THE CAMBRIDGE COMPANION TO
BRIT ISH THEATRE, 1730–1830
This Companion offers a wide-ranging and innovative guide to one of the most
exciting and important periods in British theatrical history. The scope of the
volume extends from the age of Garrick to the Romantic transformation of
acting inaugurated by Edmund Kean. The book brings together cutting-edge
scholarship from leading international scholars in the long eighteenth century,
offering lively and original insights into the world of the stage, its most influential
playwrights and the professional lives of celebrated performers such as James
Quin, George Anne Bellamy, John Philip Kemble, Dora Jordan, Fanny Abington
and Sarah Siddons. The volume includes essential chapters about eighteenth-
century acting, production and audiences, important surveys of key theatrical
forms such as tragedy, comedy, melodrama and pantomime as well as a range of
thematic essays on subjects such as private theatricals, ‘black’ theatre and the
representation of empire.
J A N E M O O D Y is a Professor in the Department of English and Related Literature
at the University of York.
D A N I E L O’Q U I N N is an Associate Professor in the School of English and Theatre
Studies at the University Guelph.
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THE CAMBRIDGE
COMPANION TO
BRITISH THEATRE,
1730–1830
EDITED BY
JANE MOODY
and
DANIEL O’QUINN
© Cambridge University Press www.cambridge.org
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C A MB R ID G E UN IV E R S I T Y PR E SS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
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# Cambridge University Press 2007
This publication is in copyright. Subject to statutory exception
and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without
the written permission of Cambridge University Press.
First published 2007
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
ISBN 978-0-521-85237-1 hardback
ISBN 978-0-521-61777-2 paperback
Cambridge University Press has no responsibility for the persistence or
accuracy of URLs for external or third-party internet websites referred to
in this publication, and does not guarantee that any content on such
websites is, or will remain, accurate or appropriate.
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CONTENTS
List of illustrations page vii
Notes on contributors ix
Preface xiii
Abbreviations xvii
Chronology xviii
PART I PERFORMANCE 1
1 Acting and actors from Garrick to Kean
P E T ER THOMSON 3
2 Dictating to the empire: performance and theatrical
geography in eighteenth-century Britain
J AN E MOODY 21
3 Scenography and technology
CHR I S TO PHER BAUGH 43
4 Spectatorship
J IM DAV I S 57
PART I I GENRES 71
5 The social life of eighteenth-century comedy
L I S A A . F R E EMAN 73
6 Tragedy
S U S AN S TAVE S 87
7 Pantomime
J OHN O ’ BR I EN 103
v
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8 Romantic melodrama
J A CKY BRATTON 115
PART I I I IDENT IT IES 129
9 The making of an English audience: the case of the footmen’s
gallery
KR I S T I NA S TRAU B 131
10 Women playwrights
M I S TY G . ANDER SON 145
11 Entertaining women: the actress in eighteenth-century theatre
and culture
LAURA J . RO S ENTHA L 159
12 Race and profit in English theatre
J U L I E A . C AR L SON 175
PART IV PLACES OF PERFORMANCE 189
13 Private theatricals
G I L L I AN RU S S E L L 191
14 Opera in the London theatres
M ICHA E L BURDEN 205
15 Acting in the periphery: the Irish theatre
HEL EN BURKE 219
16 Theatre and empire
DAN I E L O ’QU INN 233
PART V FURTHER READING 247
17 Reading theatre, 1730–1830
JONATHAN MULROONEY 249
Bibliography 261
Index 274
C O N T E N T S
vi
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ILLUSTRATIONS
1. Joshua Reynolds, Mrs Frances Abington as ‘Miss Prue’ in
Congreve’s Love for Love. (By permission of the Paul Mellon
Collection, Yale Center for British Art.) page 15
2. Tragedies in the Bath repertoire, from the Bath Theatre Royal
stock book of 1778. (By kind permission of Bath Public Library.) 29
3. The Georgian Theatre Royal, Richmond, North Yorkshire.
(By kind permission of the Trustees.) 38
4. Edward Francis Burney, The Eidophusikon of Philippe-Jacques
de Loutherbourg, c. 1782. (Copyright the Trustees of the British
Museum, London.) 49
5. William Hogarth, The Laughing Audience (1733). (By kind
permission of Jim Davis.) 62
6. Thomas King and others in Sheridan’s The School for Scandal by
James Roberts, exhibited at the Royal Academy, 1779. (By kind
permission of the Art Archive, Garrick Club.) 76
7. David Garrick in the Character of the Roman Father. Drawing
(1750) showing (left to right) Mrs Ward as Valeria, Mrs Pritchard
as Horatia, Spranger Barry as Plobius and David Garrick
as Horatius. (By kind permission of the Folger Shakespeare
Library.) 90
8. The Last Scene in the Tragedy of the Gamester by Mather
Brown, exhibited at the Royal Academy, 1787. (By kind
permission of the Art Archive, Garrick Club.) 92
9. Harlequin and the Red Dwarf by William West, c. 1812.
(By kind permission of the Trustees of the British Museum.) 110
10. Elizabeth Inchbald as playwright in I’ll Tell You What. (By kind
permission of the Walpole Collection, Miriam and Ira D. Wallach
Division of Art, Prints and Photographs, the New York Public
Library, Aster, Lennox and Tilden Foundations.) 154
vii
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11. Dora Jordan in the character of Hypolita by John Jones after
J. Hoppner. (By kind permission of the Walpole Collection,
Miriam and Ira D. Wallach Division of Art, Prints and
Photographs, the New York Public Library, Aster, Lennox
and Tilden Foundations.) 163
12. David Garrick as Macbeth and Hannah Pritchard as Lady
Macbeth in Macbeth by Johann Zoffany. (By kind permission
of the Art Archive, Garrick Club.) 168
13. Ticket for Wynnstay theatricals from the European Magazine,
November 1787. (Reproduced with the permission of the
Brotherton Collection, Leeds University Library.) 194
14. Philippe Jacques de Loutherbourg, costume designs for the
Prophet’s dress in Omai, watercolour, 1785. (Reproduced with
the permission of the Australian National Library, Canberra.) 243
L I S T O F I L L U S T R A T I O N S
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CONTRIBUTORS
M I S T Y G. A N D E R S O N is an Associate Professor of English at the University of
Tennessee. She is the author of Female Playwrights and Eighteenth-Century
Comedy: Negotiating Marriage on the London Stage (Palgrave, 2002) and the
current co-editor of the journal Restoration.
J A C K Y B R A T T O N is a Research Professor in the Department of Theatre at Royal
Holloway College, University of London. She is the author of numerous books and
essays on the nineteenth-century stage and nineteenth-century popular culture. Her
most recent book, New Readings in Theatre History was published by Cambridge
University Press in 2003.
C H R I S T O P H E R B A U G H is Professor in the School of Performance and Cultural
Industries, University of Leeds. He has written widely on the history of scenogra-
phy in the eighteenth and nineteenth centuries and is a practising scenographer. His
most recent book, Theatre, Performance and Technology (Palgrave, 2005) exam-
ines the development of scenography in the twentieth century.
MICHAEL BURDEN, who is director of New Chamber Opera, is Dean and Fellow in
Opera Studies at New College, University of Oxford and Reader in Music. He has
published numerous articles on opera, staging, and music theatre, is Associate
Editor for eighteenth-century music subjects for the Dictionary of National
Biography, and has editing interests in seventeenth- and eighteenth-century
Italian and English music. He is currently completing a volume for Yale
University Press on the staging of opera in London from 1660 to 1860.
H E L E N M. B U R K E is an Associate Professor of English at Florida State University. She
is the author of Riotous Performances: The Struggle for Hegemony in the Irish
Theatre, 1712–1784 (University of Notre Dame, 2003), and has written a number
of articles on Irish and English theatre in the eighteenth century.
