By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
A big undertaking began in 1973 reaches its end with the booklet of volumes 15 and sixteen of the Biographical Dictionary, a sequence thought of "a reference paintings of the 1st order" through Theatre and appearing Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a talented singer whose renowned acclaim was once captured in strains by means of Samuel Phillips: "How are we pleas’d whilst beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we take heed to th’ inchanting music, / And seize the falling Accents from her Tongue." the 1st singer of English delivery to grasp the shape of Italian opera, Tofts usually received major roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many maximum within the theatre. Her recognition declined, in spite of the fact that, as her calls for for fee increased—a state of affairs captured in an epigram Alexander Pope could have penned: "So vivid is thy attractiveness, so captivating thy music, / 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 below Sir Christopher Wren in 1702. In 1703, Vanbrugh all started plans for the Queen’s Theatre within the Haymarket, an company counseled by means of the equipment Cat membership (of which Vanbrugh used to be a member). even if his lavish layout was once acoustically faulty, restructuring helped right the matter and the theatre finally turned the particular heart 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
A biographical dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 16601800. Includes bibliographical references. 1. Performing artsEnglandLondonBiographyDictionaries. 2. ActorsEnglandLondonBiographyDictionaries. 3. Theatrical managersEnglandLondonBiographyDictionaries. 4. London (England)BiographyDictionaries. I. , joint author. II. , joint author. III. Title. 2'092'2 [B] 71-157068 ISBN 0-8093-1803-2 Page v Acknowledgments SINCE the publication of the first five volumes of this Dictionary the authors have been the grateful recipients of assistance and information from a number of individuals and institutions.
The experience gained him the attention of Garrick and a contract at Drury Lane for the season of 176162, when he added Jeremy in Love for Love, Butler in The Drummer, a character in The Genii, Charino in Love Makes a Man, and Shallow in The Merry Wives of Windsor. Weston returned to the Haymarket in the summer of 1762 and added Papillion in The Lyar and Mr Honeycombe in Polly Honeycombe. His name is not found in any playbill for the winter season of 176263, and it is to be presumed that he was performing on some country circuit.
Though one of Garrick's own best Page 9 comic parts was Abel Drugger, he declared Weston's performance of it one of the finest jobs of acting he ever saw. The author of Momus (1767) remarked on Garrick's appreciation of Weston's portrayal: With face by Bacchus, or by Venus marr'd For he's with both the mighty powers warr'd; In word expressive, and in gesture dry, In action simple, with a meaning eye, See Weston gravely force the hearty smile, Nor pall with low buffoonery the while: Whene'er in Sneak or Drugger he appears, Garrick attends with patient eyes and ears.
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