of the Plank and the Table. The Leaps over the Cane, and pleasing Tricks with the Hoop, Hat, &c, and the Effort of throwing, while on the Rope, a Half Crown from his Foot into a Half Pint Measure on his Head. "Signior Placido and the Little Devil will dance on the Rope at one Time; one playing the Violin, while the other beats the Drum. These will be succeeded by some pleasing Tricks with a Peacock's Feather, and various Feats in Tumbling, particularly the Ballet des Sauteurs. "[The Little Devil] will from the Tramplin, throw a lofty somerset through a Hogshead of Fire."

September 2 5 : benefit, Mr. Doyle (GNDA 25 September 1782; MC 25 September 1782)

Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble

September 26 : benefit, Mr. Rayner, Miss Rayner (PA 26 September 1782; ^ 26 September 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Harlequin, Mr. Rayner; Columbine, Miss Rayner Featured Musical Pieces: Huzza for Old England!; April Day, or. Who's the Dupe? Featured Dances: The New Nostrum, or. The Doctor Doctor'd; Le Ballet des Sauteurs Specialty added for the benefit: "And, for this Night only, Mr. Rayner will throw a somerset over a beautiful Piece of 365 inverted Pyramidical Fireworks, emblazoned with a horizontal Wheel eight Feet high."

September 27; benefit, Mr. Burrell (PA 27 September 1782; GNDA 27 September 1782; MÇ 27 September 1782) Featured Entertainment: The Nvmph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: Huzza for Old England!; April Day, or. The Frenchman Bit Featured Dances: The New Nostrum; or. The Doctor Doctor'd Specialties added for the benefit: "[April Day] will be succeeded by some pleasing Tricks with a Peacock's Feather and various Feats of Tumbling. The Little Devil will, from the Tromplin, throw a lofty Somerset through a Hogshead of Fire."

September 3 0 : benefit, Mr. Dupuis, Mr. Meunier (PA 30 September 1782; MÇ 28 September 1782; MP 28 September 1782) Featured Entertainment: The Nvmph of the Grotto; or. Harlequin's Ramble Featured Musical Piece: India Hoa!, The Lottery Ticket, April Day39 Featured Dances: The New Nostrum, or. The Doctor Doctor'd; Fire and Faggot, or. The Collier's Revenge Specialties added for the benefit: "Signior Placido will likewise perform Le Grand Saut du Ruban. The Little Devil will dance first in Wooden Shoes, which he will break while in the Air; and he will dance with Eggs under his Shoes, without breaking them. "Mr. Meunier will (for the first Time) perform the Clown on the Rope. "Various Feats in Tumbling, particularly Le Defy des Sauts Perilleur. "Mr. Dupuis will, from the Tramplin, throw a lofty Somerset over four Horses and four Men, who Who [sic] will each hold a lighted Candle on his Head (never before performed in England) and Le Saut de la Plache du Feu d'Artifice."

October 1 : benefit, Mr. Bowtell, Mr. Bruguier Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: The Lottery Ticket, or. Advice from Old Simon; Huzza for Old England!; April Day, or. The Frenchman Bit Featured Dances: The New Nostrum, or. The Doctor Doctor'd; Le Ballet des Sauteurs, or. The 366 Tumblers Morris; La Dans des Fers, or. The Little Devil Fettered; Le Minuet de la Cour by Mr. Bruguier and Mrs. Sutton

October 2 ; benefit, Mr. Berryman, Miss Webb (PA 2 October 1782; MÇ 2 October 1782; MB 2 October 1782; MP 2 October 1782) Featured Entertainment: The Nymph of the Grotto; or, Barleguin's Ramble Featured Musical Pieces: Buzza for Old England!; A Sketch of the Wells Featured Dance: The New Nostrum; or. The Doctor Doctor'd

October 3: benefit, Mrs. Carne, Miss Dowson, Mr. Cross (MC 3 October 1782) Featured Entertainment: The Nymph of the Grotto; or, Barleguin's Ramble Featured Musical Pieces: Huzza for Old England! A Sketch of the Wells Featured Dance: The New Nostrum; or. The Doctor Doctor'd

October 7: benefit, Mr. Williamson (PA 7 October 1782; MC 7 October 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: April Day, or. The Frenchman Bit; Buzza for Old England! Featured Dances: Double Hornpipe by Mr. Williamson and Mrs. Sutton; Fire and Faggot, or. The Collier's Revenge; Le Ballet des Sauteurs, or. The Tumblers Morris

October 8: benefit, the Waiters (PA 8 October 1782; MÇ 8 October 1782) Featured Entertainment: The Nymph of the Grotto; or. Harlequin's Ramble Featured Musical Pieces: April Day, or. The Frenchman Bit; Huzza for Old England! Featured Dances: The New Nostrum, or. The Doctor Doctor'd; Fire and F a g g o t ^ O . Le Ballet des Sauteurs

367 1783

FEATURED PERSONNEL Singers: Mr. Doyle, Mr. Barrington, Mr. Herryman, Mr. Goostree (omitted 7 July, restored for his benefit 9 October), Mrs. Saunders, Mrs. Burnett, Miss Bnmett.

Dancers; Mr. Dupuis, Mr. Meunier, Mr. Williamson, Mrs. Sutton, Mrs. Huntley, Miss Mathews.

Tumblers: Mr. Dupuis, Mr. Meunier, Mr. Rayner, Mr. Huntley, Mr. Burt, Sig. Placido, the Little Devil (Redige).

Rope Dancers: Signior Placido, the Little Devil (Redige).

Slack Wire: Mr. Saunders

Unspecified: Mr. Herbert (added for his benefit 26 September), Miss Webb (added for her benefit 2 October)

Painter: Mr. Greenwood

Prompter: Mr. Aylmer

Box and Pit Office Keeper: Mr. Burrell

Treasurer: Mr. Bowtell

PERFORMANCE CALENDAR

April 21-26 (MC 23 April 1783; fffl 21 April 1783) Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Lover, Mr. Dupuis; Clown, Mr. Meunier (MC 22 April 1783) Featured Musical Pieces: The Old Woman of Eighty41; The Islington Milk-Maid; Sweet Poll of Plymouth by Mr. Goostree Milk-Maid, Miss Burnett (MC 22 April 1783; ^ 23 April 1783) Featured Dance: The New Nostrum; or. The Doctor Doctor'd (MH 26 April 1783)

368 April 28 through May 3 Featured Entertainment: The Blazing Comet; or, Harlequin Mercury Featured Musical Pieces: The Old Woman of Eighty, The Islington Milk-Maid Featured Dance: The New Nostrum; or. The Doctor Doctor'd

May 5-10 (GNDA 5 May 1783) Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Pieces: The Old Woman of Eighty, The Islington Milk-Maid Featured Dance: The New Nostrum; or. The Doctor Doctor'd

May 12-17 (MC 12 May 1783; MI 15 May 1783) Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Piece: Tit for Tat Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

May 19-24 Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Piece: Tit for Tat Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

May 26-31 (GNDA 26 May 1783) Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Piece: Tit for Tat Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

June 2—7 Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Piece: Tit for Tat Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

June 9-14 (MC 9 June 1783) Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Piece: Yo Yea, or The Friendly Tars Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

369 June 16-21 Featured Entertainment; The Blazing Comet; or, Harlequin Mercury Featured Musical Piece: Yo Yea, or The Friendly Tars Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Piece: Yo Yea, or The Friendly Tars; The Landlord Outwitted, or The Cobler's Wife Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

June 30 through July 5 Featured Entertainment: The Blazing Comet; or. Harlequin Mercury Featured Musical Pieces: Yo Yea, or The Friendly Tars; The Landlord Outwitted, or The Cobler's Wife Featured Dance: The Bird-Catcher's Frolic; or. The Sportsman Caught Napping

July 7-12 (MC 9 July 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin’s Vagaries "In which are introduced several select celebrated Scenes; also a Dance, called The FRICASSEE. The Whole to conclude with the Death and Revival of Harlequin." Harlequin, Mr. Redige; Pierrot, Signor Placido; Columbine, Mrs. Sutton (MÇ 9 July 1783) Featured Musical Pieces: Yo Yea, or The Friendly Tars; The Landlord Outwitted, or The Cobler's Wife Featured Dance: Blind-Man’s Buff; or. The Highland Laddie

July 14-19 (MH 14 July 1783; MP 19 July 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Pieces: Yo Yea, or The Friendly Tars; The Landlord Outwitted, or The Cobler's Wife Featured Dance: Blind-Man's Buff; or. The Highland Laddie

July 21-26 (MC 21 July 1783; MH 21 July 1783; MP 21 July 1783) 370 Featured Entertainment: The Enchanted Wood; or. Harlequin’s Vagaries Featured Musical Pieces: The Islington Milk-Maid; The Landlord Outwitted, or The Cobler's Wife; Yo Yea, or. The Friendly Tars^Z Featured Dance: Blind-Man's Buff; or. The Highland Laddie