J U L I E A . C A R L S O N is Professor of English at University of California, Santa Barbara.
She is author of In the Theatre of Romanticism: Coleridge, Nationalism, Women
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(Cambridge University Press, 1994), editor of a special issue of South Atlantic
Quarterly entitled ‘Domestic/Tragedy’ (1998), and has written numerous articles
on Romantic drama and theatre. Her most recent book is England’s First Family of
Writers: Mary Wollstonecraft, William Godwin, Mary Shelley (Johns Hopkins
University Press, 2007).
J I M D A V I S is Professor and Chair of Theatre Studies at the University of Warwick. He
is the author of several books and articles on eighteenth- and nineteenth-century
theatre including the recent co-authored study, Reflecting the Audience: London
Theatregoing, 1840–1880 (University of Iowa Press, 2001).
L I S A A. F R E E M A N is an Associate Professor of English at the University of Illinois,
Chicago. She is the author of Character’s Theater: Genre and Identity on the
Eighteenth-Century English Stage (University of Pennsylvania Press, 2002). She is
currently at work on a book-length study titled Antitheatricality and the Body
Public: From the Renaissance to the NEA.
J A N E M O O D Y is a Professor in the Department of English and Related Literature at
the University of York. She is the author of Illegitimate Theatre in London,
1770–1840 (Cambridge University Press, 2000), co-editor of Theatre and
Celebrity in Britain, 1660–2000 (Palgrave, 2005), and has written a number of
essays on the history of British theatre in the eighteenth and nineteenth centuries.
J O N A T H A N M U L R O O N E Y is Assistant Professor of English at the College of the Holy
Cross. His interests include Romantic-period public culture, William Hazlitt and
John Keats. His essays have appeared in Studies in the Novel, Nineteenth-Century
Contexts and Studies in Romanticism. He is currently completing a book entitled
Romanticism and the Subject of Theater, which explores the relation between
theatrical experience and lyric poetry in early nineteenth-century Britain.
J O H N O’B R I E N is Associate Professor of English at the University of Virginia. He is
the author of Harlequin Britain: Pantomime and Entertainment, 1690–1760
(Johns Hopkins University Press, 2004) and edited the Broadview Literary Texts
edition of Susanna Centlivre’s 1714 play The Wonder: A Woman Keeps a Secret.
D A N I E L O’Q U I N N is an Associate Professor in the School of English and Theatre
Studies at the University of Guelph. He is the author of Staging Governance:
Theatrical Imperialism in London, 1770–1800 (Johns Hopkins University Press,
2005). His articles on the intersection of sexuality, race and British culture have
appeared in journals including Theatre Journal, Romantic Praxis, ELH, Texas
Studies in Literature and Language, Studies in Romanticism, European Romantic
Review, Literature Compass and October. He is currently editing the Travels of
Mirza Abu Taleb Khan for Broadview Press and working on a project on late
eighteenth-century political performance.
L I S T O F C O N T R I B U T O R S
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L A U R A R O S E N T H A L teaches in the Department of English at the University of
Maryland. She is the author of Playwrights and Plagiarists in Early Modern
England: Gender, Authorship, Literary Property (Cornell University Press, 1996)
and a number of articles on Restoration and eighteenth-century theatre. Her book
Infamous Commerce: Prostitution in Eighteenth-Century British Literature and
Culture was published by Cornell in 2006.
G I L L I A N R U S S E L L is Reader in the School of Humanities, Australian National
University, Canberra. She is the author of The Theatres of War: Performance,
Politics and Society, 1793–1815 (Oxford, 1995) and co-editor of Romantic
Sociability: Social Networks and Literature Culture in Britain, 1770–1840
(Cambridge, 2002).
S U S A N S T A V E S is Emeritus Professor in the Department of English and American
Literature at Brandeis University. She has published over forty books and articles
on Restoration and eighteenth-century literary, historical and legal subjects. Her
most recent book is A Literary History of Women’s Writing in Britain, 1660–1789
(Cambridge University Press, 2006).
K R I S T I N A S T R A U B is Professor of Literary and Cultural Studies at Carnegie Mellon.
She has written books and articles on the eighteenth-century English novel and on
theatre, as well as essays on feminist theory. She is editor of a collection of essays on
gender ambiguity and has contributed to a number of teaching and scholarly
editions of eighteenth-century British novels and plays.
P E T E R T H O M S O N is Emeritus Professor of Drama at the University of Exeter. He has
written books on Shakespeare and Brecht, On Actors and Acting (University of
Exeter Press, 2000) and was General Editor of the three-volume Cambridge
History of British Theatre (2004).
L I S T O F C O N T R I B U T O R S
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PREFACE
This Companion explores one of the most exciting and important periods in
British theatre history, from the age of Garrick to the Romantic transforma-
tion of acting pioneered by Edmund Kean. Designed for readers wishing to
learn more about the players, playwrights and theatre of this period, the
volume acts as a bridge between the Cambridge Companion to English
Restoration Theatre, edited by Deborah Payne Fisk, and the Cambridge
Companion to Edwardian and Victorian Theatre, edited by Kerry Powell.
A few plays from the eighteenth-century stage, including Goldsmith’s She
Stoops to Conquer and Sheridan’s The School for Scandal, are immediately
familiar to the modern playgoer. Names of celebrated performers such as
David Garrick, Frances Abington, John Philip Kemble, Dora Jordan and
Sarah Siddons may also strike a recognisable chord. In towns and cities, the
passer-by glimpses the rich architectural heritage of the period’s theatre in
the facades and interiors of Britain’s metropolitan and provincial play-
houses. For many decades, however, these legacies have suffered from cri-
tical distortions and relative scholarly neglect. Perhaps because theatre was
both insistently topical and deeply connected to the conditions and contro-
versies of eighteenth-century social and political life, the plays of this period
have not always fared well among critics focusing solely on dramatic litera-
ture. But it was precisely these close relationships between audiences, per-
formances and institutions which helped to make British theatre an
important site for political, social and cultural debate.
The period covered by this Companion corresponds to the emergence
and institutionalization of commercial entertainment across the British Isles
as well as important developments in the nature of and audiences for print
culture. Indeed, the dynamic interactions between performance and print in
eighteenth-century Britain helped to generate many features of what we now
recognise as mass culture. Nowhere is this phenomenon more evident than in
the complex history of theatrical celebrity charted in many of the essays in this
volume. At the same time, the symbiotic relationships between theatre,
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newspapers and the graphic arts helped to broaden the social interactions
taking place in and around metropolitan and provincial theatres. In turn,
this extension of sociability sparked the emergence of cultural media which
commented on and also attempted to regulate the relationship between audi-
ences, plays and theatrical institutions. This is a period characterised by
various kinds of theatrical censorship as well as some direct and indirect
forms of resistance to censorship. Sometimes, the theatre itself became a site
of violence: a telling indication of just how risky the enterprise of performance
could be. And the eighteenth century is also the historical moment when
British theatre goes global, both in the sense of being exported around the
world and in the sense of starting to represent the emerging British empire.
Over the last two decades, a critical transformation has taken place which
offers the opportunity to enlarge our knowledge and to provide a richer
context for eighteenth-century British theatre. Moreover, the issues arising
from these performances have become important beyond the immediate
fields of theatre history and theatrical criticism, for they now speak to
some of the most pressing concerns of historical and cultural studies.
Significantly, this transformation has shaped the contemporary theatrical
repertoire as well as the terms of academic debate. Dramatists have even
made eighteenth-century theatre the subject of new plays: April de Angelis’s
comedy, A Laughing Matter, revisits the witty and scandalous world of the
London stage; Timberlake Wertenbaker’s haunting drama, Our Country’s
Good, explores the politics of colonialism through the lens of George
Farquhar’s The Recruiting Officer as the play is rehearsed by convicts in
eighteenth-century Australia. Over the last few years, many performances of
eighteenth-century plays by amateurs and by professionals have also taken
place in the UK, in Italy and in North America.
