Dearing, University of California, Los Angeles
Arthur Friedman, University of Chicago
Louis A. Landa, Princeton University
Earl Miner, Princeton University
Samuel H. Monk, University of Minnesota
Everett T. Moore, University of California, Los Angeles
Lawrence Clark Powell, William Andrews Clark Memorial Library
James Sutherland, University College, London
H.T. Swedenberg, Jr., University of California, Los Angeles
Robert Vosper, William Andrews Clark Memorial Library
Curt A. Zimansky, State University of Iowa
CORRESPONDING SECRETARY
Edna C. Davis, William Andrews Clark Memorial Library
EDITORIAL ASSISTANT
Jean T. Shebanek, William Andrews Clark Memorial Library
Typography by Wm. M. Cheney
INTRODUCTION
Among other things, the licensing act of 1737 stipulated that Covent
Garden and Drury Lane exclusively were the patented and licensed
theaters (respectively) in London, a fact directly related to the revolt
of prestigious players six years later. Although there were sporadic
performances of "legitimate" drama in unlicensed playhouses between 1737
and 1743, full-time professional actors and actresses were in effect
locked into the approved theaters during the regular theatrical season.
Suspecting a cartel directed against them personally and professionally
by the "Bashas" Rich at Covent Garden and Fleetwood at Drury Lane,[1]
the players from Drury Lane in the summer of 1743 banded together and
refused to perform the next season until salaries and playing conditions
improved.
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