Vol. 73, No. 1 (pp. 1-68, 2019)
New Light on the Baroness *** Rediscovering Nora Charrington, Actress and Fabian *** Jacob Hall and other Rope Dancers on the Continent 1678-1682
Edward Ecclestone's 'The Cataclysm: New Engravings of Restoration Stage Scenery? *** Rich's Register: The Chatsworth Volume *** From Vocalist to "Inventor of the Dresses": Vincenzo Sestini's career at the King's Theatre in the Haymarket' *** Darkening the auditorium in the Nineteenth Century British Theatre.
The West End Theatre Comes to Hampshire: Richard Norton (1667-1732) of Southwick Park, Landowner and Man of the Theatre *** Theatre, Celebrity, and Contagion: David Garrick's 1742 Dublin Visit and James R. Planché's Garrick Fever *** Touchstone: A Forgotten Theatrical Newspaper.
Fanny Kemble's Dual Consciousness: Memoir and Performance Theory *** Authoring the Environment: Landscapes, Crowds and Communality in Louis Napoleon Parker's Edwardian Pageants *** Lady Randolph Churchill's "Tremendous, Ridiculous, Costly Hats": A material culture approach to His Borrowed Plumes
Rant, Cant and Tone: The Voice of the Eighteenth-Century Actor and Sarah Siddons –§– Helen Taylor Becomes Miss Trevor, Actress –§– Stage Plays on Television from 1946 to the 1980s: an Overview.
Were Property Booths Used in the First Performance of Jonson's Bartholomew Fair? –§– Antonio Brunati, King's Company Scenekeeper (1664-65) –§– Frederick Balsir Chatterton and the Critics –§– The Adelphi Theatre Calendar.
Mucedorus: From Revision to Nostalgia –§– Trade, Taverns, and Touring Players in Seventeenth-Century Bristol –§– Zoffany Paintings of Garrick at the Bowes Museum –§– Succeeding the Siddons: Eliza O'Neill and the Triumph of the Romantic Style –§– Early Modern Staging of Throne Scenes.
"What Story is that Painted Vpon the Cloth?" [sic]: Some Descriptions of Hangings and their Use on the Early Modern Stage –§– Wilde, Whislter and Staging "Art for Art's Sake".
As Above, so Below: Staging the Digby Mary Magdalene –§– Two Account Books for Covent Garden Theatre, 1757-58 –§– Edward Gordon Craig's Two Collaborators: Michael Carmichael Carr and his Dutch Wide Catharina Elisabeth Voûte.
The Challenage of Using Theatre as Social and Political Intervention in Nineteenth-Century Sheffield: Joseph Fox's The Union Wheel –§– The Licensing of the Birmingham Music Halls –§– 'The Play all London is Discussing': The Great Success of Guy du Maurier's An Englishman's Home, 1909.
Bararbas's Fall –§– Shelley's Unsung Muse: Elisa O'Neill and the Inspiration Behind The Cenci –§– Henry Marshall's Gag Book: Pantomime Routines for Actors in Twentieth Century Repertory Theatre.
The Haymarket Theatre and Literary Property: Constructing Common Law Playright, 1770-1833 –§– A Tale of Three Designers: the mystery of design attribution in Belaso and Long's The Darling of the Gods staged at His Majesty's Theatre, London, in 1903 –§– A Culture of Development: The Royal Court and the Young Writers' Programme.
A "Most Enchanting Comic Actress": Giovanna Sestini, An Italian Opera Singer In The London Theatres –§–Pepper's Ghost At The Opera –§– Benson's Dream: Touring A "Grand Production" To The Provinces –§– Donald Wolfit's Shakespeare On Broadway 1947: The Wrong Place At The Wrong Time –§– Facsimile Reproduction Of Theatre Notebook Volume 1, Issue 1, 1948. –§– 70 Years Of Theatre Notebook.
Springthorpe: Waxworks, Views, Conceerts, Marionettes –§– The Simpson Players of Jacobean Yorkshire and the Professional Stage –§– Joan Littlewood And The De-Mystification Of Acting.
When did George Beeston Join the King's Company? New Information in an Unpublished Letter –§– Drawing in a Theatre: Peacham, de Witt, and the Table-book –§– Pierrots Perfected: Louis Rehil and Artistic Developments in Concert Party Entertainment on the London & Provincial Stage, 1900-1930.
Hocus Pocus Junior: further confirmation of its author –§– Samuel Sandford and Colley Cibber: two players' acting techniques and the rise and fall of restoration villain tragedy on the London stage from the 1670s to the 1730s –§– "The Stage is Hung with Blacke": on the use of black curtains for tragedies in the early modern period.
Searching for Thomas Harris: Challenges Faced by His First Biographer –§– The Simpson Players of Jacobean Yorkshire and the Professional Stage –§– Joan Littlewood And The De-Mystification Of Acting –§– A. P. Herbert's Helen (and every marriage since 1937)
Before Ibsen: The Early Stage Career of Janet Achurch, 1883-89 –§– The People's Impresario: Roland Muldoon at the Hackney Empire.
Shylock and the Use of Stage Doors –§– The Earliest Nuremberg Playbill –§– A Whiff of Lavender: the Theatre Ghost and the Redevelopment of the Bristol Old Vic –§– "A Triumph for Matcham's Sound Theatre Design": the Grand Opera House and the Staging of Opera in Belfast.
Margaret Gibson's Letters to her Mother 1931-40 –§– "Finest Printing on the Road": The Importance of Poster Advertising for Touring Theatre Companies Around the Turn of the Twentieth Century –§– The Phenomenology of Non- Theatre Sites on Audience
"Books of the Songs to be had at the Theatre": Some Notes on Fruit Women and their Contribution to Theatre Finances –§– Christopher Rich From Puritan to Theatre Manager –§– Paternity of the Siblings of Charles and Thomas Dibdin –§– Going at the Theatre: Toilet Facilities in the Early Playhouses –§– The Proscenium Doors in The Duke's Theatre Lincoln's Inn Fields
The Showman's Daughter: Mary Effie Collette, Actress –§– William Allen Brunning, S.B.A. (181850): A Forgotten Artist Scene-Painter –§– "Hassan: Iraq On The British Stage".
An 18thC Capital Of Culture? Conflict & Controversy in Liverpool's Pursuit of a Theatre Royal –§– The Corsican Trap: Its Mechanism & Reception –§– A Prompt Copy of William Dimond's The Broken Sword –§– "Hands Off Proud Stranger": Shakespeare Versus Multiple Authorship in Performance.
Real and Virtual Doors on Early Restoration Stages, by Tim Keenan –§– Mr Macready and his Monarch, by Richard Foulkes –§– Redefining the Grotesque: E. J. Odell, Actor and Comedian, by Bernard Ince.
Stage and Costume Designers Working at the Italian Opera in London: The Evidence of the Librettos 1710-1801–§– Matthew Lewis's The Monk and James Boaden's Aurelio and Miranda From Text to Stage –§– Trilby's Dress: Reception, Inspiration and Interpretation.
Playgoers on the Outdoor Stages of Early Modern London –§– The Will of John Rich - Probate and Problems –§–The Other Percy Nash: Theatrical Interludes in the Life of a Film Pioneer.
Manufacturing Spectacle: The Georgian Playhouse and Urban Trade and Manufacturing –§– Miss Cheer as Lady Rosehill: A Real-Life Drama in Late Colonial British America –§– Jesters to the Revolution: A History of Cartoon Archetypical Slogan Theatre (CAST), 1965-85.
Epilogues, Prayers after Plays, and Shakespeare's 2 Henry IV –§– An Early Pioneer of the New Drama: Charles Charrington, Actor-Manager and Fabian Socialist –§– Tickets, Critics and Censorship: The Royal Court, The Spectator & The Arts Council of Great Britain 1969-70.
Spaces, Doors and Places in Early Modern English Staging –§– Natural-Born Showman: The Stage Career of Charles Collette, Actor & Comedian –§– Lena Ashwell and The Starlight Express.
Actors' Names as Textual Evidence –§– Letters from Thomas Coutts to William 'Gentleman' Smith –§– Theatrical Custom versus Rights: The Performers' Dispute with the Proprietors of Covent Garden in 1800.
Adelphi Theatre, Moor Street, Birmingham –§– Re-emergence of a Unique Theatrical Teapot –§– W. P. Dando's Improved Tableaux Vivants at the Palace Theatre of Varieties, London.
