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The Fatal Constancy
''The Fatal Constancy'' is a 1723 tragedy by the British writer Hildebrand Jacob.Black p.77 The original cast included Barton Booth as Omphales, John Mills as Zimon, Colley Cibber Colley Cibber (6 November 1671 – 11 December 1757) was an English actor-manager, playwright and Poet Laureate. His colourful memoir ''Apology for the Life of Colley Cibber'' (1740) describes his life in a personal, anecdotal and even rambling ... as Tryphon, Charles Williams as Ammon and Mary Porter as Hesione. Plot Summary In Ancient Greece, a man, Ammon, is upset that his adopted sister, Hesione, whom he is in love with, is getting married to a soldier, Omphales. Ammon decides to blackmail a priest, Zimon, who is officiating the wedding of Omphales and Hesione, into delivering a bad omen that will prevent the two from getting married to one another. Tryphon, Hesione's father, believes Zimon's falsehood, and refuses to let his daughter wed Omphales. Omphales leaves the city and conjures up an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hildebrand Jacob
Hildebrand Jacob (1692 or 1693–1739) was a British poet and playwright, whose major works include the epic poem ''Brutus the Trojan'' and the tragic verse drama ''The Fatal Constancy''. His collected works (entitled ''The Works of H. Jacob, Esqr.'') were published in 1735. Family His father was Sir John Jacob, third baronet of Bromley, Middlesex (c.1665–1740) and his mother was Dorothy (c.1662–1749). Sir John served in the army from 1685 to 1702, seeing action at the Battle of Killiecrankie and in Ireland. Following his father, Hildebrand served in the army until at least 1715, then in 1717 he married Meriel, daughter of another baronet, Sir John Bland of Kippax-Park, Yorkshire. They had a son, also Hildebrand, and a daughter, Anne They made their home at West Wratting, Cambridgeshire. He never succeeded to his father's seat, dying in 1739, a year before Sir John. His son Sir Hildebrand Jacob (1717 or 1718–1790) succeeded Sir John at his death on 31 March 1740, becomin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theatre Royal, Drury Lane
The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street (earlier named Bridges or Brydges Street) and backs onto Drury Lane. The building is the most recent in a line of four theatres which were built at the same location, the earliest of which dated back to 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres, granted monopoly rights to the production of "legitimate" drama in London (meaning spoken plays, rather than opera, dance, concerts, or plays with music). The first theatre on the site was built at the behest of Thomas Killigrew in the early 1660s, when theatres were allowed to reopen during the English Restoration. Initial ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragedy
Tragedy (from the grc-gre, τραγῳδία, ''tragōidia'', ''tragōidia'') is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain hatawakens pleasure", for the audience. While many cultures have developed forms that provoke this paradoxical response, the term ''tragedy'' often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it. From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barton Booth
Barton Booth (168210 May 1733) was one of the most famous dramatic actors of the first part of the 18th century. Early life Booth was the son of The Hon and Very Revd Dr Robert Booth, Dean of Bristol, by his first wife and distant cousin Ann Booth, daughter of Sir Robert Booth, Lord Chief Justice of Ireland, and was educated at Westminster School, where his success in the Roman comedy ''Andria'' gave him a gave him an inclination for the stage. He was intended for the church, and to attend Trinity College, Cambridge; but in 1698 he ran away and obtained employment in a theatrical company in Dublin, where he made his first appearance as the title character in Aphra Behn's ''Oroonoko''. London success After two seasons in Ireland he returned to London, where Thomas Betterton, who had previously failed to help him, probably out of regard for Booth's family, now gave him all the assistance in his power. At the Lincoln's Inn Fields Theatre (1700–1704) he first appeared as Maxim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Mills (stage Actor)
John Mills (c.1670–1736) was a British stage actor. A long-standing part of the Drury Lane company from 1695 until his death, he appeared in both comedies and tragedies. His wife Margaret Mills was an actress, and his son William Mills also became an actor at Drury Lane. He was a friend of the playwright Richard Steele and Robert Wilks the lead actor and manager at Drury Lane with whom he frequently appeared on stage. He died on 17 December 1736, thirteen days after performing in his final role as the King in '' Henry IV, Part 2''.Highfill, Burnim & Langhans p.249 Selected roles * Pedro in '' Agnes de Castro'' by Catherine Trotter (1695) * Castillio in '' Neglected Virtue'' by Charles Hopkins (1696) * Pisano in '' The Unhappy Kindness'' by Thomas Scott (1696) * Lovewell in '' Love and a Bottle'' by George Farquhar (1698) * Colonel Darange in ''The Campaigners'' by Thomas D'Urfey (1698) * Vizard in '' The Constant Couple'' by George Farquhar (1699) * Don Duart in '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Colley Cibber
Colley Cibber (6 November 1671 – 11 December 1757) was an English actor-manager, playwright and Poet Laureate. His colourful memoir ''Apology for the Life of Colley Cibber'' (1740) describes his life in a personal, anecdotal and even rambling style. He wrote 25 plays for his own company at Drury Lane, half of which were adapted from various sources, which led Robert Lowe and Alexander Pope, among others, to criticise his "miserable mutilation" of "crucified Molière ndhapless Shakespeare". He regarded himself as first and foremost an actor and had great popular success in comical fop parts, while as a tragic actor he was persistent but much ridiculed. Cibber's brash, extroverted personality did not sit well with his contemporaries, and he was frequently accused of tasteless theatrical productions, shady business methods, and a social and political opportunism that was thought to have gained him the laureateship over far better poets. He rose to ignominious fame when he became t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles Williams (stage Actor)
