In lieu of an abstract, here is a brief excerpt of the content:

Index Page numbers in italics represent illustrations. Abington, Frances, 9, 226–64; as Aurelia in The Twin Rivals, 242, 243; as Belinda in Rape of the Lock, 240–41; benefit performances , 53–54; and Bluestockings, 227– 28, 274; card-playing, 248, 332–33n61; and consumerism, 252; Dublin career, 226–27, 231; epilogues and significant roles, 45, 232, 236–58, 243, 251, 256; as Estifania in Rule a Wife and Have a Wife, 250–52, 251; and family income, 48; and Garrick, 53–54, 228, 236–37, 248, 250, 258–64, 329n9; as Lady Bab in Maid of the Oaks, 231, 232, 246–49, 252–57, 261; material femininity, 230– 31, 246–49, 264, 329n5; and millinery, 228–29, 237–38; nickname “Nosegay Fan,” 232, 248, 330n26; and ornamental pins, 237–41; portraits, 262, 266, 333n69; and prostitution rumors, 228; self-styled interiority, 230–31, 236–37, 244, 264; social mobility, 227–28; and stage accessories , 57–58, 231, 237–42, 243, 250–52, 251; and stage costuming, 57–58, 228– 36, 252; in The Sultan, 248–49, 252–58, 333n70; trademark “Abington cap,” 231; as Widow Bellmour in The Way to Keep Him, 231, 244–46; and women’s rights, 248–50, 257–58 Abington, James, 226 The Adventures of a Rupee, 234 Aesop, 167 afterpieces, 11, 41, 178–82, 184–88 Agnew, Jean-Christophe, 62–63, 134, 311n52 Alexander the Great, A Tragedy; with Alterations , 74 Alexander the Great (opera), 70 Alfred, A Masque, 177 Alleyn, Edward, 7 All for Love, 62, 73, 83, 218, 235 Alzira, 55 The Ambitious Step-Mother, 266, 269 Ambross, Miss E., 282 The Amorous Widow; or, The Wanton Wife, 58 Amory, Thomas, 113 Andreini, Isabella, 33 Andrews, Miles Peter, 252 The Anecdotes of the Late Samuel Johnson (Piozzi ), 279 Anne, Queen, 140, 156 An Apology for the Life of Colley Cibber, 82, 86, 101, 132, 304n60 An Apology for the Life of George Anne Bellamy , 61, 92, 94, 114–18, 121 The Apprentice, 40–41, 293n37 The Apprentice’s Vade Mecum (Richardson), 38 apprentice system, 34–42, 291nn11, 13–14 Archenholz, William, 134 Argyll Rooms, 228 aristocracy: lessening power of, 13; and patronage , 46–47, 54–56, 117–18, 135–37, 140; and scandalous behavior/social decorum , 329n8. See also patronage system Arminius, 177 Armstrong, Nancy, 63, 288n40 Art and Nature, 176 366 index The Astrologer, 205, 207 audiences, 45, 122–50, 130–34; competition with actresses, 124–26; and cross-dressed performances, 196–98, 214, 218, 220, 223–25, 327n75; and earthy allusions, 136, 138–39; engaging with, 45, 126–27; and epilogues, 20–21, 127, 236; and freedom of expression, 131–33; and full collaborative assembly, 123–34, 309nn28– 29; and moral reform, 135–36, 138–39, 310nn43–44; and “public intimacy” of actresses, 16–17, 45, 59–60, 64, 288n34; and relationship to time, 62, 299n5; revising of plays, 127; and she-tragedies, 139–40; and stage as visual spectacle, 130–31, 309nn26–27; and stage costuming , 235–36, 242–44; and theater seating, 20–21, 128–30, 133, 289n43; unruliness, 124, 127–28, 130–34; and women’s taste, 138. See also patronage system Aungier Street Theatre (Dublin), 147 Authentick Memoirs of the Life of that celebrated Actress Mrs. Ann Oldfield, 101–4, 111 The Author’s Farce, 177 “The Author Written by a Lady Spoken by Mrs. Clive,” 128 Aylesbury, Lady, 56 Backscheider, Paula, 15 Baddeley, Sophia, 144, 246, 272–73, 281 Baillie, Joanna, 277 Balibar, Etienne, 160 Ballard, George, 113 Banks, John, 71, 301n27 Barbauld, Anna Laetitia (Aikin), 274 Barker, Jane, 101 Barrell, John, 14 Barrie, Robert, 291n11 Barry, Ann Spranger, 210, 211, 260–61, 266 Barry, Elizabeth, 49, 151; as apprentice, 35, 37; and celebrity, 31; earnings, 44, 48, 53, 55, 297n79; and patronage, 46, 147; as Roxana in The Rival Queens, 76–80; and shetragedies , 71–72, 222; stage clothing, 58 Barry, Spranger, 6, 70–71 Batchelor, Jennie, 238, 331n38 Battle of the Boyne (1690), 156 The Beaux Stratagem, 99, 103, 130, 142, 226 Beefsteak Club, 34, 154–56, 201, 204 The Beggar’s Opera, 15, 67; Abington’s role, 231; Clive’s role, 58–59, 156, 162, 181, 186– 87; Fenton’s role, 98; requests for, 142; Woffington’s role, 191, 202 The Beggar’s Pantomime; or, the Contending Columbine, 59, 163 Behn, Aphra, 10, 18, 98, 136 Bell, John, 265 Bellamy, George Anne, 9; benefit performances , 53–56; and Garrick, 3; and interiority effect, 116; mentoring of other actresses, 38; patronage by ladies...

Share