Skip to main content Accessibility help
×
Home
The Cambridge History of British Theatre
  • Get access
    Check if you have access via personal or institutional login
  • Cited by 4
  • Volume 2: 1660 to 1895
  • Edited by Joseph Donohue, University of Massachusetts, Amherst
  • Export citation
  • Recommend to librarian
  • Buy the print book

Book description

Volume 2 of The Cambridge History of British Theatre begins in 1660 with the restoration of King Charles II to the throne and the reestablishment of the professional theatre, interdicted since 1642, and follows the far-reaching development of the form over two centuries and more to 1895. Descriptions of the theatres, actors and actresses, acting companies, dramatists and dramatic genres over the period are augmented by accounts of the audiences, politics and morality, scenography, provincial theatre, theatrical legislation, the long-drawn-out competition of major and minor theatres, and the ultimate revocation of the theatrical monopoly of Drury Lane and Covent Garden, initiating a new era. Chapters on two representative years, 1776 and 1895, are complemented by chapters on two phenomenal productions, The Beggar's Opera and The Bells, as well as by studies of popular theatre, including music hall, sexuality on the Victorian stage and other social and cultural contexts.

Reviews

'… a set that will stand as the most valuable resource on British theater for some time to come. Essential.'

Source: Choice

'… exceptional … destined to prove one of the most erudite, and yet accessible, resources for theatre scholars and students as well as serious theatre practitioners … must be hailed as perhaps the most carefully compiled and comprehensively covered history ever attempted … I know of no library that has any other theatre history (focusing exclusively on British Theatre) on its shelves to challenge this great new work's pole position in the theatre reference stakes … All in all a great work.'

Source: Amateur Stage

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

  • 4 - Theatre, politics and morality
    pp 90-107
Bibliography
Ainger, Michael. Gilbert and Sullivan: A Dual Biography. Oxford University Press, 2002.
Algarotti, Francesco. An Essay on the Opera. London: L. Davis and C. Reymers, 1767.
Allen, Grant. The Woman Who Did. 1895. Oxford University Press, 1995.
Allen, Shirley S.Samuel Phelps and Sadler’s Wells Theatre. Middletown, CT: Wesleyan University Press, 1971.
Altick, Richard. The English Common Reader: A Social History of the Mass Reading Public, 1800–1900. University of Chicago Press, 1957.
Anderson, Mary, A Few More Memories. London: Hutchinson, 1936.
Anthony, Sister Rose. The Jeremy Collier Stage Controversy, 1698–1726. Milwaukee: Marquette University Press, 1937.
Appleton, William W.Charles Macklin: An Actor’s Life. Cambridge, MA: Harvard University Press, 1960.
Appleton, WilliamW. Madame Vestris and the London Stage. New York: Columbia University Press, 1974.
Archer, Frank. How to Write a Good Play. London: French, 1892.
Archer, William. ‘The Drama’. In The Reign of Queen Victoria: A Survey of Fifty Years of Progress. Ed. Ward, Thomas H.. London: Smith, Elder, 1887.
Archer, William. English Dramatists of To-Day. London: Sampson, Low, 1882.
Archer, William. Masks or Faces?London: Longman’s, 1888.
Archer, William. The Theatrical ‘World’ of 1894. London: Walter Scott, 1895.
Arnot, Hugo. The History of Edinburgh from the Earliest Accounts to the Year 1780. Edinburgh: Turnbull, 1816.
Arnott, James Fullarton, and Robinson, John William. English Theatrical Literature, 1559–1900: A Bibliography. London: Society for Theatre Research, 1970.
Arnstein, Walter. Britain Yesterday and Today. Lexington, MA: D. C. Heath, 1992.
Austin, Revd Gilbert. Chironomia; or a treatise on rhetorical delivery. London: T Cadell and W. Davies, 1806.
Avery, Emmet L., and Scouten, Arthur H.. The London Stage 1660–1700: A Critical Introduction. Carbondale: Southern Illinois University Press, 1968.
Avery, Emmett L.The London Stage 1700–1729: A Critical Introduction. Carbondale: Southern Illinois University Press, 1968.
Avery, Emmett L.The Restoration audience’. Philological Quarterly 45 (1966): 54–61.
Backscheider, Paula. Daniel Defoe his Life. Baltimore: Johns Hopkins University Press, 1989.
Baer, Marc. Theatre and Disorder in Late Georgian London. Oxford: Clarendon Press, 1992.
Bailey, Peter. ‘Champagne Charlie: performance and ideology in the music hall song’. In Bratton, , ed., Music Hall, 48–69.
Bailey, Peter. Leisure and Class in Victorian England. 2nd edn. London: Methuen, 1978.
Bailey, Peter. ‘Making sense of music hall’. In Music Hall: The Business of Pleasure. Ed. Bailey, PeterMilton Keynes: Open University Press, 1986, viii-xxiii.
Bailey, Peter. ‘“Naughty but nice”: musical comedy and the rhetoric of the girl, 1892–1914’. In Booth, and Kaplan, , eds., Edwardian Theatre, 36–60.
Bailey, Peter. ‘Parasexuality and glamour: the Victorian barmaid as cultural prototype’. Gender and History 2 (1990): 148–72.
Bailey, Peter. Popular Culture and Performance in the Victorian City. Cambridge University Press, 1998.
Bailey, Peter. ‘Theatres of entertainment/spaces of modernity: rethinking the British popular stage, 1890–1914’. Nineteenth Century Theatre 26 (1998): 5–24.
Baker, H. Barton. History of the London Stage and its Famous Players. London: George Routledge & Sons, 1904.
Baker, Herschel. John Philip Kemble: The Actor in his Theatre. Cambridge, MA: Harvard University Press, 1942.
Bancroft, Squire, and Bancroft, Marie. Mr & Mrs Bancroft On and Off the Stage. 2 vols. London: Richard Bentley & Son, 1888.
Barish, Jonas A.The Antitheatrical Prejudice. Berkeley: University of California Press, 1981.
Barker, Kathleen. ‘The performing arts in Newcastle upon Tyne, 1840–1870’. In Leisure in Britain, 1780–1939. Ed. Walton, John K. and Walvin, James. Manchester University Press, 1983, 53–71.
Barker, Kathleen. The Theatre Royal Bristol 1766–1966: Two Centuries of Stage History. London: Society for Theatre Research, 1974.
Barnett, Dene. The Art of Gesture: The Practices and Principles of Eighteenth-Century Acting. Heidelberg: Carl Winter, 1987.
Barrett, Daniel. T. W. Robertson and the Prince of Wales’s Theatre. New York: Peter Lang, 1995.
Barrie, J. M.The Plays of J. M. Barrie. London: Hodder & Stoughton, 1928.
Bate, Jonathan. Shakespearean Constitutions: Politics, Theatre, Criticism, 1730–1830. Oxford: Clarendon Press, 1989.
Baugh, Christopher. Garrick and Loutherbourg. Cambridge: Chadwyck-Healey 1990.
Bawcutt, N.W. The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels 1623–73. Oxford: Clarendon Press, 1996.
Beaver, Patrick. The Spice of Life: Pleasures of the Victorian Age. London: Elm Tree Books, 1979.
Beerbohm, Max. Around Theatres. New York: Alfred A. Knopf, 1930.
Behn, Aphra. The Works of Aphra Behn. Ed. Todd, Janet. Vol. V. Columbus: Ohio State University Press, 1996.
Belford, Barbara. Bram Stoker, A Biography of the Author of Dracula. New York: Alfred A. Knopf, 1996.
Bell, H. G.The uncle’. In Hayes, and Nikolopoulou, , eds. Melodrama,268–75.
Bellamy, Thomas. ‘The life of William Parsons, comedian’. Miscellanies: In Prose and Verse. Vol. II. London, [1796].
Bennett, A.Music in the halls’. In Bratton, , ed., Music Hall,1–22.
Bentley, Gerald Eades. The Jacobean and Caroline Stage. 7 vols. Oxford: Clarendon Press, 19411968.
Bevis, RichardW. The Laughing Tradition: Stage Comedy in Garrick’s Day. Athens: University of Georgia Press, 1980.
Black, Jeremy, ed. Culture and Society in Britain 1660–1800. Manchester University Press, 1997.
Boaden, James, ed. The Private Correspondence of David Garrick. London: H. Colburn and R. Bentley, 1831–2.
Boaden, James. The Life of Mrs Jordan. 2 vols. London: Edward Bull, 1831.
Boaden, James. Memoirs of the Life of John Philip Kemble. 2 vols. London: Longman, Hurst, Rees, Orme, Brown & Green, 1825.