Charles Williams (1693–1731) was a British stage actor. Williams joined the company at the Theatre Royal, Drury Lane in 1718 and remained with it to his death in the year of his 38th birthday.Brean p.173 Selected roles * Lorenzo in ''Love in a Veil'' by Richard Savage (1718) * Herbis in '' The Siege of Damascus'' by John Hughes (1720) * Alan in ''The Briton'' by Ambrose Philips (1722) * Earl of Warwick in '' Humphrey, Duke of Gloucester'' by Ambrose Philips (1723) * Ammon in ''The Fatal Constancy'' by Hildebrand Jacob (1723) * Duke Frederick in '' Love in a Forest'' by Charles Johnson (1723) * Araxes in '' The Captives'' by John Gay (1724) * Decius in '' Caesar in Egypt'' by Colley Cibber (1724) * Julio in '' Double Falsehood'' by Lewis Theobald (1727) * Amyntas in '' Love in a Riddle'' by Colley Cibber (1729) * Freeman in ''The Village Opera'' by Charles Johnson (1729) * Scipio in '' Sophonisba'' by James Thomson (1730) * Dinarchus in '' Timoleon'' by Benjamin Martyn ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mary Porter (actress)
Mary Porter (died 24 February 1765) was an English actress. Life She was brought to the attention of Betterton by Elizabeth Barry, who had seen her play the Fairy Queen at Bartholomew Fair. In his company she made her first appearance in 1699, in tragedy, in which she was at her best, although she also played a long list of comedy parts. When her friends, Mrs Barry, Mrs Bracegirdle and Mrs Oldfield, had retired from the stage, she was left its undisputed queen. In 1713 she appeared in John Gay's comedy ''The Wife of Bath'' at Drury Lane. In 1724 she featured in his tragedy '' The Captives'' as Astarbe, Queen of Media. Selected roles * Mirabel in '' The Rival Fools'' by Colley Cibber (1709) * Alicia in '' Jane Shore'' by Nicholas Rowe (1714) * Lady Woodvill in ''The Non-Juror'' by Colley Cibber (1717) * Eudocia in '' The Siege of Damascus'' by John Hughes (1720) * Astarbe in '' The Captives'' by John Gay John Gay (30 June 1685 – 4 December 1732) was an English poet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1723 Plays
Seventeen or 17 may refer to: *17 (number), the natural number following 16 and preceding 18 * one of the years 17 BC, AD 17, 1917, 2017 Literature Magazines * ''Seventeen'' (American magazine), an American magazine * ''Seventeen'' (Japanese magazine), a Japanese magazine Novels * ''Seventeen'' (Tarkington novel), a 1916 novel by Booth Tarkington *''Seventeen'' (''Sebuntiin''), a 1961 novel by Kenzaburō Ōe * ''Seventeen'' (Serafin novel), a 2004 novel by Shan Serafin Stage and screen Film * ''Seventeen'' (1916 film), an American silent comedy film *'' Number Seventeen'', a 1932 film directed by Alfred Hitchcock * ''Seventeen'' (1940 film), an American comedy film *'' Eric Soya's '17''' (Danish: ''Sytten''), a 1965 Danish comedy film * ''Seventeen'' (1985 film), a documentary film * ''17 Again'' (film), a 2009 film whose working title was ''17'' * ''Seventeen'' (2019 film), a Spanish drama film Television * ''Seventeen'' (TV drama), a 1994 UK dramatic short starring Chri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
West End Plays
West or Occident is one of the four cardinal directions or points of the compass. It is the opposite direction from east and is the direction in which the Sun sets on the Earth. Etymology The word "west" is a Germanic word passed into some Romance languages (''ouest'' in French, ''oest'' in Catalan, ''ovest'' in Italian, ''oeste'' in Spanish and Portuguese). As in other languages, the word formation stems from the fact that west is the direction of the setting sun in the evening: 'west' derives from the Indo-European root ''*wes'' reduced from ''*wes-pero'' 'evening, night', cognate with Ancient Greek ἕσπερος hesperos 'evening; evening star; western' and Latin vesper 'evening; west'. Examples of the same formation in other languages include Latin occidens 'west' from occidō 'to go down, to set' and Hebrew מַעֲרָב maarav 'west' from עֶרֶב erev 'evening'. Navigation To go west using a compass for navigation (in a place where magnetic north is the same dir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragedy Plays
Tragedy (from the grc-gre, τραγῳδία, ''tragōidia'', ''tragōidia'') is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain hatawakens pleasure", for the audience. While many cultures have developed forms that provoke this paradoxical response, the term ''tragedy'' often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it. From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a fract ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Historical Plays
History is one of the three main genres in Western theatre alongside tragedy and comedy, although it originated, in its modern form, thousands of years later than the other primary genres. For this reason, it is often treated as a subset of tragedy. A play in this genre is known as a history play and is based on a historical narrative, often set in the medieval or early modern past. History emerged as a distinct genre from tragedy in Renaissance England. The best known examples of the genre are the history plays written by William Shakespeare, whose plays still serve to define the genre. History plays also appear elsewhere in British and Western literature, such as Thomas Heywood's ''Edward IV'', Schiller's ''Mary Stuart'' or the Dutch play '' Gijsbrecht van Aemstel''. Precursors Plays with some connection to historic narratives date to the beginnings of Athenian theatre. For one, although many early Greek plays covered subjects that modern audiences consider myth (rather than ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