New approaches have provided the critical foundation for these perfor-
mances. In a variety of ways, the ‘new’ theatre history highlights the impor-
tance of institutions, lives and careers which earlier scholarship tended to
ignore or marginalise: the wide-ranging contribution of women, as play-
wrights, as actresses and as spectators, is one telling example. Studies of the
‘minor’ playhouses have altered our understanding of theatrical institutions
in this period; discussions about the export of British plays to the colonies
have encouraged scholars to think in new ways about performance as a
colonial enterprise. Critical interest in the geographies of theatrical produc-
tion complements a growing fascination with the dramaturgy and signifi-
cance of illegitimate theatrical forms such as melodrama and pantomime.
What links this burgeoning interdisciplinary field is a preoccupation with the
power of the British stage as a political, social and cultural institution at the
heart of the nation.
P R E F A C E
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By reflecting and extending these interests, this Companion aims to change
the historiographic lens through which we look at performers, playwrights
and theatres in eighteenth-century Britain. Given the century of theatrical
history under discussion here, coverage is necessarily selective: authors have
been chosen for their expertise in a particular area and encouraged to tease
out relationships between the performance of specific plays and broader
social and political concerns. Throughout, our aim has been to strike a
balance between providing fresh perspectives on well-known plays and
introducing less familiar writers and performances alongside critical ques-
tions which will stimulate future research and debate.
The Chronology at the front of the book provides a historical framework
for individual chapters and draws attention to the various contexts which
shaped theatrical production. The opening section of the volume contains
essays which introduce the period’s performances and celebrated players as
well as highlighting the circulation of plays and players around the nation.
Part II, ‘Genres’ focuses on the major genres of comedy, tragedy, melodrama
and pantomime, offering broad insights into the operation of dramatic
conventions and presenting a wide range of plays from the period. The
third section, entitled ‘Identities’, contains a group of case studies which
investigate the operation of class, gender and race on the eighteenth-century
stage. Part IV, ‘Places of Performance’ extends the introductory discussion of
theatrical geography to particular sites and arenas of dramatic production.
This section includes a chapter on the position of Dublin in the circulation of
British and Irish drama and an essay exploring dramatisations of colony and
empire. The final part of the book contains a bibliographic essay together
with a bibliography for the volume.
This book is the fruit of a transatlantic editorial collaboration between the
UK and Canada and we are glad to acknowledge help and encouragement
from friends and family on both sides of the Atlantic. The contributors to this
volume are scattered all over the English-speaking world and approach the
period’s theatre from a wide range of critical positions. They have been an
inspiration and we offer warm thanks for their patience, efficiency and good
humour. Our editor at Cambridge, Vicki Cooper, has supported the project
from the beginning: we have greatly appreciated her advice and expertise.
We have been fortunate, too, in our two editorial assistants, Vike Plock (at
the University of York) and Heather Davis (at the University of Guelph).
Their precision and attention to detail has helped in many ways to smooth
the progress of this book: in particular we would like to thank Vike for her
meticulous work in preparing the volume for publication and Heather for the
valuable research she did in drafting the Chronology. The F. R. Leavis Fund
in the Department of English and Related Literature at the University of
P R E F A C E
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York kindly provided financial support for this editorial assistance. The
project has also benefited from support given by the School of English and
Theatre Studies at the University of Guelph and the Social Sciences and
Humanities Research Council of Canada.
The experience of producing this volume has reminded us of the intellec-
tual debts we owe to scholars of earlier generations and to colleagues
and students across the world who share a fascination with the world of
eighteenth-century and Romantic theatre. We are grateful for their know-
ledge and insight and hope that this Companion will mark a new stage in our
collaborative conversations.
P R E F A C E
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ABBREVIATIONS
A Adelphi
C Coburg
CG Covent Garden
DL Drury Lane
EOH English Opera House (later Lyceum)
GF Goodman’s Fields
HM Little Theatre in the Haymarket
LIF Lincoln’s Inn Fields
O Olympic
OP Old Price riots
P Pavilion
RC Royal Circus (later Surrey)
S Surrey
SA Smock Alley Dublin
SP Sans Pareil
SW Sadler’s Wells
Please note that the date given alongside the abbreviation corresponds to the first
performance of the play, unless otherwise stated in the text.
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Chro
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1737
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ymns
Abin
gto
nb.
1738
John
Wes
ley
conver
ts,beg
ins
Met
hodis
t
move
men
t
Lil
lo,M
arin
a(C
G)
Rio
tagain
stFre
nch
troupe
at
Lit
tle
Thea
tre
inH
aym
ark
et
1739
Engla
nd
dec
lare
s
war
on
Spai
n
Mallet
,M
ust
apha
(DL
)B
rooke’
sG
ust
avus
Vas
aand
Thom
son’s
Edw
ard
and
Ele
anora
den
ied
lice
nce
s
Lil
lod.;
Kel
lyb.;
Wilkin
son
b.
1740
Holy
Rom
anE
mper
or
Charl
esV
I
die
s;Ir
ish
fam
ine
Gar
rick
,L
ethe
(DL
)G
iffa
rd’s
com
pany
hold
s‘c
once
rts’
at
Goodm
an’s
Fie
lds;
London
deb
ut
of
Woff
ingto
n
C.C
ibber
,A
polo
gy
1741
War
of
the
Aust
rian
Succ
essi
on
Theo
bald
,T
he
Hap
py
Cap
tive
(HM
)M
ack
lin
pla
ys
Shylo
ckat
Dru
ryL
ane;
deb
ut
of
Garr
ick
at
Ipsw
ich
and
late
rat
GF
1742
Walp
ole
resi
gns
Fie
ldin
g,M
iss
Lucy
inT
ow
n(D
L)
Gif
fard
’sco
mpany
move
sto
Lin
coln
’sIn
n
Fie
lds
Fir
stper
form
ance
of
Handel
’sM
essi
ah(D
ubli
n)
1743
Hen
ryPel
ham
bec
om
esPri
me
Min
iste
r;T
reat
yof
Worm
ssi
gned
Fie
ldin
g,T
he
Wed
din
gD
ay(D
L);
Handel
,M
essi
ah(C
G)
Act
ors
’st
rike
at
Dru
ryL
ane
Care
yd.;
Cow
ley
b.
1744
Fra
nce
dec
lare
sw
ar
on
Engla
nd
Havar
d,R
egulu
s(D
L);
Ralp
h,T
he
Ast
rolo
ger
(DL
)
Audie
nce
riots
at
Dru
ry
Lane;
deb
ut
of
Bel
lam
y
Deb
ut
of
Barr
y(S
A);
Gust
avus
Vas
aper
form
ed(S
A);
new
thea
tre
inY
ork
open
s
Gar
rick
,Ess
ayon
Act
ing
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
Chro
nolo
gyof
dat
es1730–1
830
(cont.
)
His
tori
calE
ven
ts
Thea
tric
alPer
form
ance
s
inL
ondon
Thea
tric
alE
ven
tsin
London
Thea
tric
al
Per
form
ance
sand
Even
tsouts
ide
London
Rel
ate
d
Publi
cati
ons
Bir
ths/
Dea
ths
1745
Walp
ole
die
s;
Jaco
bit
eR
ebel
lion
Thom
son,T
ancr
edan
dSi
gism
unda
(DL
)
Lacy
bec
om
esm
anager
of
Dru
ryL
ane
Gold
oniw
rite
sIl
Serv
itore
didue
pad
roni
H.M
ore
b.;
C.
Dib
din
b.;
Holc
roft
b.