Booth, Michael R.English Plays of the Nineteenth Century. 5 vols. Oxford: Clarendon Press, 1969–76.
Booth, Michael R.Theatre in the Victorian Age. Cambridge University Press, 1991.
Booth, Michael R.Victorian Spectacular Theatre 1850–1910. London: Routledge & Kegan Paul, 1981.
Booth, Michael R., and Kaplan, Joel H., eds. The Edwardian Theatre: Essays on Performance and the Stage. Cambridge University Press, 1996.
Boswell, Eleanore. The Restoration Court Stage (1660–1702). London: George Allen & Unwin, 1932.
Boucicault, Dion. The Corsican Brothers. New York: Samuel French, n.d.
[Boyl, E., [Rober, T., Some Considerations about the Reconcileableness of Reason and Religion. London, 1675.
Braddon, Mary Elizabeth. Aurora Floyd, A Novel. New York: Coryell, 1885.
Brandon-Thomas, Jevan. Charley’s Aunt’s Father. London: Douglas Saunders, 1955.
Bratton, J. S.The Lear of private life: interpretations of King Lear in the nineteenth century’. In Foulkes, , ed., Shakespeare and the Victorian Stage, 124–37.
Bratton, J. S., ed. Music Hall: Performance and Style. Milton Keynes: Open University Press, 1986.
Bratton, Jacky. ‘Jane Scott the writer-manager’. In Davis, and Donkin, , eds., Women and Playwriting,77–98.
Brecht, Bertolt. Collected Plays: Two. Ed. Willett, John and Manheim, Ralph. London: Methuen, 1994.
Brewer, John. The Pleasures of the Imagination: English Culture in the Eighteenth Century. New York: Farrar, Straus & Giroux, 1997.
Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. New Haven: Yale University Press, 1984.
Brownsmith, John. The Dramatic Time-Piece. London, 1767.
Bull, John. Vanbrugh and Farquhar. London: Macmillan, 1998.
Bulwer, Edward Lytton. England and the English. Ed. Meacham, Standish. University of Chicago Press, 1970.
Burgin, G. B.The Lyceum rehearsals’. The Idler (London, 1893): 122–41.
Burn, Walter. The Age of Equipoise: A Study of the Mid-Victorian Generation. London: Allen & Unwin, 1964.
Burnim, Kalman A.David Garrick: Director. Carbondale: Southern Illinois University Press, 1961.
Byrom, Michael. Punch andJudy: Its Origin and Evolution. Aberdeen: Shiva Publications, 1972.
Campbell, Lily Bess. Scenes and Machines on theEnglish StageDuring the Renaissance: A Classical Revival. Cambridge University Press, 1923.
Campbell, Mrs Patrick My Life and Some Letters. New York: Dodd, Mead, 1922.
Cannan, Paul D.New directions in serious drama on the London stage, 1675–1678’. Philological Quarterly 73 (1994): 219–42.
Carlisle, Carol Jones. Helen Faucit: Fire and Ice on the Victorian Stage. London: Society for Theatre Research, 2000.
Castle, Dennis. Sensation Smith of Drury Lane. London: Charles Skilton, 1984.
Cibber, ColleyAn Apology for the Life of Mr Colley Cibber Written by Himself. Ed. Lowe, Robert W.. 2 vols. London: John C. Nimmo, 1889.
Cibber, ColleyLove Makes a Man. London: Richard Parker and others, 1701.
Clark, William. The Early Irish Stage: The Beginning to 1720. Oxford: Clarendon Press, 1955.
Cohen, David, and Greenwood, Ben. The Buskers. Newton Abbot: David & Charles, 1981.
Colman, George. Random Records. 2 vols. London, 1830.
Comparison Between the Two Stages, A. London, 1702.
Conolly, L. W.The Censorship of English Drama, 1737–1824. San Marino: Huntington Library, 1976.
Cook, Emily Constance, and Cook, E. T.London and Environs. 2 vols. Llangollen: Darlington, 1897–8.
Cordner, Michael. ‘Marriage comedy after the 1688 revolution: Southerne to Vanbrugh’. Modern Language Review 85 (1990): 273–89.
Corin’. The Truth about the Stage. London: Wyman & Sons, 1885.
Cotton, Nancy. Women Playwrights in England, C. 1363–1750. Lewisburgh, PA: Bucknell University Press; London: Associated University Presses, 1980.
Cowell, Joseph. Thirty Years among the Players of England and America. New York, 1846.
Craig, Edward Gordon. Ellen Terry and her Secret Self. New York Dutton, 1932.
Craig, Edward Gordon. Henry Irving. London: J. M. Dent & Sons, 1930.
Crean, P. J.The Stage Licensing Act of 1737’. Modern Philology 35 (1938): 239–55.
Cross, Gilbert B.Next Week - East Lynne. Lewisburg: Bucknell University Press, 1977.
Crump, Jeremy. ‘Provincial music hall: promoters and public in Leicester, 1863–1929’. In Bailey, , ed., Business of Pleasure,53–72.
Cumberland, Richard. Supplement to the Memoirs of Richard Cumberland. London, 1807.
Cunningham, Hugh. ‘Leisure and culture’. In The Cambridge Social History of Britain. Ed. Thompson, F. M. L.. Vol. II. Cambridge University Press, 1990, 279–339.
Cunningham, Hugh. Leisure in the Industrial Revolution. London: Croom Helm, 1980.
Cunningham, J. E.Theatre Royal: The History of the Theatre Royal Birmingham. Oxford: George Ronald, 1950.
Dallas, E. S.The Drama’. Blackwood’s Magazine 79 (Feb. 1856): 219.
Dallas, E. S.Popular literature - the periodical press’. Blackwood’s Magazine 85 (Jan. 1859): P. 112.
Danchin, Pierre. The Prologues and Epilogues of the Restoration, 1660–1700. 4 parts 7 vols. Publications Université Nancy II, 1981–8.
Davenant, William. The Siege of Rhodes: Made a representation by the art of prospective in scenes and the story sung in recitative music. London: Henry Herringman, 1656.
Davies, Thomas. Memoirs of the Life of David Garrick, Esq. 2 vols. London, 1780.
Davis, Jim, ed. The Britannia Diaries 1863–1875: Selections from the Diaries of Frederick C. Wilton. London: Society for Theatre Research, 1992.
Davis, Jim, and Emeljanow, Victor. Reflecting the Audience: London Theatregoing, 1840–1880. Iowa City: University of Iowa Press, 2001.
Davis, Tracy C.Actresses as Working Women: Their Social Identity in Victorian Culture. London: Routledge, 1991.
Davis, Tracy C.The Economics of the British Stage, 1800–1914Cambridge University Press, 2000.
Davis, Tracy C.The moral sense of the majorities: indecency and vigilance in late-Victorian music halls’. Popular Music 10.1 (1991): 39–52.
Davis, Tracy C.“Reading Shakespeare by flashes of lightning”: challenging the foundations of Romantic acting theory’. ELH: A Journal of English Literary History (1995): 933–54.
Davis, Tracy C., and Donkin, Ellen, eds. Women and Playwriting in Nineteenth-Century Britain. Cambridge University Press, 1999.
Dawick, John. Pinero: A Theatrical Life. Niwot: University Press of Colorado, 1993.
Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington: Indiana University Press, 1987.
Deelman, Christian. The Great Shakespeare Jubilee. London: Michael Joseph, 1964.
Dennis, John. The Critical Works of John Dennis. Ed. Hooker, Edward N.. 2 vols. Baltimore: Johns Hopkins University Press, 1939–43.
Dibdin, Charles. A Complete History of the English Stage. 5 vols. London, 1797–1800.
Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation, and Authorship, 1660–1769. Oxford: Clarendon Press, 1992.
Donaldson, Ian. ‘New papers of Henry Holland and R. B. Sheridan: (I) Holland’s Drury Lane, 1794’. Theatre Notebook 16 (1962): 90–6.
Donaldson, Walter. Recollections of an Actor. London, 1865.
Donkin, Ellen. Getting into the Act: Women Playwrights in London 1776–1829. London: Routledge, 1995.
Donne, William Bodham. Essays on the Drama. London, 1858.
Donne, William Bodham. ‘Poets and players’. Fraser’s Magazine 44 (Nov. 1851): 512.
Donohue, Joseph, and Ellis, James. A Handbook for Compilers: The London Stage 1800–1900. A Calendar of Performances. Amherst, MA: privately printed, 1976.
Donohue, Joseph. ‘Actors and acting’. Cambridge Companion to Victorian and Edwardian Theatre. Cambridge University Press, 2003.