Was Mary Lee the 'Woman Turned Bully' –§– England's Glory and Celebrations at Court for Queen Anne's Birthday in 1706 –§– Deciphering The Downfall of Shakespeare on a Modern Stage of 1765.
Admission Prices at the Dorset Garden Theatre –§– Simla: Amateur Theatre Capital of the Raj –§– Notes & Queries: The British Stage in 18thC Calcutta, Theatre Book Prize, Esme Percy Memorial, Firework Accidents, Richard Brome Productions.
Herkomer's Legacy to Craig and the New Stagecraft –§– Theatres of Influence: The Remarkable Music Halls Of Robert Edwin Villiers –§– The Diary of John Stede, London Theatre Prompter from about 1710 to the 1760s.
'Assisted By A Barber': The Court Apothecary Special Effects and The Gypsies Metamorphosed –§– The Early Restoration Stage Re-Anatomised: The Adventures of Five Hours at Lincoln's Inn Fields 1663 –§– Oedipus: Probable Performance in 1697/98 –§– Charles Alexander Calvert at Newport –§– The Victorian Theatre Orchestra.
'Our Theatrical Attempts in this Distant Quarter': The British Stage in 18thC Calcutta –§– 'We Are Not in Little England Now': Charles and Ellen Kean in Civil War America –§– After Janet: A Brief Biography of St Aubyn Miller, Actor and Dramatis.
Oldys, Motteux and 'The Play'rs Old Motto': The 'Totus Munuds' Conundrum Revisited –§– 'Abominable, Impious, Prophane, Lewd, Immoral': Prosecuting the Actors in Early Eighteenth Century London –§– Ira Aldridge at Covent Garden, April 1833.
George Speaight (1914-2005) –§– Were The Doors Open or Closed? The Use of Stage Doors in the Shakesrearean Theatre –§– Ira Aldridge's London Debut –§– The Outsider: The Michel Saint-Denis Archive –§–A Brief Candle in Wartime: Antony Rawlins and The Lunts, 1943.
'Greene's Baboone': Thomas Greene, Ape Impersonator? –§– Boyl'e Guzman at Lincoln's Inn Fields 1669 –§–New Garrick Letters –§– Managing The Pantomime: Productions At The Theatre Royal Nottingham in the 1860s
Editorial: The Theatre Museum –§– Acting in the Field –§– The First Edinburgh and London Editions of John Home's Douglas and The Play's Early Stage History –§– A Theatre for All Seasons: The Queens Theatre Hull, 1846-1869.
Restoration Actors Michael Mohun & Edward Kynaston –§– Restoration Scene Keeper James Triggs? –§–Dramatic Opera & Theatrical Reform: Dennis's Rinaldo and Armida & Motteux's The Island Princess –§– Rights & Riots: Footmen's Riots, Drury Lane 1737 –§– Theatre at Wynnstay.
Poel Letters, by Marion O'Connor –§– Glynne Wickham: Early Stages –§– Searching For Scripts: Re-Writing The History Of British Theatre Post-1968, by Kate Dorney –§– Margaret Collins (1925- 2005).
The Acting of Henry Irving –§– The AHRC Mander and Michenson Theatre Collection Access for Research Project: Conversations with Cataloguers –§– Auditorium Tilting Floors.
Early Actors in New York –§– Puppet Politics: Tobias Smollett, Charlotte Clarke & Theatrical Opposition to Handel –§– The Theatre at Wynnstay: 18thC Private Theatricals at their Finest –§– Arts & Humanities Research Board's Research Developement of the BL Theatre Archives.
Glynne Wickham (1922-2004) –§– Patronage, Puratism & Playing: Travelling Players in Elizabethan & Stuart Maldon, Essex –§– The Rotunda: Variety Stage & Socialist Platform –§– 20thC Choices: or what did they see from the stalls, circle & gallery? III Sheila Winter: 1934-45
Jack Reading (1916-2004) –§– Charles Kean and the Great Exhibition –§– Sketches of T.F. Luppino –§– How a Meininger Saw Us in 1881: The Actor Ludwig Barnay on Henry Irving & Others –§– Tom Taylor & Charles Reade's Lost Play –§– Is this a Picture of Jules Leotard?
Arthur Bedford's A Serious Advertisement (1705) and the Early History of Theatre in Bristol –§– GBS and the BBC Saint Joan, 1929 –§– Twentieth Century Choices: or what did they see from the stalls, circle and gallery - II Derek Kenwood.
'Shoot at him all at Once': Gunfire at the Playhouse, 1587 –§– John Rhodes, Draper, Bookseller and Man of the Theatre –§– Brandon, Feats and Hocus Pocus: Jugglers Three –§– Staging Birnam Wood in the 1840s: a Discovery at the Folger Shakespeare Library.
Dancing Monkeys at Dorset Gardens –§– Provincial Theatre in Britain, 1773-1808: The Burney Playbills Examined –§– Antarctic Theatricals: The Frozen Farce of Scott's First Exhibition.
George Rowell (1923-2001) –§– Sir Lewis Lewkenor Sees a Play –§– James Bernard Fagan and Chekhov –§–Twentieth Century Choice; or, what did they see from the stalls, circle and gallery. I Mr Croydon.
Punch and Joan –§– Playwrights with Foresight: Staging Resources in the Elizabethan Playhouses –§– The End of Charles Kean's Directorship of the Windsor Theatricals –§– The French Play in London: The Comédie-Française at the Gaiety Theatre 1879.
Prompting, Backstage Activity, & the Openings into the Shakespearian Stage –§– New Theatre Items from the Newdigate Newsletters –§– Transformations & Theophanies: Documentary on the Georgian Stage –§– The Bristol Grooves Recovered.
Two 17thC Actors: New Facts –§– New Material for a Jacobean Playhouse: The Red Bull Theatre on the Seckford Estate –§– Back to the Théàtre du Marais, plus a Post-Script on Wren's Drury Lane: A Reply to David Thomas –§– The Censor Turns Manager: William Bodham Donne and the Windsor.
Doors at the Globe: The Gulf Between Page and Stage –§– John Heminges's Tap-House at the Globe –§– Edwin Booth's First Attempt at Shylock –§– Unpublished Letters from Charles & Ellen Kean's Final American Tour –§– On the Edge of the Empire: Hobart Town Shakespeare, 1864.
The Prompter's Place in Shakespearian Theatre –§– Of Dogges and Gulls: Sharp Dealing at the Swan (1597) ...and Again at St Paul's (1606) –§– Harold Scott, The Comus Court and the Choice Spirits' Assembly –§–Hungarian Rhapsodist: Ilka Pálmay's Recollections of Gilbert & Sullivan.
Hangings, Doors & Discoveries: Conflicting Evidence or Problematical Assumptions –§– The Macclesfield Theatre Company & Nineteenth Century Silk Manufacturers –§– Galsworthy's The Silver Box: A Granville Barker Rehearsal Book (1904).
The Playhouse of the Choristers of St Paul's c.1575-1608 –§– Musical Evidence for an Early Eighteenth-Century Revival of The Maid in the Mill at Lincoln's Inn Fields –§– 'Jack Sheppard' Plays and the Influence of Cruikshank.
William Vincent, Alias Hocus Pocus: A Travelling Entertainer of the Seventeenth Century –§– Garrick Papers in Hereford –§– Emma Sarah Lowe –§– William Poel to George Bernard Shaw.
Tarlton and the Sanguine Temperament –§– Stage Doors at the Globe –§– Circuit Theatres in Dorchester & Bridport 1793-1843 –§– Playwright In Extremis: George Dibdin Pitt Revisited –§– Patronage & the Arts: The John Lewis Partnership & the Royal Court Theatre.
The Music Hall at the Grapes Tavern, 1846-1882 –§– Songs, Sketches and Modern Life: Scottish Comedians 1900-1940 –§– Chekhov, the Rediscovery of Realism: Michel Saint-Denis' Productions of Three Sisters and The Cherry Orchard.
The Design of the Théâtre du Marais and Wren's Theatre Royal, Drury Lane: A Computer Based Investigation –§– William Poel's Globe –§– Tiring House Wall Scenes at the Globe: A Change in Style and Emphasis.
Davies' Bear-Baiting Ring, 1663: The Hope Restored? –§– The Macklin-Garrick Riots –§– New Light on Mother Goose –§– George Dibdin Pitt: Actor & Playwright –§– The Sub-Stage Equipment at Her Majesty's Theatre, London, and the "Phantom".