1746
Batt
leof
Cull
oden
Mack
lin,H
enry
VII
;or,
The
Popis
hIm
post
er(D
L)
&A
Wil
lor
No
Will(D
L)
Barr
yappea
rsat
Dru
ry
Lane
A.H
ill’
sE
ssay
on
the
Art
of
Act
ing
1747
Gar
rick
,M
iss
inH
erT
eens
(CG
);
Hoad
ly,T
he
Susp
icio
us
Husb
and
(CG
);H
andel
,Ju
das
Mac
cabæ
us
(CG
)
Foote
,The
Div
ersi
ons
of
the
Morn
ing
(HM
);
Garr
ick
and
Lacy
bec
om
ejo
int
pate
nte
es
and
co-m
anager
sat
Dru
ryL
ane
Foote
,A
Tre
atis
eon
the
Pas
sions
and
The
Rom
anan
dE
ngl
ish
Com
edy
Consi
der
’d
1748
War
of
Aust
rian
Succ
essi
on
ends
Moore
,T
he
Foundli
ng
(DL
)T
hom
son
d.
1749
Johnso
n,Ir
ene
(DL
)R
iotatL
ittl
eH
aym
arket
Deb
ut
of
Gri
ffit
h(S
A)
Fie
ldin
g,T
om
Jones
1750
Whit
ehea
d,T
he
Rom
anFat
her
(DL
)
Barr
yle
aves
Dru
ryL
ane
for
Coven
tG
arden
L.H
all
am
open
sse
aso
n
at
Wil
liam
sburg
,
Vir
ginia
wit
hT
he
Mer
chan
tof
Ven
ice
1751
Moore
,G
ilB
las
(DL
);T
hom
son
and
Mall
et,A
lfre
d(D
L);
A.H
ill,
Zar
a(C
G)
Quin
reti
res
R.B
.Sher
idan
b.
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
1752
Ben
jam
inFra
nkli
n
pro
ves
lightn
ing
isel
ectr
icit
y
Foote
,T
aste
(DL
)D
isord
erly
House
sA
ct
all
ow
sm
agis
trate
sin
London
tore
gula
te
thea
tres
such
as
SW
.
Open
ing
of
Nass
au
Str
eet
Pla
yhouse
inN
ewY
ork
Burn
eyb.
1753
Marr
iage
Act
Moore
,T
he
Gam
este
r(D
L);
Glo
ver,
Boad
icea
(DL
)
Hogart
h,
Anal
ysis
of
Bea
uty
Inch
bald
b.
1754
Fre
nch
and
India
n
war
beg
ins
inN
ort
hA
mer
ica
Whit
ehea
d,C
reusa
Quee
nof
Ath
ens
(DL
)
Mah
om
etri
ot
inD
ubli
nFie
ldin
gd.
1755
Mallet
and
Arn
e,B
rita
nnia
(DL
)A
nti
-Fre
nch
riots
over
Nove
rre’
sball
etT
he
Chin
ese
Fes
tiva
lat
Dru
ryL
ane
Les
sing,M
iss
Sara
Sam
pso
n(L
eipzi
g)
Johnso
n,
Dic
tionar
y;Pic
ker
ing,
Ref
lect
ions
upon
Thea
tric
alE
xpre
ssio
nin
Tra
gedy
Sid
dons
b.
1756
Engla
nd
dec
lare
s
war
on
Fra
nce
,
form
ally
beg
innin
gth
eSev
enY
ears
’War
Murp
hy,T
he
Appre
nti
ce(D
L);
Murp
hy,T
he
Engl
ishm
anR
eturn
edfr
om
Par
is(D
L)
Hom
e,D
ougl
as(E
din
burg
h)
1757
Thom
as
Pel
ham
bec
om
esPri
me
Min
iste
r
Sm
oll
ett,
The
Rep
risa
l;Foote
,T
he
Auth
or
(DL
);G
arr
ick,T
he
Mal
eC
oquet
te(D
L)
Did
erot,
Le
Fil
sN
ature
l;H
um
e,‘O
fT
raged
y’
J.P.K
emble
b.;
Moore
d.;
C.
Cib
ber
d.
1758
Batt
leof
the
Bay
of
Ben
gal
Hom
e,A
gis
(DL
);D
odsl
ey,C
leone
(CG
)
Open
ing
of
thea
tre
in
Norw
ich
Did
erot,
‘Dis
cours
sur
lapoes
ie
dra
mati
que’
;
Rouss
eau,L
ettr
ea
d’A
lem
ber
t
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
Chro
nolo
gyof
dat
es1730–1
830
(cont.
)
His
tori
calE
ven
ts
Thea
tric
alPer
form
ance
s
inL
ondon
Thea
tric
alE
ven
tsin
London
Thea
tric
al
Per
form
ance
sand
Even
tsouts
ide
London
Rel
ate
d
Publi
cati
ons
Bir
ths/
Dea
ths
1759
Wolf
eta
kes
Queb
ecM
urp
hy,T
he
Orp
han
of
Chin
a(D
L);
Tow
nle
y,H
igh
Lif
ebel
ow
Stai
rs(D
L);
Mack
lin,L
ove
ala
Mode
(DL
)
Clo
sure
of
footm
en’s
Gall
ery
(DL
);M
ack
lin
retu
rns
toD
L
Com
edie
Fra
nca
ise
clea
rssp
ecta
tors
from
stage
Ste
rne,
Tri
stra
mSh
andy,
vols1
and2
Handel
d.;
Farr
enb.
1760
Geo
rge
IIdie
s,
Geo
rge
III
acc
edes
Murp
hy,T
he
Way
toK
eep
Him
(DL
);Foote
,T
he
Min
or
(DL
);C
olm
an
(Eld
er),
Poll
yH
oney
com
be
(DL
)
Foote
,The
Min
or
(Cro
w
Str
eet,
Dubli
n)
Llo
yd,T
he
Act
or
Chark
ed.;
Woff
ingto
nd.
1761
Pit
t(t
he
Eld
er)
resi
gns
Mack
lin,T
he
Mar
ried
Lib
erti
ne
(CG
);M
urp
hy,T
he
Cit
izen
(DL
)
Gold
onibec
om
es
resi
den
tpla
yw
right
at
the
Thea
tre
Itali
enin
Pari
s
Churc
hill,
The
Rosc
iad
Kotz
ebue
b.;
Jord
an
b.;
Ric
hd.
1762
War
wit
hSpain
;Bute
bec
om
esPri
me
Min
iste
r
Arn
e,A
rtax
erxes
(CG
);B
icker
staff
e,L
ove
ina
Vil
lage
(CG
);Foote
,T
he
Ora
tors
(HM
)
Garr
ick
clea
rssp
ecta
tors
from
stage
at
Dru
ry
Lane
Bailli
eb.;
Colm
an
(the
Younger
)b.;
Sta
rke
b.(c
.)
1763
Pea
ceof
Pari
sF.Sher
idan,T
he
Dis
cove
ry(D
L);
Foote
,T
he
May
or
ofG
arra
tt(H
M)
Half
-pri
ceri
ots
at
DL
&
CG
1764
Foote
,T
he
Pat
ron
(HM
)O
pen
ing
of
thea
tre
inG
lasg
ow
Walp
ole
,T
he
Cas
tle
ofO
tran
toM
ort
on
b.;
Rey
nold
sb.