Donohue, Joseph. ‘Burletta and the early nineteenth-century English theatre’. Nineteenth Century Theatre Research 1 (spring 1973): 29–51.
Donohue, Joseph. Dramatic Character in the English Romantic Age. Princeton University Press, 1970.
Donohue, Joseph. ‘Kemble’s production of Macbeth (1794): some notes on scene painters, scenery, special effects, and costumes’. Theatre Notebook 21 (1966–7): 63–74.
Donohue, Joseph. ‘The London theatre at the end of the eighteenth century’. In Hume, , ed., London Theatre World,337–70.
Donohue, Joseph. Theatre in the Age of Kean. Oxford: Basil Blackwell, 1975.
Downer, Alan S.The Eminent Tragedian: William Charles Macready. Cambridge, MA: Harvard University Press, 1966.
Downer, Alan S.Nature to advantage dress’d: eighteenth century acting’. PMLA 58 (1943): 1002–37.
Downer, Alan S.Players and painted stage: nineteenth century acting’. PMLA 61 (1946): 522–76.
Downer, Alan S., ed. Oxberry’s 1822 Edition of King Richard III. London: Society for Theatre Research, 1959.
Downes, John. Roscius Anglicanus or an Historical Review of the Stage. Ed. Milhous, Judith and Hume, Robert D.. London: Society for Theatre Research, 1987.
Dryden, John. The Letters of John Dryden. Ed. Ward, Charles E.. Durham: Duke University Press, 1942.
Dugaw, Diane. Deep Play: John Gay and the Invention of Modernity. Newark: University of Delaware Press, 2001.
Dunbar, Janet. Peg Woffington and her World. London: Heineman, 1968.
Duncan, Barry. The St James’s Theatre: Its Strange and Complete History 1835–1957. London: Barrie & Rockliff, 1964.
Dunton, John. The Dublin Scuffle. Dublin, 1699.
Earl, J.The music hall at the Grape Tavern, 1846–1882’. Theatre Notebook 53 (1999): 62–73.
Eliot, George. Daniel Deronda. Oxford: Clarendon, 1984.
Ellington, Edward KennedyDuke’. Duke Ellington Collection, series 4: scripts and transcripts. Smithsonian Archives. Washington, DC.
English Drama of the Nineteenth Century: An Index and Finding Guide. Ed. Ellis, James, assisted by Donohue, Joseph, with Louise Allen Zak New Canaan, CT: Readex Books, 1985.
Eshelman, Dorothy H.The Committee Books of the Theatre Royal, Norwich 1768–1825. London: Society for Theatre Research, 1970.
Evans, Bertrand. Gothic Drama from Walpole to Shelley. Berkeley: University of California Press, 1947.
Farquhar, George. The Works of George Farquhar. Ed. Kenny, Shirley Strum 2 vols. Oxford: Clarendon Press, 1988.
Female dramatists of the past’. Era (23 May 1896): 18.
Findlater, Richard. Joe Grimaldi: His Life and Theatre. Cambridge University Press, 1978.
Finney, Gail. Women in Modern Drama. Ithaca: Cornell University Press, 1989.
Fiske, Roger. English Theatre Music in the Eighteenth Century. Oxford University Press, 1973; 2nd edn, 1986.
Fitzgerald, Percy. The World Behind the Scenes. London: Chatto & Windus, 1881.
FitzSimons, Raymund. Edmund Kean: Fire from Heaven. New York Dial Press, 1976.
Forster, John, and Lewes, George Henry. Dramatic Essays. Ed. Archer, William and Lowe, R. W.. London, 1895.
Foulkes, Richard, ed. Shakespeare and the Victorian Stage. Cambridge University Press, 1986.
Foulkes, Richard. ‘Charles Kean’s King Richard II: a Pre-Raphaelite drama’. In Foulkes, , ed., Shakespeare and the Victorian Stage,39–55.
Foulkes, Richard. Church and Stage in Victorian England. Cambridge University Press, 1997.
Fuegi, John. Brecht and Company. New York: Grove Press, 1994.
Furnas, J. C.Fanny Kemble: Leading Lady of the Nineteenth-Century Stage. New York: Dial Press, 1982.
Ganzel, Dewey. ‘Patent wrongs and patent theatres: drama and the law in the early nineteenth century’. PMLA 76 (1961): 384–96.
Garlick, Görel. ‘George Saunders and the Birmingham New Street Theatre: a conjectural reconstruction’. Theatre Notebook 52 (1998): 131–2.
Garrick, David. Letters. Ed. Little, David M. and Kahrl, George M.. 3 vols. Cambridge, MA: Belknap Press of Harvard University Press, 1963.
Garrick, David. The Plays of David Garrick. Ed. Pedicord, Harry William and Bergmann, Fredrick Louis. 7 vols. Carbondale: Southern Illinois University Press, 1980–2.
Gay, John. John Gay: Dramatic Works. Ed. Fuller, John. 2 vols. Oxford: Clarendon Press, 1983.
Gay, John. The Letters of John Gay. Ed. Burgess, C. F.. Oxford: Clarendon Press, 1966.
Gielgud, Kate TerryA Victorian Playgoer. Ed. Muriel St Claire Byrne. London: Heinemann, 1980.
Gilbert, W. S.The Bab Ballads. Ed. Ellis, James. Cambridge, MA: Belknap Press of Harvard University Press, 1970.
Gladstone, W. E.The Gladstone Diaries. Vol. v, 1855–1860. Ed. Matthew, H. C. G.. Oxford: Clarendon Press, 1978.
Goldsmith, Oliver. ‘An essay on the theatre; or, a comparison between laughing and sentimental comedy’. Westminster Magazine 1 (1773): 4–6.
Gore, Catherine. Quid Pro Quo; or, the Day of Dupes. London: National Acting Drama Office, n.d.
Graves, Clotilde. A Mother of Three: An Original Farce in Three Acts. London: French, n.d.
Gray, Charles Harold. Theatrical Criticism in London to 1795. 1931. Rpt. New York: B. Blom, 1964.
Greene, John C., and Clark, Gladys L. H.The Dublin Stage 1720–1745: A Calendar of Plays, Entertainments, Afterpieces. Bethlehem, PA: Lehigh University Press, 1993.
Guest, Ivor. Ballet in Leicester Square: The Alhambra and the Empire 1860–1915. London: Dance Books, 1992.
Hamilton, Cicely. Life Errant. London: J. M. Dent, 1935.
Harbage, Alfred. Cavalier Drama. New York Modern Language Association, 1936.
Hare, Arnold, ed. Theatre Royal, Bath: A Calendar of Performances at the Orchard Street Theatre, 1750–1805. Bath: Kingsmead, 1977.
Hasse, John Edward. Beyond Category. New York: Simon & Schuster, 1993.
Havel, VaclavThe Beggar’s Opera. Trans. Paul Wilson. Ithaca: Cornell University Press, 2001.
Hayes, Michael, and Nikolopoulou, Anastasia, eds. Melodrama: The Cultural Emergence of a Genre. New York St Martin’s Press, 1996.
Hazlitt, , Examiner, 5 January 1817.
Hazlitt, William. Complete Works of William Hazlitt. Ed. Howe, P. P.. Vol. v. London: J. M. Dent & Sons, 1930.
Hazlitt, William. Dramatic Criticism. Ed. Archer, William and Lowe, R. W.. London, 1895.
Hazlitt, William. A View of the English Stage. London, 1818.
Highfill, Philip H., Burnim, Jr, Kalman A. and Langhans, Edward A.. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660–1800. 16 vols. Carbondale: Southern Illinois University Press, 1973–93.
Hillebrand, H. N.Edmund Kean. 1933. Rpt. New York: AMS Press, 1966.
Hitchcock, Robert. An Historical View of the Irish Stage. 2 vols. Dublin: Marchbank, 1788–94.
Hodgkinson, J. L., and Pogson, Rex. The Early Manchester Theatre. London: Society for Theatre Research, 1960.
Hogan, Charles Beecher. Shakespeare in the Theatre, 1701–1800. 2 vols. Oxford: Clarendon Press, 1952–7.
Holder, Heidi J.The “lady playwrights” and the “wild tribes of the East”: female dramatists in the East End theatres, 1860–1880’. In Davis, and Donkin, , eds., Women and Playwriting,174–92.
Holland, Peter. The Ornament of Action: Text and Performance in Restoration Comedy. Cambridge University Press, 1979.
Home, John. Douglas: Pamphlets. Edinburgh, 1757.
Hotson, Leslie. The Commonwealth and Restoration Stage. Cambridge, MA: Harvard University Press, 1928.
Howard, Diana. London Theatres and Music Halls 1850–1950. London: Library Association, 1970.