July 28 through August 2 (MH 28 July 1783; MP 2 August 1783^^") Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Pieces: The Islington Milk-Maid; The Landlord Outwitted, or The Cobler's Wife Featured Dance: Blind-Man's Buff; or. The Highland Laddie

August 4-9 (MP 9 August 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Pieces: The Islington Milk-Maid; The Landlord Outwitted, or The Cobler's Wife Featured Dance: The Guinguette of Fun, or The Humourous Medley

August 11-16 (MC 11 August 1783; MH 11 August 1783; ^ 11 August 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: Cruise for a Wife; or The Sailors Come Ashore; The Islington Milk-Maid44 Featured Dance: The Guinguette of Fun, or The Humourous Medley

August 18-23 Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: Cruise for a Wife; or The Sailors Come Ashore Featured Dance: The Guinguette of Fun, or The Humourous Medley45

August 25-30 Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: Cruise for a Wife; or The Sailors Come Ashore Featured Dance: The Guinguette of Fun, or The Humourous Medley

" [T]he Little Devil and Sig. Placido gain great Applause in their wonderful Performance 371 of Harlequin and Pierrot, and have established the Entertainment of the Inchanted [sic] Wood into the most fashionable Amusement of the present Hour." (PA 27 August 1783)

September 1-6 (MC 3 September 1783; ^ 1 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted; or. The Cobler's Wife Featured Dance: Fire and Faggot; or. The Collier's Revenge

September 8-13 (MH 8 September 178346; ^ 13 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted; or. The Cobler's Wife Featured Dance: Fire and Faggot; or. The Collier's Revenge

September 15-17 (MC 15 September 1783; MH 15 September 1783; MP 15 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted; or. The Cobler's Wife Featured Dance: The Guinguette of Fun; or. The Humourous Medley

September 18: benefit, Mr. Meunier, Mr. Dupuis (PA 18 September 1783; MC 18 September 1783; ïffi 18 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted, or. The Cobler's Wife; Yo Yea, or. The Friendly Tars Featured Dance: The Guinguette of Fun; or. The Humourous Medley Specialties added for the benefit; "[The Little Devil] will perform (for this Night) with wooden Shoes; also with two Eggs fastened to his Feet, with which he will dance without breaking them. "Mr. MEUNIE[R] (for this Night only) will exhibit a particular Feat (not performed in this Kingdom these 18 Years) called SALIDE sur la TETE; or, a Balance on a Tight Rope from the Stage to the Gallery, ascending and descending on his Head. 372 "Also Feats of the TRAMPOLIN, by Mr. Dupuis, who (for this Night only) will throw a Somerset over a Phaeton and two Horses, placed at Length, with two Persons in the Carriage, and two Postillions on the Horses."

September 19 Featured Entertainment: The Enchanted Wood; or. Harlequin’s Vagaries Featured Musical Piece: The Landlord Outwitted; or. The Cobler's Wife Featured Dance: The Guinguette of Fun; or. The Humourous Medley

September 22: benefit. Signor Placido (PA 22 September 1783; MÇ 22 September 1783; MH 22 September 1783; MP 22 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries "In which is introduced, for the first Time, a Scene of the Diving Bell, which exhibits, in a Transparent Scene, the whole Apparatus as used at Portsmouth, with a perspective View of the Royal George under the Water, and the Manner of the Adventurer going to and fro to fix the Tackle." Featured Musical Piece: The Landlord Outwitted, or. The Cobler's Wife; Yo Yea, or. The Friendly Tars Featured Dance: "Mr. Williamson (for this Night only) with a Bandage over his Eyes, will dance the Egg Hornpipe, which is performed by Dancing in the Midst of Twelve Eggs without breaking them." Specialties added for the benefit: "Signor Placido (for this Night only) will first go through the Manual Exercise, and dance the Drunken Man. Then several capital Feats by the Little Devil. After which Sig. Placido will dance with one Boy upon his Shoulders, and two Boys and two Men fastened to his Feet. "Signor Placido...will throw twelve Somersets over a Handkerchief."

September 23: benefit, Mr. Saunders, Mr. Herryman (PA 23 September 1783; MC 23 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted, or. The Cobler's Wife; The Sailors Come Ashore, or, A Cruise for a Wife 373 Featured Dance: The Guinguette of Fun; or. The Humourous Medley Specialties added for the benefit: "[Mr. Saunders] will stand upon his Head on a Pint Bottle, on the Wire, in full Swing, without holding with his Hands, and discharge a Brace of Pistols at the same Time. He will balance a French Horn on his Lips, and sound a Minuet on it without touching it with his Hands. He will also perform blindfold in a Bag, and fly round on the Wire as swift as the Flyer of a Jack, insomuch that it is impossible for the quickest Eye to trace the human Form, and the Body appears like a Wheel flying round in the Air with wonderful R a p i d i t y . "47

September 25: benefit, Mrs. Sutton (PA 25 September 1 7 8 3 ; im 20 September 1 7 8 3 ; MP 25 September 1 7 8 3 4 8 ) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted; or. The Cobler's Wife Featured Dances: The Guinguette of Fun, or. The Humorous Medley; The Bird Catchers Frolic, or. The Sportsmen Caught Mapping Specialty added for the benefit: "[Mr. Dupuis] will throw the admired Sumerset over the elevated Lustres, and over sixteen men, one above another, and also the Lights."

September 26: benefit, Mr. Garman, Mr. Herbert (PA 26 September 1783; 26 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted, or. The Cobler's Wife; The Sailors Come Ashore, or, A Cruise for a Wife Featured Dance: The Guinguette of Fun; or. The Humourous Medley Specialties added for the benefit: "Mr. German's Pupil (for this Night only) will exhibit the Polander's Tricks on Chairs, Bottles, and Pins."

September 29: benefit. The Little Devil (Redige) (PA 29 September 1783; îffl 29 September 1783) "In Addition to the great Variety of Performances at Sadler's Wells, this Night, Sept. 29, on the Tight Rope, the Little Devil will dance with Wooden Shoes, with two Boys and two Men fastened to his Feet, without the Pole, will kick a Half-Crown Piece into a Drinking-Glass upon his 374 Head; will also exhibit the Trick of the Hat, Stick, and Hoop, and several other capital Manoeuvres; after that from the Tramplin Mr. Dupuis will throw a Somerset over twelve Men, with twelve Boys on their Shoulders; and the Little Devil will throw a surprising one through a Barrel of Fire."

September 30; benefit, Mrs. Burnett 30 September 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Pieces: The Old Woman of Eighty; The Landlord Outwitted, or. The Cobler's Wife Featured Dances: Blind Man's Buff; or. The Highland Laddie; "a new MINUET and ALLEMAND by Mr. Williamson."

October 1 : benefit, Mr. Aylmer, Mr. Barrington 1 October 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Pieces: A Cruise for a Wife, or The Sailors Come Ashore; The Landlord Outwitted, or. The Cobler's Wife Featured Dance: The Guinguette of Fun; or. The Humorous Medley Specialties added for the benefit: "Mr. Dupuis will throw a Somerset over the elevated Lustres; and the Little Devil will (for this night only) throw a surprising Somerset through a Barrel of Fire."

October 2: benefit, Mr. Rayner, Miss Webb (PA 2 October 1783; MÇ 2 October 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Harlequin, Mr. Rayner Featured Musical Pieces: The Landlord Outwitted, or. The Cobler's Wife; The Milk Maid, "In which Mr. Rayner will introduce a new Song." Featured Dances : The Egg Hornpipe by Mr. Williamson; Blind-Man's Buff, or. The Highland Laddie Specialty added for the benefit: "Mr. Rayner will also throw a surprizing Somerset over the Double Fountain; or. Pyramid of Men and Boys."

October 3 : benefit, Mr. Burrell (PA 3 October 1783; MÇ 3 October 1783) Featured Entertainment: The Enchanted Wood; or, 375 Harlequin*s Vagaries Featured Musical Piece: The Landlord Outwitted, or. The Cobler's Wife; Yo Yea, or. The Friendly Tars Featured Dance: The Guinguette of Fun; or. The Humourous Medley Specialties added for the benefit: "Mr. Saunders...will, for this Night, stand on his Head on a Pint Bottle, when the Wire is on full Swing, without holding, and discharged a Brace of Pistols at the same Time. "The Little Devil will dance with wooden Shoes; then, without the Pole, will kick a Half-crown Piece into a Drinking-Glass upon his Head; after which he will exhibit the Trick of the Hat, Stick, and Hoop; and other capital Manoeuvres. "Mr. Dupuis (for this Night only) will throw a Somerset over 12 Men, with 12 Boys on their Shoulders; and the Little Devil will also (for this Night only) throw a surprizing Somerset through a Barrel of Fire."

