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IV. New Attribution Evidence
The Beau Defeated (ca. mid-March 1700, Lincoln's Inn Fields; LS 1.526)
Nicoll (II.349) and the editors of the Annals assign this comedy to Mary Pix.[28] "Whincop," however, attributes the play to one "Barker" (p. 169). The play was published anonymously (London, 1700?).
The Gentleman-Cully (August 1701, Drury Lane)
The London Stage (2.i.12) and many other sources give Charles Johnson as the author of this comedy, but a convincing case is made against Johnson's authorship by Maurice Shudofsky, Modern Language Notes, 55 (1940), 396-400. The play was published (London: A. Bettesworth & R. Wellington, 1702).
The Stolen Heiress (31 December 1702, Lincoln's Inn Fields)
Susanna Centlivre is identified as the author in The London Stage (2.i.30), but Tom Brown states in "A Criticism on Modern Plays, being a Continuation of Mr. Congreve's Essay upon Comedy, in a Letter to Mr. Dennis" (volume IV in Works [1707-09]), "For no sooner was Swansen hang'd for stealing an Heiress, but out sends Mrs. Pix a play call'd The Stolen Heiress stolen from an old play call'd The Heiress" (237).[29] The published edition (London: William Turner and John Nutt), advertised in the Post-Boy for 16 January 1703, provides no clues.
A Woman Will Have Her Will (24 February 1713, Drury Lane)
The author is unknown (see LS 2.i.296), and the play is apparently unpublished. The music as composed by John Eccles did see print. See BUCEM, I, 310.
The Bulls and Bears (2 December 1715, Drury Lane; LS 2.i.379)
Evidence from Breval's The Confederates (1717) and the anonymous The Stage-Pretenders (1720) strongly suggests that this unpublished afterpiece is by Colley Cibber.[30]
The Loves of Mars and Venus (2 March 1717, Drury Lane; LS 2.i.439)
John Weaver states in The History of Mimes that this piece is his own. The pantomime was published (London: W Mears and J. Browne, 1717).
The Jealous Doctor (29 April 1717, Lincoln's Inn Fields; LS 2.i.448)
"Lun," i.e., John Rich, is the author identified by Weaver. The piece went unpublished.
Harlequin Executed (10 May 1717, Lincoln's Inn Fields; LS 2.i.449)
Weaver also assigns this unpublished pantomime to "Lun," i.e., John Rich.
Harlequin Turn'd Judge (5 December 1717, Drury Lane; LS 2.ii.472)
John Weaver states in his History that this pantomime is his own. Nicoll asserts 1717 publication (II.374), but I have been unable to locate a copy.
Amadis (24 January 1718, Lincoln's Inn Fields; LS 2.ii.480)
This is another unpublished pantomime by "Lun," i.e., John Rich, according to Weaver. Christopher Rich, however, may have coauthored the piece: the Daily Courant for 7 February 1718 advertises that evening's performance as an author's benefit; and "Rich's Register" (as reported in LS 2.ii.481) for this date lists John and Christopher Rich as the recipients of the benefit.
The Lady's Triumph (22 March 1718, Lincoln's Inn Fields; LS 2.ii.488)
The title page states that "E. S." is the author, whom Nicoll (II, 354) identifies as likely being Elkanah Settle. The play was published (London: J. Browne and W. Harvey) as advertised in the Daily Courant for 16 May 1718.
No Fools Like Wits (10 January 1721, Lincoln's Inn Fields; LS 2.ii.608)
Presently assumed to be an alteration of Thomas Wright's The Female Virtuosos (May, 1693),[31] this play, according to Whincop, was actually a new adaptation done by John Gay (p. 185). The play's twisted publication history is yet to be sorted out.
The Escapes of Harlequin (10 January 1722, Drury Lane; LS 2.ii.657)
John Thurmond is identified by Weaver as the author of this unpublished pantomime.
Jupiter and Europa; or, The Intrigues of Harlequin (23 March 1723, Lincoln's Inn Fields; LS 2.ii.715)
"Lun," i.e., John Rich, is the author identified by Weaver. J. E. Galliard, Cobston, and Richard Leveridge were the composers. See BUCEM, I, 201; Fiske, p. 79. The pantomime is apparently unpublished.
It Should Have Come Sooner (30 July 1723, Drury Lane; LS 2.ii.731)
Mentioned by Francis Hawling as his own in his Preface to The Impertinent Lovers (1723). Cf., Nicoll, II, 335. This play was not published.