Howe, Elizabeth. The First English Actresses: Women and Drama 1660–1700. Cambridge University Press, 1992.
Howell, Mark. ‘The “regular theatre” at Jacob’s Well, Bristol 1729–69’. In Scenes from Provincial Stages. Ed. Foulkes, Richard. London: Society for Theatre Research, 1994.
Hughes, Alan. Henry Irving, Shakespearean. Cambridge University Press, 1981.
Hughes, Alan. ‘The Lyceum staff: a Victorian theatrical organisation’. Theatre Notebook 27.1 (1974): 11–17.
Hughes, DerekEnglish Drama 1660–1700. Oxford: Clarendon Press, 1996.
Hughes, Derek. ‘Who counts in Farquhar?’ In A Subtler Music: Essays on the Drama and Opera of Enlightenment Europe. Ed. Gámez, Luis. Stamford: Paul Watkins, 1997.
Hughes, Leo. The Drama’s Patrons: A Study of the Eighteenth-Century London Audience. Austin: University of Texas Press, 1971.
Hume, Robert D.“Before the Bard”: Shakespeare in early eighteenth-century London’, ELH: A Journal of English Literary History 64 (1997): 41–75.
Hume, Robert D.“The change in comedy”: cynical versus exemplary comedy on the London stage, 1678–1693’. Essays in Theatre I (1982–3): 101–18.
Hume, Robert D.The Development of English Drama in the Late Seventeenth Century. Oxford: Clarendon Press, 1976.
Hume, Robert D.Henry Fielding and the London Theatre, 1728–1737. Oxford: Clarendon Press, 1988.
Hume, Robert D.Jeremy Collier and the future of the London theater in 1698’. Studies in Philology 96 (1999): 480–511.
Hume, Robert D.The London theatre from The Beggar’s Opera to the Licensing Act’. In The Rakish Stage, ed. Hume, , chap. 1.
Hume, Robert D.Marital discord in English comedy from Dryden to Fielding’. Modern Philology 74 (1976–7): 248–72; rpt. in Hume, , ed., Rakish Stage,176–213.
Hume, Robert D.The multifarious forms of eighteenth-century comedy’. In The Stage and thePage: London’s‘Whole Show’in the Eighteenth-Century Theatre. Ed. Stone, George Winchester Jr. Berkeley: University of California Press, 1988, 3–32. Reprinted in Hume, , ed., Rakish Stage,214–44.
Hume, Robert D.Securing a repertory: plays on the London stage 1660–5’. In Poetry and Drama 1570–1700: Essays in Honour of Harold F. Brooks. Ed. Coleman, Antony and Hammond, Antony. London: Methuen, 1981, 156–72.
Hume, Robert D., ed. The London Theatre World, 1660–1800. Carbondale: Southern Illinois University Press, 1980.
Hume, Robert D., ed. The Rakish Stage. Carbondale: Southern Illinois University Press, 1983.
Hunningher, Joost. ‘Première on Regent Street’. In Cinema: The Beginnings and the Future. Ed. Williams, Christopher. London: University of Westminster Press, 1996, 41–53.
Hunt, Leigh. Autobiography. Ed. Morpurgo, J. E.. London: P. Cresset, 1948.
Hunt, Leigh. Critical Essays on the Performers of the London Stage. London, 1807.
Hunt, Leigh. Dramatic Criticism. Ed. Archer, William and Lowe, R. W.. London, 1894.
Hunt, Leigh. Leigh Hunt’s Dramatic Criticism. Ed. Houtchens, Lawrence Huston and Houtchens, Carolyn Washburn. New York: Columbia University Press, 1949.
Inchbald, Elizabeth. The Plays of Elizabeth Inchbald. Ed. Backscheider, Paula. 2 vols. New York: Garland, 1980.
Irving, HenryThe Stage As It Is. Reprinted in The Drama Addresses. London: William Heinemann, 1893.
Irving, Laurence. Henry Irving, the Actor and his World. London: Faber & Faber, 1951.
Jackson, John. The History of the Scottish Stage. Edinburgh: Peter Hill, 1793.
Jackson, Russell, ed. Victorian Theatre. London: A. & C. Black, 1989.
James, Henry. ‘Nona Vincent’. In The Complete Tales of Henry James. Ed. Edel, Leon. Vol. VIII. London: Rupert Hart-Davis, 1963, 153–87.
Geraldine, Jewsbury. The Half Sisters: A Tale. 2 vols. London: Chapman & Hall, 1848.
John, Angela V.Elizabeth Robins: Staging a Life. London: Routledge, 1995.
Johnson, Samuel. Johnson on Shakespeare. Ed. Sherbo, Arthur. Yale Edition of the Works of Samuel Johnson. Vol. VII. New Haven: Yale University Press, 1968.
Johnson, Samuel. Poems. Ed. McAdam, E. L. JrYale Edition of the Works of Samuel Johnson. Vol. VI. New Haven: Yale University Press, 1964.
Johnson, Samuel. The Poems of Samuel Johnson. Ed. Smith, David Nichol and McAdam, Edward L.. 2nd edn. Oxford: Clarendon Press, 1974.
Johnson, Samuel. ‘Preface’. In Samuel Johnson on Shakespeare. Ed. Wimsatt, W. K. Jr. New York: Hill & Wang, 1960.
Jones, Henry Arthur. Plays by Henry Arthur Jones. Ed. Jackson, Russell. Cambridge University Press, 1982.
Jones, Henry Arthur. Representative Plays. 4 vols. Boston: Little, Brown & Co., 1925.
Joyce, PatrickDemocratic Subjects. Cambridge University Press, 1994.
Keith, William Grant. ‘The designs for the first movable scenery on the English public stage’. Burlington Magazine for Connoisseurs 25 (1914): 29–39, 85–98.
Keith, William Grant. ‘John Webb and the court theatre of Charles II’. Architectural Review 57 (1925): 49–55.
Kemble, Fanny. Fanny Kemble’s Journals. Ed. Clinton, Catherine. Cambridge, MA: Harvard University Press, 2000.
Kendal, Madge. Dramatic Opinions. London: John Murray, 1890.
Kenny, Shirley Strum. ‘Humane comedy’. Modern Philology 75 (1977): 29–43.
Kenny, Shirley Strum, ed. British Theatre and the Other Arts, 1660–1800. Washington: Folger Books, 1984.
Kewes, Paulina. Authorship and Appropriation: Writing for the Stage in England, 1660–1710. Oxford: Clarendon Press, 1998.
Kewes, Paulina. ‘“[A] Play, which I presume to call original”: appropriation, creative genius, and eighteenth-century playwriting’. Studies in the Literary Imagination 34.1 (2001): 17–47.
Kift, Dagmar. The Victorian Music Hall: Culture, Class and Conflict. Cambridge University Press, 1996.
Kinservik, Matthew J.Disciplining Satire: The Censorship of Satiric Comedy on the Eighteenth-Century London Stage. Lewisburgh, PA: Bucknell University Press, 2002.
Knapp, Mary E.Prologues and Epilogues of the Eighteenth Century. New Haven: Yale University Press, 1961.
Knight, Joseph. J. L.Toole’. Theatre n.s. (January 1880): 24–9.
Kruger, Loren. The National Stage. University of Chicago Press, 1992.
Krutch, Joseph Wood. Comedy and Conscience after the Restoration. Revised edn. New York: Columbia University Press, 1949.
Lafler, Joanne. The Celebrated Mrs Oldfield: The Life and Art of an Augustan Actress. Carbondale: Southern Illinois University Press, 1989.
Lamb, Charles. ‘Munden’s farewell’. London Magazine (July 1824).
Lamb, Charles. ‘On the acting of Munden’. London Magazine (October 1822).
Langford, Paul. A Polite and Commercial People: England 1727–1783Oxford University Press, 1992.
Langhans, Edward A.Restoration Promptbooks. Carbondale: Southern Illinois University Press, 1981.
Langhans, Edward A.The theatres’. In Hume, , ed., London Theatre World,35–65.
Langhans, Edward A.Tough actresses to follow’. In Schofield, and Macheski, , eds., Curtain Calls.
Lawrence, W. J.Proscenium doors: an Elizabethan heritage’. In Lawrence, W. J., TheEliza-bethan Playhouse and Other Studies. Stratford-upon-Avon: Shakespeare Head Press, 1912, 157–89.
Lawrence, W. J.The royal box’. In Old The atreDays and Ways. 1935. Rpt. New York: Benjamin Blom, 1968, 143–51.
Leach, Joseph. Bright Particular Star: The Life and Times of Charlotte Cushman. New Haven: Yale University Press, 1970.