1765
Sta
mp
Act
pass
edB
icker
staff
e,T
he
Mai
dof
the
Mill
(CG
);C
live,
The
Fai
thfu
lIr
ishw
om
an(D
L)
Garr
ick
concl
udes
two
yea
rto
ur
of
Euro
pe
Johnso
n’s
edit
ion
of
Shakes
pea
re
1766
Sta
mp
Act
repea
led
Colm
an
(Eld
er)
and
Gar
rick
,T
he
Cla
ndes
tine
Mar
riag
e(D
L)
Foote
gain
spate
nt
for
Lit
tle
Haym
arket
;B
arr
y
re-e
ngag
edby
Garr
ick
Open
ing
of
South
Str
eet
Thea
tre
inPhil
adel
phia
;
Bri
stolT
hea
tre
gain
s
pate
nt
Les
sing,
Lao
k} oon
Quin
d.;
F.
Sher
idan
d.;
S.
Cib
ber
d.
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
1767
Tow
nsh
end
Act
sC
olm
an
(the
Eld
er),
The
Engl
ish
Mer
chan
t(D
L)
Edin
burg
hT
hea
tre
gra
nte
dpate
nt
1768
Roya
lA
cadem
y
founded
Kel
ly,Fal
seD
elic
acy
(DL
);
Gold
smit
h,T
he
Good
Nat
ur’
dM
an(C
G);
Bic
ker
staff
e,T
he
Pad
lock
(DL
)
Bath
&N
orw
ich
Thea
tres
gra
nte
dpate
nts
Ste
rne,
Senti
men
tal
Journ
ey;L
essi
ng,
Ham
burg
isch
eD
ram
aturg
ie
Faw
cett
b.
1769
Capta
inC
ook
arr
ives
inT
ahit
i
Gri
ffit
h,T
he
Schoolfo
rR
akes
(DL
);H
om
e,T
he
Fat
alD
isco
very
(DL
)
Str
atf
ord
Jubil
eem
ark
s
Shakes
pea
rebic
ente
nary
Thea
tre
at
York
gra
nte
d
pate
nt
Monta
gu’s
essa
y
on
Shakes
pea
re
1770
Bost
on
mass
acre
Kel
ly,A
Word
toth
eW
ise
(DL
);
Mack
lin’s
The
Man
of
the
Worl
dden
ied
lice
nce
Wil
kin
son
bec
om
es
manager
of
York
circ
uit
Rouss
eau,
Pyg
mal
ion
Word
swort
hb.
1771
Cum
ber
land,T
he
Wes
tIn
dia
n(D
L)
Liv
erpoolT
hea
tre
gain
s
pate
nt
T.D
ibdin
b.
1772
Som
erse
tca
sem
akes
forc
edre
mova
lof
slaves
from
Engla
nd
ille
gal
Murp
hy,T
he
Gre
cian
Dau
ghte
r(D
L);
Foote
,T
he
Nab
ob
(HM
)L
outh
erbourg
engaged
at
Dru
ryL
ane;
open
ing
of
EO
H(L
yce
um
)
Cole
ridge
b.
1773
Bost
on
tea
riots
;
Hast
ings
bec
om
es
Gover
nor
Gen
eralin
India
Foote
,P
iety
inP
atte
ns
(HM
);
Gold
smit
h,Sh
eSt
oops
toC
onquer
(CG
);K
elly
,T
he
Schoolfo
rW
ives
(DL
)
Mack
lin
pla
ys
Macb
eth
inSco
ttis
hH
ighla
nd
dre
ss
Goet
he,
Gotz
von
Ber
lich
inge
n;
Gold
smit
h
publi
shes
essa
yon
laughin
g&
senti
men
tal
com
edy
Pix
erec
ourt
b.
1774
Aboli
tion
of
per
pet
ualco
pyri
ght
Colm
an
(the
Eld
er),
The
Man
of
Busi
nes
s(C
G);
Foote
,T
he
Coze
ner
s(H
M)
More
,T
he
Infl
exib
leC
apti
ve(B
ath
)G
old
smit
hd.
1775
War
again
stA
mer
ica
beg
ins
R.B
.Sher
idan,T
he
Riv
als
(CG
);G
arr
ick,B
on
Ton
(DL
);
Bic
ker
staff
e,T
he
Sult
an(D
L)
Unsu
cces
sfuldeb
ut
of
Sid
dons
at
Dru
ryL
ane
Bea
um
arc
hais
,L
eB
arbie
rde
Sevi
lle
(Pari
s);M
anch
este
r
Thea
tre
gain
spate
nt
Gri
ffit
h’s
essa
yon
Shakes
pea
reL
am
bb.;
Lew
isb.;
C.K
emble
b.
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
Chro
nolo
gyof
dat
es1730–1
830
(cont.
)
His
tori
calE
ven
ts
Thea
tric
alPer
form
ance
s
inL
ondon
Thea
tric
alE
ven
tsin
London
Thea
tric
al
Per
form
ance
sand
Even
tsouts
ide
London
Rel
ate
d
Publi
cati
ons
Bir
ths/
Dea
ths
1776
Dec
lara
tion
of
Indep
enden
cein
Am
eric
a
Cow
ley,T
he
Runaw
ay(D
L)
Garr
ick
reti
res;
R.B
.
Sher
idan
bec
om
es
manager
of
Dru
ryL
ane
Sm
ith,T
he
Wea
lth
of
Nat
ions
1777
Bri
tish
arm
y
surr
ender
sto
Am
eric
ans
at
Sara
toga
R.B
.Sher
idan,T
he
Schoolfo
rSc
andal
(DL
);M
ore
,P
ercy
(CG
),
Jack
man,A
llth
eW
orl
d’s
aSt
age
(1777)
Deb
ut
of
Hen
der
son
at
Haym
arket
Barr
yd.;
Kel
lyd.;
Foote
d.;
Irel
and
b.
1778
Cath
oli
cR
elie
fA
ctC
.D
ibdin
,P
oor
Vulc
an!
(CG
)Farr
enjo
ins
Dru
ryL
ane
com
pany
Wash
ingt
on
ord
ers
troops
toper
form
Addis
on’s
Cat
oatV
all
eyForg
e;B
rist
olT
hea
tre
gain
spate
nt
Burn
ey,E
veli
na
Arn
ed.;
Hazl
itt
b.;
Gri
mald
ib.;
Tow
nle
yd.
1779
War
wit
hSpai
nC
.D
ibdin
,T
he
Touch
stone
(CG
);R
.B.Sher
idan,T
he
Cri
tic
(DL
);
Gri
ffit
h,T
he
Tim
es(D
L)
Yate
ssp
eaks
Sher
idan’s
‘Monody
toth
eM
emory
of
Mr.
Garr
ick’
Ches
ter
Thea
tre
gain
spate
nt
Burn
ey,T
he
Wit
lings
Gar
rick
d.
1780
Gord
on
Rio
tsC
ow
ley,T
he
Bel
le’s
Stra
tege
m(C
G)
Holc
roft
,A
lwyn
;or,
The
Gen
tlem
anC
om
edia
n
Ken
ney
b.
1781
Am
eric
an
War
of
Indep
enden
ceen
ds
Mack
lin,T
he
Man
of
the
Worl
d(C
G);
Holc
roft
,D
uplici
ty(C
G)
Louth
erbourg
buil
ds
Eid
ophusi
kon
Sch
ille
r,D
ieR
auber
publi
shed
Les
sing
d.
1782
Pea
ceta
lks
inPari
s
bet
wee
nB
rita
inand
Am
eric
a
Cow
ley,W
hic
his
the
Man
?(C
G)
CG
enla
rged
;open
ing
of
RC
;Sid
dons
retu
rns
toD
rury
Lane
Pit
isse
ate
dat
Com
edie
Fra
nca
ise
More
,Sa
cred
Dra
mas
Poco
ckb.
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Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
1783
Fox
intr
oduce
sIn
dia
Bill;
Tre
aty
of
Ver
sail
les;
Pit
t(t
he
Younger
)bec
om
es
Pri
me
Min
iste
r
Cow
ley,A
Bold
Stro
ke
for
aH
usb
and
(CG
)L
ondon
deb
ut
of
J.P.
