1677 in literature

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This article contains information about the literary events and publications of 1677.

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<span class="mw-page-title-main">1670 in literature</span> Overview of the events of 1670 in literature

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<span class="mw-page-title-main">Thomas Otway</span> 17th-century English writer and dramatist

Thomas Otway was an English dramatist of the Restoration period, best known for Venice Preserv'd, or A Plot Discover'd (1682).

Anne Shadwell was an English stage actor of the seventeenth century. She was one of the first English actresses to appear on stage following the Restoration She was one of six actors recruited in 1660 by William Davenant for the new Duke's Company, acting under her maiden name Anne Gibbs. Sometime between 1663 and 1667 she married the playwright Thomas Shadwell with whom she had four children. While some sources have her acting late into the century, it may be she effectively retired with the formation of the United Company in 1682. Her appearances had decreased since 1672. Following her husband's death in 1692 she was left the bulk of his estate. She had an investment in the Drury Lane Theatre in 1709, when she joined a petition to Queen Anne by the manager Christopher Rich, but nothing is known about her after this point.

<span class="mw-page-title-main">Anthony Leigh</span> English actor

Anthony Leigh was a celebrated English comic actor.

Mary, Lady Slingsby, born Aldridge, was an English actress. After a marriage lasting 1670 to 1680 to John Lee, an actor, during which she was on the stage as Mrs. Lee, she was widowed. She then married Sir Charles Slingsby, 2nd Baronet, a nephew of Sir Robert Slingsby, and performed as Lady Slingsby. Theatre historians have pointed out the difficulty in identifying her roles in the period when Elinor Leigh, wife of Anthony Leigh, was performing as Mrs. Leigh, because the homophones "Lee" and "Leigh" were not consistently spelled at the time.

John Bowman (1651–1739) was a British stage actor. He began his career in the Duke's Company at the Dorset Garden Theatre. In 1692 he married Elizabeth Watson, who acted under the name Elizabeth Bowman. He later switched to act at the Drury Lane Theatre. He is also referred to as John Boman.

Joseph Williams was an English stage actor of the seventeenth and early eighteenth century.

Elizabeth Currer was an Irish stage actress of the Restoration Era. She was a member of the Duke's Company during the 1670s and subsequently part of the merged United Company from 1682. Although she was likely acting in London several years earlier than this, her first known role was in The Conquest of China in 1675. Due to the irregular spelling of the time her surname is sometimes written as Carrier, Corer and Currier amongst other variants.

John Wiltshire was an English stage actor of the Restoration Era. He joined the King's Company in 1675, before transferring to the rival Duke's Company in 1679 possibly as a replacement for Matthew Medbourne who was arrested in the Popish Plot and subsequently died in Newgate. From 1682 until his death he was part of the merged United Company. According to the autobiography of Colley Cibber he subsequently joined the English Army as captain and was killed in action fighting with William III's forces in Flanders during the Nine Years' War. His surname is also sometimes spelled as Wilshire.

John Richards was an English stage actor of the seventeenth century. An early member of the Duke's Company in London, he was lured away to the new Smock Alley Theatre in Dublin by John Ogilby. He was back with the Duke's at the Dorset Garden Theatre from the mid-1670s, but while in Ireland he was able to play major roles his English performances were generally supporting parts.

Thomas Percival or Percivall was an English stage actor of the seventeenth century. He was a member of the Duke's Company from 1671 to 1682 and then the merged United Company until 1686. Throughout his career he was confined to playing supporting roles, never graduating to major parts. He was the father of the actress Susanna Verbruggen. In 1693, following his retirement from the stage, he was arrested for coin clipping, a capital crime, for which he was sentenced to hang at Tyburn. The intercession of his daughter with Mary II saw his sentence commuted to transportation, but before he reached Portsmouth he died of natural causes.

Margaret Osborne or Osborn was an English stage actress of the seventeenth century She was a long-standing member of the Duke's Company from 1671, acting at Lincoln's Inn Fields and the Dorset Garden Theatre. She went to Dublin to work at the Smock Alley Theatre in 1677, but returned to the Duke's Company around two years later She subsequently joined the merged United Company in 1682 and was still acting in the 1690s.

John Crosby was an English stage actor of the Restoration Period. He first recorded performance is in 1662 when he appeared in Ignoramus at Whitehall Palace, likely as a child actor. It was further eight years before he was solidly established in the Duke's Company in 1670 beginning with The Forc'd Marriage by Aphra Behn. He became a regular with the company over the following decade, often playing young lover roles. He retired from the stage in 1679 and later became a justice of the peace for Middlesex. He died on 8 April 1724 and was buried in St Sepulchre.

References

  1. Birley, Robert (1962). Sunk without Trace: some forgotten masterpieces reconsidered . London: Rupert Hart-Davis.
  2. Western Reserve University (1931). Western Reserve University Bulletin. Western Reserve University. p. 14.
  3. Pierre Danchin (1981). The Prologues and Epilogues of the Restoration, 1660-1700: A Complete Edition. Publications Université Nancy II. p. 76. ISBN   978-2-86480-162-7.
  4. The Encyclopedia Americana. Grolier Incorporated. 1999. ISBN   978-0-7172-0131-0.
  5. Moody, T. W.; et al., eds. (1989). A New History of Ireland. 8: A Chronology of Irish History. Oxford University Press. ISBN   978-0-19-821744-2.
  6. Copeland, Nancy (2003). "Review of The Theatre of Aphra Behn". The Journal of English and Germanic Philology. 102 (3): 442–444. JSTOR   27712366.