The Union of the Three Sister Arts (22 November 1723, Lincoln's Inn Fields; LS 2.ii.745)
J. C. Pepusch was the composer. The play text was unpublished, but the music saw print. See BUCEM, II, 768.
Harlequin Doctor Faustus (26 November 1723, Drury Lane; LS 2.ii.746)
John Thurmond has long been known as the author, but Fiske's evidence (p. 75) now shows that Barton Booth was a co-author and Henry Carey the composer. The play was published (London: W. Chetwood, 1723).
The Necromancer; or, Harlequin Doctor Faustus (20 December 1723, Lincoln's Inn Fields; LS 2.ii.751)
"Lun," i.e., John Rich, is identified as the author by Weaver. The music as composed by J. E. Galliard was published (see BUCEM, I, 288), and an "Exact Description" of the pantomime appeared in 1724 (London: T. Payne).
Harlequin Sheppard (28 November 1724, Drury Lane; LS 2.ii.797)
Fiske (pp. 75, 90) identifies Henry Carey as the probable composer. The pantomime was published (London: J. Roberts and J. Dodd, 1724).
Harlequin a Sorcerer: With the Loves of Pluto and Proserpine (21 January 1725, Lincoln's Inn Fields)
Fiske suggests J. E. Galliard as the composer (p. 75). The LS entry (2.ii. 806) attributes the pantomime to Lewis Theobald, but Weaver states the play is by "Lun," i.e., John Rich. The piece was published in 1725 (London: T. Wood).
Apollo and Daphne; or, Harlequin Mercury (20 February 1725, Drury Lane; LS 2.ii.810-11)
The edition of 1725 (London: J. Dodd) states that John Thurmond is the author, Richard Jones and Henry Carey the composers.
Apollo and Daphne; or, The Burgo-Master Trick'd (14 January 1726, Lincoln's Inn Fields; LS 2.ii.850)
Fiske (p. 75) identifies Lewis Theobald as the author and J .E. Galliard as composer. The pantomime was published (London: T. Wood, 1726).
The Miser; or, Wagner and Abericock (30 December 1726, Drury Lane)
John Thurmond is noted as the author in the LS entry (2.ii.900), but Fiske (p. 75) identifies Richard Jones as the composer. Publication took place in 1727 (London: W. Trott).
The Rape of Proserpine (13 February 1727, Lincoln's Inn Fields)
Conflicting attributions: The London Stage (2.ii.908) gives Lewis Theobald, but Weaver states "Lun," i.e., John Rich, was the author. Fiske (p. 75) states that J. E. Galliard composed the music. Published in 1727 (London: T. Wood).
The Provok'd Husband (10 January 1728, Drury Lane; LS 2.ii.954)
The authors have long been known as Sir John Vanbrugh and Colley Cibber, but we now know that Henry Carey was the composer, according to music published as listed in BUCEM, II, 164. The play was published by J. Watts (London, 1728).
Penelope (8 May 1728, Little Haymarket; LS 2.ii.975)
John Mottley was the author, as given in the LS entry (2.11.975). Thomas Cooke is now known as the composer as identified in BUCEM, II, 768. This "dramatic opera" was published (London: Tho. Green, 1728).
The Quaker's Opera (24 August 1728, Bartholomew Fair; LS 2.ii.985)
This ballad opera is attributed to Thomas Walker by Whincop (p. 299); cf., Nicoll, II, 363. The piece was published (London: Printed for J. W. and sold by J. Roberts, A. Dodd, and E. Nutt and E. Smith, 1728).
Perseus and Andromeda (15 November 1728, Drury Lane; LS 2.ii.998)
Fiske states "The managers . . . reengaged Weaver to revise what he had
Love in a Riddle (7 January 1729, Drury Lane; LS 2.ii.1006)
Fiske (p. 597) suggests Henry Carey as the composer of this "pastoral" authored by Colley Cibber. Publication by J. Watts (London, 1729).
Damon and Phillida (16 August 1729, Little Haymarket; LS 2.ii.1042[32])
Henry Carey was possibly responsible for this adaptation of Cibber's Love in a Riddle. See Burling, "New Light on the Colley Cibber Canon," PQ, 67 (1988), 121-122. This afterpiece was published (London: J. Watts, 1729).
