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© in This Web Service Cambridge University Cambridge University Press 978-0-521-65068-7 - The Cambridge History of British Theatre: 1660 to 1895: Volume 2 Edited by Joseph Donohue Index More information Index Note: Italicized page numbers refer to illustrations. Achurch, Janet, 368 Adrienne Lecouvreur, 359 Acis and Galatea, 128, 130 adultery in plays, 62, 94 acrobats, 370 adventurers, 111 acting, 272 Adventures of Caleb Williams, The, 38–9 androgyny in, 287–8 Adventures of Five Hours, The, 61 developments in, 290–1 Adventures of Madrid, The, 87 French, 289 Africaine, L’(Meyerbeer), 258 in mid-Victorian era, 1851–70, 334 Africaine, L’; or, The Queen of the Cannibal natural style of, 289–90 Islands (Burnand), 258 acting companies afterpieces, 191, 192, 255–6 integrity of, 13 agents, 259 profit sharing in, 79 Agnes de Castro, 86 social coherence of, 11 Agricultural Hall, 253 acting editions, 268 Alan’s Wife, 367 Actor-Manager, The, 405–6 Albion and Albanius, 63 actor-managers, 266 Alchemist, The, 137 at Drury Lane, 20, 28 alcohol consumption, 350, 378, 379, 385 in mid-Victorian era, 1851–70, 332 Alexander, George actresses, 73–81 management of St James’s Theatre, 296, cross-dressing of, 357 410–12 domestic identity of, 356, 359–60 performances in American cities, 242 impact of, 54 sponsorship of playwriting contests, 364 informal power of, 79–81 Alexandra Theatre, 253 masculinist analysis of, 354 Alhambra Music Hall, 266, 379 pornographic prostitution of, 99 all-electrified theatres, 270 professional advantages of, 354 Allen, Grant, 409 sexuality of, 75, 357–8 All for Love, 63 success of, 355 All the King’s Ladies, 76 susceptibility to madness, 358–9 Alma-Tadema, Lawrence, 322 wages of, 353 Alphonso King of Naples, 103 Adam, Robert, 34, 36 amateur concerts, 369 Adam Drury Lane, 45 amateurism, 352 Addison, Joseph, 17 American Revolution, 37 Adelmorn the Outlaw, 315 Amorous Widow, The, 62 Adelphi, 101 Amphitryon, 63, 104 Adelphi Theatre, 201, 220 Anatomist, The, 151 Admonition and Exhortation, 171 Anderson, Mary, 355 460 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-65068-7 - The Cambridge History of British Theatre: 1660 to 1895: Volume 2 Edited by Joseph Donohue Index More information Index androgyny, 287–8 ballet d’action, 205 antagonists, 12 ballet divertissement, 267 antimacassars, 296 Bancroft, Marie, 262, 359–60 antiquarianism, in stage design, 317 Bancroft, Squire, 250, 262, 351 anti-Whig plays, 113 Bank of England, 105 Antoine, Andre,´ 415, 420 Banks, John, 63 Antony and Cleopatra, 156 Barnard, Sir John, 121 Ariadne, 313 barn theatres, 180–1, 208 Arms and the Man, 263, 269 Barrasford, Thomas, 382 Arne, Thomas, 31 Barret, Wilson, 435 Arnold, Samuel, 222 Barry, Elizabeth, 58 Arrah-na-Pogue, 251 as most admired Restoration actress, 78 artificial light, 294 roles played by, 12, 51, 85 art music, 378 salary of, 78 Art of Tragedy Management, The, 83 Barry, Spranger, 26, 28 Ashbury, John, 166 Bartholomew Fair, 22 Astley, Philip, 200, 373 Basset Table, The, 106 Astley’s Amphitheatre, 200 Bateman, H. L., 389 circus acts at, 33, 373 Bath theatre, 174, 176 in early nineteenth century, 219 Beau