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

A huge undertaking all started in 1973 reaches its end with the e-book of volumes 15 and sixteen of the Biographical Dictionary, a sequence thought of "a reference paintings of the 1st order" by means of Theatre and acting Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a proficient singer whose renowned acclaim was once captured in strains via Samuel Phillips: "How are we pleas’d while beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we hearken to th’ inchanting tune, / And capture the falling Accents from her Tongue." the 1st singer of English delivery to grasp the shape of Italian opera, Tofts often gained major roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many maximum within the theatre. Her recognition declined, even though, as her calls for for fee increased—a scenario captured in an epigram Alexander Pope could have penned: "So vivid is thy attractiveness, so fascinating thy track, / As had drawn either the beasts and their Orpheus along; / yet such is thy avarice, and such is thy delight, / 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 counseled by means of the package Cat membership (of which Vanbrugh was once a member). even if 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 info for A biographical dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800, Volume 16

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But most critics agreed that when he was sober and tractable he was one of the two finest low comedians of his era, his only rival being Ned Shuter. Though his friend Francis Gentleman (as "Sir Nicholas Nipclose" in The Theatres. A poetical dissection, 1772) felt constrained to warn him: "Use, Tom, some caution in Thy private life;/So shall not creditors enjoyment damp,/Nor sordid Managers thy income cramp," but Gentleman had nothing but praise for Weston's acting. " Gentleman had already, in his Dramatic Censor (1770), singled him out as best in half a dozen comedy roles.

On 19 October 1793 he appeared as Darby in the ballet Dermot and Kathlane; or, The Irish Wedding. He was a Zany in the premiere of Wild's Harlequin and Page 2 Faustus, a highly successful pantomime that opened on 19 December 1793 and ran a total of 52 performances that season. West also directed ballets at Astley's Amphitheatre in 1794 and in 1796. On 16 May 1796 his ballet Safe Moor'd in the Downs was performed there along with his The Magician of the Rocks, and he also danced a hornpipe with Mrs Mercerot.

By 12 April 1722 Robert Wetherilt and his father Henry (but perhaps not his mother Elizabeth) were on the payroll of Drury Lane Theatre in London. ) Wetherilt, and sometimes R. Wetherilt. Normally, when a younger and elder actor of the same surname were in the bills, the elder was usually called by the surname and the younger identified with an initial or other distinguishing mark, but in the case of the Wetherilts, careful distinctions were not always made. " His first known part at Drury Lane was Ariel in The Tempest on 6 June 1723, after which his name disappeared from the bills until 10 January 1728, when, now maturing, he played Squire Richard in The Provok'd Husband at Drury Lane.

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