Leach, Robert. The Punch and Judy Show: History, Tradition and Meaning. London: Batsford, 1985.
Leacroft, Richard. The Development of the English Playhouse. London: Eyre Methuen, 1973.
Lee, Edward. Music of the People: A Study of Popular Music in Great Britain. London: Barrie & Jenkins, 1970.
Lewes, George Henry. ‘Foreign actors and the English drama’. Cornhill Magazine 8 (August 1863): 172.
Lewes, George Henry. On Actors and the Art of Acting. London, 1875. New York: Grove Press, 1957.
Lewes, George Henry. ‘Shakespeare and his latest stage interpreters’. Fraser’s Magazine 64 (December 1861): 776.
Lewes, , Leader, 30 July 1853.
Liesenfeld, Vincent J.The Licensing Act of 1737. Madison: University of Wisconsin Press, 1984.
Lock, F. P.Susanna Centlivre. New York: Twayne, 1979.
Loftis, John, ‘Political and social thought in the Drama’. In Hume, , ed., London Theatre World,253–85.
Loftis, John, ed. Restoration Drama: Modern Essays in Criticism. Oxford University Press, 1966.
Loftis, John. Comedy and Society from Congreve to Fielding. Stanford University Press, 1959.
Loftis, John. The Politics of Drama in Augustan England. Oxford: Clarendon Press, 1963.
Loftis, John. Sheridan and theDrama of Georgian England. Cambridge, MA: Harvard University Press, 1977.
Loftis, John. Steele at Drury Lane. Berkeley: University of California Press, 1962.
Love, Harold. ‘Who were the Restoration audience?’ Yearbook of English Studies 10 (1980): 21–44.
[Lowe, Robert, Halkett, George and Archer, William.] The Fashionable Tragedian, A Criticism, with Ten Illustrations. 1877.
Lynch, James J.Box Pit and Gallery. Berkeley: University of California Press, 1953.
Piers, Mackesy. The War for America. Cambridge, MA: Harvard University Press, 1964.
Mackintosh, Iain. Architecture, Actors and Audience. London: Routledge, 1993.
MacMillan, Dougald. Catalogue of the Larpent Plays in the Huntington Library. San Marino: Huntington Library, 1939.
Macqueen-Pope, Walter James. Carriages at Eleven: The Story of the Edwardian Theatre. London: Hutchinson, 1947.
Macqueen-Pope, Walter James. Ladies First: The Story of Women’s Conquest of the British Stage. London: Allen, 1952.
Charles, Macready William. William Charles Macready: Reminiscences and Selections from his Diary and Letters. Ed. Pollock, F.. 2 vols. London, 1875.
Mander, Raymond, and Mitchenson, Joe. The Theatres of London. London: Rupert Hart-Davis, 1963.
Mander, Raymond, and Mitchenson, Joe. Victorian and Edwardian Entertainment from Old Photographs. London: Batsford, 1978.
Mann, David D., and Mann, Susan Garland, eds. Women Playwrights in England, Ireland, and Scotland 1660–1823. Bloomington: Indiana University Press, 1996.
Marker, Frederick, and Marker, Lise-Lone. ‘Actors and their repertory’. Revels History of Drama in English, vol. VI, 95–141.
Marsden, Jean I.Rape, voyeurism, and the Restoration stage’. In Broken Boundaries: Women and Feminism in Restoration Drama. Ed. Quinsey, Katherine M.. Lexington: University of Kentucky Press, 1996.
Marshall, Gail. Actresses on the Victorian Stage: Feminine Performance and the Galatea Myth. Cambridge University Press, 1998.
Marston, Westland. Our Recent Actors. 2 vols. London: Sampson, Low, 1888.
MartinTheodore, Sir. Helen Faucit (Lady Martin). Edinburgh: Blackwood, 1900.
Mason, A. E. W.Sir George Alexander & the St James’ Theatre. London: Macmillan, 1935.
Mathias, Peter. The First Industrial Nation. 2ndedn. London: Methuen, 1983.
Matthews, Brander, ed. Papers on Acting. 1915. New York: Hill & Wang, 1958.
Mayer, David, ed. Henry Irving andThe Bells. Manchester University Press, 1980.
Mayer, David. Harlequin in his Element: The English Pantomime, 1806–1836. Cambridge, MA: Harvard University Press, 1969.
Mayer, David. ‘Parlour and platform melodrama’. In Hayes, and Nikolopoulou, , eds., Melodrama,210–34.
Mayer, David. Playing out the Empire: ‘Ben-Hur’ and other Toga Plays and Films, 1888–1903. Oxford: Clarendon Press, 1994.
Mayer, David. ‘The world on fire… pyrodramas at Belle Vue Gardens, Manchester, C. 1850–1950’. In Popular Imperialism and the Military, 1850–1950. Ed. MacKenzie, John M.. Manchester University Press, 1992, 179–97.
McCleod, D. Hugh. Class and Religion in the Late Victorian City. London: Croom Helm, 1974.
Kenneth, McConkey. British Impressionism. London: Phaidon, 1989.
Meisel, Martin. Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England. Princeton University Press, 1983.
Meisel, Martin. Shaw and the Nineteenth-Century Theater. Princeton University Press, 1963.
Merrick, Leonard. The Actor-Manager. London: Hodder & Stoughton, n.d.
Milhous, Judith, and Hume, Robert D.. ‘Dating play premières from publication data, 1660–1700’. Harvard Library Bulletin 22 (1974): 374–405.
Milhous, Judith, and Hume, Robert D.. ‘A Drury Lane account book for 1745–46’. Theatre History Studies 10 (1990), 67–104.
Milhous, Judith, and Hume, Robert D.. ‘The Drury Lane actors’ rebellion of 1743’. Theatre Journal 42 (1990): 57–80.
Milhous, Judith, and Hume, Robert D.. ‘The London theatre cartel of the 1720s’. Theatre Survey 26 (1985): 21–37.
Milhous, Judith, and Hume, Robert D.. ‘New light on English acting companies in 1646, 1648, and 1660’. Review of English Studies n.s. 42 (1991): 487–509.
Milhous, Judith, and Hume, Robert D.. ‘Playwrights’ remuneration in eighteenth-century London’. Harvard Library Bulletin n.s. 10 (1999): 3–90.
Milhous, Judith, and Hume, Robert D.. ‘Profits at Drury Lane, 1713–1716’. Theatre Research International 14 (1989), 241–55.
Milhous, Judith, and Hume, Robert D.. ‘Receipts at Drury Lane: Richard Cross’s diary for 1746–47’. Theatre Notebook 49 (1995): 12–26, 69–90.
Milhous, Judith, and Hume, Robert D.. A Register of English Theatrical Documents, 1660–1737. 2 vols. Carbondale: Southern Illinois University Press, 1991.
Milhous, Judith, and Hume, Robert D.. ‘The silencing of Drury Lane in 1709’. TheatreJournal 32 (1980): 427–47.
Milhous, Judith, and Hume, Robert D.. Vice Chamberlain Coke’s Theatrical Papers,1706–1715. Carbondale: Southern Illinois University Press, 1982.
Milhous, Judith. ‘Company management’. In Hume, , ed., London Theatre World,1–34.
Milhous, Judith. ‘The multimedia spectacular on the Restoration stage’. In Kenny, , ed., British Theatre,41–66.
Milhous, Judith. Thomas Betterton and the Management of Lincoln’s Inn Fields, 1695–1708. Carbondale: Southern Illinois University Press, 1979.
Milhous, Judith. ‘United Company finances, 1682–1692’. Theatre Research International 7 (winter 1981/2): 37–53.
Miss Clo Graves, novelist and dramatist’. The Times (5 December 1932): 17.
Thomas, Moncrieff William. The Cataract of the Ganges!; or, The Rajah’s Daughter. [Lane, Drury, 27 October 1823.] London: Simpkin & Marshall, 1823.
Moody, Jane. Illegitimate Theatre in London, 1770–1840. Cambridge University Press, 2000.
Moore, George. A Mummer’s Wife. New York: Boni & Liveright, 1922.
Morgann, Maurice. Essay on the Dramatic Character ofFalstaff. 1777.
Henry, Morley. The Journal of a London Playgoer from 1851 to 1866. 2ndedn. London: George Routledge & Sons, 1891.
Morton, William H., and Newton, Henry Chance. Sixty Years’ Stage Service, Being a Record of the Life of Charles Morton, ‘The Father of the Halls’. London: Gale & Polden, 1905.
Mowatt, Anna Cora. A Mimic Life. Boston: Ticknor & Fields, 1856.