Defeated, The, 104 Queen Victoria’s patronage of, 340 Beaumarchais, Pierre Augustin Caron de, 183 spectacular docudramas at, 204 Beaux’ Stratagem, The, 3 As You Like It, 178, 179, 357 happy ending of, 64 audiences, 57 heroine in, 19 and actors, 230, 293–4, 297–8 performances at Covent Garden, 152 changes in composition of, 262–3 scenery design for, 10 disruptions from, 195–6 tyrannical characters in, 103 as mobs, 292 Beeston, William, 5 of music halls, 381 Beggar’s Holiday, 143–4 and scenic displays, 302 Beggar’s Opera, The, 22 segregation of, 295 association with immorality, 139 social classes, 295, 381 audience on stage, 136 types of, 342 case study, 126–44:ballad opera, 131; women as, 72, 382 burlesques in, 133; comedy as driving auditorium, 270, 302–3 force, 132; cost of production, 130; auditors, 147 political content, 135; political satire, 133; Aungier Street Theatre, 166 songs in, 134;success factors, 127; competition, 167–8 transvaluation of values, 133, 135 merger with competitor, 168 characters and settings, 136 summer touring, 168 dialogues, 133 Aureng-Zebe, 92 first-night audience of, 132 Aurora Floyd, 353 imitation of, 126 Author’s Farce, The, 66 impact on the London theatre market, 128, Avenue Theatre, 254 137 Ayckburn,Alan, 407 initial opinions of manuscript of, 128–9 original lyrics in, 44 Babbage, Charles, 372 performances of, 126:intwentieth Bab Ballads, 264 century, 127, 142–4;atCovent Babil and Bijou, 248 Garden, 124;atDrury Lane, 124;at Baddeley, Angela, 140 Lincoln’s Inn Fields, 65–6, 120 Baillie, Joanna, 215 sequel to, 138 ballad operas, 20, 67, 129–30, 131 use of ordinary singers and actors in, 130 ballet, 267–8 Beggar’s Wedding, The, 138 461 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-65068-7 - The Cambridge History of British Theatre: 1660 to 1895: Volume 2 Edited by Joseph Donohue Index More information Index Behn, Aphra, 85–6 Blitzstein, Marc, 141–2 plays by, 11, 62 blocking characters, 12 sex comedies by, 95 Blood Tub, 205 struggles for authorial legitimacy, 72 Bluebeard (1797), 208 success of, 83–4 Blue Beard (1839), 248 Bell, Charles, 233 Bold Stroke for a Wife, A, 88, 106 Bells, The, 388–404 Bolton, Duke of, 136 adaptation from foreign source, 389–90 Boman, Elizabeth, 13 audience of, 403–4 Bononcini, Giovanni, 130 comic parodies of, 390 booking agency, 378 critical reviews of, 389, 390–1 booklets, 239–40 film adaptations of, 389 Booth, Barton, 17 first act, 391–2 Boothby, Frances, 81 first performance of, 390–1 Bottle, The, 350 Henry Irving’s performances in, 242, 259, Boucicault, Dion, 244, 251, 280 280 bourgeois, 104, 107 limited success in modern revivals of, boxes, 15, 57, 225 393 box-keepers, 188 main characters in, 400 box office, 296 music in, 402 Box Pit and Gallery, 293 plot of, 391 Boyle, Robert, 93 scenic effects in, 401–2 Bracegirdle, Anne, 13, 58, 75 second act, 392 Breaking a Butterfly, 414 stage technology used in, 402–3 Brecht, Bertolt, 127 third and final act, 392–3 breeches, 75–6 below-stage traps, 326 Bride of Lammermoor, The, 205 benefit performance, 193–5, Brighton, 408 Beringer, Oscar, 430 Britannia Saloon, 253, 254 Bernard, Bayle, 205 Britannia Theatre, 201, 296 Berne Convention, 