"Geometrical" Hinges and the Frons Scenæ of the Globe –§– A Smock Alley Prompt Book for Tyrannick Love –§– English Puppets and the Survival of Religious Theatre –§– London Actors in the 1740s-1760s: The Evidence of Robert Baker.
Itinerant, Roguish Entertainers in Elizabethan & Early Stuart Norwich –§– George Saunders & the Birmingam New Street Theatre –§– Johamma Schopenhauer's Journal: A German View of the London Theatre Scene 1803-5 –§– The Letters of George Devine to Michel Saint-Denis, 1939-1945.
The First Plays at the New Globe –§– "Enter a Throng of Citizens" Extras at the Royal Shakespeare Theatre –§–George Devine's Visit to Edward Gordon Craig –§– Colour & Decoration on 19thC Playbills. –§– New London Cast Listings, 1696-1737, with other additions and corrections to The London Stage.
Ariel's Costume in the Original Staging of The Tempest –§– A Legal Dodge in the Business Practices of the Original Globe & Drury Lane Theatres –§– "Abstracts & Articles": An Early Restoration Theatre Agreement –§–Pizarro, Bridges & the Gothic Scene –§– 'Ragging the Bard': Terence Gray, Shakespeare & Henry VIII.
Was Totus Mundus Agit Histrionem Ever the Motto of the Globe Theatre? –§– The Georgian Theatre in Sydney –§– Thomas Doggett at Cambridge, 1701 –§– An Unknown Backstage Painting: Nixon's "Peep Behind the Scenes, Covent Garden Theatre".
Theatre Notebook: the First Ten Years –§– Further Evidence of David Garrick's Portrayal of Hamlet from the Diary of Georg Christoph Lichtenberg –§– Benefit Play Selection at Drury Lane 1792-1769: The Cases of Mrs Cibber, Mrs Clive & Mrs Pritchard –§– Edmund Kean & Richardson's Theatre –§– Samuel Beazley & the Drury Lane Alterations of 1822.
Women on Stage: Historiography and Feminist Revisionism –§– Press > for History –§– A Magnificent Obsession: Harold Hobson & Waiting for Godot –§– "That Astonishing Clever Child": Performers and Prodigies in the Early Mid-Victorian Theatre –§– The Face of Villainy on the Victorian Stage –§– "Supers" at the Lyceum –§– Oscar Wilde's Contract for a New Play, 1900.
Kempe and Armin: The Management of Change –§– Vanburgh's Aesop –§– The Transformation of Susan: The Stage History of Douglas Jerrold's Black Eyed Susan 1829-1994.
Harry W. Pedicord, 1912-1994 (obit.) –§– Filling the Gaps: Further Comments on Two Performances of Nathum Tate's King Lear in 1701, their dates and cast –§– Receipts at Drury Lane: Richard Corss's Diary for 1746-47 Part I –§– Oswald Stoll: A Music Hall Pioneer.
"Suit the Action to the Word": An Early 17thC Allusion to Hamlet in Performance –§– A 1663 Cast List for The Alchemist –§– Receipts at Drury Lane: Richard Cross's Diary for 1746-47 Part II –§– More Theatre Items from the Newdigate Letters –§– Cecily Hamilton on Theatre: A Preliminary Bibliography.
Theatre Notebook & Theatre Research in Britain –§– Theatre Preservation since 1945 –§– Elizabethan Theatres: Fifty Years on –§– Turrets & Tiring Houses on the Elizabethan Public Stage –§– Late 17thC Royal Portraiture & Restoration Staging –§– The Eclectic Comic Genius of John Rich in The Necromancer –§– Kemble's Coriolanus& the Folger Painting: A Second Look.
Poussin's Coriolanus and Kemble's Roman Matron –§– Anatomy of a Theatrical Season for Covent Garden, 1758-59 –§– D'Arc's in Dublin –§– The Old Cross Music Hall –§– Oscar Wilde's Contract for A Woman of No Importance.
Another View of Macready –§– A Clean and Wholesome Entertainment: The One-Act Play and the Variety Stage –§– A Scene from the life of St. Edmund: Dramatic Representation in an English Medieval Alabaster –§–Computer Analysis of Restoration Staging, III, 1682-1694.
Shakespeare's Roles for Children: A Stage History –§– Casting the Coventry Weavers' Pageant –§– Charles II, The Theatre Patentees and the Actors' Nursery –§– An Opening at Leeds in 1873: Tom Taylor's Arkwright's Wife–§– Tom Taylor and Mr Davies of Warrington.
Commemorating Anne Oldfield –§– Dickens in the Circus –§– Computer Analysis of Restoration Staging I: 1661-1672 –§– William Hogarth's Theatrical Writings: The Interplay between Theatre, his Theories, & his Art –§– The Dove on a Cord in the Chester Cycle's Noah's Flood.
An Addendum to The London Stage 1660-1700 –§– Did the Apron Stage Retreat? –§– Flying Dragons & Dancing Chairs at Dorset Gardens: Staging Dioclesian –§– Three Loutherbourg Designs –§– A Collection & its Catalogue –§– Reminiscences in Retirement: Theatrical References in the Post Britannia Diaries of F. C. Wilton.
The Witts Illustration 1662 –§– Computer Analysis of Restoration Staging, II: 1671-1682 –§– New Light on Limelight –§– E. W. Goodwin's Articles on "The Architecture & Costume of Shakespeare's Plays" –§– Robert Eddison as a Collector –§– Casting & the Manager's Role in Sheridan's A Trip to Scarborough.
Ghostly Appearances: The Vision Scene in The Corsican Brothers –§– Book Carriers: Medieval and Tudor Staging Conventions –§– The Theatre at Richmond, Yorkshire: New Evidence and Conjectures –§– Neglected Sources of Nineteenth-Century Theatre History.
A Puppet's Power: George Alexander, Clement Scott, and the Replotting of Lady Windermere's Fan –§– An Intermediate Stage Level in the Elizabethan Theatre –§– 'William Poel's Staging of The Alchemist': Some Corrections.
The Revival of Theatre Outside London with Special Reference to the West Country, ~1700-1788 –§– New Technology in the Victorian Theatre –§– The Roman Mime & Medieval Theatre –§– The Lincoln's Inn Fields Playhouse in 1731 –§– The Stage History of Cibber's Xerxes.
Acting Style in the Ancient World –§– Memos to the Treasurer at Drury Lane, 1715-1730 –§– Sir Donald Wolfit's A New Way to Pay Old Debts.
"The Subject of Almost All Companies": A New Look at The Necromancer –§– Harlequinade Turn-Ups –§–Churches and Stages in Restoration and Eighteenth-Century Bristol.
"The Crowning with Thorns and the Mocking of Christ": A Fifteenth-Century Performance Analogue –§– How Old were the Children of Paul's? –§– New Light on Edith Craig.
Jugglers Celtic and Anglo-Saxon –§– Charles Dibdin's Entertainments –§– Playing at Revolution: The Politics of the O. P. Riots of 1809 –§– The Savoy Chorus.
The Builder of the Rose Theatre –§– Theatres in Totnes –§– Prince Hoare's Artist and Anti-Theatrical Polemics in the Early 1800s: –§– Mrs Inchbald's Contribution –§– William Poel's Staging of The Alchemist.
Anthony Denning Award –§– Mrs Ebbsmith's Bible Burning: Page Versus Stage –§– Restoring Shakespeare's Coriolanus: Kean Versus Macready –§– Christian IV and The Dutch Courtesan.
Research Grants 1989-90 –§– Zoffany's "Charles Macklin as Shylock" and Lord Mansfield –§– Early Playhouses at Liverpool –§– Professor Pepper's Ghost.
"Mr M" and the Bath Company: An Unfortunate Application –§– Mrs Inchbald's Egyptian Boy –§– Edmund Kean's Masonic Career –§– A Letter to John Stanley: A New Theatrical Document of 1712.
The Staffing and Finance of a Minor Theatre c.1827 –§– Planning Provincial Theatres Under the 1737 Stage Licensing Act –§– One Year of the Theatre Museum –§– Theatre and Video: National and International Perspectives.
Money on Audiences: The Impact of Shakespeare's Globe –§– Summer Theatre in London, 1661-1694 –§– John Rich & the Reopening of Lincoln's Inn Fields –§– A View of the New Theatre Royal, Bristol –§– The Spanish Dramatist Moratin & the London Theatres 1792-3 –§– A Footnote to Fratricide Punished.