Kem
ble
at
DL
1784
Pit
t’s
India
Act
Inch
bald
,T
he
Mogu
lT
ale
(HM
)H
andel
com
mem
ora
tions
Bea
um
arc
hais
,L
eM
aria
gede
Fig
aro
(Pari
s)
Know
les
b.
1785
Res
ignati
on
of
Warr
enH
ast
ings
Inch
bald
,I’
llT
ellY
ou
What
(HM
);
Louth
erbourg
and
O’K
eeff
e,
Om
ai(C
G)
Sid
dons
pla
ys
Lady
Macb
eth
for
firs
tti
me;
Jord
an
engag
edatD
rury
Lane
Whate
ly’s
essa
y
on
Shakes
pea
re
Whit
ehea
dd.;
Glo
ver
d.;
Cli
ve
d.
1786
Burg
oyne,
The
Hei
ress
(DL
)M
oza
rt,T
he
Mar
riag
eof
Fig
aro
(Vie
nna);
Iris
h
Sta
ge
Act
J.P.K
emble
,
Mac
bet
hR
econsi
der
ed
Poole
b.
1787
Form
ati
on
of
soci
ety
for
aboliti
on
of
slav
e
trade;
Warr
enH
ast
ings
impea
ched
Inch
bald
,Su
chT
hin
gsA
re(C
G);
Colm
an
(the
Younger
),In
kle
and
Yar
ico
(HM
)
Royal
tyT
hea
tre
open
s
indef
iance
of
pate
nte
es
Moza
rt,D
on
Gio
vanni
(Pra
gue)
;Sm
ock
All
ey
close
s
Sch
ille
r,D
on
Car
los
E.K
ean
b.;
Mit
ford
b.
1788
Geo
rge
III
suff
ers
men
talco
llapse
Wallace
,T
he
Ton
(CG
);Sta
rke,
The
Sword
of
Pea
ce(H
M)
J.P.K
emble
bec
om
es
manager
of
Dru
ryL
ane;
Ast
ley’s
Am
phit
hea
tre
open
s
Enabli
ng
Act
or
Thea
tre
Rep
rese
nta
tions
Act
pave
sw
ay
for
lice
nsi
ng
of
thea
tres
inpro
vin
ces
Goet
he,
Egm
ont
Byro
nb.
1789
Fall
of
the
Bast
ille
;
dec
lara
tion
of
Rig
hts
of
Man
Rey
nold
s,T
he
Dra
mat
ist
(CG
)M
ack
lin
reti
res;
Colm
an
the
Younger
bec
om
esm
anager
of
HM
The
Rec
ruit
ing
Off
icer
per
form
edat
Port
Jack
son,A
ust
rali
a;
Yea
rsle
y,E
arlG
oodw
in(B
ath
)
Boydel
l’s
Shak
espea
reG
alle
ryopen
s;
Kotz
ebue,
Men
schen
has
sund
Reu
e
1790
Habea
sC
orp
us
susp
ended
inB
rita
in
Sta
rke,
The
Wid
ow
of
Mal
abar
(CG
)
Deb
ut
of
Munden
at
CG
Sta
nle
y,E
lmir
a(N
orw
ich)
Burk
e,
Ref
lect
ions;
Kotz
ebue,
Das
Kin
dder
Lie
be
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
Chro
nolo
gyof
dat
es1730–1
830
(cont.
)
His
tori
calE
ven
ts
Thea
tric
alPer
form
ance
s
inL
ondon
Thea
tric
alE
ven
tsin
London
Thea
tric
al
Per
form
ance
sand
Even
tsouts
ide
London
Rel
ate
d
Publi
cati
ons
Bir
ths/
Dea
ths
1791
Louis
XV
Ica
ptu
red
O’K
eeff
e,W
ild
Oat
s(C
G);
Cow
ley,A
Day
inT
urk
ey(C
G)
Goet
he
bec
om
esdir
ecto
r
at
Wei
mar
Thea
tre;
Moza
rt,D
ieZ
auber
flote
(Vie
nna)
Pain
e,R
ights
of
Man
;In
chbald
,A
Sim
ple
Story
;B
osw
ell,
The
Lif
eof
Johnso
n
Milm
an
b.
1792
Fra
nce
dec
lare
sit
self
are
publi
c;H
ast
ings
acq
uit
ted
Holc
roft
,T
he
Road
toR
uin
(CG
);C
um
ber
land’s
Ric
har
dth
eSe
cond
den
ied
lice
nce
Coven
tG
ard
enre
open
saft
erre
novati
ons
Woll
stonec
raft
,V
indic
atio
nP.B
.Shel
ley
b.;
Gold
onid.;
Burg
oyne
d.;
Fit
zball
b.
1793
Louis
XV
Iand
Mari
e
Anto
inet
teex
ecute
d;
Fra
nce
dec
lare
sw
ar
on
Bri
tain
Inch
bald
,E
very
One
Has
His
Fau
lt(C
G)
Godw
in,
Poli
tica
lJu
stic
eH
emans
b.;
Gri
ffit
hd.;
Macr
eady
b.
1794
Robes
pie
rre
exec
ute
d;tr
easo
n
tria
lsin
London
Holc
roft
,L
ove
’sFra
ilti
es(C
G);
Cum
ber
land,T
he
Jew
(DL
);J.
P.
Kem
ble
,L
odois
ka
(DL
)
Deb
ut
of
C.K
emble
;
Dru
ryL
ane
reopen
s
aft
erre
novati
ons
Cole
ridge
&
South
ey,T
he
Fal
lof
Robes
pie
rre;
South
eyw
rite
s
Wat
Tyl
er
Colm
an
(the
Eld
er)
d.;
Moncr
ieff
b.
1795
Bonapart
een
ters
Ital
y;Pit
tpass
es
‘Tw
oA
cts’
again
st
trea
sonable
consp
iracy
&ass
embly
Rey
nold
s,Sp
ecula
tion
(CG
)K
emble
and
Sher
idan’s
pro
duct
ion
of
Ven
ice
Pre
serv
’dcl
ose
ddue
to
poli
tica
lunre
st;
Thel
wall’s
lect
ure
son
thea
tre
Wall
ace,
Whim
refu
sed
lice
nce
(Marg
ate
)B
urk
e,L
ette
rson
aR
egic
ide
Pea
ceK
eats
b.;
Bosw
elld.
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
1796
Spai
ndec
lare
sw
ar
on
Bri
tain
Holc
roft
,T
he
Man
of
Ten
Thousa
nd
(DL
);C
olm
an
(the
Younger
),T
he
Iron
Ches
t(D
L);
Irel
and,V
ort
iger
n(D
L);
Holc
roft
,T
he
Forc
eof
Rid
icule
(DL
)
Inch
bald
,N
ature
and
Art
Pla
nch
eb.
1797
Spit
hea
dand
Nore
muti
nie
s
Lew
is,T
he
Cas
tle
Spec
tre
(DL
)E
tien
ne
Rober
tson
pre
sents
Phan
tasm
agori
e(P
ari
s)
Word
swort
h
sends
The
Bord
erer
sto
CG
;
Cole
ridge
sends
Oso
rio
toD
L;
Kotz
ebue
publi
shes
Die
Span
ier
inP
eru
Mack
lin
d.
1798
Iris
hR
ebel
lion;
Batt
leof
the
Nil
eC
olm
an
(the
Younge
r),B
lue-
Bea
rd(D
L);
Holc
roft
,K
nav
eor
Not?