October 6: benefit, Mr. Williamson, Mr. Huntley (PA 6 October 1783; ^ 6 October 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Harlequin, Mr. Rayner Featured Musical Pieces: The Landlord Outwitted, or. The Cobler's Wife; The Cruise for a Wife, or. The Sailors Come Ashore Featured Dances: The Egg Hornpipe by Mr. Williamson; Blind-Man's Buff, or. The Highland Laddie Specialties added for the benefit: "[signor Placido and the Little Devil] will both go through (for this Night only) the many admired and wonderful Manoeuvres performed with so much Applause on their own particular Benefit Nights. "Mr. Dupuis (for this Night only) will throw a Somerset over 12 Men, with 12 Boys on their Shoulders; and the Little Devil will also (for this Night only) throw a surprizing Somerset through a Barrel of Fire."

October 7 : benefit, Mr. Bowtell (PA 7 October 1783; Ml 7 October 1783) "In Addition to the great Variety of Performances at Sadler's Wells This Day, Oct. 7, on the Tight Rope, the Little Devil will (for this Night only) perform an Exhibition never seen in this Kingdom, called La Dance des Serpenteaux. Mr. Meunie[r] will exhibit a particular Feat called Salide sur 376 la Tete, or a Balance on a Tight Rope from the Stage to the Gallery, ascending and descending on his Head. Signor Placido will throw twelve Somersets over a Handkerchief, and Mr. Dupuis a surprising one over three Horses and three Men, each holding a lighted Candle on his Head, and another over twelve Men with twelve Boys on their Shoulders; and the Little Devil an extraordinary one through a Fiery Meteor."

October 8; benefit, Mr. Carne, Mr. Burt, Mr. Cross (MÇ 8 October 1783) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Dance: Egg Hornpipe

October 9: benefit, Mr. Goostree (PA 9 October 1783; MC 9 October 1783; Mg 4 October 1783; MP 4 October 178349) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Pieces: Joan of Deptford; The Landlord Outwitted, or. The Cobler's Wife Featured Dances: The Egg Hornpipe by Mr. Williamson; The Guinguette of Fun, or. The Humourous Medley Specialties added for the benefit: "[Signor Placido] will display the Flag, play on a Violin, and jump over the Garter; [The Little Devil] will dance with two Eggs fastened to his Feet, without breaking them; and exhibit the Feats of the Hat, Stick, and Hoop. [The Little Devil] will throw the admired Somerset over the elevated Lustres, and go over 16 Men, one above the other."

October 10: benefit, the Waiters Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Pieces: The Landlord Outwitted; or. The Cobler's Wife Featured Dances: The Egg Hornpipe by Mr. Williamson; The Guinguette of Fun, or. The Humourous Medley Specialties added for the benefit: "[signor Placido] will display the Flag, play on a Violin, and blow a French Horn without holding; [The Little Devil] will dance with two Eggs fastened to his Feet, without breaking them; and exhibit the Feats of the Hat, Stick, and Hoop. [The Little Devil] will throw the admired Somerset over the elevated Lustres, and go over 16 Men, one above the other." 377 1784

FEATURED PERSONNEL Singers; Mr. Fox, Mr. ImOW&, Miss Lascelles (omitted 26 April), Mr. Herryman, Mrs. Burnett, Miss Burnett, Mr. Doyle (added 21 June).

Dancers: Mr. Dupuis, Mr. Meunier, Mr. Williamson, Miss Mathews, Mrs. Huntley, Mrs. Sutton, Mr. Boyce (added for his benefit 29 September), Mr. Whittow (added 29 September), Mr. Bruguier (added for his benefit 4 October), Mrs. Olive (Miss Rayner, added 5 October).

Tumblers: Mr. Dupuis, Mr. Meunier, Mr. Rayner, Mr. Huntley, Signor Placido, the Little Devil (Redige).

Rope Dancers: Signor Placido, the Little Devil (Redige).

Specialty: Sieur Scaglioni's Dancing Dogs, Master Garman (added 4 October only).

Unspecified: Mr. Herbert (added for his benefit 1 October), Miss Webb (added for her benefit 5 October).

Painter: Mr. Greenwood

Box and Pit Office Keeper: Mr. Burrell

Treasurer: Mr. Bowtell

PERFORMANCE CALENDAR

April 12-17 (GNDA 12 April 1784; ^ 12 April 1784; ^ 12 April 1784; ^ 16 April 1784) Featured Entertainment: The Enchanted Wood; or, Harlecrnin's Vagaries "In which are introduced several select celebrated Scenes; also a DANCE called THE FRICASSEE, The Whole to conclude with The DEATH and REVIVAL of HARLEQUIN" Featured Musical Piece: The Fortune-Tellers; or. The Old Miser Dup'd Featured Dance: The Bird-Catcher's Frolic; or. The The Sportsman Caught Napping

378 April 19-24 Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Fortune-Tellers; or. The Old Miser Dup'd Featured Dance: The Bird-Catcher's Frolic; or. The The Sportsman Caught Napping

April 26 through May 1 (GNDA 26 April 1784; ^ 29 April 1784; Iffl 26 April 1784) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Dressing Room Featured Dance: Le Moulin Brule; or. The Distressed Milk Maid

May 3—8 Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Dressing Room Featured Dance: Le Moulin Brule; or. The Distressed Milk Maid

May 10-15 (GNDA 10 May 1784; MÇ 10 May 1784; fffl 10 May 1784) Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted Featured Dance: Le Moulin Brule; or. The Distressed Milk Maid

May 17-22 Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted Featured Dance: Le Moulin Brule; or. The Distressed Milk Maid

May 24-29 Featured Entertainment: The Enchanted Wood; or. Harlequin's Vagaries Featured Musical Piece: The Landlord Outwitted Featured Dance: Le Moulin Brule; or. The Distressed Milk Maid

May 31 through June 5 (GNDA 31 May 1784; MÇ 31 May 1784; MH 31 May 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages "In which will be introduced (with considerable Improvements) the celebrated 379 Scene of Harlequin Skeleton." Featured Musical Piece: The Landlord Outwitted Featured Dance: Blindman's Buff, or. The Highland Laddie; Le Moulin Brule, or. The Distress'd Milk M a i d S O

June 7— 12 Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Landlord Outwitted Featured Dance: Blindman's Buff; or. The Highland Laddie

June 14-19 Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Landlord Outwitted Featured Dance: Blindman's Buff; or. The Highland Laddie

June 21-26 (MC 21 June 1784; îffl 21 June 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: Gigsey's Frolic; or. The Ploughboy's Distress^!

June 28 through July 3 (GNDA 28 June 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: Gigsey's Frolic; or. The Ploughboy's Distress

July 5-10 Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: Gigsey's Frolic; or. The Ploughboy's Distress

July 12-17 Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: Gigsey's Frolic; or. The Ploughboy's Distress

July 19-24 Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake 380 Featured Dance: Gigsey's Frolic; or. The Ploughboy's Distress

July 26-31 (MC 29 July 1784; tffl 26 July 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: Blindman's Buff; or. The Highland Laddie

August 2-7 (MC 2 August 1784; îffl 2 August 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: The Guinguette of Fun; or. The Humourous Medley

August 9-14 (GNDA 9 August 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: The Guinguette of Fun; or. The Humourous Medley

August 16-21 Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dance: The Guinguette of Fun; or. The Humourous Medley

August 23-28 (GNDA 23 August 1784; MÇ 28 August 1784; m 23 August 1784) Featured Entertainment: The Enchanted Wood; or Harlequin's Vagaries Featured Musical Piece: The Wager Featured Dance: The Guinguette of Fun; or. The Humourous Medley

"With a new additional Feat of a Sedan Chair, by two principal Dogs, as Chairmen."

August 30 through September 4 Featured Entertainment: The Enchanted Wood; or Harlequin's Vagaries Featured Musical Piece: The Wager Featured Dance: The Guinguette of Fun; or. The Humourous Medley

September 6-11 (MC 6 September 1784; Iffl 8 September 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages 381 Featured Musical Pieces: Joan of Deptford, Tit for Tat Featured Dance: The Guinguette of Fun; or. The Humourous Medley

September 13-18 (MC 13 September 1784; 13 September 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: Joan of Deptford, Tit for Tat Featured Dance: The Guinguette of Fun; or. The Humourous Medley

"The Whole to conclude with the extraordinary Exertions of an English Bull Dog, who suffers himself rather than quit his Hold, to be drawn 20 Feet high, while the whole Machine is surrounded by a Firework."

