Joseph Grimaldi - Knowledge

1208:, author of a 1955 Grimaldi biography, commented: "Here is Joey the Clown, the first of 10,000 Joeys who took their name from him; here is the genius of English fun, in the holiday splendour of his reign at Sadler's Wells and Covent Garden ... during his lifetime was generally acclaimed as the funniest and best-loved man in the British theatre." A later biographer, Andrew McConnell Stott, wrote that "Joey had been the first great experiment in comic persona, and by shifting the emphasis of clowning from tricks and pratfalls to characterisation, satire and a full sense of personhood, he had established himself as the spiritual father of all those later comedians whose humour stems first and foremost from a strong sense of identity." 1162:

character from a pratfalling country bumpkin into the most important character in the harlequinade, more important even than Harlequin. He expanded the role of Clown to include a range of comic impersonations, from the rival suitor, to household cook or nurse. Grimaldi's popularity changed the balance of the evening's entertainment, so that the first, relatively serious, section of the pantomime soon dwindled to "little more than a pretext for determining the characters who were to be transformed into those of the harlequinade." He became so dominant in the harlequinade that later Clowns were known as "Joey", and the term, as well as his make-up design, were later generalised to other types of clowns. Literary critic

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shunned any association with him. JS became an alcoholic and was increasingly unreliable. In 1823, he became estranged from his parents, who saw their son only occasionally over the next four years, as JS went out of his way to avoid them. They communicated only through letters, with Grimaldi often sending his son notes begging for money. JS once replied: "At present I am in difficulties; but as long as I have a shilling you shall have half". However, there is no record of him ever sending money to his father. JS finally returned home in 1827, when the Grimaldis were awakened one night to discover their son standing in the street, feverish, emaciated and dishevelled.

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Treasurer of the Sadler's Wells Court of Rectitude, a body set up to regulate the behaviour of performers. Grimaldi briefly left Sadler's Wells in 1815 to conduct a tour of the northern provincial theatres. Alongside Jack Bologna, he staged fifty-six shows during the summer months and earned £1,743, a much higher amount than he earned at Sadler's Wells. Dibdin was struggling, and after the tour Grimaldi used the problems at Sadler's Wells to negotiate a lucrative contract. Dibdin agreed to a salary increase but bristled at Grimaldi's other demands and eventually gave the position of resident Clown to the little-known Signor Paulo.

1464:"Hot Codlins" was composed by John Whitaker with lyrics by Charles Dibdin. Grimaldi would sing a verse: "A little old woman, her living got by selling codlins, hot, hot, hot; ... tho' her codlins were hot, she felt herself cold. So to keep herself warm, she thought it no sin to fetch for herself a quartern of ..." The audience shouted back the last word, "gin" with glee, and Grimaldi would scold them in a shocked tone: "Oh! For Shame!". Then the audience joined in the refrain: "ri tol iddy, iddy, iddy, ri tol iddy, iddy, rI tol lay." "Hot Codlins" is still sung by Clowns, often to open performances of plays and pantomimes. 439:'s 1751 novel. For this elaborate production, which featured two Clowns (Dubois and Grimaldi), Dibdin introduced new costume designs. Clown's costume was "garishly colourful ... patterned with large diamonds and circles, and fringed with tassels and ruffs," instead of the tatty servant's outfit that had been used for a century. The production was a hit, and the new costume design was copied by others in London. Despite Dubois' "endless bag of tricks vast array of skills", his performance appeared artificial, in contrast to Grimaldi, who was better able to "draw the audience into believing the essential comedic qualities" of Clown. 261: 472: 914: 253:

performer at Sadler's Wells where he played a host of minor roles, including monkeys, imps, fairies and demons. The Drury Lane season ran every year from September to late spring, with Sadler's Wells playing from 15 April to the second week in October. Though the two theatres staged similar productions, they appealed to different audiences: Drury Lane to the wealthy classes of society and Sadler's Wells to the boisterous working class. Although Grimaldi's stage career was flourishing, Giuseppe enrolled him at Mr Ford's Academy, a boarding school in

