Centlivre v. Hardwicke: Susannah Centlivre's Plays and the Marriage Act of 1753

摘要: The years between 1700 and 1800 saw Susannah Centlivre's plays performed 1,227 times in London theaters. Two plays, Busie Body A Bold Stroke for a Wife, accounted 822 of these performances.1 was an immediate hit upon opening at the Drury Lane Theatre on 12 May 1709. After eighteen performances its first season, it averaged more than six annually until 1 800, thus becoming most popular female-authored play century. second spot belongs to Centlivre, too. Stroke, 3 February 1718 Lincoln's Inn Fields Theatre, enjoyed relatively successful run nights. Yet, unlike Body, this not consistently with early-century audiences; indeed, after initial run, produced again ten years. But 1750 play's popularity increased markedly so much that by end century almost as often earlier play.2 Only few critics have attempted explain two plays. John Wilson Bowyer Nancy Copeland both attribute late-century success various actors who played role hero, Colonel Fainwell. Thalia Stathis attributes "cleverly wrought stage business," "plot intrigue," "amusing male roles," "structural unity," "concentrated action." Jess Byrd credits Body's "preference laughing comedy improved moral tone" characters plot are but inoffensive, . satisfy desire growing eighteeth-century middle-class audience respectability stage." Similarly, Fidelis Morgan asserts comedies general managed please "new po-faced audience," largely because "compromise adaptation mealy-mouthed were demand" latter