September 20: benefit. Signor Placido (GNDA 20 September 1784; MÇ 20 September 1784) Featured Entertainment: The Shipwreck; or Harlequin Old Leo, and the Savages Featured Musical Pieces: The Country Wake, The Dressing Room Featured Dance: The Jealous Cobler; or. The Clown in the Cradle Clown, Signor Placido Specialties added for the benefit: "Signor Placido...will go through the Manual Exercise; after that will Jump over the Garter backwards and forwards, eight feet from the rope; then the admired Display of the Flag; after which Signor Placido and the Little Devil will dance together on the Rope, the former playing the Fiddle, and the other the Drum. "[Signor Placido] will throw several Somersets backwards and forwards, with Fireworks fastened to his Feet and Arms."

September 21: benefit, Sieur Scaliogni (PA 21 September 1784; GNDA 21 September 1784; MÇ 21 September 1784; MP 21 September 1784) "Particularly, the CARNIVAL, or Grand Masquerade, by a great Variety of Dogs in different Habits. "Also a new Feat of teaching a Canary Bird to sing, by a Dog playing on a Hand Organ. "And the LITTLE DESERTER will be condemned by two Judges of the Canine Race, and executed by a Monkey mounted on a Mastiff, dressed in 382 Regimentals as a Prussian Dragoon. "The whole of the Performance to conclude with the famous ENGLISH BULL DOG, who suffers himself, rather than quit his hold, to be drawn 20 Feet high, while the whole Machine is surrounded by a Firework, composed of Petards and Cartouches, as used in a Battery. "And for this Night only will be exhibited the SURPRISING AUTOMATON FIGURE."

September 22; benefit, Mr. Dupuis, Mr. Williamson Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Dressing Room Featured Dances: Le Batuer en Grange; Le Meulen Brouli, or. The Milk-maid's Distress Specialties added for the benefit: Scaliogni's dogs as on September 21

September 23: benefit, Mrs. Sutton Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Fair Featured Dances: Le Batuer en Grange; Blind-man's Buff, or. The Highland Laddie Specialties added for the benefit: "Extraordinary Performances on the TIGHT-ROPE, by Signor Placido, and the Little Devil, who will (for this Night only) jump the Trampoline over several Lustres." Scaligni's dogs as on September 21.

September 24: benefit, Mr. Huntley, Mr. Herryman (PA 24 September 1784; MÇ 24 September 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: The Dressing Room; Joan of Deptford Featured Dance: Blind-man's Buff; or. The Highland Laddie Specialties added for the benefit: Scaligni's dogs as on September 21.

September 27; benefit, the Little Devil (Redige) (PA 27 September 1784; Iffl 27 September 1784; ^ 27 September 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: The Country Wake; The Dressing Room Specialties added for the benefit: "The Little Devil (for that Night only) will 383 dance on the Rope with wooden Shoes; after that with two Boys and two Men fastened to his Feet; He will also put a Half Crown on his Feet, and throw it into a Glass, which will be for that Purpose on his Head: His Placido will display the Flag. "[The Little Devil] will (for that Night only) jump the Tramplins; make a Somerset over a Garter, ten Feet high; and (for the 1st Time) will pass through an Air Balloon, set all on Fire. Sig. Placido will make several Somersets over an Handkerchief."

September 28: benefit, Mrs. and Miss Burnett (GNDA 28 September 1784; ^ 28 September 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: The Cobler, The Country Wake Featured Dance: Blindman's Buff; or. The Highland Laddie^Z

September 29: benefit, Mr. Doyle, Mr. Boyce Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: The Wager; The Country Wake Featured Dances: Blind-man's Buff, or. The Highland Laddie; "a Treble Hornpipe, by Mr. Boyce, Mr. Whittow, and Mrs. Huntley" Specialties added for the benefit; Scaliogni's Dogs as on September 21, but without the LITTLE DESERTER

September 30: benefit, Mr. Fox, Mr. Lowe (MC 30 September 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: The Dressing Room, The Cobler Featured Dance: Blindman's Buff; or. The Highland Laddie Specialties added for the benefit: Scaliogni's dogs as on September 21

October 1 : benefit, Mr. Garman, Mr. Herbert Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: The Dressing Room; The Cobler's Wife, or. The Landlord Outwitted Featured Dance; The Guinguette of Fun; or. The 384 Humourous Medley "in which Master Garman will dance in Wooden Shoes." Specialties added for the benefit: "For that Night only. Master Garman (a Child not ten Years old) will stand on his Head in a Globe of Fire, and ascend and descend, which never was attempted before."

October 4: benefit, Mr. Meunie[r], Mr. Bruguier Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Pieces: The Cobler's Wife; Joan of Deptford Featured Dances: Le Moulin Boule; "the Minuet de la Cour Gavotte by Mr. Bruguier, and Mrs. Huntley" Specialties added for the benefit: Bulldog as on September 13. "The Little Devil will dance on the Rope in wooden Shoes. "Sig. Placido will jump on the Rope over a Garter five Feet high; and will jump the Tramplin thro' a Shower of Fire."

October 5: benefit, Mr. Rayner, Miss Webb (^A 5 October 1784; MÇ 5 October 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dances: Blind-man's Buff, or. The Highland Laddie; The Guinguette of Fun, or. The Humourous Medley Specialties added for the benefit: Scaliogni's dogs as on September 21, but without the CARNIVAL "Mr. Rayner will (for this Night only) pass through an Air Balloon, all on Fire."

October 6 : benefit, Mr. Aylmer 6 October 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake, "In which will be introduced, a HORNPIPE by Mr. Whittow" "By particular desire...will be performed, two favourite Glees, 'Come live with me and be my love.' And the much-admired Hunting Glee, 'Hark the Hollow Woods Resounding,' by Mr. Aylmer, Mr. Fox, Mr. Lowe, and Miss Burnett." Featured Dances: Blindman's Buff, or The Highland Laddie; Le Moulin Brule

385 October 7 ; benefit, Mr. Burrell (PA 7 October 1784; MC 7 October 1784) Featured Entertainment; The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dances: Blind-man's Buff; or. The Highland Laddie Specialties added for the benefit: Scaliogni's dogs as on September 21

October 8: benefit, Mr. Underwood, Mr. Carter 8 October 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Specialties added for the benefit: English Bull Dog as on September 13 "Signor Placido...will...display the Flag; and The Little Devil will dance in Wooden Shoes, and Fetters. "Mr. Rayner...will... throw a Somerset through an Air Balloon set on fire."

October 11: benefit, Mr. Bowtell (PA 11 October 1784; GNDA 11 October 1784; ^ 11 October 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Musical Piece: The Country Wake Featured Dances: Blind-man's Buff; or. The Highland Laddie Specialties added for the benefit: Scaliogni's dogs as on September 21 "[Sig. Placido] will make the grand Display of the Flag, and [the Little Devil] will take the surprizing Leap over the Garter Ten Feet High. "[The Little Devil] will (for this Night only) perform an astonishing Feat never yet exhibited, called LE DIABLE ENFERMER, or. The Devil in the Sack."

October 12: benefit, the Waiters (PA 12 October 1784; GNDA 12 October 1784; MC 12 October 1784) Featured Entertainment: The Shipwreck; or. Harlequin, Old Leo, and the Savages Featured Dances: Blind-man's Buff, or. The Highland Laddie; The Guinguette of Fun, or. The Humourous Medley^* Specialties added for the benefit: Scaliogni's dogs: the LITTLE DESERTER and the BULLDOG

386 NOTES

Isince only the Public Advertiser consistently published daily advertisements for Sadler's Wells throughout King's tenure, the reader should assume that the dates listed indicate those advertisements, even though the daily editions of the Public Advertiser are not individually documented. If this was not the case, the source newspaper will be credited.

2The Public Advertiser also lists an unnamed "young Gentleman" from 8 April to 11 July.

^Daigueville had five pupils who performed at the Wells under the blanket phrase "his pupils" for the majority of the season (see chapter 1). Only Holland, Ross and Armstrong were featured in regular or benefit advertisements.

^The Public Advertiser also lists an unnamed "his Pupil" for Ferzi throughout the season.

^Beginning in 1773, Sadler's Wells advertisements appeared irregularly in the Morning Chronicle. These are indicated by parenthetical citations placed after the range of dates that continue to identify advertisements in the Public Advertiser.

6An unnamed pupil of Ferzi is listed until 24 July. Ferzi is the only rope dancer featured in the Public Advertiser advertisements after 26 July.

^Lloyd's Evening Post provides character names for The Ladle, not the specific performers' names. The Morning Chronicle and General Evening Post give the performers' names without providing character names.

®Daily advertisements in the Public Advertiser for this week do not include "The Bird's Nest."

^Daily advertisements in the Public Advertiser for this week do not include "The Mischance."

l^Daily advertisements in the Public Advertiser for this week do not include "The Mischance."

l^Daily advertisements in the Public Advertiser for this week do not include "Harvest Home." 387 IZoaily advertisements in the Public Advertiser for this week do not include "Cross Purposes" and "Harvest Home."

l^Daily advertisements in the Public Advertiser for this week do not include "Harvest Home."

l^Daiiy advertisements in the Public Advertiser for this week do not include "Harvest Home."

l^Tjie Gazetteer, Morning Chronicle and Morning Post advertisements for this date do not include "Win Her and Wear Her."

