By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
A tremendous undertaking started in 1973 reaches its end with the book of volumes 15 and sixteen of the Biographical Dictionary, a chain 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 well known acclaim used to be captured in strains by way of Samuel Phillips: "How are we pleas’d while beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we take heed to th’ inchanting track, / And trap the falling Accents from her Tongue." the 1st singer of English beginning to grasp the shape of Italian opera, Tofts often gained best roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many maximum within the theatre. Her attractiveness declined, although, as her calls for for check increased—a scenario captured in an epigram Alexander Pope can have penned: "So vibrant 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 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 less than Sir Christopher Wren in 1702. In 1703, Vanbrugh begun plans for the Queen’s Theatre within the Haymarket, an firm recommended by means of the package Cat membership (of which Vanbrugh used to be a member). even supposing his lavish layout was once acoustically faulty, restructuring helped right the matter and the theatre finally grew to become the unique 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
The Weston of this entry cannot have been the one who played an extensive line of comedy parts at Edinburgh in 177374, if the announcement of the Haymarket bill of 12 March 1787 was truthful. What relationship, if any, our subject bore to the Westons who were at Norwich in the 1780s is not known. Weston, Mrs. See also WILSON, MRS RICHARD THE SECOND, SARAH MARIA, NÉE ADCOCK. Page 4 Henry E. Huntington Library and Art Gallery THOMAS WESTON artist unknown Weston, Thomas 17371776, actor, singer. Thomas Weston's father was an undercook in the kitchen of George II, and Tom himself was apprenticed as a turn-broach there, but because of his misbehavior and inattention he was discharged and sent to sea as a midshipman aboard the Warspite.
A. Williams). As Tycho, with Samuel Champness as Migromant, in A Christmas Tale. By P. J. De Loutherbourg, exhibited at the Royal Academy in 1774, but now lost. Engraving by Charles Phillips. Copies in the Harvard Theatre Collection and the British Museum. Weston, Mrs Thomas, Martha d. c. , actress, singer. Shortly after the comedian Thomas Weston came to London, in the summer of 1759, he married a "milliner in the Haymarket" who became an actress. She soon left Weston for an actor named Price.
They were given a benefit at Smock Alley on 5 July 1743. Chetwood (writing in 1749) said that the elder Wetherilts died soon after the death of their son. Wetherilt, Mrs Henry, Elizabeth [fl. 17081743], actress. On 16 October 1708 Elizabeth Wetherilt and her husband Henry, both itinerant actors, christened their son Robert at Bath Abbey. Robert had been born in Stamford, Lincolnshire, at some earlier date. The Wetherilts may have been strolling players for some time. The first role we know of for Mrs "Wetherell" is Lady Westford in The Injured General on 24 August 1721 at Bartholomew Fair in London.
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