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Restoration comedy is English comedy written and performed in the Restoration period of 1660–1710. Comedy of manners is used as a synonym for this. After public stage performances were banned for 18 years by the Puritan regime, reopening of the theatres in 1660 marked a renaissance of English drama. Sexually explicit language was encouraged by King Charles II (1660–1685) personally and by the rakish style of his court. Historian George Norman Clark argues:
The best-known fact about the Restoration drama is that it is immoral. The dramatists did not criticize the accepted morality about gambling, drink, love, and pleasure generally, or try, like the dramatists of our own time, to work out their own view of character and conduct. What they did was, according to their respective inclinations, to mock at all restraints. Some were gross, others delicately improper.... The dramatists did not merely say anything they liked: they also intended to glory in it and to shock those who did not like it.
Susanna Verbruggen, aka Susanna Mountfort, was an English actress working in London.
Anne Bracegirdle was an English actress.
Elizabeth Boutell, was a British actress.
Mary Kent was an English actress, whose career lasted from 1692 to 1718. Her dates of birth and death are not known. She was the wife of Drury Lane actor Thomas Kent.
George Powell was a 17th-century London actor and playwright who was a member of the United Company. He was the son of the actor Martin Powell, a long-standing member of the King's Company.
The terms "semi-opera", "dramatic[k] opera" and "English opera" were all applied to Restoration entertainments that combined spoken plays with masque-like episodes employing singing and dancing characters. They usually included machines in the manner of the restoration spectacular. The first examples were the Shakespeare adaptations produced by Thomas Betterton with music by Matthew Locke. After Locke's death, a second flowering produced the semi-operas of Henry Purcell, notably King Arthur and The Fairy-Queen. Semi-opera received a deathblow when the Lord Chamberlain separately licensed plays without music and the new Italian opera.
Lisle's Tennis Court was a building off Portugal Street in Lincoln's Inn Fields in London. Originally built as a real tennis court, it was used as a playhouse during two periods, 1661–1674 and 1695–1705. During the early period, the theatre was called Lincoln's Inn Fields Playhouse, also known as The Duke's Playhouse, The New Theatre or The Opera. The building was rebuilt in 1714, and used again as a theatre for a third period, 1714–1732. The tennis court theatre was the first public playhouse in London to feature the moveable scenery that would become a standard feature of Restoration theatres.
Cave Underhill (1634–1710?) was an English actor in comedy roles.
Samuel Sandford was an English character actor, known for his roles as villains.
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.
William Bowen (1666–1718) was a British stage actor. He was part of the United Company from 1689. For a time, he became known for his comic roles. He was fatally wounded in a duel with fellow actor James Quin in 1718.
Joseph Williams was an English stage actor of the seventeenth and early eighteenth century.
Elinor Leigh was a British stage actor of the seventeenth century.
George Bright was an English stage actor of the seventeenth and early eighteenth century. He specialised in playing "comic dullards, fops and bouncy servants". After beginning his career in Dublin he joined the Duke's Company at the Dorset Garden Theatre in 1679 and then became part of the merged United Company in 1682.
Elizabeth Bowman was an English stage actress of the seventeenth and early eighteenth century. The daughter of Sir Francis Watson, 1st Baronet she was adopted by the actor manager Thomas Betterton. In 1692, she married John Bowman and began acting at Drury Lane the following year as Mrs Bowman. She was a member of the United Company until 1695 then joined Betterton's breakaway at the Lincoln's Inn Fields Theatre.
Abigail Lawson was an English stage actor of the seventeenth and early eighteenth century. She was a member of the United Company, making her first known appearance in The Marriage-Hater Matched by Thomas D'Urfey in 1692. From 1695 she was part of Thomas Betterton's breakaway company at the Lincoln's Inn Fields Theatre.
Joseph Harris (c.1650–1715) was an English stage actor and playwright. His earliest known performance was in the United Company's The Bloody Brother in 1685. Earlier mentions an actor named Harris are likely to refer to an earlier lesser-known actor William Harris or even the celebrated Restoration performer Henry Harris. He remained with the United Company until 1695 when he joined Thomas Betterton's breakaway company at the Lincoln's Inn Fields Theatre. He acted there until around 1705, although some reports have him still acting as late as 1715.
Jane Lucas was an English stage actress and singer of the late seventeenth and early eighteenth century. From around 1693 she was a member of the United Company based at the Theatre Royal, Drury Lane. In 1697 she had fellow actor Colley Cibber arrested, although the reason was not clear and she remained acting in the company alongside him for some years afterwards.
Charlotte Butler was an English stage actress and singer of the seventeenth century. She may have joined the Duke's Company in the 1670s, but her first definite recorded performance was in Aphra Behn's The Revenge (1680) The anonymous A Satyr on The Players describes her,
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- ↑ Lowerre p.127
