English Stage: From the Restoration in 1660 to 1832

Drury Lane Theatre


Researchers will find this nineteenth century reference work useful:
John Genest, Some Account of the English Stage: From the Restoration in 1660 to 1830.
Published in 1832. 10 volumes

Individual volumes can be quite difficult to track down. Here are the links to the free Google-scanned copies.

Volume 1

Volume 2
 
Volume 3
 
Volume 4

Volume 5

Volume 6

Volume 7

Volume 8

Volume 9

Volume 10

Map - Covent Garden


A sample of the index/contents is shown below.

ABBREVIATIONS IN INDEX.
T. R. for Theatre Royal.
L. I. F. for Lincoln's Inn Fields.
D. G for Dorset Garden.
Hay. for Haymarket.
G. F. for Goodman's Fields.
D. L. C for Drury Lane Company.
C. G. C. for Covent Garden Company.

EXAMPLES from the INDEX TO THE ENGLISH STAGE.

This index appears at the beginning of Volume 1.

N B. FOR THE FIRST APP. OF ANY PERFORMER OF CONSEQUENCE, SEE
HIS. OR HER. CHARACTERS.

Abdalla—see rol. 10 p. 225.
Abdicated Prince—see vol. 1 p. 468.
Abdication of Ferdinand—see vol. 10 p. 229.
Abdelazer—D. G. 1677.
Abington Mrs her characters—C. G. 1798-1799.
Abon Hassan—D. L. April 4 1825.
Abradates and Panthea—see vol. 10 p. 229.
Abra Mule—L. I. F. Jan 1704—D. L. Jan 26 1710—L. I. F.
March 18 1721—C. G. Feb. 15 1735—C. G.March 8 1744.
Abroad and at Home—C. G. Nov. 19 1796—D. L. May 28
1822.
Absent Apothecary—D. L. Feb. 10 1813.
Absent Man by Bickerstaffe—D. L. March 21 1768—D. L.
March 29 1784—C. G. March 24 1795.
Absent Man by Hull—C.G. April 28 1764.
Abndah, or the Talisman of Oromanes—D. L. April 13 1819.
Accomplished Maid—C G. Dec. 3 1766.
Accusation, or the Family of D'Anglade—D.L. Feb. 1 1816.
Achille, by Boyer—T. R. 1699
...
Theatre Royal Haymarket


All the World's a Stage—D. L. April 7 1777—C. G. May 17 1782— D. L. May 31 1819—C G- Oct. 30 1820—D. L. May 22 182^-Hay. Oct. 13 1823.
Almena-D. L. Nov. 2 1764.
Almeyda, Queen of Granada—D. L. April 20 1796.
Almida—D. L. Jan. 12 1771.
Almyna— Hay. Dec. 16 1706.
Alonzo—D.L. Feb. 27 1773.
Alonzo and Imogine—C G. June 10 1801.
Alphonso, King of Naples—T. R. 1691.
Alphonsus, Emperour of Germany—see vol. 9 p. 538.
Alsop Mrs.—1st app. at C. G. Oct. 18 1815.
Altamira by Victor—see vol- 5 p. 539.
Altemira by Lord Orrery—L. I. P. 1702.
Alzira — L. I. F. June 18 1736— D. L. April 30 1744—C. G. March 18 1755—and C. G. Jan. 11 1758.
Alauma—C. G. Feb. 23 1773.
Amana—see vol. 10 p. 181.

