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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.

© 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

http://www.cambridge.org/0521617774

http://www.cambridge.org


THE CAMBRIDGE

COMPANION TO

BRITISH THEATRE,

1730–1830

EDITED BY

JANE MOODY

and

DANIEL O’QUINN






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

www.cambridge.org

Information on this title: www.cambridge.org/9780521617772

# 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.






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






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






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






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

viii






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

ix






(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

x






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

xi






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,

xiii






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

xiv






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

xv






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

xvi






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.

xvii






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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






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.






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






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.






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.






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.






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






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.






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






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.






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.






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






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

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