By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
An immense undertaking all 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" through 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 by means of Samuel Phillips: "How are we pleas’d whilst beauteous Tofts appears, / To thieve 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 often gained major roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many maximum within the theatre. Her reputation declined, besides the fact that, as her calls for for money increased—a scenario captured in an epigram Alexander Pope could have penned: "So vibrant is thy attractiveness, so captivating thy track, / 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, turned a subordinate crown architect lower than Sir Christopher Wren in 1702. In 1703, Vanbrugh started plans for the Queen’s Theatre within the Haymarket, an company counseled through the equipment 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 finally grew to become the specific middle for opera in London.
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Additional info for A Biographical Dictionary of Actors, Volume 15, Tibbett to M. West: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800
Lady Wentworth in a letter dated 10 December 1708 told of a rehearsal of Pirro e Demetrio the Page 14 day before, apparently at the Duchess of Marlborough's house; the Duchess had persuaded Nicolini, the castrato, to sing, "but Mrs. Taufs huft and would not sing because he had first put it ofe; though she was thear yet she would not, but went away. " On 13 March 1709 at a party at the Duke of Somerset's, Mrs Tofts sang, and kisses were sold at a guinea each. At the end of the 17089 season Mrs Tofts left the stage, for what reasons we cannot tell; she may have carried her haughtiness too far, but there was a revolution at the theatres and she may have fallen a victim to it.
See TILLY, JOHN. Tilman. See TILLMAN. Tilson, Gertrude. See MAHON, MRS GILBERT. " See FOOTE, SAMUEL. "Timbertoe, Mons" [fl. 17521754], dancer. " At the Haymarket in 175253 Timbertoe offered a hornpipe on several occasions. On 7 March 1754 at the Haymarket there was dancing by ''The Great New Timbertoe," who may or may not have been the same performer. On the eleventh he joined Signora Mentorini in an English Ballet, and the pair entertained with a Burlesque Ballet on 30 March. On 1 April they were principal performers in The Adventures of Fribble; on 22 April Timbertoe offered Grand Burlesque Dances; and on 2 May he shared a benefit with Signora Gapatoona.
Oh, zounds, what a Mantuan pattern! Would a man, damn his kindred to grapple a slattern? Her coif seem'd so greas'd, and her vestment so worn, In the rage of the fete she look'dfinely forlorn. " Charlotte Tidswell died at the age of 86 on 3 September 1846, according to Giles Play-fair's Kean. Miss Tidswell appears as Corinna, with William Parsons as Old Philpot and John Bannister as Young Philpot, in an engraving by an unknown artist of a scene from The Citizen. An example is in the Harvard Theatre Collection.