SEASON OF
1781-1782
^ his season proceeded to its close in a routine fashion. In the
early winter a brief flurry of rivalry between Drury Lane and
Covent Garden aroused considerable interest. Each of these
# theatres was presenting a new tragedy, each of which enjoyed
a run of 21 nights, and each of which had its partisans. Covent Garden, on
*7 November, brought forward The Count of Nar bonne, written by Robert
Jephson, and, in its staging, costuming, &c. materially assisted by Horace
Walpole, on whose novel, The Castle of Otranto, it was founded. This play
held the stage, off and on, for almost twenty seasons; its principal female
Part is a showy one, and was much favored by many actresses. Drury Lane’s
PlaY was first seen ten days later, on 27 November. It is called The Fair
Ctroassian, the handiwork of a popular novelist and essayist, Samuel Jackson
Ptatt. Its reception this season could scarcely be called a failure, but it was
"ever revived.
Somewhat the same fate befell an opera, brought over to London
Venice, and produced on n December, Anfossi’s I Fiaggiatori Felici.
^ his season it was sung 28 times — probably a record for the entire century.
°n three occasions it was commanded by the King and Queen. But, although
ln the succeeding season the same cast was available, it was laid aside, and
°nly briefly revived in 1785. William Taylor now had entire control of
. e opera house; in the summer of 1781 he purchased all of Sheridan’s
‘"terest in it. His first season as manager was an unusually successful one,
the principal reason being the return to London, for the first time since
l755, of the great ballet master, Jean Georges Noverre. He re-staged seven
°h his most famous compositions, and introduced three new ones, all of
Which were enthusiastically received. In addition to the usual bi-weekly
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