(DL
)and
He’
sM
uch
toB
lam
e(C
G);
Ben
jam
inT
hom
pso
n,T
he
Stra
nge
r(D
L),
adap
ted
from
Kotz
ebue,
Men
schen
has
sund
Reu
e;In
chbald
,L
ove
rs’V
ow
s(C
G),
adapte
dfr
om
Kotz
ebue,
Das
Kin
dder
Lie
be
Pix
erec
ourt
,V
icto
r(P
ari
s)C
annin
g,E
llis
and
Fre
re,T
he
Rove
rs;
Word
swort
hand
Cole
ridge,
Lyr
ical
Bal
lads;
Bailli
e,P
lays
on
the
Pas
sions,
vol.1.
1799
Bonapart
ebec
om
es
Consu
l;Six
Act
s
pass
ed;def
eat
of
Tip
uSult
an
at
Myso
re
R.B
.Sher
idan,P
izar
ro(D
L),
adap
ted
from
Kotz
ebue,
Die
Span
ier
inP
eru
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
Chro
nolo
gyof
dat
es1730–1
830
(cont.
)
His
tori
calE
ven
ts
Thea
tric
alPer
form
ance
s
inL
ondon
Thea
tric
alE
ven
tsin
London
Thea
tric
al
Per
form
ance
sand
Even
tsouts
ide
London
Rel
ate
d
Publi
cati
ons
Bir
ths/
Dea
ths
1800
Mort
on,Sp
eed
the
Plo
ugh
(CG
);
Bail
lie,
De
Monfo
rt(D
L);
Faw
cett
,
Obi(H
M);
Godw
in,A
nto
nio
(DL
)
Sch
ille
r,M
aria
Stuar
t(W
eim
ar)
;Pix
erec
ourt
,
Coel
ina
(Pari
s)
More
’sSt
rict
ure
satt
ack
s
conte
mpora
rydra
ma;
Thom
pso
n,T
he
Ger
man
Thea
tre
Cow
per
d.
1801
Act
of
Unio
nw
ith
Irel
and;Pit
t(t
he
Younge
r)re
signs
Holc
roft
,D
eaf
and
Dum
b(D
L);
Lew
is,A
del
morn
the
Outl
aw(D
L)
Paulde
Phil
ipst
alopen
s
firs
tP
han
tasm
agori
aat
the
Lyce
um
Sch
ille
r,D
ieJu
ngf
rau
von
Orl
eans
(Wei
mar)
1802
Pea
ceof
Am
iens
Holc
roft
,A
Tal
eof
Mys
tery
(CG
),adapte
dfr
om
Pix
erec
ourt
,C
oel
ina
Bail
lie,
Pla
yson
the
Pas
sions,
vol.2
Hugo
b.;
Buck
stone
b.
1803
Bri
tain
dec
lare
sw
ar
on
Fra
nce
Colm
an
(the
Younge
r),Jo
hn
Bull
(CG
);L
ewis
,T
he
Cap
tive
(CG
);
Ken
ney
,R
aisi
ng
the
Win
d(C
G)
J.P.K
emble
bec
om
esm
anager
of
CG
Gla
sgow
Thea
tre
gain
spate
nt;
A.W
.Sch
legel
’s
adapta
tion
of
Euri
pid
es’
Ion
(Wei
mar)
Jam
esW
inst
on,
The
Thea
tric
Touri
st
Jerr
old
b.;
Wil
kin
son
d.
1804
Napole
on
crow
ned
emper
or;
Pit
t(t
he
Younge
r)bec
om
es
Pri
me
Min
iste
ragain
T.D
ibdin
,V
alen
tine
and
Ors
on
(SW
)T
hea
tric
alce
nso
rship
re-e
stablish
edin
Pari
sB
ail
lie,
Mis
cellan
eous
Pla
ys
Sch
ille
rd.
1805
Batt
leof
Tra
falg
ar
Mast
erB
etty
craze
;
deb
ut
of
Lis
ton
at
Haym
arket
Murp
hy
d.
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Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
1806
Pit
t(t
he
Younge
r)die
s;H
oly
Rom
an
Em
pir
efo
rmal
ly
dis
solv
ed
Lam
b,M
rH
.(D
L);
T.D
ibdin
,H
arle
quin
and
Moth
erG
oose
(CG
)D
ebut
of
Gri
mal
diat
CG
;open
ing
of
SP
and
Oly
mpic
Pavi
lion
1807
Aboli
tion
of
slav
etr
ade
inE
ngla
nd;
beg
innin
gof
Pen
insu
lar
War
Godw
in,Fau
lkner
(DL
)and
Furi
bond;or,
Har
lequin
Neg
ro(D
L)
Eig
ht
thea
tres
inPari
sgain
pate
nts
;
Bir
min
gham
Thea
tre
rece
ives
pate
nt
C.and
M.L
am
b,
Tal
esfr
om
Shak
espea
re
Ald
ridge
b.
1808
Fra
nce
invades
Spai
n;C
onven
tion
of
Cin
tra
Colm
an
(the
Younger
),T
he
Afr
ican
s(H
M)
Coven
tG
ard
en
des
troyed
by
fire
A.W
.Sch
legel
’sle
cture
s
on
dra
mati
cart
and
lite
ratu
re
Goet
he,
Fau
st,
part1;fo
undin
g
of
Exam
iner
;
Lam
b,Sp
ecim
ens
of
the
Engl
ish
Dra
mat
icP
oet
s
Hom
ed.
1809
Bri
tish
exped
itio
nto
Walc
her
en;
pro
posa
lsfo
r
Parl
iam
enta
ry
refo
rmdef
eate
din
London
Dib
din
,T
he
Wild
Man
(SW
);D
imond,T
he
Foundli
ng
of
the
Fore
st(H
M);
Hook,K
illi
ng
No
Murd
er(H
M)
Dru
ryL
ane
des
troyed
by
fire
;C
oven
tG
ard
en
re-o
pen
s;O
ldPri
ceri
ots
W.S
cott
purc
hase
ssh
are
inE
din
burg
hT
hea
tre
F.K
emble
b.;
Cow
ley
d.;
Holc
roft
d.
1810
Rio
tsin
London
in
support
of
Parl
iam
enta
ry
refo
rm
Poco
ck,H
itor
Mis
s(L
);R
hodes
,
Bom
bas
tes
Furi
oso
(HM
)
G.F
.C
ooke
leaves
for
Am
eric
a
Bail
lie,
The
Fam
ily
Leg
end
(Edin
burg
h)
Cole
ridge
lect
uri
ng
on
Shak
espea
re
1811
Reg
ency
beg
ins;
Luddit
eatt
ack
s
Poole
,H
amle
tT
rave
stie
(New
Thea
tre,
late
rR
egen
cy);
Lew
is,
Tim
our
the
Tar
tar
(CG
)
Thir
dT
hea
tre
Bil
lL
am
b,‘O
nth
e
Tra
ged
ies
of
Shak
espea
re’
Cum
ber
land
d.
1812
Unit
edSta
tes
dec
lare
sw
aron
Bri
tain
;N
apole
on
ente
rsM
osc
ow
;fo
od
riots
invari
ous
Engli
shci
ties
T.D
ibdin
,H
arle
quin
and
Hum
po
(DL
)
Dru
ryL
ane
re-o
pen
s;
Sid
dons
reti
res
Bailli
e,P
lays
on
the
Pas
sions,
vol.3.
Dic
ken
sb.
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
Chro
nolo
gyof
dat
es1730–1
830
(cont.
)
His
tori
calE
ven
ts
Thea
tric
alPer
form
ance
s
inL
ondon
Thea
tric
alE
ven
tsin
London
Thea
tric
al
Per
form
ance
sand
Even
tsouts
ide
London
Rel
ate
d
Publi
cati
ons
Bir
ths/
Dea
ths
1813
Fre
nch
def
eate
dat
Lei
pzi
g
Cole
ridge,
Rem
ors
e(D
L);
Poco
ck,
The
Mil
ler
and
his
Men
(CG
)
Byro
nappoin
ted
to
subco
mm
itte
eof
DL
;
open
ing
ofC
how
ringhee
Thea
tre
inC
alc
utt
a
Wagn
erb.