Amasis, King of ..Egypt—C. G. August 22 1738.
Amateur of Fashion—Bath Feb. 9 1810—D. L. April 10 1813—C. G. Feb. 25 1813—Bath May 28 1814 — Bath Dec. 211816.
Amateurs and Actors—C. G. Oct. 28 1826.
Ambition—Hay. Sept. 13 1830.
Ambitious Statesman—T. R. 1679.
Ambitious Stepmother — L. I. F. 1700 — D. L. Jan. 25 1722 —D. L. Feb. 11759.
Amboyna—T. R. 1673.
Amelia, altered from Summer's Tale — C. G. April 12 1768 —D. L. Dec 14 1771.
Amelia by Carey—see vol. 10 p. 258. , .'
Amends for Ladies—see vol. 10 p. 22. "" «* '
Americans by D. L. C. April 27 1811. ' . '
American Indian—see vol. 10 p. 203.
Amintas—C. G. Dec. 15 1769.
Amoroso, King of Little J Britain—D. L. April 21 1818.
Amorous Bigot—T. R. 1690.
Amorous Miser—see D. L. Jan. 18 1705.
Amorous Orontus—see vol. 10 p. 140.
Amorous Prince—L. I. F. 1671.
Amorous War—see vol. 10 p. 71.
Amorous Widow—L. I. F. 1670—Hay. Nov. 19 1709— L. I. F. Oct. 23 1724—C. G. Jan. 1752—C. G. March 11 1758.
Amours of Billingsgate—D. L. June 11 1731.
Amphitryon—T. R. 1690—D. L. Sep. 18 1708 — D. L. Sep. 12 1734—D. L. Dec. 15 1756 —D. L. Nov. 23 1769 — C. G.March 20 1773—D. L. May 17 1781— revived at D. L. in 2 acts, Nov. 18 1826.
Amyntas by Randolph—see vol. 2 p. 293.
Anaconda, the Serpent of Ceylon—Bath May 8 1826.
Anatomist—L. I. F. 1697—revived as Farce D. L. Nov. 18 1743 — D. L. April 15 1771—C. G. Dec. 21 1786—D. L. Feb. 4 1791—D.L.Dec. 19 1801.
Andre—see vol. 10 p. 212.
Andromache—D. G. 1675.
Andromana—see vol. 11 of Dodsley 1744.
Andronicus Oommenius—see vol. 10 p. 138.
Animal Magnetism—C. G. May 26 1708—Hay. July 22 1806—C. G. March 16 1819—Hay. Oct. 2 1824 — C. G. Nov. 241824.
Anna—D. L. C. Feb. 25 1793.
Annette and Lubin—C. G. Oct. 2 1778-C. G. May 9 1786.
Anniversary (Sequel to Lethe)— C. G. March 29 1758.
Antigone by May—see vol. 10 p. 50.
Antiochus by Mottley—L. I. F. April 13 1721.
Antiochus by Mrs. Wiseman—L. I. F. 1702.
Antipodes—see vol. 10 p. 39.
Antiquary—see vol. 7 of Dodsley 1744.
Antiquary—C. G. Jan 25 1820.
Antiquity—see vol. 10 p. 228.

Antonio and Mellida-see vol. 2 of Old Plays 1814-1815.
Antonio, or Soldier's Return—D. L. Dec. 13 1800.
 Antony and Cleopatra by Sedley—D. G. 1677.
Antony and Cleopatra by Shakspeare—D. L. Jan. 3 1759.
Antony and Cleopatra altered from Shakspeare and Dryden —

C. G. Nov. 15 1813.
Antony and Cleopatra by Brooke—see his works 1778.
Anything New—Hath Nov. 12 1812.
Apollo and Daphne-C. G. Nov. 9 1748.
Apostate-C. G. May 3 1817.
Apparition, a musical Romance—Hay. Sep. 3 1794.
Apparition, or Sham Wedding—D. L. Nov. 25 1713.
...
Baddeley Mrs.—see end of D. L. 1780-1781.
Baddeley's characters—D. L. 1794-1795.
Baker-Bath Feb. 28 and April 10 1820.
Ball—see vol. 9 p. 553.
Banditti—T. R. 1686.
Banishment of Cicero—see Cumberland 1812-1813.
Banished Duke—see vol. 1 p. 468.
Bank Note—C. G. May 1 1795.
Bankrupt-Hay. July 21 1773.
Bannian Day—Hay. June 11 1796.
Bannister Sen.—see Hay. Oct. 16 1804.
Bannister Jun—his characters—D. L. 1814-1815.
Bantry Bay—C. G. Feb. 20 1797.
Barataria—C. G- March 29 1785—Hay. Aug. 31 1818.
u Barbarossa—D. L. Dec. 17 1754 — C. G- Nov. 1 1770—C. G.
Feb. 2 1779— C. G. Dec 13 1784^C. G. Jan. 4 1798—
C. G. Dec. 1 1804 — D. L. Dec. 15 1804 — D. L. May 26
1817—D. L. Dec. 26 1826-
Barber Baron—Hay. Sep. 8 1828.
Barber of Seville—C G. Oct. 13 1818.
Barmecide—D. L. Nov. 3 1818.
Barnaby Brittle—C. G. April 18 1781—Hay. June 23 1889-
Baron Kink—Hay. July 9 1781.
Barons of Elbenbergh—see vol. 10 p. 228-
Barresford Mrs.—her characters—Hay. 1789.
Barry Mrs. Elizabeth—her characters—Hay. 1709-1710.
Barry Mrs. Ann—see Mrs. Crawford.
Barry and Mrs. Dancer acted at the Opera House Hay. in the
summer of 1766.
Barry's characters—C- G. 1776-1777.
Barsanti Miss—her characters—Hay. 1777.
Bartley Mrs.—made her 1st app. at C. G. Oct. 2 1805—as Miss
Smith.
Bartholemew Fair — see T. R. 1682«-Hay. Aug. 12 1707 —
D. L. June 28 1715— DL. Oct. 30 1731.
Bartholemew and other Fairs—see vol. 10 p. 158-
Bashaw and Bear—Bath Jan. 25 1822.
Bashful Lover-see C. G. May 30 1798.
Basil—*ee Miss Baillie 1811-1812.
Basket Maker—Hay. Sep. 4 1790.
...