Elizabethan and Jacobean Touring Companies –§– London Prompt Book for Belphegor and Measure for Measure–§– Edward Pigott: Eighteenth-Century Theatre Chronicler –§– New Information on the Playhouse in Wine Street, Bristol –§– Astley's Amphitheatre.
The Stage Manager Then & Now –§– Stage Managing the Brit: The Diaries of F. C. Wilton –§– Nahum Tate's Richard II –§– Hyder Ali; or The Lions of Mysore: The Adelphi Challenges Drury Lane –§– The Architect of the Garrick Theatre, London –§– Misleading Ladies. Two Biographies of Ellen Terry –§– Forty Years of Books: The Publications of The STR.
Editorial: Rebuilding the Globe –§– Stage Machinery at the Grand Theatre Llandudno –§– Counterweights in Elizabethan Stage Machinery –§– Art and Eighteenth-Century Acting style. Part I: Aesthetics.
Theatrical Business in the 1880s –§– Komisarjevsky's Three Sisters: The Prompt Book –§– A Note on the Dimensions of the Bridges Street Theatre –§– The Music for Durfey's Cinthia and Endimion –§– Charles Killigrew's Petition about the Master of the Revels' Power as Censor (1715) –§– Art & 18thC Acting Style. Part II: Attitudes.
The New Swan's First Season –§– Some Notes on Nell Gwyn's Stage Career 1663-1668 –§– Victorian Charity and Self-Help for Women Performers –§– Art and Eighteenth-Century Acting Style. Part III: Passions.
Nell Gwyn's Birthdate –§– The Problem with Pollux –§– Sketches for Scenery by Clarkson Stanfield: New Finds 1980-84.
Lighting at Hampton Court Theatre, 1718 –§– Moore's Gamster on the London Stage, 1771-1871 –§– The Royal Dramatic College Fetes –§– The National Theatre's Production of The Mysteries: Some Observations –§– A Reconsideration of the King's Company Casts in John Downes' Roscius Anglicanus.
The Theatre Royal, Leicester –§– The Opera House Petition of 1799 –§– "To the Oak, to the Oak!" The Finale of The Merry Wives of Windsor –§– An English Influence on Russian Revolutionary Festivals –§– Thespis's Poorest Chilcren: Penny Theatres and the Law in the 1830s –§– A North of England Marionette Theatre in the 1860s.
Charles Fleetwood's Debts –§– Plays at Christ Church in 1636: A New Document –§– Amateur Theatricals at Sir Percy Shelley's Theatre, Boscombe Manor –§– I Was Present at the Representation... –§– Thirty Years of Struggle: Entertainment in Provincial Towns Between 1840 and 1870. I –§– Manuscript Casts for Revivals of Three Plays by Shirley in the 1660s.
The Staging of The Castle of Perseverance: A Re-analysis –§– The Drudy Lane Actors' Petition of 1705 –§–Thirty Years of Struggle: Entertainment in Provincial Theatres Between 1840 and 1870. II –§– Theatre Items from the Newdigate Newsletters.
An Early Conflict Involving the Production of R. B. Peake's Presumption; or, the Fate of Frankenstein –§– The Staging of The Castle of Perseverance: Testing the List Theory –§– Acting in Ibsen –§– Elizabeth Bowtell & Elizabeth Davenport –§– Thomas Durfey's Cinthia & Endimion –§– Thirty Years of Struggle: Entertainment in Provincial Towns Between 1840 & 1870. III –§– Computer Databases for the Performing Arts: Tandem & International Bibliography of Theatre.
New Light on the Theatre From Wit & Mirth: or, Pills to Purge Melancholy –§– "An Awful Look Upward": Garrick's Advice on Delivering the Service of Common Prayer –§– The Troublesome Play: A Promptbook for Oroonoko –§– Stage Lighting at the Elizabethan and Early Stuart Courts –§– The Case of the Recusant Acrobat.
A First-Night Prologue for the New Theatre, Lincoln's Inn Fields –§– The Problem with Periaktoi –§– The Dyer's Hand in Rex Diabole –§– Obervations on the Backstage Area in the Restoration Theatre –§– Sunlight at The Globe –§– Patronage, Pleasure and Profit: A Study of The Theatre Royal, Leicester 1847-1900 –§– Records of Drama at Winchester and Eton 1397-1576, Part I.
Killigrew's Cap & Bells –§– Richard Norton & the Theatre at Southwick –§– "Refined Vivacity": The Acting of Leigh Murray –§– A La Langtry –§– A London Theatre Club in the 1950s: The Hovenden Theatre Club –§–Records of Drama at Winchester and Eton, 1397-1576, Part II.
Gallows Scenes on the Elizabethan Stage –§– Where Was Garrick's Prompter? –§– The Playhouse in Wine Street, Bristol –§– Arthur Savill, Stage Player –§– Robert Southey's Wat Tyler –§– Surviving Theatre Grooves –§– A Bibliography of Laurence Oliver's Life & Stage Career (I)–§– Horrible Flesh & Blood - A Rejoinder.
The Comte de Gisors in London, 1754 –§– Hampton Court Theatre, 1718 –§– Wires or Strings? –§–Komisarjevsky Directs Chekhov in London –§– Additional Players' Lists in the Lord Chamberlain's Registers, 1708-10 –§– A Bibliography of Laurence Olivier's Life and Stage Career (II).
Information on the Cockpit-in-Court from the Diplomatic Correspondence of Isaac Bartet, 1660 –§– An Edinburgh Promptbook from 1679-80 –§– The Season of 1782 on the Yorkshire Circuit –§– Jacobean Actors and the Great Hall at Gawthorpe, Lancashire –§– Edward Gordon Craig Exhibition –§– Henry Carey's "Missing" Music to Hamlet 1736 –§– Richelieu at the Theatre Royal, Dublin, 1839 –§– A Footnote to the Memoirs of Leonora Whiteley.
he Children of Paul's and their Playhouse –§– Shakespeare, Tate, and Garrick: New Light on Alterations of King Lear –§– Theatrical Competition and the Rise of the Afterpiece Tradition 1700-24 –§– The Forgotten Theatres of Furness.
Winston's Braham Scrapbook –§– English Musical Theatre 1830-1900 –§– "An Unholy Alliance": William Poel, Martin Harvey and The Taming of the Shrew –§– Alfred Thompson, 1831-1895: A Forgotten Talent –§– "Gone Aloft"; Charles Dibdin's Monument.
The Nature of the Dorset Garden Theatre –§– John Philip Kemble and the Critics –§– Henry Laneman –§–Serlio's Theatre and Perspective Scenes –§– English Musical Theatre 1830-1900: Indexes.
Some Restoration Playgoers –§– Françoise Marguérite de L'Epine: The Italian Lady? –§– Of Der Freischutz, Ducrow and his Stag Salamander –§– An Annotated Guide to the Theatrical Documents in PRO LC 7/1, 7/2 & 7/3 (cont.).
An Elegy on the Death of Mr Joseph Haines, 1701 –§– Additional Entries to Arnold Hare, The Georgian Theatre in Wessex (1958) –§– Thomas Holden in Athens.
Filippo Corsini & the Restoration Theatre –§– Offenbach in English: A Checklist –§– "If These be Truths - Farewell to Falsehoods": James Winston's Pedigree –§– Edward Saker's Revivals & Charles Kean: An Addendum –§– The Introduction of Perspective Scenery & its Effect on Theatre Forms, I –§– Production of Chekhov's Plays in Britain Before 1914.
Stagecraft in the York Cycle –§– Dorset Garden Theatre: Playhouse or Opera House? –§– The Introduction of Perspective Scenery & its Effect on Theatre Forms, II –§– Lighting on the 18thC London Stage: A Reconsideration –§– Folger "Jul. Caes. 8": A Covent Garden Promptbook.
The Medieval English Stage: A Graffito of a Hell-Mouth Scaffold –§– Garrick's Palace of Armida: A Neglected Document –§– Two Gas Plates –§– J. B. Fagan: Shakespearean Producer.
The Dorset Garden Theatre: A Review of Facts and Problems –§– Players of the Coopers' Pageant from the Chester Plays in 1572 and 1575 –§– Ellen Terry's Rehearsal Copy of King Lear –§– The First Performance of Ibsen's Ghost, or Toole-up-to-Date.
The Early History of the Restoration Theatre: Some Problems Reconsidered –§– The Songs for Katherine Philips' "Pompey" (1663) –§– Early Shakespearean Productions by the Abbey Theatre –§– The Orientation of the Elizabethan Stage: "That Glory to the Sober West".
