Feminist Companion Archive.
Theatre Royal, Drury Lane
Connections
Connections Sort descending | Author name | Excerpt |
---|---|---|
Publishing | Ann Yearsley | As early as March-April 1788 AY
's backers Eliza Dawson
and Wilmer Gossip
were suggesting that a play would offer a better chance of financial return than poetry. Yearsley drafted her lost play Bawdin at... |
Publishing | Harriette Wilson | She wrote a farce which she submitted to Robert Elliston
, manager of Drury Lane
(and an old friend who later proposed marriage to her). But he did not accept her play. In 1829 (after... |
Publishing | Maria Edgeworth | This literary satire was the first fruit of his wish that she should write a series of dramas for young people. Its manuscript survives in the Bodleian Library
. Sheridan
rejected it for Drury Lane |
Reception | Joanna Baillie | In general JB
was criticised for lacking stage-craft—by Elizabeth Inchbald
, for example, who must have been a good judge. It was said that her sonorously-voiced passions float unanchored; her comedies are too sweet. |
Textual Features | Mary Julia Young | MJY
's poem, in fast-moving heroic couplets, opens with Genius invoking the aid of Fancy. Fancy insists that the most beautiful and versatile of the muses is Thalia (who presides over comedy). After urging the... |
Textual Production | Mary Pix | After asking the actor George Powell
to help her get it accepted at Drury Lane, she had then taken it to the other theatre, and claimed that Powell plagiarised it in his The Imposture Defeated... |
Textual Production | Joanna Baillie | Mary Berry
and Anne Damer
both offered comments and revisions four years before this play was published. Lady Louisa Stuart
did the same (through Walter Scott) in 1809. Baillie, Joanna. The Collected Letters of Joanna Baillie. Editor Slagle, Judith Bailey, Fairleigh Dickinson University Press, 1999, 2 vols. 1: 158-9, 244 Slagle, editor of JB |
Textual Production | Bryony Lavery | BL
collaborated with Nona Shepphard
on The Drury Lane
Ghost, staged in London in 1989, Peter Pan, 1991 (in which she played the voice of Tinkerbell), and The Sleeping Beauty, 1992. On... |
Textual Production | Amelia Opie | Despite the volume's title, The Ruffian Boy had been in print well before this, and had spawned several theatrical incarnations. These included one based on the story, written by Edward Ball
and produced at Norwich... |
Textual Production | Hannah Cowley | It was badly presented, by two of the cast in particular. Escott, Angela, and Isobel Grundy. Email about supposed quarrel between Hannah Cowley and Hannah More to Isobel Grundy. 24 Oct. 2002. |
Textual Production | Phebe Gibbes | A musical drama by PG
was accepted for production, but then lost, by Richard Brinsley Sheridan
, new manager of Drury Lane Theatre
. Archives of the Royal Literary Fund, 1790-1918. |
Textual Production | Clotilde Graves | Many of CG
's sixteen plays (often but not all light comedy), have remained unpublished, though produced on stage in London and New York. The earliest of these, the blank-verse tragedy Nitocris, was... |
Textual Production | Marianne Chambers | The same year it played at the Theatre Royal
itself, and also reached print. |
Textual Production | Frances Brooke | FB
's Virginia a Tragedy, with Odes, Pastorals, and Translations appeared in print. David Garrick
and John Rich
had rejected this tragedy for the stage. The play had been in competition with one of the... |
Textual Production | Elizabeth Griffith | EG
's last comedy, The Times (a sentimental piece adapted from Goldoni
), opened at Drury Lane
. Griffith, Elizabeth. “Introduction”. The Delicate Distress, edited by Cynthia Booth Ricciardi and Susan Staves, University Press of Kentucky, 1997, p. vii - xviii. xxxii |
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