New PDF release: A biographical dictionary of actors, actresses, musicians,

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

ISBN-10: 0809318032

ISBN-13: 9780809318032

An incredible undertaking started in 1973 reaches its end with the book of volumes 15 and sixteen of the Biographical Dictionary, a sequence thought of "a reference paintings of the 1st order" by way of Theatre and appearing Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a proficient singer whose renowned acclaim was once captured in strains through Samuel Phillips: "How are we pleas’d whilst beauteous Tofts appears, / To thieve our Souls via our attentive Ears?’ / Ravish’d we hearken to th’ inchanting track, / And capture the falling Accents from her Tongue." the 1st singer of English beginning to grasp the shape of Italian opera, Tofts often received 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 cost increased—a scenario captured in an epigram Alexander Pope can have penned: "So shiny is thy good looks, so fascinating thy tune, / As had drawn either the beasts and their Orpheus along; / yet such is thy avarice, and such is thy satisfaction, / That the beasts should have starved, and the poets have died."John Vanbrugh, whose play The Relapse is ranked as the most effective comedies of the recovery interval, grew to become a subordinate crown architect lower than Sir Christopher Wren in 1702. In 1703, Vanbrugh begun plans for the Queen’s Theatre within the Haymarket, an firm recommended by means of the package Cat membership (of which Vanbrugh used to be a member). although his lavish layout was once acoustically faulty, restructuring helped right the matter and the theatre ultimately turned the unique middle for opera in London.

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

Sample text

When Weston returned to the London stage with the resumption of his Haymarket engagement in June 1766, he essayed Shift, Squintum, and Transfer (all in the same performance) in The Minor, and he was probably that "Comic Genius" who sang "some well known Songs in Imitation of some Favorite Italian Performers" on 31 July. In August and September he and his wife supplemented their income by assisting Barry's company at the King's Theatre, where Weston added to his roles Peter in Romeo and Juliet, Squire Richard in The Provok'd Husband, Daniel in The Conscious Lovers, and the Old Man and the Drunken Man in Lethe.

That role he played only at the maiden performance, and then illness forced him from the stage. He was not yet 40. Thomas Weston's death date has been the subject of dispute, in part because in his later years he was often ill and in his final season was obviously not far from deathat least it was obvious to his close associates. " Six days before that Garrick had besought his physician, Dr William Cadogan, to "see Weston on yr way" to treat Garrick, but added that Weston had nearly "killed himself with drinking .

He was in some capacity at the theatre as early as 25 July 1776, when he was paid £1 10s. " A letter (Folger MS W. a. 219) from the actor F. G. " A receipt for salary paid "by the Hands of Mr. Westley Treasurer," dated 4 June 1782, confirms his function. Westley continued as treasurer through the season of 179899, by which time his salary had risen to £8 per week. In the 17991800 season he relinquished his office to Richard Peake, who from about 1790 had been his sub-treasurer. From 1800 until the end of his career Westley was Peake's subordinate.

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A biographical dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800, Volume 16 by Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans


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