The Clown's Stratagem (18 May 1730, Drury Lane; LS 3.i.61)
An advertisement in the Daily Post states that this play is "Written by the Author of the Contrivances," i.e., Henry Carey. It went unpublished.
Wat Tyler and Jack Straw (20 August 1730, Bartholomew Fair; LS 3.i.74) or Wat Tyler; or the State Menders (19 January 1733, Drury Lane; LS 3.i.265)
Sir Robert Henley is named as the author of Wat Tyler in The Dramatick Sessions (1734), p. 6. Whether this ascription refers to Wat Tyler and Jack Straw or to Wat Tyler; or the State Menders is unknown. Neither play was published.
Cephalus and Procris (28 October 1730, Drury Lane)
Roger is the author given in the LS entry (3.i.88), but BUCEM (I, 163) now gives us Henry Carey as the composer. Publication by J. Watts (London, 1733).
The Devil of a Duke (17 August 1732, Drury Lane)
Robert Drury is given as the author in the LS entry (3.i.226), but Seedo is now identified as the composer according to a notice on the last page of The Fancy'd Queen (1733). This afterpiece was published (London: Charles Corbett and John Torbuck, 1732).
A Wife Well Manag'd; or, Cuckoldom Prevent'd (17 August 1732, Totten-ham Court; LS 3.i.227)
This unpublished play is attributed to Henry Carey by Whincop (p. 185), but the title suggests that it may be a revival of Susanna Centlivre's farce, A Wife Well Manag'd, presented at the Little Haymarket 2 March 1724 but published in 1715 (London: S. Keimer).
The Disappointment (1732, Little Haymarket)
"John Randall," is a pseudonym for Henry Carey. See F. T. Wood, "The Disappointment," Review of English Studies, 5 (1929), 66-69. Earliest performance given in LS (3.i.405) as 8 July 1734, but see discussion above in
The Judgment of Paris; or, The Triumph of Beauty (6 February 1733, Drury Lane; LS 3.i.269)
John Weaver was the author and Seedo the composer as stated on the title page of the printed edition (London: J. Tonson, 1733). See further discussion above in Part II, "Unnoted First Performances."
The Stage-Mutineers (27 July 1733, Covent Garden; LS 3.i.310)
This play was written by Edward Phillips, who is given as the author in a list appended to Marivoux's La Paysan Parvenu (1735) as cited by Gagey (pp. 168, 234 n7). The play was published by R. Wellington (London, 1733).
Seramis (30 October 1733, King's; LS 3.i.331)
Deustch (p. 335) established that the libretto was by Pietro Metastasio with recitatives by G. F. Händel. Most of the music for this pasticcio was composed by Antonio Vivaldi. This opera was apparently unpublished.
The Happy Nuptials (12 November 1733, Goodman's Fields; LS 3.i.336)
Henry Carey was the composer, but the identity of the librettist remains unknown. This play was extensively revised and revived as Brittania, or, The Royal Lovers (11 February 1734, Goodman's Fields). See BUCEM, I, 163; Fiske, p. 173. This musical entertainment was published (London: Printed by H. W., 1733).[33]
Cupid and Psyche (4 February 1734, Drury Lane; LS 3.i.365)
The author is unknown, but the music was composed by J. F. Lampe. See BUCEM, II, 591; Fiske, pp. 160-61. This pantomime was published (London: J. Watts, 1734).
Squire Basinghall (23 July 1735, Lincoln's Inn Fields; LS 3.i.502)
This unpublished afterpiece was advertised as "Written by the Author of the Comedy" on the same bill, i.e., The Stage-Mutineers, the mainpiece with which it appeared. Thus the author would be Edward Phillips. (See discussion above for The Stage-Mutineers.)
The Royal Chace (23 January 1736, Drury Lane; LS 3.i.546)
J. E. Galliard was the composer according to BUCEM, II, 905. This "dramatic entertainment" was published by T. Wood (London, 1736).
The Beggar's Pantomime (6 December 1736, Lincoln's Inn Fields)
The London Stage (3.ii.621) does not indicate that this pantomime is the work of "Lun, Jr," i.e., Henry Woodward, as noted by Gagey (pp. 169, 242) and so listed in the NUC. Publication by C. Corbett and W. Warner (London, 1736).
Hymen's Triumph (1 February 1737, Lincoln's Inn Fields; LS 3.ii.635)
Fiske (p. 91) lists Richard Jones as the composer (author unknown). This afterpiece was apparently unpublished.
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