John Rich (1692-1761) was a profoundly influential figure of the eighteenth-century London stage. As producer, manager, and performer, he transformed the urban entertainment market, creating genres and promotional methods still with us today. This volume gives the first comprehensive overview of Rich's multifaceted career, appreciation of which has suffered from his performing identity as Lun, London's most celebrated Harlequin. Far from the lightweight buffoon that this stereotype has suggested, Rich—the first producer of The Beggar's Opera, the founder of Covent Garden, the dauntless backer of Handel, and the promoter of the principal dancers from the Parisian opera—is revealed as an agent of changes much more enduring than those of his y...
The volume adopts a multi-perspective approach to the historical and dramatic figure of Richard III ...
English comic operas such as Love in a Village (1762), Twelve Comic Operas of William Shield (1782-1...
This thesis explores how the ancient world was represented on the American stage from 1732 to 1831. ...
This chapter outlines the signficance of ballad opera in the career of John Rich, the founder of Cov...
Research in Renaissance theatre history has revealed that the owners of the public playhouses-- and ...
The Beggar’s Opera, often referred to today as the first musical comedy, was the most popular dramat...
Samuel Phelps (1804–1878) was an English actor and theater manager. In an era when performances of S...
John Rich employed the French dancer François Nivelon to perform at Lincoln’s Inn Fields theatre, an...
In the 1784-85 London season, there was a conjunction between Shakespeare’s Macbeth, and three of th...
How can people in the spotlight control their self-representations when the whole world seems to be ...
How do we recapture, or hold on to, the live performances we most love, and the talented artists and...
Ballad opera, fathered by John Gay 1728 and propelled forward by Henry Fielding until 1736, capitali...
Starting from a discussion of Hogarth’s portrait of the great actor David Garrick playing Richard II...
Setting for Success John Gay s ballad opera, The Beggar s Opera was staged in London in 1728 and ha...
This paper focuses on the role of the royal and aristocratic audience in the masques produced in the...
The volume adopts a multi-perspective approach to the historical and dramatic figure of Richard III ...
English comic operas such as Love in a Village (1762), Twelve Comic Operas of William Shield (1782-1...
This thesis explores how the ancient world was represented on the American stage from 1732 to 1831. ...
This chapter outlines the signficance of ballad opera in the career of John Rich, the founder of Cov...
Research in Renaissance theatre history has revealed that the owners of the public playhouses-- and ...
The Beggar’s Opera, often referred to today as the first musical comedy, was the most popular dramat...
Samuel Phelps (1804–1878) was an English actor and theater manager. In an era when performances of S...
John Rich employed the French dancer François Nivelon to perform at Lincoln’s Inn Fields theatre, an...
In the 1784-85 London season, there was a conjunction between Shakespeare’s Macbeth, and three of th...
How can people in the spotlight control their self-representations when the whole world seems to be ...
How do we recapture, or hold on to, the live performances we most love, and the talented artists and...
Ballad opera, fathered by John Gay 1728 and propelled forward by Henry Fielding until 1736, capitali...
Starting from a discussion of Hogarth’s portrait of the great actor David Garrick playing Richard II...
Setting for Success John Gay s ballad opera, The Beggar s Opera was staged in London in 1728 and ha...
This paper focuses on the role of the royal and aristocratic audience in the masques produced in the...
The volume adopts a multi-perspective approach to the historical and dramatic figure of Richard III ...
English comic operas such as Love in a Village (1762), Twelve Comic Operas of William Shield (1782-1...
This thesis explores how the ancient world was represented on the American stage from 1732 to 1831. ...