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Theatre and Dance History
Ballad operas contain important evidence about playwrights,
players, entertainment trends, dancenumbers, theatrical politics
and management. This catalogue not only shows which
playwrightsdominated ballad opera production, but also attests to
the lively participation of amateurs. Becausethis catalogue records
the cast of each ballad opera premiere, users can re-assemble a
players ballad
opera roles to determine whether a player was typecast in this
repertory.
By assembling a theatres ballad opera repertory, users can see
what types of production each theatrefavoured, and how theatres
competed against each other. By ordering ballad operas
chronologically inorder of premiere dates, users may reconstruct a
time-line to see which types of ballad operas were infashion in any
given period, and how production of new ballad operas virtually
ceased after 1737.
Until 1737, ballad operas were a favourite medium for on-stage
commentary about theatrical politics,as in Edward PhillipsThe
Stage-Mutineers; or, A Play-House to Be Lett(1733). Users are
advised tosearch by keywords or dates relating to theatrical events
to find such works.
Advertisements are richly informative about productions,
promotion methods and complementaryentertainments. For instance, on
20 April 1730 Theopilus CibbersPatie and Peggywas flagged as A
New Scotch Ballad Opera containing a new Prologue to the Opera
by Mr. Cibber, jun. and a newEpilogue on the Beaus, address'd to
the Ladies by Mrs. Cibber. Advertisements indicate with
whatfrequency Printed Books of the Opera, with the Musick prefix'd
to each Song were sold at the theatreand to which works several
Entertainments of Dancing were appended. We encourage users to
readclosely any advertisements transcribed for a ballad opera.
Productions at fairs and booths have been largely passed over by
historians; newspaperannouncements show, however, that fairs
contributed heavily to ballad opera production, mounting oradapting
existing ballad operas and providing summer employment for players.
For instance, on 22August 1732 at FIELDING's and HIPPISLEY's Great
THEATRICAL BOOTH, John Hippesley adaptedHenry Fieldings The Mock
Doctor. It was renamed The FORC'D PHYSICIAN and intermix'd
withVariety of Songs to old Ballad Tunes and Country-Dances.
Hippisley led the cast, with the rest of theParts to be perform'd
by Persons from all the Theatres. This was spiced up with
severalEntertainments of Dancing between the Acts and an
Extraordinary Band of MUSICK of Violins,
Hautboys, Bassoons, Kettledrums and Trumpets as well as the
famous PHILLIPS who performs onthe Stage his surprising Postures.
Members of the gentry were expected to attend, since the Passageto
the Booth was illuminated, for the Conveniency of the Company, and
Persons of Quality's Coaches[could] drive up the Yard. Users can
assemble bills for a specific fringe venue to build an overview
ofits offerings.
Expanding this Resource
We do not yet have a complete the transcription of newspaper
advertisements. We would like to create a performancehistory of
each work to show changes to casts, which works became stage
staples and which productions were mostpopular. The inclusion of
prologues and epilogues should be catalogued, and we would like to
flag those ballad opera
editions which contain significant observations about the
eighteenth-century London stage. The inclusion of dance
numbersshould be also be catalogued (see Music) and any later
advertisements for dances in ballad operas transcribed.
Pleaseenhance our chances for further funding by requesting more
information.