1814
Napole
on
def
eate
d
and
exil
edto
Elb
a;
Pea
ceof
Ghen
t
esta
bli
shes
pea
ce
bet
wee
nB
rita
inand
the
US
Bailli
e,T
he
Fam
ily
Leg
end
(DL
)D
ebut
of
E.K
ean
as
Shylo
ckat
Dru
ryL
ane;
deb
ut
of
O’N
eill
;Jo
rdan
reti
res
Aust
en,
Man
sfie
ldP
ark
C.D
ibdin
d.
1815
Batt
leof
Wate
rloo;
Sec
ond
Pea
ceofPari
s
Bail
lie,
The
Bea
con
(Edin
burg
h);
Know
les,
Cai
us
Gra
cchus
(Bel
fast
)
J.H
.L.H
unt,
The
Des
cent
of
Lib
erty
1816
Spa
Fie
lds
riots
in
London
Matu
rin,B
ertr
am(D
L);
Mort
on,
The
Slav
e(C
G);
Mil
man
,Faz
io(S
)
Deb
ut
of
Macr
eady
at
CG
Hazl
itt,
Mem
oir
sof
Holc
roft
R.B
.Sher
idan
d.;
Jord
an
d.
1817
Pri
nce
Reg
ent
att
ack
edby
dem
onst
rato
rsin
London;H
abea
sC
orp
us
susp
ended
in
Bri
tain
Moncr
ieff
,G
iova
nniin
London
(O)
Kea
nand
Booth
inri
val
per
form
ance
sof
Shakes
pea
rein
London;
J.P.K
emble
reti
res;
DL
&C
Gin
stall
gas
lighti
ng
South
ey,W
atT
yler
;H
azl
itt,
Char
acte
rsof
Shak
espea
re’s
Pla
ys;C
ole
ridge,
Bio
grap
hia
Lit
erar
ia;B
yro
n,
Man
fred
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
1818
Math
ews
per
form
shis
Mai
lC
oac
hA
dve
ntu
res
(EO
H);
Moncr
ieff
,
Roch
este
r(O
)
Open
ing
of
Coburg
Thea
tre
Poco
ck’s
Rob
Roy
(Edin
burg
h);
open
ing
of
New
Montr
ealT
hea
tre
inQ
ueb
ec
Bow
dle
r,Fam
ily
Shak
espea
re;
Hazl
itt,
AV
iew
of
the
Engl
ish
Stag
e
Lew
isd.
1819
Pet
erlo
om
ass
acr
e,
Manch
este
r
Matu
rin,Fre
dolf
o(C
G);
Math
ews,
Tri
pto
Par
is(E
OH
)
O’N
eill
reti
res;
SP
renam
edA
del
phi
Byro
n’s
Don
Juan
;C
anto
s1
and
II;W
.Sco
tt’s
essa
yon
Dra
ma;
P.B
.Shel
ley,
The
Cen
ci
Kotz
ebue
d.
1820
Geo
rge
IVacc
edes
;C
ato
St.
consp
iracy
;M
oncr
ieff
,The
Lea
rofP
riva
teL
ife
(C);
Know
les,
Vir
giniu
s(C
G);
Pla
nch
e,V
ampyr
e(E
OH
)
Know
les,
Vir
giniu
s(G
lasg
ow
);E
.K
ean
per
form
sat
New
York
P.B
.Shel
ley,
Pro
met
heu
sU
nbound.
Bouci
cault
b.
1821
War
of
Gre
ekIn
dep
enden
ce
beg
ins;
dea
thof
Napole
on;Q
uee
n
Caro
line
die
s
Byro
n,M
arin
oFal
iero
(DL
);M
oncr
ieff
,T
om
and
Jerr
y(A
)O
pen
ing
of
New
Haym
arket
Afr
ican
Gro
ve
Thea
ter
founded
inN
ewY
ork
Malo
ne’
sed
itio
nof
Shak
espea
re;
Shel
ley
wri
tes
AD
efen
ceof
Poet
ry;B
yro
n
publi
shes
Mar
ino
Fal
iero
,Sa
rdan
apal
us,
The
Tw
oFosc
ari
&C
ain
Kea
tsd.
Inch
bald
d.
1822
Gre
ekin
dep
enden
cepro
claim
edT
.D
ibdin
,T
he
Pir
ate
(S)
Pari
sO
per
abeg
ins
touse
gas
lighti
ng
Lam
b,‘O
nth
eA
rtif
icia
l
Com
edy
of
the
Last
Cen
tury
’
P.B
.Shel
ley
d.
1823
Monro
eD
oct
rine
pro
mulg
ate
din
Am
eric
a
Payn
e,C
lari
(CG
);vari
ous
pla
ys
base
don
Shel
ley’s
Fra
nken
stei
n;
Moncr
ieff
,T
he
Cat
arac
tof
the
Gan
ges
(DL
);Fel
icia
Hem
ans,
The
Ves
per
sof
Pal
erm
o(C
G)
C.K
emble
’sre
viv
alof
Kin
gJo
hn
J.P.K
emble
d.
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information
Chro
nolo
gyof
dat
es1730–1
830
(cont.
)
His
tori
calE
ven
ts
Thea
tric
alPer
form
ance
s
inL
ondon
Thea
tric
alE
ven
tsin
London
Thea
tric
al
Per
form
ance
sand
Even
tsouts
ide
London
Rel
ate
d
Publi
cati
ons
Bir
ths/
Dea
ths
1824
Fir
stB
urm
ese
War
Math
ews’
sT
rip
toA
mer
ica
(EO
H)
Gri
mal
dire
tire
s;
Munden
reti
res
Byro
n,T
he
Def
orm
edT
ransf
orm
ed
Byro
nd.
1825
Know
les,
Wil
liam
Tel
l(D
L);
Poole
,
Pau
lP
ry(H
M);
Fit
zball,T
he
Pil
ot
(A)
London
deb
ut
of
Ald
ridge
Egan,T
he
Lif
eof
anA
ctor;
Hazl
itt,
The
Spir
itof
the
Age
1826
Buck
stone,
Luke
the
Lab
oure
r(A
);
Mit
ford
,Fosc
ari(C
G);
Fit
zball
,
The
Fly
ing
Dutc
hm
an(A
)
1827
Turk
sta
ke
Ath
ens
Deb
ut
of
C.K
ean;
Engli
shact
ors
vis
itPari
s
Hugo’s
pre
face
to
Cro
mw
ellre
ject
s
neo
class
ical
conven
tions
1828
Wel
lingto
nbec
om
es
Pri
me
Min
iste
r
Mit
ford
,R
ienzi
(DL
)Ib
sen
b.
1829
Cath
oli
c
Em
anci
pati
on
Act
Jerr
old
,B
lack
-Ey’
dSu
san
(S)
Deb
ut
of
Fanny
Kem
ble
inro
leof
Juli
et
Farr
end.;
T.W
.
Rober
tson
b.
1830
Rev
olu
tion
inPari
s;dea
thof
Geo
rge
IV
and
acc
essi
on
of
Willi
am
IV
Jerr
old
,The
Muti
ny
atth
eN
ore
(P)
Ves
tris
bec
om
esm
anager
of
Oly
mpic
Byro
n,W
erner
(Bath
);H
ugo
’sH
ernan
ibeg
ins
fight
bet
wee
n
neo
class
icis
tsand
Rom
anti
cs(P
ari
s)
Hazl
itt
d.
© Cambridge University Press www.cambridge.org
Cambridge University Press978-0-521-61777-2 - The Cambridge Companion to British Theatre, 1730-1830Edited by Jane Moody and Daniel O’QuinnFrontmatterMore information