Henry Irving's Artistic Use of Stage Lighting –§– Bigotry and the Bard; the Case of the Sheffield Shakespeare Club –§– The Staging of "The Creation of the World" –§– Dramatic Records of Mettingham College, Suffolk, 1403-1527.
Players and Playing at Thetford and Nearby 1498-1540 –§– Tate Wilkinson's Costume Notebook –§– Some Comic Circus Entrées –§– Dion Boucicault and Benjamin Webster –§– Irving and Chaliapin.
Demonic Imagery in the English Mystery Cycles –§– Another Elizabethan Stage –§– The Remains of the Old Theatre, Wisbech –§– The Duke's Company's Profits, 1675-1677.
Shakespeare in Liverpool: Edward Saker's Revivals, 1876-81 –§– Canadian Evaluation of Edmund Kean –§–Sunlight & Sleight-of-Hand in Medieval Drama –§– More Restoration Manuscript Casts & Dates & New Restoration Promptbook –§– Thornton Circuit 1784-1817.
Cyril Beaumont –§– That Enterprising Property Player: Semi-Professional Drama in Sixteenth-Century England –§– George Frederick Cooke's Early Years in the Theatre –§– From the Artificial Towards the Real: The Acting of William Farren –§– The Shakespearean Productions of Lewis Wingfield, 1883-90. NB: Uniquely, all three issues in this volume have the page range 1-48
The King's Players at Stratford-upon-Avon, 1622 –§– The "Game Place" and "House" at Great Yarmouth, 1493-1595 –§– The "First" Playhouse Bill: A Stage Ghost –§– The Ingenious Squire: New Aspects of Isaac Pocock (1782-1835) –§– "Disillusioned Bards and Despised Bohemians": Michael Field's A Question of Memory at the Independent Theatre Society –§– E. W. Godwin and the Theatre –§– A Juvenile Drama Collection –§– The National Museum of Music Hall. NB: Uniquely, all three issues in this volume have the page range 1-48
A Brief Description of the Frank Pettingell Collection of Plays in the University Library, Canterbury, Kent –§–Platforms and Picture Frames: A Conjectural Reconstruction of the Duke of York's Theatre, Dorset Garden, 1669-1709 –§– Manuscript Casts for Revivals of Shadwell's "The Libertine" and "Epsom Wells" –§– Pre-1642 Cast-Lists and a New One for "The Maid's Tragedy" –§– Helen Faucit and Ellen Terry as Portia. NB: Uniquely, all three issues in this volume have the page range 1-48
Enter a Phonograph –§– The Middle of the Yard, I: A Second Inner Stage? –§– The Standfield Brothers –§– The Elizabethan Soliloquy - Direct Address or Monologue –§– A Theatrical Contract of 1773-1774 –§– Nineteenth-Century Theatrical Machinery in the Theatre Royal, Bath –§– Nineteenth-Century English Dramatists in Australia.
Waxworks as a Source of Theatrical Iconography: Madame Tussaud's and the 19thC British Stage –§– A Lupino Collection of Costume Designs –§– The Source of the "Fulgens" Woodcut –§– The Middle of the Yard, II: The Calculation of Stage Sizes for English Renaissance Playhouses –§– Tony Aston's "Medley's" –§– Tradition and Innovation in Harley Granville Barker's "A Midsummer Night's Dream" –§– Thomas Arne to David Garrick, an Unrecorded Letter. NOTE: nos 2 & 3 of vol. 30 were originally produced bound together as one, and are only available in that format - the price, however, remains as for a single issue.
Two Notes on Helen Faucit –§– The Kemble Family: A Genealogical Record, 1704-1925 –§– Inigo Jones and Amerigo Salvetti: A Note on the later Masque Designs –§– Nineteenth-Century Theatre Music –§– E. W. Godwin and the Bancrofts.
The Circus at Vauxhall Gardens –§– Thomas Shaftoe Robertson & The Theatric Tourist –§– Spouting, Spouting Clubs & Spouting Companions –§– Derby Figures of Richard III –§– An Early 18thC Cast List for Shakespeare's Julius Caesar –§– Hannibal & Scipio (1637): How "The Places Sometimes Changed" –§– John Philip Kemble as King John: Two Scenes –§– An Annotated Census of Thomas Betterton's Roles, 1659-1710, I.
The Clare Sheridan MSS in the British Theatre Museum –§– The Anatomy of the Early Restoration Stage: "The Adventures of Five Hours" & John Dryden's "Spanish" Comedies, I –§– The Second Sans Souci Theatre (1796-1835) –§– Tree's Shakespeare Festivals (1905-1913) –§– An Early 17thC Provincial Playhouse –§– An Annotated Census of Thomas Betterton's Roles, 1659-1710, II.
Theatrical Records of the London Guilds, 1655-1708 –§– The Anatomy of the Early Restoration Stage: "The Adventures of Five Hours" & John Dryden's "Spanish" Comedies, II –§– The Architect of Dorset Garden Theatre –§– Angelic Imagery in the English Mystery Cycle.
An Amateur Among Professionals, "When I Performed Othello!" –§– Early Cast Lists for Two Beaumont and Fletcher Plays –§– The Lyceum Staff: A Victorian Theatrical Organisation –§– The Duke's Company in 1667 –§–Community Theatre in Late Medieval East Anglia.
E. J. Longley and the Editorship of The Theatric Tourist –§– On Editing Synge's Letters –§– The First Sans Souci Theatre (1791-1796) –§– The Staging of the Medieval Plays of Chester: A Response –§– The Beaux Stratagem on the 19thC London Stage –§– Jonson's Borrowing.
Monsieur Marcade –§– John Hodgkinson in the English Provinces, 1765-1792 –§– The Prices - An Anglo-Continental Theatrical Dynasty –§– The Stage Plan of The Castle of Perseverance –§– Capon, the Royal Circus and The Destruction of the Bastille –§– Some Notes and Queries about Theatrical Entries in New CBEL and English Theatrical Literature 1559-1900.
Macbeth in the Eighteenth Century: Should the Ghost of Banquo Appear on the Stage? –§– A Tribute to Helen D. Willard Curator, Harvard Theatre Collection, 1960-1972 –§– Interpolation of the Text of Everyman –§– John Hippisley's Earliest Farce –§– Scene Designs by Hodgins the Younger –§– Henry Irving and Laurence Olivier as Shylock –§– Was John Rich Illiterate?
The Scheduling of the Chester Cycle Plays –§– Neo-Classical Scenery in England: A Footnote to the Exhibition of "The Age of Neo-Classicism" –§– A Further Decade of English Opera 1961-1970: A Supplementary List of Operas Commissioned for Television and Radio –§– Thomas St. Serf (Sydserf) 1624-1669.
J. T. Haines in Manchester, 1828-29 –§– The Second Blackfriars: The Globe Indoors –§– Perspective Scenery and the Caroline Playhouses.
Theatrical Warfare, 1695-1710 –§– Production and Adaptation of William Sampson's The Vow Breaker (1636) in the Restoration –§– New Restoration Manuscript Casts –§– James Shirley and the Caroline Masques of Ben Jonson.
The Olympic Theatre and the Windsor Theatrical Scandal –§– Scene-Painting aat the Norwich Theatre 1758-1799 –§– The Origin of the London Academy of Music and Dramatic Art –§– A Revival of The Way of the World in December 1701 or January 1702 –§– Stage Directions in the Tudor Interlude.
The Olympic Theatre and the Windsor Theatrical Scandal –§– Scene-Painting aat the Norwich Theatre 1758-1799 –§– The Origin of the London Academy of Music and Dramatic Art –§– A Revival of The Way of the World in December 1701 or January 1702 –§– Stage Directions in the Tudor Interlude.
Staging of the Ascension in the Chester Cycle –§– "Walking and Wending": Mankind's Opening Speech –§– The Early Career of Frank Matcham, Part III –§– Theatre Material in the John Johnson Collection of Printed Ephemera, Bodleian Library, Oxford –§– "Enter Macduffe; with Macbeth's Head".
A Note on the Use of Scenery at the Cockpit-in-Court –§– Lamps for Garrick's Footlights –§– Vanbrugh and Opera at the Queen's Theatre, Haymarket –§– The Tiring-House Wall and the Galleries in the Second Blackfriars: Two Points in Dispute –§– New Exhibits at the Victoria and Albert Museum –§– Originality in Shakespeare Production –§– New Light on the Juvenile Drama.