821: 411: 464:, alongside John Philip Kemble. Grimaldi's wife Maria and their unborn child died during childbirth on 18 October 1800. To cope with his grief, Grimaldi would often perform two shows a night; one at Sadler's Wells and the other at Drury Lane. One of Grimaldi's hobbies was butterfly collecting. He accumulated as many as 4000 specimens in cabinets. In 1800 thieves broke into his home while he was away rehearsing and destroyed most of his cabinets, leading him to give up butterfly collecting and shift to pigeon rearing. 130: 678: 890: 1088: 1107:, but JS often abused his parents' hospitality by bringing home prostitutes and fighting in the house with his alcoholic friends. He moved out later that year and died at his lodgings on 11 December 1832, aged 30. With Grimaldi almost crippled, and Mary having suffered a stroke days before JS's death, they made a suicide pact. They took some poison, but the only result was a long bout of stomach cramps. Dismayed at their failure, they abandoned the idea of suicide. 1020: 939:. The show was a disaster and closed after one night. Grimaldi was booed off the stage after an impromptu joke (eating a prop mouse) upset the audience and caused two female audience members to fight in the auditorium. The audience was also angry at Grimaldi's weak performance; later he felt that this marked the beginning of his career's decline. Dibdin left Sadler's Wells that year; his fortunes changed rapidly for the worse, and he spent time in a 209:. Giuseppe, who often displayed eccentric and obsessive behaviour, was a strict disciplinarian and often beat his children for disobeying his orders. A fascination with death consumed his later life; he would feign death in front of his children, so as to gauge their reactions, and he insisted on his eldest daughter, Mary, decapitating him after his death because of his fear of being buried alive, a task which earned her £5 extra in her inheritance. 218: 585: 749: 22: 515:. During the run, he accidentally injured himself on stage by shooting himself in the foot and was confined to bed for five weeks. His mother became so concerned at her son's fragile and still grief-stricken state that she employed a dancer at Drury Lane, Mary Bristow, to care for him full-time during those weeks. They formed a close friendship, which resulted in a loving relationship, and they married on 24 December 1801. 309: 4047: 4071: 546:

chest before adding red triangles on the cheeks, thick eyebrows and large red lips set in a mischievous grin. Grimaldi's design is used by many modern clowns. According to Grimaldi's biographer Andrew McConnell Stott, it was one of the most important theatrical designs of the 1800s. Later in 1802, Dubois left the Sadler's Wells company, making Grimaldi the sole resident Clown. Grimaldi starred in

1219:. The service, which has been held since the 1940s, attracts hundreds of clown performers from all over the world who attend the service in full clown costume. In 2010 a coffin-shaped musical memorial dedicated to Grimaldi, made of musical floor tiles, was installed in Joseph Grimaldi Park. The bronze tiles are tuned so that when danced upon it is possible to play "Hot Codlins". A 2017 film, 4011: 927:, he introduced perhaps his best known song "Hot Codlins", an audience participation song about a seller of roasted apples who gets drunk on gin while working the streets of London. Songs about trades were popular on the stage in the 1800s. Grimaldi sought inspiration for the character of the apple seller by walking around the streets of London and observing real-life tradespeople. 104:, which included perhaps his best known portrayal of Clown. Grimaldi's residencies at Covent Garden and Sadler's Wells ran simultaneously, and he became known as London's leading Clown and comic entertainer, enjoying many successes at both theatres. His popularity in London led to a demand for him to appear in provincial theatres throughout England, where he commanded large fees. 1111:

he spent a convivial evening entertaining fellow patrons and drinking to excess. He returned home that evening and was found dead in bed by his housekeeper the following morning. The coroner recorded that he had "died by the visitation of God". Grimaldi was buried in St. James's Churchyard, Pentonville, on 5 June 1837. The burial site and the area around it was later named

4035: 813:, on whose poem the play was based, at a dinner party. Byron was in awe at meeting the famous Clown, stating that he felt "great and unbounded satisfaction in becoming acquainted with a man of such rare and profound talents". Grimaldi returned to London to star as Queen Ronabellyana with much success in the Covent Garden Christmas pantomime, 701:, in a play by Thomas Dibdin and his brother Charles. The Dibdins leased the theatre, but it was badly in need of repair. As a result audiences were small, and the show's box-office takings suffered. Grimaldi donated his salary to help pay for the renovation of the theatre. The Dibdin company, with Grimaldi, transferred to the nearby 581:, whom they called "JS". Grimaldi introduced his young son to the eccentric atmosphere at both Drury Lane and Sadler's Wells from the age of 18 months. Although eager to have his son follow him onto the stage, Grimaldi felt that it was more important for the boy to have an education and eventually enrolled him at Mr Ford's Academy. 1501:, America's "pioneer first-class hotel". Dickens "bounded into the Tremont's foyer shouting out 'Here we are!', Grimaldi's famous catch-phrase and as such entirely appropriate for a great and cherished entertainer making his entrance upon a new stage." Later, Dickens was known to imitate Grimaldi's clowning on several occasions. 1497:

honour I am informed I clapped my hands with great precocity, and although I even saw him act in the remote times of 1823 ... I am willing ... to concede that I had not arrived at man's estate when Grimaldi left the stage". When Dickens arrived in America for the first time in 1842, he stayed at the

