By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
An immense undertaking all 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" by means of Theatre and appearing Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a proficient singer whose renowned acclaim was once captured in strains through Samuel Phillips: "How are we pleas’d while beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we hearken to th’ inchanting tune, / And trap the falling Accents from her Tongue." the 1st singer of English delivery 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 optimum within the theatre. Her reputation declined, in spite of the fact that, as her calls for for money increased—a scenario captured in an epigram Alexander Pope could have penned: "So vibrant is thy good looks, so fascinating thy tune, / 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 company counseled by way of the equipment Cat membership (of which Vanbrugh used to be a member). even supposing his lavish layout used to be acoustically faulty, restructuring helped right the matter and the theatre finally grew to become the unique middle for opera in London.
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Additional info for A Biographical Dictionary of Actors, Volume 15, Tibbett to M. West: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800
Tillemans was especially skilled as a landscape painter, and works by him can be seen in such places as Chatsworth, Thoresbury House, and Knowsley House. He was a student at Kneller's academy and a teacher of William, Lord Byron, according to The Dictionary of National Biography. Mist's Weekly Journal on 10 August 1717 reported that Tillemans's musical picture of the royal court, with the muses above, was exhibited at the actor William Pinkethman's booth at Bartholomew Fair, and it was shown again in a room next to the Richmond Theatre in the summer of 1718.
Kathleen Barker places her at Bristol, playing pages, in 1776. The first time Miss Tidswell was mentioned in a London playbill was on 24 January 1783, when she played Scentwell in The Busy Body at Drury Lane Theatre. She went on that season to act Leonora in The Mourning Bride, Miss Flack in A Trip to Scotland, Isabella in The Revenge, Jenny in The Tender Husband, a Beggar in The Ladies' Frolick, a Chambermaid in The Clandestine Marriage, Lucy in The Adventures of a Night, and a Chambermaid in Imitation.
There was also a story that Mrs Tofts became mentally disturbed for a while. Her last stage appearance was probably on 21 May 1709 as Camilla. Steele wrote of Mrs Tofts, calling her Camilla, in the Tatler on 26 May, describing the distresses of the unfortunate Camilla who nas had the ill luck to break before her voice, and to disappear at a time when her beauty was in the height of its bloom. This lady entered so thoroughly into the great characters she acted, that when she had finished her part, she could not think of retrenching her equipage, but would appear in her own lodgings with the same magnificence that she did upon the stage.