421 British Saloon, 377 Bernhardt, Sarah, 240 Brodribb, John Henry acting techniques, 355 see Irving, Henry in competition with Eleonora Duse, 423, Brown, Ford Madox, 322 432–3 Brownsmith, John, 191 performance as Hamlet, 357 Bryant, Marie, 144 Bertram, 213 Buchanan, Robert, 355 Bertram, Sir Thomas, 212 Buckle, James George, 306 Betterton, Mary, 85 Buckstone, John Baldwin, 212, 220, 284–5 Betterton, Thomas, 5 Buffalo Bill, 372 in adulterous plays, 62 Bullock, William, 115 as Hamlet, 192 Bullock’s Museum and Exhibition Hall, 372 as manager of Duke’s Company, 112 Bulwer, Edward, 206, 251 performances at Duke’s and United burlesques, 20 Companies, 58, 85 authors of, 22 Bickerstaffe, Isaac, 68, 151, 152 as operas, 133 Birth, 406 and Shakespearean productions, 345 Birthplace of Podgers, The, 285 burlettas, 33, 42–3, 203–4, 222 Blackamoor Wash’d White, The, 195–6 Burnand, F. C., 258, 345 Black Ey’d Susan, 206, 256 Burne-Jones, Edward, 322 blackface minstrelsy, 372, 383 Bury Fair, 102, 105 Blackfriars Theatre, 304 Busie Body, The, 88, 152 Blasted, 407 Butler, The, 285–6 Blind Boy, The, 277 Byron, H. J., 258, 408 462 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-65068-7 - The Cambridge History of British Theatre: 1660 to 1895: Volume 2 Edited by Joseph Donohue Index More information Index Cabinet Minister, The, 258 start of career, 86 Cabinet Theatre, 253 works of, 11, 106 cabmen, 351 Chamberlain, Lord, 14 Caine, Hall, 423 regulation of Drury Lane Theatre, 117–18 Calhoun, Eleanor, 368 regulation of plays, 39 Cambridge Theatre, 254 regulation of theatres, 108 Camilla, 130 Chances, The, 11 Camp, The, 35 Charke, Charlotte, 76, 83 Camp, Ther´ ese` de, 277, 288 Charles I (drama), 202 Candida, 438 Charles II, King, 4, 53 Canongate Theatre, 170–1 Charley’s Aunt, 408 audiences, 172 Cheats, The, 110 grant of patent to, 172 Chetwood, W.R., 138 Capon, William, 46, 208, 314–17 Chevalier, Albert, 370, 383 Captives, The, 128 Children of the Wood, The, 384 Careless Husband, The, 64 Chinese Festival, The, 292 Carey, Henry, 42, 131 Chironomia; or, A Treatise on Rhetorical Carnival, The, 83 Delivery, Carolean comedies, 90 Choleric Man, The, 158 morality of, 106–7 Christmas Tale, A, 311 primitivism in, 94 Church of Scotland, 169, 171–2 re-emergence of natural social hierarchy Cibber, Colley in, 91–2 as actor-manager at Drury Lane, 20 sexuality in, 93, 96, 104 adaptation of Richard III, 11, 102 see also comedies first comedy of, 17, 64 Carolean drama, 91 identification with roles, 59 carpenters’ scenes, 325 in John Vanbrugh’s The Relapse, Carruber’s Close playhouse, 170 and Patent Company, 115 Cary, Elizabeth, 71 Cibber, Susanna Maria, , 51 Case of Rebellious Susan, The, 266, 408, Cinematographe´ , 309 409–10 Cinquevalli, Paul, 370 Cassandra, 352–4 circuit companies, 178–9, 182 Caste, 262, 335, 337 circuses, 373–4 Castle Spectre, The, 46, 208 performers in, 370 Catalani, Angelica, 208 see also popular entertainment Cataract of the Ganges, The, 214 Citizen Turn’d Gentleman, The, 61 Catherine and Petruchio, 154 City Heiress, The, 96 Catholicism, 92, 97 city melodrama, 345–6 Cato, 17 City Politiques, 98, 113 Cavendish,
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