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A Year in Review: 1780
 * //The London Evening Post//**

In 18th century England, individuals commonly received their daily news from newspapers. The price of newspapers in England varied depending on the news source and the audience to which it was appealing. Different newspapers targeted a specific audience, while some were mainly politically based news sources, others tended to write about the issues that appealed to everyone. //The London Evening Post// was written in 18th century England between the 1720s and the 1800s. The title gives the impression that the material will focus on the general public of London, but further reading reveals that this newspaper clearly focuses on more than just one country. The most prominent discussions tend to focus on politics; whether a recent promotion, a change to the political system, or a meeting being held by local leaders, //The London Evening Post// was able to cover large political setbacks to local town leaders pushing for change. Although politics tends to form the majority of the newspaper, its often brief, yet cryptic commentary can be mistaken as humorous, the writers seemed to take the opposing sides of the political arguments, which many people found humorous. The newspaper is linked to the world of London politics while doubling as a source to the middling societies; the individuals who were neither of the wealthy class or the very poor emigrated of England, Wales, Scotland, and even Ireland. Its wide circulation and price made //The London Evening Post// one of the more popular newspapers of its time. The paper was notorious for political publications, its strength lies in the opposition papers and while other papers struggled to keep political news important. As for entertainment, the paper released weekly reports on the plays being performed at Drury Lane. Often times, the paper would release the scripts of the play as well as the performers names and titles. The plays were often comedies, but a few that were published had some tragic tones to them, as per the author. The plays would be in reference to something happening in London at the time, or would be associated with a person of higher class or rank. Before a play was reviewed, the paper would talk about the important individuals in that society. London may be in the title, but this newspaper offered a wide variety of news from local towns and the surrounding areas and countries. In the issue dating from Saturday January 1st to Tuesday January 4th 1780, the newspaper quotes a section from the //London Gazette// that discusses the Imperial Majesty’s name day and also the appointment of Charles Earl of Bellamont. Information may only be found in certain papers, or may be too expensive for others to purchase, therefore this paper allows the individuals to get their information from a variety of sources. Sold at three pence, the newspaper was able to attract a large majority of the population. In the 18th century, a newspaper that wasn’t subsidized by the government normally sold for three pence, in mid-eighteenth century England, a family of four could live modestly on 40 sterling a year. The cost of //The London Evening Press// was equivalent to ¼ of a shilling, or what would be equivalent to 3 pennies, making the paper a reasonable price for most families to read as well as a large majority of the people in the surrounding countries. The publication was not released on a daily basis; rather it was sold three times a week, giving individuals the opportunity to save up their daily pay in order to purchase a newspaper. Most notably acknowledged are the Protestants. In 18th -century England, fewer papers were mentioning church and religion due to the ongoing disputes within the countries. While other papers chose to drop the section respectively, //The London Evening Post// found that their readers were still interested in being informed, and choose instead to leave the section. The Catholic Church suffered much criticism and lost many believers, while many people were starting to devote their time to Protestantism, it is only reasonable to assume that a newspaper would include information of local religious meetings or gatherings. In more than one publication dating between January and June of 1780, the Protestant Association had writing in the newspaper. In one particular issue, they write out the rules to abide by if seeking or practicing the Protestant religion. This was interesting because of the dueling between the Protestants and the Catholics that we discussed in class. While England tried whatever they could so that the Catholics could not take control, it was becoming increasingly difficult to stop them. //The London Evening Post// was a notable newspaper in 18th century England for its ability to appeal to many audiences on multiple subjects. This simple yet informative newspaper allowed for other countries to contribute to the news. For people who had little time to sit around and read the paper, it offered brief comments about the news that were informative yet humorous. Information was written in a way that was easy to grasp. A wide range of audiences allowed for a notable newspaper that even today is considered one of England’s most prominent news sources.

**Drury Lane, 1780** The Drury Lane Theatre (also later known as the Theatre in Drury Lane; the Royal Theatre, Drury Lane; and Theatre Royal, Drury Lane) is one of London's most famous theaters. It was first erected under a charter granted by Charles II in 1662, and it opened in 1663 but burned down in 1672. Their have since been three rebuilding’s of the theater on the same site. The second theater was opened in 1674 and much later fell into disrepair. The third Drury Lane Theatre, designed by Henry Holland, opened in 1794, but burned down in 1809. The fourth Drury Lane (which still stands) opened in 1812.