Betterton—his famous bt. at D. L. April 7 1709—bis characters Hay. 1709-1710.
Betterton Mrs her characters T. R. 1694.
Betty, or the Country Bumpkins—D. L. Dec. 2 and 6 1732.
Betty Master—his 1st app. as a boy at C. 6. Dec. 1 1804—his 1st app. as a man at Bath Feb. 15 1812—C. G. Nov. 3 1812—C. G. June 12 1813—C. G. June 6 1815—Bath March 28 1815—Bath Dec. 6 1822.
BickerstafFs Burial—D. L. March 27 1710—acted as Custom of the Country D. L. May 5 1715.
Bickerstaffs Unburied Dead—L. 1. F. Jan. 14 1743—C. G. April 27 1748.
Bicknell Mrs.—her characters D. L. 1722-1723.
Bill of Fare—Hay. June 15 1822.
Biographia Dramatica—see vol. 8 p. 327.
Bird- in a Cage—C. G. April 24 1786—for the dedication to Prynne, see vol. 9 p. 546.
Birds without Feathers—Hay. Oct. 1 1824.
Birthday, or Prince of Arragon—Hay. Aug. 12 1783.
Birthday, by Dibdin—C. G. April 8 1799—Hay. Sep. 3 1800— Hay. Sep. 5 1814—C. G. Dec. 6 1825.
Birth of Hercules—see vol. 10 p. 181.
Birth of Merlin—see vol. 10 p. 56.
Biter—L. I. F. Dec. 4 1704.
Blackamoor Washed White—D. L. Feb. 1 and 5 1776.
Blackamoor's Head—D. L. May 16 1818.
Black Beard—Bath Jan. 18 1816.
Black-eyed Susan—Bath Nov. 18 1829.
Black Prince—T. R. Oct. 19 1667.
Blacksmith of Antwerp-C. G. Feb. 7 1785— D. L. Oct. 3 1816.
Blanchard Thomas—see end of C. G. 1793-1794.
Blanchard William—his 1st app.—see C. G. October I 1800.
Bland Mrs—see D. L. July 5 1824.
Blazing Comet—see vol. 10 p. 258.
Blind Bargain—C. G. Oct. 24 180*.
Blind Beggar of Bethnal Green-D. L. April 3 1741.
Blind Boy—C. G. Dec. 1 1807—D. L. June 20 1826.
Blind Girl-C. G. April 22 1801.
Blind Lady—see vol. 10 p. 135.
Bloody Banquet—see vol. 10 p. 98.
Bloody Duke—see vol. 1 p. 468.
Box-Lobby Challenge—Hay. Feb. 22 1794.
Box-Lobby Loungers—D. L. May 16 1787.
Boy of Santillane—D. L. April 16 1827.
Bracegirdle Mrs.—ber characters—Hay. 1706-1707.
Bradshaw Mrs.—her characters—D. L. 1713-1714.
Braganza—D. L. Feb. 17 1775—D. L. March 16 1782 — D. L.May 24 1785—D. L. Oct. 20 1785.
Brand Miss Hannah—D. L. C. Jan. 18 1792.
Brave Irishman—G. F. Jan. 31 1746—D. L. May 14 1770—Bath May 21 1783.
Brazen Bust—C. G. May"29 1813.
Brennoralt—T. R. March 5 1668—for the plot see vol. 10 p. 67.
Brereton—see end of D. L.'_ 1784-1785.
Bridal Ring—C. G. Oct. 16 1810.
Bride C—see end of D. L. 1705-1706.
Bride of Abydos—D. L. Feb. 5 1818.
Bride of Lammermoor—Bath March 11 1826.
Bridgewater—see C G. 1753-1754.
Brigand—D. L. Nov. 18 1829.
Britain's Glory, or Trip to Portsmouth—Hay. Aug. 20 1794.
Britain's Jubilee, acted by D. L. Company, Oct. 25 1809.
Britannia, or Royal Lovers—G. F. Feb. 11 1734.
Britannia by Mallet—D. L. May 9 1755.
British Enchanters—Hay. Feb. 21 1706—Hay. Feb. 22 1707,
with alterations.
British Fortitude, and Hibernian Friendship — C. G. April 29
1794—C. G. March 5 1799.
British Heroine—C. G. May 5 1778.
British Loyalty, or Squeeze at St. Paul's—D. L. April 30 1789.
British Sailor, or Whimsical Ladies—Bath May 9 1786.
Briton—D. L. Feb. 19 1722.
Britons Strike Home — D. L. Dec. 31 1739 — D. L. March 27
1779.
Broad but not Long—C. G. June 15 1814.
Broken Gold—D. L. Feb. 8 1806.
Broken Heart—see Ford's works—1811.
Broken Sword—C. G. Oct. 7 1816.
Brooke's Plays—see end of 1777-1778.
Brother and Sister—C. G. Feb. 1 1815—D. L. June 17 1823.
Brothers by Shirley—see vol. 9 p. 559.