16The Morning Post advertisement for this date does not include "Win Her and Wear Her."

l^The Public Advertiser advertisement for this benefit does not include "The Bird's Nest." The Morning Post features only The Novelty and its casting.

18

l^The Morning Chronicle advertisement for this date does not include casting.

20>rhe Morning Chronicle advertisement for this date does not include "The Savoyard's Holiday."

2lThe Public Advertiser advertisement for this benefit does not include "The Grenadier."

22>rhe Public Advertiser advertisement for this benefit does not list Mrs. Stephens as the recipient.

23The Morning Post advertisement for this week features only The Wizard of the Silver Rock.

24The Public Advertiser advertisement for this benefit does not include "The Bird's Nest." The Morning Chronicle advertisement for this benefit does not include "The Drunken Swiss."

25The Morning Chronicle advertisement for this benefit only features Vineyard Revels.

388 26The Public Advertiser and Morning Chronicle advertisements for this week do not include "The Old Woman of Eighty."

2?The Public Advertiser advertisement for this date is contradicted by those in the Morning Chronicle, the Morning Post, and the Gazetteer. The Prophecy seems to have been performed, not A Trip to Coxheath.

28The Morning Chronicle designates "Mr. Johnstone" (probably Johnson) as the sole recipient of this benefit.

29The Public Advertiser and Morning Chronicle advertisements for this benefit do not include "The British Volunteers."

30The Gazetteer advertisement for this benefit does not include this specialty.

31The Public Advertiser and Morning Chronicle advertisements for this week do not include "Joan of Deptford."

32The Gazetteer advertisement for this benefit does not include "The Prophecy."

33The Morning Post advertisement for this benefit does not include this specialty.

34The Morning Chronicle advertisement for this week does not include "The Mischance."

35The Morning Herald advertisement for this week does not include "The Mischance."

36

37only the Public Advertiser advertisement lists The Regions of Fancy as the featured entertainment for this date. As such, it is probably a misprint.

38only the Public Advertiser advertisements for this week include "A Sketch of the Wells."

39The Public Advertiser advertisement for this benefit does not include "The Lottery Ticket" or "April Day." The Morning Chronicle and Morning Post advertisements for this benefit do not include "India Ho a ! "

389 40The Public Advertiser advertisement for this benefit does not include "Fire and Faggot." The Morning Chronicle advertisement for this benefit does not include "The New Nostrum."

4lThe Public Advertiser advertisements for this week do not include "The Old Woman of Eighty." The Morning Herald advertisement on 26 April 1783 featured "The Old Woman of Eighty," but the initial Morning Herald advertisements for this week did not.

42rphe Morning Herald advertisement for this week includes "Yo Yea; or. The Friendly Tars," but not "The Landlord Outwitted; or. The Cobler's Wife." The Morning Post advertisement for this week includes "The Landlord Outwitted; or. The Cobler's Wife," but not "Yo Yea; or. The Friendly Tars" or "Blindman's Buff; or the Highland Laddie."

43The Morning Post advertisement for this week features only The Enchanted Wood and "The Landlord Outwitted."

44The Public Advertiser, Morning Herald and Morning Post advertisements for this week do not include "The Islington Milk-Maid."

45The Morning Herald advertisement for this week does not include "The Guinguette of Fun."

46>rhe Morning Herald advertisement for this week features only The Enchanted Wood.

47The Morning Herald printed a list of these specialties on 20 September 1783 but did not carry an advertisement on the day of the benefit.

48only the Morning Post advertisement for this benefit featured more than The Enchanted Wood.

49The Morning Herald and Morning Post advertisements for this benefit featured only The Enchanted Wood.

SOqihe Morning Chronicle lists "The Distress'd Milk Maid" as the only featured dance for this week. The Public Advertiser, the Morning Herald, and the Gazetteer list "Blindman's Buff" as the only featured dance for this week.

390 51The Morning Chronicle and the Morning Herald identify this dance as "Gipsey's Frolic" rather than "Gigsey's Frolic."

52The Morning Chronicle advertisement for this benefit does not include "Blindman's Buff."

53The Morning Chronicle advertisement for this benefit does not include "The Guinguette of Fun."

391 Bibliography

Primary Sources

Baker, David Erskine. Biographica Dramatica, or A Companion to the Playhouse. Continued to 1782 by Isaac Reed and to 1811 by Stephen Jones. 3 vols. London: T. Beckett and P.A. Dehondt, 1764.

Balderston, Katherine C., ed. The Collected Letters of Oliver Goldsmith. Cambridge: Cambridge DP, 1928.

Beattie, James. London Diary, 1773. Ed. Ralph S. Walker. Aberdeen University Studies, No. 122. Aberdeen: U of Aberdeen P, 1946.

Bellamy, George Anne. An Apology for the Life of George Anne Bellamy. 6 vols. London, 1785.

Boaden, James. Private Correspondence of David Garrick. 2 vols. London, 1831-1832.

. The Life of Mrs. Jordan. 2 vols. London, 1831.

Memoirs of Mrs. Inchbald. 2 vols. London, 1833.

. Memoirs of Mrs. Siddons. 2 vols. London, 1827.

Memoirs of the Life of John Philip Kemble. 2 vols. 1825. NY: Benjamin Blom, 1969.

Bryant, Donald C. "London Notes, 1769-1774.” Quarterly Journal of Speech, 52 (1966), 179-181.

Campbell, Thomas. Life of Mrs. Siddons. 2 vols. NY: 1834. Benjamin Blom, 1972.

Cibber, Theophilus. The Lives and Characters of the Most Eminent Actors and Actresses of Great Britain and Ireland. London, 1753.

Cooke, William. Memoirs of Charles Macklin. London, 1804.

Davies, Thomas. Dramatic Miscellanies. 1784. NY: Benjamin Blom, 1971.

392 . Memoirs of the Life of David Garrick. With notes by Stephen Jones. 2 vols. 1808. NY: Benjamin Blom, 1969.

Dibdin, Charles [the Elder]. A Complete History of the English Stage. 5 vols. NY: Garland Publishing, 1970. Facsimile reprint of 1800 edition.

. The Professional Life of Mr. Dibdin. 4 vols. London, 1803.

Dibdin, Charles. The Memoirs of Charles Dibdin the Younger. Ed. George Speaight. London, 1956.

. Professional and Literary Memoirs of Charles Dibdin the Younger: Dramatist and Upvard of Thirty Years' Manager of Minor Theatres. Ed. George Speaight. London: Society for Theatre Research, 1956.

Dibdin, Thomas J. The Reminiscences of Thomas Dibdin. 2 vols. London, 1827.

Downer, Alan S. "The Diary of Benjamin Webster." Theatre Annual, 4 (1945), 47-64.

Downes, John. Roscius Anglicanus. Ed. Montague Summers. London: Fortune Press, 1929.

Everard, Edward Cape. Memoirs of an Unfortunate Son of Thespis. Edinburgh, 1818.

F., R. "The Sheridan Papers." British Museum Quarterly, 7 (1932), 38-39.

Fennel, James. An Apology for the Life of James Fennell. 1814. NY: Benjamin Blom, 1969.

Garrick, David. The Diary of David Garrick. Ed. Ryllis Claire Alexander. 1928. NY: Benjamin Blom, 1971.

. Letters. Eds. David M. Little and George M. Karhl. Associate ed. Phoebe de K. Wilson. 3 vols. Cambridge: Harvard DP, 1963.

. The Plays of David Garrick. 6 vols. Eds. William Henry Pedicord and Frederick Louis Bergmann. Carbondale and Edwardsville: Southern Illinois UP, 1980.

The Gazetteer and New Daily Advertiser: 1772, 1774-1785, 1787. 393 The General Advertiser and Morning Intelligencer: 1778- 1780, 1784-1788.

The General Evening Post (London); 1772-1780, 1783-1788.

Genest- John. Some Account of the English Stage From the Restoration in 1660 to 1830. 10 vols. Bath; H.E. Carrington, 1832.

Gentleman, Francis. The Dramatic Censor. 2 vols. London, 1770. Reprinted in 1972.

Hampden, John, comp. An Eighteenth-Century Journal, Being a Record of the Years 1774-1776. London: Macmillan, 1940.

Haslewood, Joseph. Green Room Gossip. London, 1809.

Highfill, Philip H. "Charles Surface in Regency Retirement: Some Letters from Gentleman Smith." Essays in English Literature of the Classical Period Presented to Dougald MacMillan. Ed. Daniel W. Paterson and Albrecht B. Strauss. Studies in Philology (Extra series, January 1967), pp. 135-166.

Hitchcock, Robert. An Historical View of the Irish Stage. 2 vols. Dublin, 1788 and 1794.