With a series of farewell performances, Garrick left the stage in 1776 and sold his shares in the theatre to the Irish playwright Richard Brinsley Sheridan. Sheridan and his partners completed their purchase of Drury Lane two years later, and Sheridan owned it until 1809. SHeridan premiered his own comedy of manners, //The School for Scandal// in 1777. Active management of the theater was carried out by a number of parties during Sheridan's ownership, including himself, his father Thomas, and, from 1788 to 1796 and 1800 to 1802, the popular actor John Philip Kemble. Sheridan employed dozens of children as extras at Drury Lane including Jospeh Grimaldi who made his stage debut at the theater in 1780. Grimaldi became best known for his developemtn of the modern whiteface clown and popularized the tole of clown in many performances.

Richard Brinsley Sheridan was born in Dublin, Ireland and raised in London. He became the manager and part owner of the Drury Lane Theatre in 1776. He wrote several plays, including the comedies //The Rivals// (1775) and //The School for Scandal// (1780). He also served as a Minister of Parliament from 1780 to 1812. Sheridan negotiated to buy David Garrick's controlling share of the second Drury Lane Theatre, and in September 1776, the theater opened under Sheridan's management. From 1791 to 1794, Sheridan was involved in the rebuilding of the third Drury Lane Theatre and became involved in complicated financial dealings and debts to fund the venture. Other proprietors at this time were Joseph Richardson and John Grubb; all three were later involved in civil law suits concerning financial miss-management. When the third theater burned in 1809, Sheridan was deeply in debt and had to agree for Samuel Whitbread to take charge of funding and rebuilding the theater. When the fourth Drury Lane Theatre opened in 1811, Sheridan was excluded from any share in the management. Sheridan died penniless in 1816. John Grubb of Horsemen (1751-1812) was a friend of Sheridan's and an investor and joint-proprietor in the third Drury Lane Theatre. Very little is known about the structure of the Theatre Royal Drury Lane after 1674, because no reliable illustrations survive.




 * //The Miniature// //Picture-//** This comedy of three acts was originally written as a farce in two acts, and never intended for the public theaters or the public eye. The author of it publishes it at the request of several of her friends, who saw it misrepresented on the stage, at Drury Lane.

DRAMATIS PERSONAE Mr. Camply Mr.Belvil Lord Macgrinnon John, The Gardener Eliza amply Miss Loveless Mrs. Arabella Loveless Susan, the Cookmaid Two Servants

Lady Craven wrote this little comedy. It was originally performed at Lord Craven’s. Lord Craven estate was found in Newbury. Like the others plays of this time, it was performed in April. It received its name from the following circumstances of a comedy- a coquette obtains from a young man of gallantry and fashion. The miniature picture of the lady he loves is something that he carries around with him. This lady, is disguised as an Oxford student, procures it from the coquette, and while contemplating her next move, her lover arrives. He sees the picture and recognizes it and hopes to gain control of it again which starts a duel between the two lovers. At the heart of the duel, the lady discovers herself, and the reconciliation of a hero or heroine leads to the marriage of several people who have been engaged in the comedy. There is more real knowledge of life exhibited in the little picture, than in the comedy that has appeared on stage for many years. The characters are drawn with ease and truth, and the language is such what people would have used if they were in the same situation.

Dramatis Personae Sir John Contrast- Mr. Parsons V. Contrast- Mr. Palmer Truemore- Mr. Vernon Rashly- Mr.Bannister Rental- Mr.Aickin Le Nippe- Mr.Dodd Captain Trepan- Mr. Baddeley Seargent Crimp- Mr. R Palmre Huntsman- Mr. DuBellamy Annette- Miss Pradom Sophia- Miss Farren Peggy- Mrs.Wrighten
 * //The Lord of the Manor-//** A comic opera by the British soldier and playwright John Burgoyne. It was first staged at the Drury Lane Theater in December 1780. It was written by Burgoyne for his lover the actress Susan Caulfield.