Comments

Post a Comment

Popular posts from this blog

Poems of Love and Loss: Remembering and Celebrating

Image
During bereavement we often want to express the sense of love and loss but find ourselves lost for words. In this case poetry can have a very powerful emotional and spiritual effect. Poems can also challenge and provoke different ways of thinking about difficult experiences. But it is often quite difficult to find a poem that is suitable for a public service that expresses both celebration and loss. In this blog I have selected several poems that may help you to mark your sense of loss, and aid reflection, commemoration and celebration. I have tried to encompass a variety of moods, tones and approaches to reflect the different phases of grief. Gitanjali -  Rabindranath Tagore I ask for a moment's indulgence to sit by thy side. The works that I have in hand I will finish afterwards. Away from the sight of thy face my heart knows no rest nor respite, and my work becomes an endless toil in a shoreless sea of toil. Today the summer has come at my window with its ...
Read more

Comedy: famous quotes

Image
“Life is a tragedy when seen in close-up, but a comedy in long-shot.” --- Charlie Chaplin. "Dramatic comedy, from which fictional comedy is mainly descended, has been remarkably tenacious of its structural principles and character types." (Northrop Frye, Anatomy of Criticism ) "The days of Comedy are gone, alas! When Congreve's fool could vie with Moliere's bete :   Society is smooth'd to that excess,  That manners hardly differ more than dress." --- Byron "Man is the merriest species of the creation, all above and below him are serious." --- Addison “This world is a comedy to those that think, a tragedy to those that feel.” --- Horace Walpole. “Comedy is simply a funny way of being serious.” --- Peter Ustinov “The duty of comedy is to correct men by amusing them.” --- Moliere. "In the hands of a comic genius the pretence of stupidity is the triumph of irony." "In my mind, the...
Read more

Sound must seem an echo to the Sense!

Image
The poetry of Alexander Pope (1688-1744) is sometimes associated with a cramped 'classical' approach to the imagination. However, rhythmic life and energy are bound up in Pope's rhyming couplets. He has an ear for music and movement. In fact, he often speaks about dance or employs its as a metaphor. Rhythm and dance provide a rich vein of physicality. Like Dryden, Pope perfected his ability to hear the inherent musicality of words and their sinewy rhythmic potential. He is a master of the soft rhapsodic cadences of lyric and elegy as much as the harsh, rough music of snarling satire. Although many of Pope's poems present formidable challenges to modern readers it eill eb apparent that a judicious selection of extracts will repay close reading and recitation. Students should also attempt to write their own couplets as this creative process will enable them to understand the levels of subtlety and complexity that can be achieved. Alexander Pope's Essay on Criti...
Read more