Holcroft, Thomas. The Theatrical Recorder. 1805. NY: Burt Franklin, 1968.

Kelly, Hugh. Thespis: A Critical Examination into the Merits of all the Principal Performers Belonging to Covent-Garden Theatre, Book the Second. London, 1767.

. Thespis : A Critical Examination into the Merits of All the Principal Performers Belonging to Drury Lane Theatre. London, 1766.

Kenny, Shirley Strum. The Performers and Their Plays. Eighteenth-Century English Drama Series. General Ed. Paula R. Backscheider. New York and London: Garland Publishing, 1982.

Kirkman, James Thomas. Memoirs of the Life of Charles Macklin, E s g . 2 vols. London, 1799.

Lichtenberg, Georg Christoph. Lichtenberg's Visits to England as Described in His Letters and Diaries. 394 Translated and annotated by Margaret L. Mare and W.H. Quarrell. Oxford: Clarendon Press, 1938.

Little, David M. and George M. Kahrl, eds. The Letters of David Garrick. Associate ed. Phoebe de K. Wilson. 3 vols. Cambridge: Belknap Press, 1963.

Lloyd's Evening Post and British Chronicle: 1773, 1775- 1776, 1779-1781.

The London Chronicle: 1772-1788.

The London Courant and Westminster Chronicle: 1780-1788. [Title changed in 1782 to London Courant, Westminster Chronicle, and Daily Advertiser. ]

The London Evening-Post: 1772, 1774-1780, 1782.

Low, D.M., ed. Edward Gibbon's Journal. London, New York: Chatto and Windus, 1929.

More, Hannah. The Letters of Hannah More. Selected by Brimley Johnson. London: John Lane, 1925.

The Morning Chronicle and London Advertiser: 1772-1788.

The Morning Herald and Daily Advertiser: 1781-1788 [Title changed to Morning Herald in 1786].

The Morning Post and Daily Advertiser: 1775-1780, 1782- 1786, 1788.

Murphy, Arthur. The Life of David Garrick. 1801. 2 vols. NY: Benjamin Blom, 1969.

Oulton, W.C. Authentic Memoirs of the Green Room. 6 vols. London, 1799-1804.

The History of the Theatres of London. 2 vols. London, 1796.

Peake, Richard Brinsley. Memoirs of the Colman Family, Including Their Correspondence with the Most Distinguished Personages of Their Time. 2 vois. 1841. NY: Benjamin Blom, 1972.

Price, Cecil, ed. The Letters of Richard Brinsley Sheridan. 3 vols. Oxford: Clarendon Press, 1966

The Public Advertiser: 1772, 1774-1788.

395 Roach, John. Roach's Authentic Memoirs of the Green Room. London, 1796.

St. James's Chronicle; or, British Evening-Post: 1772- 1788.

Sheridan, Elizabeth. Betsy Sheridan's Journal; Letters From Sheridan's Sister, 1784-1786 and 1788-1790. Ed. William LeFavre. London: Eyre and Spottiswoode; New Brunswick: Rutgers UP, 1960.

Sheridan, Richard Brinsley. The Critic; or, A Tragedy Rehearsed, a Dramatic Piece in Three Acts as it is Performed at the Theatre Royal in Drury Lane. London: T. Becket, 1781.

Theatrical Biography: or. Memoirs of the Principal Performers of the Three Theatres Royal. 2 yols. London, 1772.

The Thespian Dictionary; or Dramatic Biography of the Eighteenth Century; Containing Sketches of the Lives, Productions, etc., of All The Principal Managers, Dramatists, Composers, Commentators, Actors, and Actresses, of the United Kingdom; Interspersed with Several Original Anecdotes; and Forming a Concise History of the English Stage. London: T. Hurst, Dublin, W. Porter, 1802.

Victor, Benjamin. The History of the Theatres of London and Dublin, from the Year 1730 to the Present Time 1761 and 1771. NY: Benjamin Blom, 1969.

The Whitehall Evening Post: 1781-1788.

Bibliographies, catalogues and dictionaries

Arnott, James F. and John W. Rovinson. English Theatrical Literature 1559-1900: A Bibliography. London: 1970.

Berkowitz, Gerald M. "David Garrick— An Annotated Bibliography.” Restoration and 18th Century Theatre Research, 11.1 (May 1972), 1-18.

----- , David Garrick: A Reference Guide. Boston: G.K. Hall, 1980.

Bond, Donald. The Eighteenth Century. Goldentree Bibliographies. Northbrook, XL: AHM Publishers, 1975. 396 Cavanaugh, John. British Theatre; A Bibliography, 1901 to 1985. Mottisfront, Hamshire, England: Motley Press, 1989.

Cox, Susan and Janice L. Budeit. Early English Newspapers: Bibliography and Guide to the Microfilm Collection. Woodbridge, CT: Research Publications, 1983.

Crane, Ronald S. et al, eds., English Literature 1660-1800: A Bibliography of Modern Studies. Princeton: Princeton UP, 1950+.

Draper, John W. Eighteenth-Century English Aesthetics: A Bibliography. Heidelberg: Carl Winters, 1931.

Dukes, Ashley. "The Garrick Club Collection." Theatre Arts Monthly, 19 (1935), 601-616.

Gremore, Constance F. "A Cumulative Index to Theatre Survey." Theatre Survey, 20.2 (November 1979), 73-134.

Hall, Lillian Arvila. Catalogue of Dramatic Portraits in the Theatre Collection of the Harvard College Library. Cambridge: Harvard UP, 1930.

Hemlow, Joyce. A Catalogue of the Burney Family Correspondence, 1749-1878. NY: New York Public Library and McGill UP, 1967.

Highfill, Philip H., jr., Edward Langhans and Kalman A. Burnim, eds. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800. 16 vols. Carbondale and Edwardsville, XL: Southern Illinois UP, 1973-.

Hogan, Charles Beecher, comp. An Index to the Wandering Patentee by Tate Wilkinson. London: Society for Theatre Research, 1973.

"Eighteenth Century Actors in the D.N.B.: Additions and Corrections." Theatre Notebook, 6.2-4 (1951), 45-48, 66-71, 87-96.

"Eighteenth Century Actors in the D.N.B.: Corrections (Second Series)." Theatre Notebook, 11.4 (1956-7), 113-121.

397 Kerslake, J.F. Catalogue of Theatrical Portraits in London Public Collections. London, 1961.

Langhans, Edward A. Eighteenth-Century British and Irish Promptbooks; A Descriptive Bibliography. Westport: Greenwood Press, 1987.

Link, Frederick M. English Drama 1660-1800: A Guide to Information Sources. Detroit: Gale Research Co., 1976.

Macmillan, Dougald. Catalogue of the Larpent Plays in the Huntington Library. (Huntington Library Lists, No. 4) San Marino, CA: Huntington Library, 1939.

Milhous, Judith, and Robert D. Hume. "An Annotated Guide to the Theatrical Documents in PRO LC 7/1, 7/2, and 7/3." Theatre Notebook, 35 (1981), 25-31, 77-87, 122-129.

Nagler, A.M. Sources of Theatrical History. NY: Theatre Annual, 1952.

O'Neill, James J. A Bibliographical Account of Irish Theatrical Literature: Part I: General History, Players, and Theatrical Periodicals. Dublin: John Falconer, 1920.

Pearce, Ethel. "The Larpent Plays: Additions and Corrections." Huntington Library Quarterly, 6 (1943), 491-494.

Read, Stanley, ed. Documents of Eighteenth Century English Taste. Chicago: DePaul University Bookstore, 1942.

Records of the Great Playhouses. Series One: The Sadler's Wells Archives from Finsbury Central Library, London: A Listing and Guide to the Harvester Microform Collection. Brighton: Harvester Press Microform Publications, Ltd., 1988.

Spector, Robert D., comp. Backgrounds to Restoration and Eighteenth Century Literature; An Annotated Bibliographical Guide to Modern Scholarship. NY: Greenwood Press, 1989.

Stephen, Sir Leslie and Sir Sidney Lee, eds. The Dictionary of National Biography. Founded in 1882 by George Smith. Oxford: Oxford UP, 1963.

398 Stratman, Carl Joseph, C.S.V. Bibliography of English Printed Tragedy 1565-1900. Carbondale: Southern Illinois UP, 1966.

. Britain's Theatrical Periodicals 1720-1967; A Bibliography. 2nd edition. NY: NY Public Library, 1972.

. Restoration and Eighteenth Century Theatre Research: A Bibliographical Guide 1900-1968. Carbondale and Edwardsville: Southern Illinois UP, 1971.

Templeman, William D. "Contributions to the Bibliography of Eighteenth Century Aesthetics." Modern Philology 30 (1933), 309-316.

Wood, Frederick T. "Collections of Eighteenth Century Playbills." Notes and Queries, 190 (1946), 222-26.