Moynet, Jean-Pierre. L’Envers du théâtre: machines et décorations. Paris, 1873.
Mulvey, Laura. ‘Visual pleasure and narrative cinema’. Screen 16 (1975): 6–18.
Murphy, Arthur. The Life of David Garrick. 1801. 2 vols. in I. Rpt. New York: Benjamin Blom, 1969.
Nalbach, Daniel. The King’s Theatre 1704–1867: London’s First Italian Opera House. London: Society for Theatre Research, 1972.
Nash, MaryThe Provoked Wife: The Life and Times of Susannah Cibber. London: Hutchinson, 1977.
Nelson, Alfred L., and Cross, Gilbert B., eds. Sans Pareil Theatre, Adelphi Theatre: A Chronology and Index, 1806–1850. Westport, CT: Greenwood Press, 1988.
Nethercot, Arthur H.Sir William D’Avenant, Poet Laureate and Playwright-Manager. University of Chicago Press, 1938.
Newsome, David. TheVictorian World Picture: Perceptions and Introspections in an Age of Change. London: Fontana, 1998; John Murray, 1997.
Nicholson, Steve. The Censorship of British Drama, 1900–1968. Vol. I. University of Exeter Press, 2003.
Nicholson, Watson. The Struggle for a Free Stage in London. London: Constable, 1906.
Nicoll, Allardyce. A History of English Drama 1660–1900. Vol. I: Restoration Drama, 4th edn, 1965; vol. II: Early Eighteenth-Century Drama, 3rd edn, 1965; vol. III: Late Eighteenth-Century Drama 1750–1800, 2nd edn, 1952; vol. IV: Early Nineteenth-Century Drama, 1800–1850, 2nd edn, 1963; vol. V: Late Nineteenth-Century Drama,Cambridge University Press, 1962.
Nightingale, Florence. Cassandra: An Essay. OldWestbury NY: Feminist Press, 1979.
Noble, Yvonne. ‘The Beggar’s Opera in its own time’. In Twentieth Century Interpretations of The Beggar’s Opera. Ed. Noble, Yvonne. Englewood Cliffs, NJ: Prentice-Hall, 1975.
Norris, Hilary. ‘A directory of Victorian scene-painters’. Theatrephile 1.2 (March 1984): 38–52.
Orrell, John. The Human Stage: English Theatre Design, 1567–1640. Cambridge University Press, 1988.
Orrell, John. The Theatres of Inigo Jones and John Webb. Cambridge University Press, 1985.
Osborne, John. The Naturalist Drama in Germany. Manchester University Press, 1971.
O’Toole, Fintan. A Traitor’s Kiss: The Life of Richard Brinsley Sheridan, 1751–1816. New York: Farrar, Straus & Giroux, 1997.
Owen, Susan J.Restoration Theatre and Crisis. Oxford: Clarendon Press, 1996.
Oxberry’s Dramatic Biography and Histrionic Anecdotes. N.s. I. London, 1826.
Paulson, Ronald. Hogarth: His Life, Art, and Times. New Haven: Yale University Press, 1974.
Payne, Deborah C.Reified object or emergent professional? Retheorizing the Restoration actress’. In Cultural Readings of Restoration and Eighteenth-Century English Theatre. Ed. Canfield, J. Douglas and Payne, Deborah C.. Athens: University of Georgia Press, 1995.
Pearson, Hesketh. Bernard Shaw. London: Collins, 1942.
Pearson, Hesketh. The Last Actor-Managers. London: White Lion, 1950.
Pearson, Jacqueline. The Prostituted Muse: Images of Women and Women Dramatists 1642–1737. New York St Martin’s Press, 1988.
Pedicord, Harry William. The Theatrical Public in the Time of Garrick. Carbondale: Southern Illinois University Press, 1954.
BelvilleS, Penley. The Bath Stage. London: Lewis, 1892.
Peters, Julie Stone. Congreve, the Drama, and the Printed Word. Stanford University Press, 1990.
Pinero, Arthur Wing. Trelawney of the ‘Wells’ and Other Plays. Ed. Bratton, J. S.. Oxford: Clarendon Press, 1995.
Pix, Mary. The Plays of Mary Pix. Ed. Steeves, Edna. New York: Garland, 1982.
Planché, James Robinson. The Extravaganzas of J. R. Planché (Somerset Herald), 1825–1871. Ed. Croker, T. F. and Tucker, Stephen. 5 vols. London: French, 1879.
Planché, James Robinson. Plays by James Robinson Planché. Ed. Roy, Donald. Cambridge University Press, 1986.
Planché, James Robinson. The Recollections and Reflections of J. R. Planché. 2 vols. London: Tinsley 1872.
Poel, William. Shakespeare in the Theatre. London: Sidgwick & Jackson, 1913.
Poole, Robert. Popular Leisure and the Music Hall in Nineteenth-Century Bolton. University of Lancaster Press, 1982.
Pope, Alexander. The Correspondence of Alexander Pope. Ed. Sherburn, George. 5 vols. Oxford: Clarendon Press, 1956.
Porter, Roy. London: A Social History. Cambridge, MA: Harvard University Press, 1994.
Postlewait, Thomas. Prophet of the New Drama: William Archer and the Ibsen Campaign. West-port, CT: Greenwood Press, 1986.
Powell, Kerry. Women and the Victorian Theatre. Cambridge University Press, 1997.
Price, Cecil. Theatre in the Age of Garrick. Oxford: Basil Blackwell, 1973.
Razzell, P. E., and Wainwright, R., eds. The Victorian Working Class: Selections from Letters to theMorning Chronicle. London: Frank Cass, 1973.
Rees, Terence. Theatre Lighting in the Age of Gas. London: Society for Theatre Research, 1978.
Reid, D.Popular theatre in Birmingham’. In Performance and Politics in Popular Drama. Ed. Bradby, David, James, Louis and Sharratt, Bernard. Cambridge University Press, 1980.
Report from the Joint Select Committee of the House of Lords and the House of Commons on the Stage Plays (Censorship). London: The Stage, [1910].
Report from the Select Committee on Dramatic Literature: with the Minutes of Evidence. 2 August 1832. Rpt. Shannon: Irish University Press, 1968.
Report from the Select Committee on Theatres and Places of Entertainment. London: House of Commons, 1892. Rpt. Shannon: Irish University Press, 1970.
Report from the Select Committee on Theatrical Licences and Regulations. 1866. Rpt. Shannon: Irish University Press, 1970.
Revels History of Drama in English, The. Vol. v. 1660–1750. Ed.Loftis, John. London: Methuen, 1976.
Revels History of Drama in English, The. Vol. VI. 1750–1880. Ed. Booth, Michael R.. London: Methuen, 1975.
Richards, Kenneth, and Thomson, Peter, eds. Essays on Nineteenth-Century British Theatre. London: Methuen, 1971.
Richards, Kenneth. ‘Samuel Phelps’s production of All’s Well that Ends Well’. In Richards, and Thomson, , eds., Nineteenth-Century British Theatre,179–95.
Rinear, David L.From the artificial towards the real: the acting of William Farren’. Theatre Notebook 31 (1977): 21–8.
Ristori, Adelaide. Studies and Memories: An Autobiography. Boston: Roberts, 1888.
Ritvo, Harriet. Animal Estate: The English and other Creatures in the Victorian Age. Cambridge, MA: Harvard University Press, 1987.
Roach, Joseph R.The Player’s Passion: Studies in the Science of Acting. Newark: University of Delaware Press, 1985.
Roberts, David. TheLadies:FemalePatronageof Restoration Drama, 1660–1700. Oxford: Clarendon Press, 1989.
Robins, Elizabeth, and Bell, Florence. Alan’s Wife. London: Henry, 1893.
Robins, Elizabeth. ‘Heights and depths’. Ms. Fales Library, New York University.
Robins, Elizabeth. ‘Odd bits’. Handwritten and typed notes at end of‘Whither and how’. Ms. Fales Library, New York University.
Robinson, F. W.An East End entertainment’. Belgravia 9 (1869): 522.
Robson, William. The Old Playgoer. London, 1846.
Rosenfeld, Sybil. Georgian Scene Painters and Scene Painting. Cambridge University Press, 1981.
Rosenfeld, Sybil. A Short History of Scene Design in Great Britain. Oxford: Basil Blackwell, 1973.
Rosenfeld, Sybil. Strolling Players and Drama in the Provinces 1660–1765. Cambridge University Press, 1939.
Rosenfeld, Sybil. The York Theatre. London: Society for Theatre Research, 2001.
Rosenthal, Laura J.Playwrights and Plagiarists in Early Modern England: Gender, Authorship Literary Property. Ithaca: Cornell University Press, 1996.