Pinero the Actor –§– Pinero's Professional Dramatic Roles, 1874-1884 –§– New Early 18th Century Performances and Casts –§– Gordon Craig and Bach's St Matthew Passion –§– Somerset Maugham's Perfect Gentleman, 1912-13
The Winston Diaries –§– Mossop as Wolsey –§– The Theatre Royal, Bridges Street. An Architectural Puzzle –§–The First Night of Charles Kean's The Tempest - From the Notebook of Hans Christian Andersen –§– A Sadler's Wells Problem Picture –§– William Bodham Donne. Some Aspects of his Later Career as Examiner of Plays.
The Winston Diaries –§– Mossop as Wolsey –§– The Theatre Royal, Bridges Street. An Architectural Puzzle –§–The First Night of Charles Kean's The Tempest - From the Notebook of Hans Christian Andersen –§– A Sadler's Wells Problem Picture –§– William Bodham Donne. Some Aspects of his Later Career as Examiner of Plays.
F. R. Benson's Early Productions of Shakespeare's Roman Plays at Stratford –§– The London Stage Information Bank –§– Elliston's Coronation Spectacle, 1821 –§– The Staging of The Conversation of Saint Paul –§– The Saracen's Head, Islington: A Pre-Elizabethan Inn Playhouse.
Inigo Jones's Scenery for The CID –§– The Catch on the Eighteenth-Century Stage: A Consideration of Two Burlettas –§– The Mrs Siddons of Sydney, part I –§– Frank Matcham's Early Career, part I.
The Mrs Siddons of Sydney, part II –§– The Old Prince of Wales Theatre: A View of the Physical Structure –§– A Further Decade of English Opera, 1961-70 –§– The Career of Frank Matcham, part II.
The Shakespeare Promptbooks: First Supplement –§– Was There a Medieval Theatre in the Round, part II –§–The Half-Price Riots of 1763 –§– Managers of the Old Prince of Wales's Theatre –§– "Wrapt in a Canapie".
Jo Haynes, "Infamis" –§– The Posthumous Career of George Frederick Cooke –§– Pinero's Letters in the Brotherton Collection of the University of Leeds –§– John Howard Payne, Playwright with a System –§– The Brome Hall Commonplace Book.
Audience Involvement in the Tudor Interlude –§– Command Performances During the Reign of Queen Anne –§–The Lyric Theatre, Hammersmith –§– Medieval Stage Decoration: That Apple Tree Again –§– The Hamlet of Robert Wilks.
Three Notes on the Theatre at Pauls, c.1569-c.1607 –§– The Popularity of Various Types of Entertainment at Lincoln's Inn Fields and Covernt Garden Theatres, 1720-1733 –§– Early Nineteenth-Century Revisions of Love for Love.
Changeable Scenery for Plays on the Caroline Stage –§– Two Comic Opera Scene Designs –§– Macready, Helen Faucit, and Acting Style –§– John Philip Kemble's Coriolanus and Julius Caesar. An Examination of the Prompt Copies.
Popular Entertainment in Seventeenth-Century Scotland –§– Samuel Phelps's A Midsummer Night's Dream, Sadler's Wells, October 8th, 1853 –§– The Contention for Bussy D'Ambois, 1622-41.
An Appreciation of Ifan Kyrle Fletcher –§– The London Theatrical Agent –§– Laura Keene and Edwin Booth in Australia –§– Alexander Johnston, Machinist –§– Salisbury and the Blackfriars Theatre.
Lee Moreton: The Debut of a Theatre Man –§– Was There a Medieval Theatre in the Round?: A Re-Examination of the Evidence, part I –§– The James Street Theatre at the Old Tennis-Court –§– Some New Larpent Titles.
Charles Macklin: Appearances Outside London –§– Charles Ricketts and the Theatre –§– Topless in Jerusalem –§– The Terrys and Godwin in Bristol.
The Disappearance of the New Royal Brunswick Theatre: or, the Mystery of the Iron Roof –§–Stephen Joseph - An Inspired Teacher –§– Kemble and Mrs Siddons in Macbeth: The Romantic Approach to Tragic Character –§–George Freedley –§– Two Craig Exhibitions –§– A Craig Illustration.
A Victorian stage Manager: George Cressall Ellis –§– Little Known Theatrical Prints of the Eighteenth Century –§– A Note on the Plans for the National Theatre –§– Edmund Kean on the Art of Acting –§– Indiana University Acquires New Collection of Nineteenth-Century Plays.
The Coquette-Prude as an Actress's Line in Restoration Comedy During the Time of Mrs Oldfield –§– The Brome Hall Commonplace Book –§– Thomas Holcroft, George Coleman the Younger, and the Rivalry of the Patent Theatres –§– "From the London Theatres".
Theatre Notebook Birthday Tribute –§– Prompt Book's Progress –§– London Theatres, 1776-1800 –§– Study of Drama in British Universities, 1945-1966 –§– Costume Research in the Last 21 Years –§– Juvenile Drama & Puppetry Research –§– Theatre Preservation & Design –§– English Opera Research –§– A Museum in the Making –§– Historical Research & the Circus –§– The Post-War Contribution to the History of British Ballet.
The Periodicity of The Theatric Tourist –§– Kemble's Production of Macbeth (1794) –§– Max Beerbohm's Drawings of Theatrical Figures (I).
Max Beerbohm's Drawings of Theatrical Figures (II) –§– Falstaff on an Eighteenth Century Battlefield –§–Staging the N-Town Cycle, part I.
The Victoria and Albert Ballet Exhibition and Catalogue –§– Staging the N-Town Cycle, part II –§– Sheridan-Linley Documents –§– An Act Drop at Bath –§– Max Beerbohm's Drawings of Theatrical Figures (III) –§–Christopher Wren's Theatre Royal.
The Formation of the London Patent Companies in 1660 –§– De Loutherbourg and Pizarro, 1799 –§– The Village Lawyer by Samuel de Wilde –§– A Diary by Samuel de Wilde –§– A Checklist of Scene Painters Working in Great Britain and Ireland in the 18th Century, S-Z.
The N-Town Plays at Lincoln –§– A Checklist of Scene Painters Working in Great Britain and Ireland in the 18thC, Additions and Corrections –§– The Swan Theatre in the 16th Century –§– A Provincial Strolling Company of the 1760s –§– Theatre Royal, Weymouth, c.1802.
Malcolm Morley –§– Mrs Tofts, 1685? - 1756 –§– Scene Painters at the London Theatres in the 18th Century –§–William Poel's First Full Platform Stage –§– Folger Library Manuscripts Relating to The Theatric Tourist.
Arthur Murphy's Long Lost Englishman from Paris: A Manuscript Discovered –§– Three Early Eighteenth-Century Promptbooks –§– Actor-Über-Marionette –§– Edward Alleyn, Actor and Benefactor –§– De Loutherbourg and Pizzaro, 1799.
A Checklist of Scene Painters Working in Great Britain and Ireland in the 18th Century, A-C –§– A Transparency by Thomas Greenwood the Elder –§– The Pantomime Olio and Other Pantomime Variants –§– More on the Minor Theatre –§– Covent Garden Auction Sale, 1856 –§– The Rehearsal of an Opera.
The Frontispiece to Eccles's Theatre Musick 1699 –§– A Checklist of Scene Painters Working in Great Britain and Ireland in the 18th Century D-H –§– More Drawings for Winston's Theatric Tourist –§– St Vincent Troubridge, Soldier and Scholar, 1895-1964 –§– Unrecorded Performances in London About 1700.
Tom Taylor: Manuscript Plays –§– Dandyism in the Regency Pantomime –§– A Picture of Salisbury Court Theatre –§– A Checklist of Scene Painters Working in Great Britain and Ireland in the 18th Century, I-L.
Cartoons of Theatrical Interest appearing in "Vanity Fair" –§– A Checklist of Scene Painters Working in Great Britain and Ireland in the 18th Century, M-R –§– Staging of Plays at the Phoenix in Drury Lane, 1617-42.
Eccles and Congreve: Music and Drama on the Restoration Stage –§– The Edinburgh Theatre, 1668-1682 –§–Players' Lists in the Lord Chamberlain's Registers
Biographical Notes on Some Restoration Actresses –§– Notes on The Recruiting Officer –§– The British Theatre Museum –§– The Eidophusikon Illustrated –§– The Mummers' Play –§– The Enthoven Purchase Fund - The First Ten Years.