Secondary Sources

Adams, William Davenport. A Dictionary of the Drama: A Guide to the Plays, Playwrights, Players and Playhouses of the United Kingdom and America, From the Earliest Times to the Present. London: Chatto and Windus, 1904.

Allen, Ralph G. "Irrational Entertainment in the Age of Reason." In The Stage and the Page: London's "Whole Show" in the Eighteenth-Century Theatre. George Winchester Stone, ed. Berkeley, Los Angeles and London: U of California P, 1981.

Angus, William. "An Appraisal of David Garrick: Based Mainly upon Contemporary Sources." Quarterly Journal of Speech, 25 (1939), 30-42.

Armstrong, Cecil Ferard. A Century of Great Actors, 1750-1850. London: Mills & Boon, Ltd., 1912.

Arundell, Dennis Drew. The Story of Sadler's Wells, 1683-1977. Second edition. New York: Theatre Arts Books, 1978.

Babcock, Robert Witbeck. The Genesis of Shakespeare Idolatry, 1766-1799: A Study of English Criticism in the Late Eighteenth Century. Chapel Hill: U of North Carolina P, 1931.

399 Backscheider, Paula. Spectacular Politics; Theatrical Power and Mass Culture in Early Modern England. Baltimore: Johns Hopkins UP, 1993.

Baker, Henry Barton. History of the London Stage and Its Famous Players (1576-1903). Revised edition. London: Routledge, 1904.

Barker, Kathleen. "The First Night of the Theatre Royal, Bristol." Notes and Queries, 14 (1967), 419-421.

. "The Revival of Theatre Outside London with Special Reference to the West County (c.l700- 1788)." Theatre Notebook, 46 (1992): 118-122.

. The Theatre Royal, Bristol— 1765-1966. London: Society for Theatre Research, 1974.

. "The Theatre Royal, Bristol: The First Seventy Years." Bristol in the 18th Century. Ed. Patrick McGrath. Newton Abbot: David and Charles, 1973.

Barrow, Valentine K. "Charles Dibdin's Entertainments." Theatre Notebook, 44 (1990): 10-16.

Baskerville, Charles R. "Play-lists and Afterpieces of the Mid-Eighteenth Century." Modern Philology, 23 (1926), 445-464.

Bataille, Robert R. "The Kelly-Garrick Connection and the Politics of Theatre Journalism." Restoration and 18th Century Theatre Research. 2nd series. 4.1 (Summer 1989), 39-48.

Benjamin, Lewis S. Stage Favourites of the Eighteenth Century. Freeport, NY: Books for Libraries Press, 1969.

Betz, Gottlieb. "Lichtenberg as a Critic of the English Stage." Journal of English and Germanic Philology, 23 (1924), 270-288.

Bevis, Richard W. English Drama: Restoration and Eighteenth Century, 1660-1789. NY: Longmans, 1988.

Booth, Michael R., Richard Southern, Frederick and Lise- Lone Marker and Robertson Davies, eds. The Revels History of Drama in English. Vol. 6: 1750-1880. London: Methuen, 1975.

Boulton, William B. The Amusements of Old London: Being A Survey of the Sports and Pastimes, Tea Gardens and 400 Parks, Playhouses and Other Diversions of the People of London From the 17th to the Beginning of the 19th Century. 1901. NY: Benjamin Blom, 1989.

Burnim, Kalman A. David Garrick, Director. Pittsburgh: U of Pittsburgh P, 1961.

. "Eighteenth-Century Theatrical Illustrations in the Light of Contemporary Developments." Theatre Notebook, 14 (1959/60): 45-55.

Canfield, J. Douglas and Deborah C. Payne. Cultural Readings of Restoration and Eighteenth-Century English Theater. Athens, GA: U of Georgia P, 1995.

Chancellor, E. Beresford. The Eighteenth Century in London: An Account of its Social Life and Arts. London: B.T. Batsford, 1921.

. The Pleasure Haunts of London During Four Centuries. London: Constable & Co., Ltd., 1925.

Coleman, William S.E. "Post-Restoration Shylocks Prior to Macklin." Theatre Survey 8 (1967): 17-36.

Curtis, Julia. "A Theatrical Contract of 1773-1774." Theatre Notebook, 30 (1976), 18-20.

Deelman, Christian. "The Original Cast of The School for Scandal." Review of English Studies 13 (1962): 257-266.

Dent, Edward J. A Theatre for Everybody: The Story of the Old Vic and Sadler's Wells. London: Boardman and Co., 1946.

Dobbs, Brian. Drury Lane: Three Centuries of the Theatre Royal. London: Cassell, 1972.

Dobson, Austin. Rosalba's Journal and Other Papers. London: Chatto and Windus, 1915.

Donaldson, Ian. "New Papers of Henry Holland and R.B. Sheridan: (I) Henry Holland's Drury Lane, 1794." Theatre Notebook 16.3 (Spring 1962), 90-96.

"New Papers of Henry Holland and R.B. Sheridan: (II) The Hyde Park Corner Operas and the Dormant Patent." Theatre Notebook, 16.4 (Summer 1962), 117-125.

401 Donohue, Joseph W. The Theatrical Manager in England and America; Player of a Perilous Game. Princeton: Princeton UP, 1971.

Doran, Dr., F.S.A. Annals of the English Stage from Thomas Betterton to Edmund Kean. 3 vols. 1888. Nev York; AMS Press, 1968.

Dovner, Alan S. "Nature to Advantage Dressed; Eighteenth-Century Acting." PMLA 58 (1943); 1002-1037.

Eddy, Donald 0. "John Hawkesworth; Book Reviewer In the Gentleman's Magazine." Philological Quarterly 43 (1964); 223-238.

Emery, John P. "Murph's Criticism In the London Chronicle." PMLA, 54 (1939), 1099-1104. Reprints from 1757-1758.

Engel, Glorlanne. "The Comic Actor In the Age of Garrick; His Style and Craftsmanship." Ph.D., University of Pittsburgh, 1967.

England, Richard. "The Technique of Acting." Theatre Notebook 1.2 (January, 1946); 14.

Fahrner, Robert. The Theatrical Career of Charles Dibdin the Elder (1745-1814). NY; American University Studies, 1989.

Flske, Roger. English Theatre Music In the Eighteenth Century. Second edition. Oxford and New York; Oxford UP, 1986.

Fitzgerald, Percy. The Life of David Garrick. 2 vols. 1868. Ann Arbor; Plutarch Press, 1971.

Fletcher, Ifan Kyrle. "The Smock Alley Theatre, Dublin; 1753-4." Theatre Notebook, 6.1 (October 1951), 7-9.

Frushell, Richard C. "Contemporary Commentary on the Players' Revolt of 1743 and the Licensing Act of 1737." Theatre Survey, 14 (November 1977), 91-95.

Gilliland, Thomas. The Dramatic Mirror. 2 vols. London, 1808.

Glasgow, Alice. Sheridan of Drury Lane, A Biography; With Illustrations from Old Prints and Portraits. NY; Frederick A. Stokes Co., 1940.

402 Gray, Charles Harold. Theatrical Criticism in London to 1795. 1931. New York, Benjamin Blom, 1964.

Greene, D.J. "Was Johnson Theatrical Critic of The Gentleman's Maqazine?" Review of English Studies, new series, 3 (1952), 158-161.

Grundell, H.W. "Actors and Actresses in XVIIIth-Century Comedy." Notes and Queries 230 (1941): 44-45.

Hannaford, Stephen. "The Shape of Eighteenth-Century English Drama." Theatre Survey, 21.2 (November, 1980), 93-103.

Heffner, Hubert C. "The Haymarket Theatre Under Colman the Younger, 1789-1805." Speech Monographs, 10 (1943), 23-29.

Highfill, Philip Henry, jr. "Francis Gentleman, Critic." M.A. University of North Carolina, 1948.

Hogan, Charles Beecher. "The London Theatres, 1776-1800: A Brief Consideration." Theatre Notebook 21 (1961): 13-14.

Shakespeare in the Theatre, 1701-1800. 2 vols. Oxford: Clarendon Press, 1952-1957.

Hughes, Alan. "Art and Eighteenth-Century Acting Style Part I: Aesthetics." Theatre Notebook 41 (1987): 24-31.

"Art and Eighteenth-Century Acting Style Part II: Attitudes." Theatre Notebook 41 (1987): 79-89.

. "Art and Eighteenth-Century Acting Style Part III: Passions." Theatre Notebook 41 (1987): 128-139.

Hughes, Leo. The Drama's Patrons : A Study of the Eighteenth-Century London Audience. Austin and London: U of Texas P, 1971.

Hume, Robert D. "English Drama and Theatre, 1660-1800: New Directions in Research." Theatre Survey, 23.1 (May, 1982), 71-100.

, ed. The London Theatre World, 1660-1800. Carbondale and Edwardsville: Southern Illinois UP, 1980.