This fable is a comic opera in three acts. Sir John Contrast, an obstinate Old Country Baronet, disinherits his eldest son, for following the dictates of nature in marrying a young and unproportioned girl from the village. The outcast, after burying his beloved wife, tried various expedients to raise a comfortable fortune for his two beautiful daughters but is at last reduced to returning to the place of necessity of his nativity, where his long absence is conceding him of from reconciliation, he becomes his fathers tenant, under the name of Rashly, played by Mr.Bonnister. At the opening of the piece, young Contrast, Sir John’s other son, by a few good wife, and intended heir, arrives at Castle Manor, and after ordering his brothers guns and dogs to be taken from him, is wrought upon by his Valet, to attempt the seduction of their daughter Sophia, who is attached to Truemore, played by Mr.Vernon. Foiled in his design, he now plans to punish the peasant father, as he supports him, and her lover for their interference, by having the former prosecuted as a poacher, and the later seized by a gang. Rental, the steward of the Manor, who humanely defines himself within the family, tries every expedient to prepare Sir John for the interview and reconciliation he wishes to bring about between him and his son: for this purpose he brings him to his sons cottage, which Sir John has just ordered to be raised to the ground, on account of it being deemed the receptacle of romping girls. But on his arrival there, he is struck with the native innocence of the two lovely inhabitants, his unknown grand daughters, and so far from increasing their distress, promises Rental to make the cottage now of comfort and joy; and, retiring, desires them to come that evening to the castle with the father, that they might receive an earnest of his further intentions. During the interval, the father is served with several legal processes for poaching, and threatened with the terrors of a dungeon, for not paying the penalties. Truemore hearing this, goes to a recruiting party, in the village, and enlists with them on the condition that the Captain with grant him twenty guineas, and allow him half an hour before he meets them at Sir John Contrasts, the Justice, to be attested. Le Nipped, meeting Peggy, attempts to bribe her, to betray her young mistress Sophie, she takes the money, but instead of aiding his scheme, gives him a bottle of poppy water and brandy, and throws him dead drunk into a ditch. The party now, thinking their new recruit overstays his time, goes out in search of him as a deserter, and coming up to Peggy, inquires if she has seen him. Peggy observing him at this moment, and thinking it is a good opportunity for revenge, points him out as the man; accordingly he is seized and carried in front of his father at Castle Manor as a deserter. The catastrophe begins now to wind up. Truemore comes in at this moment, and pays down the money he had received, of the officer to release Rashly from his captivity and then joins the party. Sir John Contrast is no sooner informed of the infamous designs of his son Contrast on Sophia, young Contrast flies to town with the promise of a second sons fortune if he alters his course of life; and Truemore is promised his hand of his long loved Sophia, who with her father and sister have full possession given them of Castle Manor.

//Conclusion:// I think that Drury Lane was a popular source of entertainment in 1780 and most importantly to the issues of the time. While family wealth and inheritance was extremely important, //The Lord of the Manor// tends to focus on those issues and the importance of the family. Many of the articles in //The London Evening Post// discussed the theater and what shows were being produced. The two plays that I talked about were both comedies and it was clear that Drury Lane focused on comedies and not tragedies. The characters are often represented by the wealthy elite that were in control at the time. The newspapers were able to inform the people about the local entertainment, which was especially important in a time with turmoil and military fighting. While military issues were of importance in England at the time, it was comforting to see entertainment and the arts having a significant portion of the paper. I think that people enjoyed a break from the issues that were surrounding them.

Work Cited.

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//The London Evening Post.// January 1st, 1780- December 31st, 1780. //British Newspapers//, Burney Collections. Online.

//The London Stage, 1660-1800.// A Calendar of Plays, Entertainment & Afterpieces, Together With Casts, Box-receipts and Contemporary Comment: Part 4, 1780. Ed. George Winchester Stone, Jr. Carbondale: Southern Illinois University Press, 1960. Print.

//The Reading Mercury and Oxford Gazette, etc// (Reading, England), Monday, May 29, 1780; pg. 3; Issue 957. //British Newspapers, Part III: 1780-1950//

Voltaire. __The tragedy of Zara. As it is acted at the Theatres Royal in Drury-Lane and Covent-Garden. By Aaron Hill, Esq.__ London, [1780?]. __Eighteenth Century Collections Online__. Gale. University of Maryland College Park. 10 July 2014

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