Download A biographical dictionary of actors, actresses, musicians, by Professor Philip H Highfill Jr PhD, Professor Kalman A PDF

By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans

A huge venture all started in 1973 reaches its end with the booklet of volumes 15 and sixteen of the Biographical Dictionary, a chain thought of "a reference paintings of the 1st order" via Theatre and appearing Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a talented singer whose well known acclaim used to be captured in traces by way of Samuel Phillips: "How are we pleas’d while beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we hearken to th’ inchanting music, / And trap the falling Accents from her Tongue." the 1st singer of English start to grasp the shape of Italian opera, Tofts often gained major roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many maximum within the theatre. Her acceptance declined, notwithstanding, as her calls for for fee increased—a state of affairs captured in an epigram Alexander Pope can have penned: "So shiny is thy attractiveness, so captivating thy track, / As had drawn either the beasts and their Orpheus along; / yet such is thy avarice, and such is thy delight, / That the beasts should have starved, and the poets have died."John Vanbrugh, whose play The Relapse is ranked as the best comedies of the recovery interval, turned a subordinate crown architect less than Sir Christopher Wren in 1702. In 1703, Vanbrugh begun plans for the Queen’s Theatre within the Haymarket, an company counseled by way of the equipment Cat membership (of which Vanbrugh used to be a member). even supposing his lavish layout was once acoustically faulty, restructuring helped right the matter and the theatre ultimately turned the particular middle for opera in London.

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Extra resources for A biographical dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800, Volume 16

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Samuel Pepys went to the Vere Street Theatre on 1 June 1663 and found that it was this day begun to be employed by the fencers to play prizes at. And here I came and saw the first prize I ever saw in my life: and it was between one Mathews, who did beat at all weapons, and one Westwicke, who was soundly cut several times both in the head and legs, that he was all over blood: and other deadly blows they did give and take in very good earnest, till Westwicke was in a most sad pickle. They fought at eight weapons, three bouts at each weapon.

She repeated Lucy on 1 July. She was at that time apparently living with Weston at their lodgings in Monmouth Court, Hedge Lane, Charing Cross. Martha Weston's London record is blank thereafter until 1 September 1764, when she sang at the Haymarket on her husband's benefit night, and again after that until the summer of 1766, when she returned to Foote's Haymarket company to perform an unspecified part in The Cheats of Scapin, Mrs Bruin in The Mayor of Garratt, some part in Woman's a Riddle, and, for her husband's benefit, Cherry in The Beaux' Stratagem.

Normally, when a younger and elder actor of the same surname were in the bills, the elder was usually called by the surname and the younger identified with an initial or other distinguishing mark, but in the case of the Wetherilts, careful distinctions were not always made. " His first known part at Drury Lane was Ariel in The Tempest on 6 June 1723, after which his name disappeared from the bills until 10 January 1728, when, now maturing, he played Squire Richard in The Provok'd Husband at Drury Lane.

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