403 Hununert, Paul A. "The Prompter; An Intimate Mirror of the Theatre in 1789." Restoration and 18th Century Theatre Research, 3.1 (May, 1964), 37-46.

Kelly, John Alexander. German Visitors to English Theatres in the Eighteenth Century. Princeton: Princeton UP, 1936.

Lea, John Kepler. "A Study of the Management of Theatre Royal, Drury Lane, Between 1663 and 1791." M.A. Miami University (Ohio), 1964.

Leacroft, Richard. The Development of the English Playhouse. London: Eyre Methuen, 1973.

Lee, Afrida. "Macklin in Birmingham." Theatre Notebook, 22 (1968), 133.

Loftis, John, ed. Introduction. Essays on the Theatre From Eighteenth-Century Periodicals. LA: Clark Memorial Library, 1960.

Lorenzen, Richard LeRoy. "Managers of the Old Prince of Wales's Theatre." Theatre Notebook, 24 (1969), 32-36.

Macmillan, Dougald. "David Garrick, Manager: Notes on the Theatre as a Cultural Institution in England in the Eighteenth-Century Mind." Studies in Philology, 45 (October, 1948), 630-646.

Drury Lane Calendar 1747-1776. Oxford: Clarendon Press, 1938.

Macmillan, Dougald. "David Garrick as Critic." Studies in Philology, 31 (1934), 69-83.

McAleer, John J. "John Kemble— Shakespeare's First Great Producer." Shakespeare Newsletter, 17 (1967), 17.

Milhous, Judith. "Company Management." In The London Theatre World, 1660-1800. Ed. Robert D. Hume. Carbondale and Edwardsville: Southern Illinois UP, 1980.

. Thomas Betterton and the Management of Lincoln's Inn Fields, 1695-1708. Carbondale and Edwardsville: Southern Illinois UP, 1979.

Nalbach, Daniel. The King's Theatre 1704-1867. London: Society for Theatre Research, 1972.

404 ------"Opera Management in Eighteenth-Century London." Theatre Research, 13 (1973): 75-91.

Needham, Gwendolyn B. "Mrs. Frances Brooks: Dramatic Critic." Theatre Notebook, 15 (1960/61), 47-52.

Nicoll, Allardyce. The Garrick Stage: Theatres and Audience in the Eighteenth Century. Athens: U of Georgia P, 1980.

. A History of Late Eighteenth Century Drama: 1750- 1800. Cambridge: Cambridge UP, 1927.

Nicholson, Watson. The Struggle for a Free Stage in London. 1906. New York: Benjamin Blom, 1966.

Nigh, Douglas Julian. "Lesser Luminaries: Samuel Foote and the Little Theatre in the Haymarket, From 1766 to 1777." Ph.D. University of California, LA, 1971.

Noyes, Robert Gale. The Thespian Mirror: Shakespeare in the Eighteenth-Century Novel. Providence, RI: Brown UP, 1953.

Odell, G.C.D. Shakespeare from Betterton to Irving. 2 vols. 1920. NY: Dover Publications, 1966.

Page, Eugene P. George Colman the Elder, Essayist, Dramatist, and Theatrical Manager, 1732-1794. Columbia University Studies in English and Comparative Literature, no. 120. NY: Columbia UP, 1935.

Pedicord, Harry William. "By Their Majesties* Command": The House of Hanover at the London Theatres, 1714- 1800. London: Society for Theatre Research, 1991.

------"On-Stage with David Garrick: Garrick's Acting Companies in Performance." Theatre Survey 28.2 (November 1987): 51-74.

. The Theatrical Public in the Time of Garrick. New York: King's Crown Press, 1954.

Penley, Belville S. The Bath Stage. 1892. New York: Benjamin Blom, 1971.

Price, Cecil. "An Eighteenth Century Theatrical Agreement." Theatre Notebook, 4 (1949/50), 89-94

"Nouverre and Sheridan, 1776." Theatre Research, 7 (1965), 45-46. 405 . "Sheridan and the Drury Lane Theatre/ 1801-1809." Theatre Survey> 17 (1976), 12-27.

. Theatre in the Acre of Garrick. Tot ova; Rowman and Littlefield, 1973.

----- . "Thomas Harris and the Covent Garden Theatre." In Essays on the Eighteenth-Century English Stage. Edited by Kenneth Richard and Peter Thomson. London: Methuen, 1972, pp. 105-122.

Pry, Kevin. "The Opera House Petition of 1799." Theatre Notebook, 40 (1986), 101-106.

Richards, Kenneth and Peter Thomson, eds. Essays on the Eighteenth-Century English Stage. London: Methuen, 1972.

Roberts, W. "Garrick and Drury Lane." Athenaeum, 2 (July 7, 1950), 35.

Robins, Edward. Twelve Great Actors. NY: Putnam's Sons, 1900.

Robinson, K.E. "Stephen Kemble's Management of the Theatre Royal, Newcastle-Upon-Tyne." In Essays on the Eighteenth-Century English Stage. Eds. Kenneth Richards and Peter Thomson. London: Methuen, 1972, pp. 137-148.

Rosenfeld, Sybil. "Checklist of Scene Painters Working in Great Britain and Ireland in the 18th Century, D-H." Theatre Notebook 19 (1964-65): 49-63.

Foreign Theatrical Companies in Great Britain in the 17th and 18th Centuries. London: Society for Theatre Research, 1955.

. "An Opera House Account Book." Theatre Notebook, 16.3 (Spring 1962), 83-88.

. Strolling Players and Drama in the Provinces: 1660-1765. New York: Octagon Books, 1970.

. "A Transparency by Thomas Greenwood the Elder." Theatre Notebook 19 (1964): 21-22.

Rulfs, Donald J. "Entr'acte Entertainment at Drury Lane and Covent Garden, 1750-1770." Theatre Annual, 12 (1954), 17-27.

406 Runcie, James, ed. Sadler's Wells Theatre: Three Hundred Years; A Place for All People. London: CGP, 1983.

Sawyer, Paul. Christopher Rich of Drury Lane: the Biography of a Theatre Manager. Lanham, Maryland: UP of America, 1986.

. "The Popularity of Pantomime on the London Stage, 1700-1760." Restoration and 18th Century Theatre Research. 2nd series. 5 (1990), 1-16.

----- . "Processions and Coronations on the London Stage, 1727-1761." Theatre Notebook, 14 (1959), 7-12.

Scott, W.S. The Georgian Theatre. London: Westhouse, 1946.

Scouten, Arthur H. "On the Origin of Foote's Matinees." Theatre Notebook, 7 (1952/53), 28-31.

Sheldon, Esther. Thomas Sheridan of Smock-Alley. Princeton: Princeton UP, 1967.

Siddons, Sarah Kemble. The Reminiscences of Sarah Kemble Siddons, 1773-1788. Ed. William Van Lennep. Cambridge, 1942.

Smith, Amy Elizabeth. "Casting and the Manager's Role in Sheridan's A Trip to Scarborough." Theatre Notebook, 47 (1993), 170-172.

Speaight, George. "Some Comic Circus Entrees." Theatre Notebook, 32 (1978), 24-27.

Straub, Kristina. Sexual Suspects: Eighteenth-Century Players and Sexual Ideology. Princeton: Princeton UP, 1992.

Taylor, George. Introduction. Plays by Samuel Foote and Arthur Murphy. Ed. George Taylor. Cambridge: Cambridge UP, 1982. 1-32.

Thomas, David. Theatre in Europe: A Documentary History: Restoration and Georgian England 1660- 1788. NY: Cambridge UP, 1989.

Van Lennep, William, gen. ed. The London Stage, 1660- 1800. 11 vols. Carbondale and Edwardsville: U of Southern Illinois P, 1960-1968.

407 Vince, Ronald W. Neoclassical Theatre; A Historiographical Handbook. NY: Greenwood Press, 1988.

Werkmeister, Lucyle. The London Daily Press, 1771-1792. University of Nebraska Press, 1963.

West, Shearer. The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble. NY: St. Martin's, 1991.

Wiles, R.M. "Crowd-Pleasing Spectacles in Eighteenth- Century England." Journal of Popular Culture, 1 (1967), 90-105.

Wilkinson, Tate. Memoirs of His Own Life. 4 vols. York, 1790.

The Wandering Patentee: or. The History of the Yorkshire Theatres, From 1770 to the Present Day. 4 vols in 2. 1795. Menston: Scolar Press, 1973.

Williams, Stanley T. "Richard Cumberland's West Indian." Modern Language Notes, 35 (1920), 413-417.

Wood, Frederick T. "The Merchant of Venice in the Eighteenth Century." English Studies 15 (1933): 209-218.

Wyndam, Henry Saxe. The Annals of Covent Garden From 1732 to 1897. 2 vols. London, 1906.

408