Rowell, George, ed. Victorian Dramatic Criticism. London: Methuen, 1971.
Rowell, George. ‘Charles Wyndham’. In The Theatrical Manager in England and America. Ed. Donohue, Joseph. Princeton University Press, 1971, 189–213.
Rowell, George. Queen Victoria Goes to the Theatre. London: Paul Elek, 1978.
Rowell, George. The Victorian Theatre 1792–1914. 2nd edn. Cambridge University Press, 1978.
Rowell, George. William Terris and Richard Prince: Two Players in an Adelphi Melodrama. London: Society for Theatre Research, 1987.
Russell, Dave. Popular Music in England, 1840–1914: A Social History. 2nd edn. Manchester University Press, 1997.
Russell, Dave. ‘Varieties of life: the making of the Edwardian music hall’. In Booth, and Kaplan, ., eds., Edwardian Theatre, 61–85.
Russell, W. ClarkRepresentative Actors. London: Frederick Warne, 1872.
Rutherford, L.“Harmless nonsense”: the comic sketch and the development of music-hall entertainment’. In Bratton, , ed., Music Hall, 131–51.
Saintsbury, H. A., and Palmer, Cecil, eds. We Saw Him Act: A Symposium on the Art of Sir Henry Irving, Litt D. Cambridge and Dublin; LL.D., Glasgow. New York: Benjamin Blom, 1939.
Sala, G. A.On stage costume’. Belgravia 8 (1869): 101.
Saunders, George. A Treatise on Theatres. Printed for the author, 1790.
Saxon, A. H.Enter Foot and Horse: A History of Hippodrama in England and France. New Haven: Yale University Press, 1968.
Schoch, Richard W Not Shakespeare: Bardolatry and Burlesque in the Nineteenth Century. Cambridge University Press, 2002.
Schoch, Richard W Shakespeare’s Victorian Stage: Performing History in the Theatre of Charles Kean. Cambridge University Press, 1998.
Schofield, Mary Anne, and Macheski, Cecilia, eds. Curtain Calls: British and American Women and Theater 1660–1820. Athens: Ohio University Press, 1991.
Scott, Sir Walter. ‘Essay on the Drama’. In Miscellaneous Prose Works of Sir Walter Scott, Bart. Edinburgh: Robert Cadell, 1850, Vol. I.
Scouten, Arthur H.The London Stage 1729–1747: A CriticalIntroduction. Carbondale: Southern Illinois University Press, 1968.
Scouten, Arthur H.Notes toward a history of Restoration comedy’. Philological Quarterly 45 (1966): 62–70.
Scouten, Arthur H., and Hume, Robert D.. ‘Restoration comedy and its audiences, 1660–1776’. Yearbook of English Studies 10 (1980): 45–69.
Scullion, Adrienne. ‘The eighteenth century’. In A History of Scottish Theatre. Ed. Findlay, Bill. Edinburgh: Polygon, 1998.
Senelick, Laurence. ‘The evolution of the male impersonator on the nineteenth-century popular stage’. Essays in Theatre 1 (1982): 29–44.
Shakespeare travestied’. Dublin University Magazine 59 (Feb. 1862): 174.
Shapiro, Michael. ‘The introduction of actresses in England: delay or defensiveness?’ In Enacting Gender on the English Renaissance Stage. Ed. Comensoli, Viviana and Russell, Anne. Urbana: University of Illinois Press, 1999.
Shattuck, Charles H., ed. Bulwer and Macready: A Chronicle of the Early Victorian Theatre. Urbana: University of Illinois Press, 1958.
Shattuck, Charles H., ed. John Philip Kemble Promptbooks. 11 vols. Charlottesville: University Press of Virginia for the Folger Shakespeare Library, 1974.
Shattuck, Charles H., ed. William Charles Macready’s King John: A Facsimile Prompt-Book. Urbana: University of Illinois Press, 1962.
Shattuck, CharlesH. The Shakespeare Promptbooks: A Descriptive Catalogue. Urbana: University of Illinois Press, 1965.
Shaw, George Bernard. The Complete Plays of Bernard Shaw. London: Odhams Press, 1931.
Shaw, George Bernard. Dramatic Opinions and Essays. 2 vols. New York Brentanos’, 1928.
Shaw, George Bernard. Our Theatres in the Nineties. 3 vols. London: Constable, 1932.
Shaw, George Bernard. ‘Preface’. In Archer, William, The Theatrical ‘World’ of 1894. London: Walter Scott, 1895.
Shaw, George Bernard. Prefaces by Bernard Shaw. London: Odhams Press, 1938.
Shaw, George Bernard. Shaw and Ibsen: Bernard Shaw’s The Quintessence of Ibsenism and Related Writings. Ed. Wisenthal, J. L.. University of Toronto Press, 1979.
Sheldon, Esther K.Thomas Sheridan of Smock-Alley. Princeton University Press, 1967.
Shepherd, Simon, and Womack, PeterEnglish Drama: A Cultural History. Oxford: Blackwell, 1996.
Sheridan, Richard BrinsleyThe Critic. Sheridan: Plays. Ed. Price, Cecil. Oxford University Press, 1975.
Siddons, HenryPractical illustrations of rhetorical gesture and action, adapted to the English drama. London: Richard Phillips, 1807.
Sims, George R.Glances Back. London: Jarrolds, 1917.
Smith, Irwin. Shakespeare’s Blackfriars Playhouse: Its History and its Design. New York University Press, 1964.
Smith, John Harrington. The Gay Couple in Restoration Comedy. Cambridge, MA: Harvard University Press, 1948.
Sorelius, Gunnar. ‘The Giant Race Before the Flood’: Pre-Restoration Drama on the Stage and in the Criticism of the Restoration. Studia Anglistica Upsaliensia 4. Uppsala: Almqvist & Wiksell, 1966.
Southern, Richard. Changeable Scenery: Its Origin and Development in the British Theatre. London: Faber & Faber, 1952.
Speaight, George. A History of the Circus. London: Tantivy Press, 1980.
Speaight, George. The History of the English Puppet Theatre. 2nd edn. Carbondale: Southern Illinois University Press, 1990.
Spence, Joseph. Observations, Anecdotes, and Characters of Books and Men. Ed. Osborn, James M.. 2 vols. Oxford: Clarendon Press, 1966.
Sprague, Arthur ColbyShakespeare and the Actors: The Stage Business in his Plays (1660–1905). Cambridge, MA: Harvard University Press, 1944.
Sprague, Arthur Colby, Shakespearian Players and Performances. Cambridge, MA: Harvard University Press, 1953.
Springhall, John. Youth, Popular Culture and Moral Panics: Penny Gaffs to Gangsta Rap, 1830–1996. London: Macmillan, 1998.
Stage morality and the ballet’. Blackwood’s Magazine 105 (March 1869): 356.
Staves, Susan. Players’ Scepters: Fictions of Authority in the Restoration. Lincoln: University of Nebraska Press, 1979.
Staves, Susan. ‘Why was Dryden’s Mr Limberham banned?: a problem in Restoration theatre history’. Restoration and Eighteenth-Century Theatre Research 13.1 (1974): 1–11.
Stedman, Jane W.W. S. Gilbert: A Classic Victorian and his Theatre. Oxford University Press, 1996.
Steele, Richard. The Plays of Richard Steele. Ed. Shirley Strum Kenny Oxford: Clarendon Press, 1971.
Steele, Richard. Richard Steele’s The Theatre. Ed. Loftis, John. Oxford: Clarendon Press, 1962.
Stockwell, La Tourette. Dublin Theatres andTheatre Customs 1637–1820. 1938. Rpt. New York: Benjamin Blom, 1968.
Stokes, John, Booth, Michael R. and Bassnett, Susan. Bernhardt, Terry, Duse. Cambridge University Press, 1988.
Stokes, John. Resistible Theatres. London: Paul Elek, 1972.
Stone, George Winchester Jr, and Kahrl, George M.. David Garrick: A Critical Biography. Carbondale: Southern Illinois University Press, 1979.
Stratman, Carl J.Britain’s Theatrical Periodicals 1720–1967. New York: New York Public Library, 1972.
Strindberg, August. Miss Julie. Trans. Meyer, Michael. London: Eyre Methuen, 1976.
Stuart, Charles Douglas, and Park, A. J.. The Variety Stage: A History of the Music Halls from the Earliest Period to the Present Times. London: Unwin, 1895.
Summerfield, Penny. ‘The Effingham Arms and the Empire: deliberate selection in the evolution of music hall in London’. In Popular Culture and Class Conflict, 1590–1914. Ed. Yeo, Eileen and Yeo, Stephen. Brighton: rvester Wheatsheaf, 1981, 216–18.