The Theatre Proprietor's Story –§– Wren's Restoration Playhouse –§– The First Strand Theatre –§– The Symposium at Stcokholm, 1960.
The Minor Theatre in Catherine Street –§– A Poem on Dorset Garden Theatre –§– Hiram Stead –§– The Royal West London Theatre A New Theatre Royal in St. Helens –§– Early Lyceum Theatres.
Strolling with Coysh –§– A Whichelo Drawing & its Derivative –§– The Physical Representation of African Characters on the English Stage During the 16th & 17thC –§– Theatre Exhbitions at the Bibliotheque Theque Nationale –§– Benjamin Wyatt on the Arena Theatre.
Sheridan and Whitbread at Drury Lane, 1809-1815: I. Whitbread's Management, 1809-1815 –§– The Alchemiston the Stage –§– Dr William van Lennep –§– British Playbills Before 1718 –§– The Glastonbury Festivals, 1914-1926.
Sheridan and Whitbred at Drury Lane, 1809-1815, Pt II –§– Strindberg in England, (-1947) –§– Scotland's First Dramatic Periodical: The Edinburgh Theatrical Censor –§– William Capon's Plan of Goodman's Fields Theatre, 1786-1802 –§– The Monmouth and Portsmouth Troupes.
William Poel's Elizabethan Stage: the First Experiment –§– A Note on the New Theatre now being built for the London Academy of Music and Dramatic Art –§– A Portrait of Thomas Barry –§– The New Strand Theatre –§–New Restoration Theatre Accounts 1682-1692.
Macready Prompt-Books –§– A "Round" Outside Cornwall –§– Plays on the English Stage –§– Entertainment for the Grand Duke of Tuscany.
Michael Edkins, Painter –§– The Palace Grand Theatre, Dawson City –§– More Theatre Notes from the Newdigate Newsletters –§– Three Notes on the Medieval Theatre.
A Theatre in York House –§– Burlesques of Charles Kean's Winter's Tale –§– An Opera House Account Book –§– The Re-creation of a Theatre –§– New Papers of Henry Holland and R. B. Sheridan: (I) Holland's Drury Lane.
The Stage Furnishings of George Chapman's The Tragedy of Charles Duke of Biron –§– New Papers of Henry Holland & R. B. Sheridan: (II) The Hyde Park Corner Operas & the Dormant Patent –§– Private Theatricals at Bowmen's Lodge, Dartford –§– The Death of the Red Bull.
Actor's Wills –§– Unlisted Ballets –§– The Earliest Hamlet Prompt-Book in an English Library –§– Two Designs by the Elder Thomas Greenwood in 1777 –§– The Play of Daniel Produced by the New York Pro Musica.
Mrs Frances Brooke: Dramatic Critic –§– The Nineteenth Century Stage at Piper's Opera House –§– Mirror Curtains –§– A Sadler's Wells Scene Book.
Theatre Notes from the Newdigate Newsletters –§– The Originas of Medieval Theatre in the Round –§– Some Covent Garden Scenes –§– Theatre Royal, Hobart: Australia's Oldest Theatre.
Sir Barry Jackson –§– A Decade of English Opera, 1951-60 –§– Mrs Fiske Papers –§– A Shakespearian Droll? –§– William Schwenck Gilbert: An Anniversary Survey.
Processions and Coronations on the London Stage, 1727-1761 –§– New Theatre Problems and the Guildhall School –§– Capon, Holland and Covernt Garden.
More About the Royal Kent Theatre –§– Eighteenth Century Theatrical Illustrations in the Light of Contemporary Documents –§– A Early London Playbill –§– The Nineteenth-Century Matinée –§– Documents Relating to Company Management, 1705-1711 –§– Playbills & Programmes in Guildhall Library.
The Rehearsal of an Opera –§– The Shakespeare Birthplace Trust, Stratford-upon-Avon: Proposed New Library and Headquarters –§– The Fairy Queen at Nottingham –§– Report on Two Georgian Theatres.
University of Southampton's Nuffield Theatre –§– Drama at London Bridge –§– Statues, Busts, Momuments and Wax Portraits of Theatrical Interest –§– Capon and Goodman's Fields –§– An unrecorded Theatrical Portrait.
Edmund Simpson's Talent Raid on England in 1818 (3) –§– A Note on Henry Crabb Robinson's Reaction to J. P. Kemble and Edmund Kean –§– Two Drawings by Alexander Nasmyth –§– William Wilkins and the Bury St. Edmunds Theatre.
Early Theatrical Performances of Purcell's Operas: with a Calendar of Recorded Performances, 1690-1710 –§–Macklin's Costume and Property Notes for the Character of Lovegold: Some Traditional Elements in Eigtheenth-Century Low-Comedy Acting.
Medieval English Acting –§– The Lesser-Known Circuses of London –§– Private Theatricals in and near London, 1700-1737.
The Original Lady Randolph –§– The Royal Kent Theatre, Kensington –§– An Ipswich Theatre Book –§– Anne Bracegirdle's First Appearance –§– Three Centuries of Drama.
Marie Sallé –§– Lord Oxford's "Roxalana" –§– John Rich's "Proposals" –§– Two Westminster Theatres –§– W. J. Lawrence: a Handlist (XIII) –§– The Tempest at Stratford –§– Some Notes on Aaron Hill & Stage Scenery –§–Charlotte Clarke: An Unpublished Letter.
Players at Selby Abbey, Yorks, 1431-1532 –§– The China Statuettes of Quin as Falstaff –§– Sources of Information on 18th & Early 19th Century Theatres in Sussex –§– W. J. Lawrence: a Handlist (XIV) –§– Mr Green-Armytage & the London Museum –§– A Restoration Puppet Show.
Edmund Simpson's Talent Raid on England in 1818 (I) –§– The Manoel Theatre, Malta –§– Illustrations of Minor Theatres –§– Bristol University Theatre Collection.
The Shakespeare Memorial Library, Stratford-upon-Avon: Items of Interest to Research Members –§– Camargo in London, 1750-1754 –§– The Rainer Family in Porcelain –§– Edmund Simpson's Talent Raid on England in 1818 (II).
William Archer: Dramatic Critic, 1856-1924 –§– Madame Vestris: A Centenary Appreciation –§– A Project for an Iron Theatre –§– Prompt-Books in the Bute Collection of English Plays –§– Shakespeare in Scotland before 1760 –§– W. J. Lawrence: A Handlist, IX.
Henry Arthur Jones & Wilson Barrett –§– W. J. Lawrence: A Handlist, X –§– Portrait of a Celebrity –§–Wilhelm: A Noted Victorian Theatrical Designer –§– The S.P.C.K. & the Stage –§– The M. W. Stone Collection.
W. J. Lawrence: A Handlist XI –§– Robertson's Phantasmagoria in Madrid, 1821 (Part II) –§– Unpublished Stage Documents –§– Alfred Bunn, 1796-1860: A Revaluation.
Eighteenth-Century Actors in the D.N.B.: Additions & Corrections (2nd Series) –§– King Arthur at Nottingham: A Noteable Revival –§– Further Notes on the Porcelain Statuette of Richard III –§– W. J. Lawrence: A Handlist, XII –§– Charles Adams & John Gilbert Cooper.
W. J. Lawrence: A Handlist, V –§– Tennis Court Theatres in England and Scotland –§– Early Theatres in Marylebone –§– The Comedy Theatre –§– Another Gilbert "Borrowing" –§– The Authorship of Tit For Tat, A Manuscript Source for 18th-Century Theatrical History.
An 18thC Prompter's Notes –§– Two Titus Productions –§– Reconstruction of the Duke's Playhouse in Lincoln's Inn Fields, 1661-1671 –§– A Checklist of Books and Periodicals Written, Designs and Edited by Edward Gordon Craig –§– W. J. Lawrence: A Handlist, VI –§– Allan Wade, 1881-1955.
W. J. Lawrence: A Handlist, VII –§– A Glimpse Behind the Curtain –§– Notes on English Theatrical Performers in Spain: Part II (1583-1868) –§– A New Theory About the Swan Drawing –§– The Theatre Royal at Worcester –§– Some Notes on John Braham (1774?-1856) at the St James's Theatre –§– The Art of the Minor Theatres in 1860.
