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John Gay was an English poet and dramatist and member of the Scriblerus Club. He is best remembered for The Beggar's Opera (1728), a ballad opera. The characters, including Captain Macheath and Polly Peachum, became household names.
The ballad opera is a genre of English stage entertainment that originated in the early 18th century, and continued to develop over the following century and later. Like the earlier comédie en vaudeville and the later Singspiel, its distinguishing characteristic is the use of tunes in a popular style with spoken dialogue. These English plays were 'operas' mainly insofar as they satirized the conventions of the imported opera seria. Music critic Peter Gammond describes the ballad opera as "an important step in the emancipation of both the musical stage and the popular song."
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 demolished and replaced by a purpose-built theatre for a third period, 1714–1728. 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.
Three Hours After Marriage was a restoration comedy, written in 1717 as a collaboration between John Gay, Alexander Pope and John Arbuthnot, though Gay was the principal author. The play is best described as a satirical farce, and among its satirical targets was Richard Blackmore.
William Rufus Chetwood was an English or Anglo-Irish publisher and bookseller, and a prolific writer of plays and adventure novels. He also penned a valuable General History of the Stage.
The Jacobs Well Theatre was a playhouse in Cliftonwood, Bristol, England, which opened in 1729. It took its name from the nearby Jacobs's Well, which may have been a mikveh, a type of Jewish ritual bath. The theatre was built by actor John Hippisley, who had created the character of Peachum in the premiere of John Gay's Beggar's Opera. The stage space was so small that actors exiting on one side had to walk around the building to re-enter on the other side, often being subject to banter by spectators enjoying this free show. A hole was knocked through a party wall to an adjacent ale house, The Malt Shovel, so that actors, and audience seated on the stage, could obtain refreshments. Admission prices ranged from 1 shilling to 3 shillings, and it was estimated that a full house could earn as much as £80. Servants of patrons were admitted free of charge to an upper gallery. In later years, Thomas Chatterton described the theatre as a "hut".
Achilles is a ballad opera by John Gay, first performed at the Theatre Royal, Covent Garden in 1733, a year after Gay's death, with Gay's associate John Rich as producer.
The What D'Ye Call It is a 1715 farce by the British writer John Gay. It was written as a parody of tragic plays, with particular reference to Thomas Otway's Venice Preserv'd.
Dione is a 1720 tragedy by the British writer John Gay.
The Captives is a 1724 tragedy by the British writer John Gay. The action takes place in the ancient Median Empire, following the fashion in many tragedies of the era to have oriental settings. It concerns a plot against the King, which involves his wife and two royal Persian captives.
Christopher Bullock (1690–1722) was a British stage actor and dramatist.
A Woman's Revenge, or a Match in Newgate is a 1715 comedy play by the British writer Christopher Bullock. It was originally performed as an afterpiece to another work The Lucky Prodigal. With its Newgate Prison setting and cynical references to corruption, it could be regarded as a precursor to John Gay's hit The Beggar's Opera of a decade later.
The Provoked Husband is a 1728 comedy play by the British writer and actor Colley Cibber, based on a fragment of play written by John Vanbrugh. It is also known by the longer title The Provok'd Husband: or, a Journey to London.
The Devil to Pay is a 1731 ballad opera by the Irish writer Charles Coffey and British writer John Mottley. Also known by the longer title The Devil to Pay: Or, The Wives Metamorphos'd, it was part of a group of ballad operas produced in the wake of the success of John Gay's The Beggar's Opera. The work is inspired by Thomas Jevon's 1686 play The Devil of a Wife.
The Beggar's Wedding is a 1729 ballad opera by the Irish writer Charles Coffey. Part of a boom in ballad operas following the success of John Gay's The Beggar's Opera, it originally premiered at the Smock Alley Theatre in Dublin in March 1729 before appearing in London at the Haymarket Theatre on 29 May 1729 The original Dublin cast included Richard Elrington.
Love in a Riddle is a 1729 ballad opera by the British actor-manager Colley Cibber. It was part of a boom in ballad operas inspired by the enormous success of John Gay's The Beggar's Opera the previous year.
Bayes's Opera is a 1730 ballad opera by the British writer Gabriel Odingsells. It was part of a boom in ballad operas that followed in the wake of the susccess of John Gay's The Beggar's Opera.
Sylvia is a 1730 ballad opera by the British writer George Lillo, written as part of a boom in ballad operas in the wake of John Gay's 1728 hit The Beggar's Opera.
The Apparition: or, The Sham Wedding is a 1713 British comedy play written by an anonymous author.
The Cobbler of Preston is a 1716 comedy play by Christopher Bullock, although a separate play of the same title was written by Charles Johnson the same year. A one-act afterpiece is the origin of the phrase "Tis impossible to be sure of anything but Death and Taxes". In the preface to the published version Bullock suggested that he had begun writing the play just four days before its premiere. It takes inspiration from The Taming of the Shrew by William Shakespeare and is set in Preston, Lancashire. The town had recently been scene of fighting during the 1715 Jacobite Rebellion at the Battle of Preston. Bullock's play does not overtly reference the rebellion, but has undertones supportive of the Hanoverian Dynasty.