Survey of London. Vol. XXXV. The Theatre Royal Drury Lane and the Royal Opera House Covent Garden. Ed. Sheppard, F. H. W.. London: Athlone Press, 1970.
Swift, Jonathan. Irish Tracts, 1728–1733. Ed. Davis, Herbert. Oxford: Basil Blackwell, 1955.
Symons, Arthur. Plays, Acting, and Music. New York Dutton, [1903].
Syrett, Netta. The Sheltering Tree. London: Bles, 1939.
T. W., Erle, Letters from a Theatrical Scene Painter (1880), 101, quoted in Booth, Theatre in the Victorian Age, 163.
Tave, Stuart M.The Amiable Humorist: A Studyin the Comic Theory and Criticism of the Eighteenth and Early Nineteenth Centuries. University of Chicago Press, 1960.
Taylor, Aline McKenzie. Next to Shakespeare: Otway’s Venice Preserv’d, and The Orphan, and their History on the London Stage. Durham: Duke University Press, 1950.
Taylor, George. Players and Performances in the Victorian Theatre. Manchester University Press, 1989.
Taylor, John. From Self-Help to Glamour: The Working Men’s Club, 1860–1972. Oxford: History Workshop Pamphlet, 1972.
Taylor, Tom. The Ticket of Leave Man. In Playsby TomTaylor. Ed. Banham, Martin. Cambridge University Press, 1985, 164–222.
Terriss, Ellaline. Just a Little Bit of String. London: Hutchinson, 1955.
Terry, Ellen. Ellen Terry’s Memoirs. Ed. Craig, Edith and John, Christopher St. New York: Putnam’s Sons, 1932.
Theatrical realism’. Spectator 37 (15 Oct. 1864).
Thespian Dictionary; or, Dramatic Biography of the Present Age, The. 1805.
Thomas, David, and Hare, Arnold, eds. Restoration and Georgian England, 1660–1788Cambridge University Press, 1989.
Thompson, F. M. L.The Rise of Respectable Society. Cambridge, MA: Harvard University Press, 1988.
Tilley, Vesta (Matilda Alice [Powles], Lady de Freece). The Recollections of Vesta Tilley. London: Hutchinson, 1934.
Tomalin, Claire. Mrs. Jordan’s Profession: The Actress and the Prince. New York: Alfred A. Knopf, 1995.
Traies, J.Jones and the working girl: class marginality in music-hall song, 1860–1914’. In Bratton, , ed., Music Hall,23–48.
Tree, Herbert Beerbohm. Thoughts and After-Thoughts. London: Cassell, 1913.
Troubridge, St Vincent. The Benefit System in the British Theatre. London: Society for Theatre Research, 1967.
Troubridge, St Vincent,‘Theatre riots in London’. In Studies in English Theatre History in Memory of Gabrielle Enthoven. London: Society for Theatre Research, 1952, 84–97.
Trussler, Simon. The Cambridge History of British Theatre. Cambridge University Press, 1994.
Merwe, Pieter. The Spectacular Career of Clarkson Stanfield, RA, 1793–1867. Sunderland: Tyne and Wear County Council Museums, 1979.
Lennep, William, et al. The London Stage 1660–1800: A Calendar of Plays, Entertainments & After pieces Together with Casts, Box-Office Receipts and Contemporary Comment Compiled from the Playbills, Newspapers and Theatrical Diaries of the Period. 11 vols. Carbondale: Southern Illinois University Press, 1960–8.
Vanbrugh, Sir John. Sir John Vanbrugh: Four Comedies. Ed. Cordner, Michael. Harmondsworth: Penguin, 1989.
Vicinus, Martha. Independent Women: Work and Community for Single Women, 1850–1920. University of Chicago Press, 1985.
Victor, Benjamin. The History of the Theatres of London and Dublin from the Year 1730 to the Present Time. 3 vols. London: T. Davies, 1761–71.
W. E., Adams, Memoirs of a Social Atom (1903), quoted in Jackson, Victorian Theatre, 24.
Wahrman, Dror. Imagining the Middle Class. Cambridge University Press, 1995.
Walpole, Horace. Horace Walpole’s Correspondence. Ed. Lewis, W. S. et al. 48 vols. New Haven: Yale University Press, 1937–83.
Wearing, J. P.The London Stage 1890–1899: A Calendar of Plays and Players. 2 vols. Metuchen, NJ: Scarecrow Press, 1976.
Wehlte, Kurt. The Materials and Techniques of Painting. London: Van Nostrand Reinhold, 1975.
West, Shearer. The Image of the Actor: Verbal and Visual Representation in the Age ofGarrick and Kemble. London: Pinter Publishers, 1991.
West, Shearer. ‘The public and private roles of Sarah Siddons’. In Sarah Siddons and her Portraitists: A Passion for Performance. Ed. Asleson, Robyn. Los Angeles: J. Paul Getty Museum, 1999.
White, Arthur F.The office of revels and dramatic censorship during the Restoration period’. Western Reserve University Bulletin n.s. 34.13 (1931): 5–45.
Whitebrook, Peter. William Archer. London: Methuen, 1993.
Wilde, Oscar. TheComplete Letters of Oscar Wilde. Ed. Holland, Merlin and Hart-Davis, Rupert. London: Fourth Estate, 2000.
Wilde, Oscar. The Picture of Dorian Gray. Ed. Murray, Isobel. Oxford University Press, 1981.
Wilkinson, Tate. Memoirs of his Own Life. 4 vols. York: printed for the author, 1790.
Wilkinson, Tate. The Wandering Patentee; or, A History of the Yorkshire Theatres, from 1770 to the Present Time. 4 vols. York: printed for the author, 1795.
Williams, Gary Jay. Our Moonlight Revels: A Midsummer Night’s Dream in the Theatre. Iowa City: University of Iowa Press, 1997.
Williams, Simon. ‘European actors and the star system in the American theatre, 1752–1870’. Cambridge History of American Theatre. Vol. I, Beginnings to 1870. Ed. Wilmeth, Don B. and Bigsby, Christopher. Cambridge University Press, 1998.
Williamson, Jane. Charles Kemble, Man of the Theatre. Lincoln: University of Nebraska Press, 1970.
Wilmeth, Don B.George Frederick Cooke: Machiavel of the Stage. Westport, CT: Greenwood Press, 1980.
Wilson, Edwin, ed. Shaw on Shakespeare. New York: Dutton, 1971.
Wilson, John Harold. All the King’s Ladies: Actresses of the Restoration. University of Chicago Press, 1958.
Wilson, John. John Wilson’sThe Cheats. Ed. Milton C. Nahm. Oxford: Basil Blackwell, 1935.
Wilson, M. Glen. ‘The career of Charles Kean: a financial report’. In Richards, and Thomson, , eds. Nineteenth-Century British Theatre, 39–50.
Wilson, Mrs C. Baron. Our Actresses; or, Glances at Stage Favourites, Past and Present. 2 vols. London: Smith, Elder, 1844.
Winston, James. The Theatric Tourist. London: T Woodfall, 1805.
Winter, John Strange. Connie, the Actress: A Novel. London: White, 1902.
Winter, William. Other Days; Being Chronicles and Memories of the Stage. New York: Moffat, Yard, 1908.
Winton, Calhoun. ‘Dramatic censorship’. In Hume, , ed., London Theatre World, 286–308.
Winton, Calhoun. John Gay and the London Theatre. Lexington: University Press of Kentucky, 1993.
Winton, Calhoun. ‘John Gay’s Beggar’s Opera and Vaclav Havel’s’. In Augustan Subjects: Essays in Honor of Martin C. Battestin. Ed. Rivero, Albert J.. Newark: University of Delaware Press, 1997.
Wolcott, John R.The scene painter’s palette: 1750–1835’. Theatre Journal 33.4 (1981): 477–88.
Women as dramatists’. All the Year Round (29 Sept. 1894): 299–301.
Wood, John. A Description of Bath. London: Bathoe, 1765.
Woodfield, Ian. Opera and Drama in Eighteenth-Century London: The King’s Theatre, Garrick and the Business of Performance. Cambridge University Press, 2001.
Woodfield, James. English Theatre in Transition: 1881–1914. London: Croom Helm, 1984.
Woodrow, A. E.Some recent developments in theatre planning’. Building News (25 March 1892): 427–30.
Works in Architecture of Robert and James Adam, The. Rpt. London: Alec Tiranti, 1959.
Wroth, Warwick. The London Pleasure Gardens of the Eighteenth Century. London: Macmillan, 1896.