Photographing Old Theatres –§– Charles Reade & Dickens - A Fight Against Piracy –§– Notes on the Reconstruction of the Lincoln's Inn Fields Theatre –§– W. J. Lawrence: A Handlist, VIII –§– Scene Designs of William Capon –§– An English Scene Painter in America –§– The Society for Theatre Research Resumé of Presidential Address, 1956.
A Seventeenth-Century Indoor Stage –§– The Earliest Amateur Playbill –§– W. J. Lawrence: A Handlist, II –§–Early Multiple Settings in England –§– S. Bre., French Librettists at the Court of Charles II.
W. J. Lawrence: A Handlist, III –§– Parodies of Giselle on the English Stage (1841-1871) –§– Twelfth Night "In the Round".
Falstaff Hackett –§– W. J. Lawrence: a Handlist, IV –§– Roger Kemble's Company at Worcester –§– The Peer and the Players.
Robertson's Phantasmagoria in Madrid, 1821 (Part I) –§– W. J. Lawrence: A Handlist, V –§– Souvenirs de Théatre Anglais à Paris, 1827 –§– "The Siddons" in Dublin –§– The Abbé Prévost and the English Theatre, 1730-1740.
Notes on an Unpublished Garrick Letter, and on Messink –§– Mrs Sarah Gardner: A Further Note –§–Concerning Diagonal Curtain Tracks –§– English Plays in Worcester College Library –§– Was Hogarth a Scene Painter? –§– Hogarth: Prints of Scenes.
Notes on English Theatrical Performers in Spain: Pt I (1767-1817) –§– The Open Stage at Stratford-upon-Avon, Ontario –§– Public Night Performances in Shakespeare's Time –§– A Regency Cleopatra.
W. J. Lawrence: A Handlist, I –§– Dramatic Companies in the Provinces in the 16th & Early 17th Centuries –§–Dulwich College Library –§– Duke Street Theatre, Brighton, 1790-1806 –§– The Two Stages at Sadler's Wells –§– A Juvenile Drama Advertisement –§– Shakespeare & the Juvenile Drama.
The China Hall Theatre, Rotherhithe –§– Early Multiple Setting in England –§– Italian Comedians in England in the Seventeenth Century –§– Peter Nicholson and the Scenographic Art.
The Theatrical Notebooks of T. H. Wilson Manly –§– Doggett Dancing the Cheshire Round? –§– Bulletin of the Society for Theatre Research, no.17 –§– Notes on George Jolly's Stage in Frankfort-on-Main, 1648-1658 –§– The Cecil Sharp Library.
On the Origin of Foote's Matinées –§– Inigo Jones and Florimène –§– Correspondence on Opera Research.
The Dramatisation of Edwin Drood –§– Origins of British Theatre –§– Balfe and Barrymore at Milan –§– Pope in the Toy Theatre –§– Fitzball and Elliston (1820).
Mrs Sarah Gardner –§– French Troupes in England During the Restoration –§– Elizabethan Players in Sherborne –§– Punch's Opera at Bartholomew Fair –§– On the Bristol Symposium of 1951 –§– Bricks and Mortar.
Early Editions of The School for Scandal –§– The Smock Alley Theatre, Dublin: 1753-4 –§– The Chetwynd Manuscript of The School for Scandal –§– Rope Dancing at Sadler's Wells, 1795 –§– Making Gay Rich, and Rich Gay –§– Illustrations of 20th-Century London Theatres.
The Earliest Known English Playbill –§– The W. Somerset Maugham Collection of Theatrical Paintings –§– A Note on the Reconstruction of Farce Jigs –§– The Covent Garden Archives –§– A Portrait of William West.
A Performance at Seaton Delaval Hall in 1790 –§– Colour in the Elizabethan Theatre –§– The Stratford Collections –§– Some Pseudonyms of Dramatic Authors, 1800-1900.
Kean's Portrayal of Cardinal Wolsey –§– A Japanese Theatre Exhibition –§– Theatre Research and Opera.
The Four Cardynal Vertues –§– The British Drama League Library –§– An Unrecorded Portrait of Edward Alleyn –§– Lincoln's Inn Field, 1704-1705 –§– The Wardrobes of Lincoln's Inn Fields and Covent Garden –§– Thomas Goffe and The Careless Shepherdess.
Irving's Macbeth –§– De Witt Again –§– Scenery at the Book League –§– Pantomime –§– The Angiolini Family –§– Early West Plates –§– The Juvenile Drama Artists –§– The Theatre in Kington, Herefordshire.
The Career of George W. Lovell –§– The Picture-Frame Proscenium of 1880 –§– Irish, Welsh, and Scottish Stage Costume before the Interregnum –§– A Note on the Staging of String Puppets in the 17th & 18th Centuries –§– A Centenary of the Panorama.
The Tudor Actor –§– The Remains of the Fisher Theatres at Beccles, Bungay, Lowestoft, and North Walsham –§–Oral Tradition in the Theatre –§– Shepherd's Market Theatre and May Fair Wells –§– Illustrations of 20th-Century London Theatres.
An Unpublished Letter of Dauberval –§– Theatrical History at the London Museum –§– The Regulations of a 19th Century Theatrical Booth –§– Progress at Richmond, Yorkshire –§– The Remains of the Theatres at Ashby-de-la-Zouch and Loughborough –§– The Theatre-Remains at Wisbech –§– Early XIXth Century Plays - 5.
Genest's Additions and Corrections to The English Stage –§– Two Provincial Theatre Manuscripts –§– An Early West Sheet? –§– The Sans Souci Theatre –§– A West Artist –§– The Origin of The Theatric Tourist –§– Early XIXth Century Plays - 6 –§– The Case of Mr Lee Moreton.
Cornish Plays and Playing Places –§– The Theatre in Yarmouth –§– Adelphi Advertising in 1862 –§– The Problem of A.B.'s Theatre Drawings –§– The Irving Collection –§– Four Dancers Named Angiolini –§– The Scene Plot of The Change of Crownes –§– Early XIXth Century Plays - 7.
The Macready Prompt-Books at Bristol –§– Early XIXth Century Plays - 8 –§– Westminster and the USA –§–The So-Called View of New York's John Street Theatre –§– Joseph Austin and His Associates, 1766-89.
The Enthoven Collection –§– Concerning a Georgian Proscenium Ceiling –§– Early 19th-Century Plays.
Notes on St George's Hall, King's Lynn –§– John Speed's Theatre –§– Early 19th Century Plays - 2–§– Montague Summers.
The Shakespeare Memorial Library, Birmingham –§– The "Houses" of the Westminster Play –§– Early 19th Century Plays - 3.
Notes for the History of Juvenile Drama –§– Stage-Directions in a 17thC Copy of Shirley –§– The New Wells, Goodman's Fields, 1739-1752 –§– Ackermann's Microcosm of London –§– The Arena Theatre in English History –§– Early 19thC Plays - 4.
Puppet Theatres in London, 2 –§– Observations on Landsdowne MS, no.1171 –§– Late XVIIIth Century Plays.
Notes on Pantomime –§– A Query on Three Costume Figures –§– An Eighteenth Century Theatrical Agreement –§– Photographs of Theatrical Productions, 2 –§– Early Dutch Librettos & Plays with Music in the British Museum –§– "Maria Marten" - an Early Version.
The Discovery of Thomas Lediard –§– The Career of Thomas Lediard –§– Lediard and Early 18th Century Design –§– Notes on the Hamburg Opera –§– Jonathan King's Juvenile Drama Coll. –§– Photographs of Theatrical Productions, 3.
Welsh Interlude Players of the Eighteenth Century –§– Pictorial Records of Provincial Theatres –§– Théodore de Banville and the Hanlon Lees Troupe –§– A Worcestershire Company –§– "Maria Marten" - a note.
Juvenile Drama and J. H. Jameson –§–An Unrecorded Drama?
John Ward, Stroller –§– The Dramatic Library of the Old Theatre Royal, Birmingham –§– Player in Action –§–The Technique of Acting –§– The Theatre Royal, Newcastle-upon-Tyne –§– Illustrations of Theatres –§– On Listing Theatres –§– The Oxford Drama Commission.
A Note on Some Letters of the Elder Mathews –§– A Midsummer Night's Dream Music in 1763 –§– Early XIXth Century Plays –§– Unrecorded Plays Published by William West –§– On Listing Theatres.
William Blake and the Juvenile Drama –§– Early XIXth Century Plays –§– Acting and Rhetoric –§– Fishamble St. Theatre, Dublin –§– Harlequinades –§– On Listing Theatres.