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John Baptiste visited Joseph one night in 1804 at Drury Lane. Joseph was midway through a performance. He finished the play and returned to his dressing room to find that John had again disappeared. John was never seen again. His family believed that he had been murdered that night as a result of

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Mary died in 1834, and Grimaldi moved to 33 Southampton Street, Islington, where he spent the last few years of his life alone as a depressed alcoholic. On 31 May 1837 he complained of a tightening of the chest but recuperated enough to attend his local public house, The Marquis of Cornwallis, where

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The relationship between Grimaldi and his son first became strained during the early 1820s. JS, who had made a career of emulating his father's act, received favourable notices as Clown, but his success was constantly overshadowed by that of his father. He became resentful of his father and publicly

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During 1815, the relationship between Grimaldi and Thomas Dibdin became strained. Dibdin, as manager at Sadler's Wells, denied Grimaldi's request for a month's leave to tour the provincial theatres. Dibdin was annoyed at the tolerant attitude Grimaldi displayed in his position as the Chief Judge and

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to write: "We have not for several years witnessed a Pantomime more attractive than this: whether we consider the variety and ingenuity of the mechanical devices the whim, humour, and agility of the Harlequin, Clown and Pantaloon". Kemble stated that Grimaldi had "proved himself the great master of

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commenting that "the infant son of Grimaldi performs in an astonishing manner". One evening, Grimaldi was playing the part of a monkey and was led onto the stage by his father, who had attached a chain to Grimaldi's waist. Giuseppe swung his young son around his head "with the utmost velocity", when

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alongside his son JS. However, Grimaldi's health deteriorated further and he was forced to quit before the show opened; his scene was cut. The early end to his career, worries about money, and the uncertainty over his son's future made him increasingly depressed. To make light of it, he would often

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at Sadler's Wells, with JS in his second role as Scaramouche. The receipts at the box-office were unusually large and confirmed, in Grimaldi's mind, that his son was capable of sustaining his own career. Grimaldi suffered two setbacks towards the end of the year, becoming housebound for a few months

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opened the Easter season at Sadler's Wells and lasted the entire season. Grimaldi sang "Me and my Neddy", which proved very successful for both him and the theatre. Amid great expectations, he appeared at the Covent Garden Theatre on 9 October 1806 playing Orson opposite Charles Farley's Valentine

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The first four scenes of the play were centred around a search for Mother Goose and the golden egg by characters who parodied contemporary figures. When the golden egg was found, the characters transformed into those of the harlequinade, which consisted of fifteen scenes, and a grand finale. Music

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wrote in 1846: "To those who never saw him, description is fruitless; to those who have, no praise comes up to their appreciation of him. We therefore shake our heads and say 'Ah! You should have seen Grimaldi!'" Another writer commented that his performances elevated his role by "acute observation

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Although officially retired, Grimaldi still received half of his former small salary from Drury Lane until 1824. Soon after the fee stopped, Grimaldi fell into poverty after a number of ill-conceived business ventures and because he had entrusted management of his provincial earnings to people who

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Grimaldi is the most assiduous of all imaginable buffoons and it is absolutely surprising that any human head or hide can resist the rough trials he volunteers. Serious tumbles from serious heights, innumerable kicks, and incessant beatings come on him as matters of common occurrence, and leave him

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was a runaway success with its London audiences and earned an extraordinary profit of £20,000. It completed a run of 111 performances over a two-year residency, a record for any London theatre production at the time. Grimaldi, however, considered the performance to be one of the worst of his career

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in 1788. As a result, at age 9, Grimaldi became the family's principal breadwinner. Sheridan paid him an above-average wage of £1 a week at Drury Lane, and allowed his mother to work at Drury Lane as a dancer. However, the proprietors of Sadler's Wells were less supportive, cutting Grimaldi's pay

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Theatre rules were adopted nationwide and were often enforced vigorously. At Sadler's Wells, drunkenness, swearing, arguing, stealing clothes from the dressing rooms and breaking wind were all forbidden. Performers were not allowed to converse with each other off stage, and female performers were

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took over the producer's (director's) duties at Drury Lane later in 1788 when Sheridan was promoted to chief treasurer. Sheridan often employed Grimaldi in minor roles in Kemble's productions and continued to allow him to work concurrently at Sadler's Wells. Grimaldi took an interest in the design

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as a result of his wife's extravagant spending, a number of thefts by his accountant and the cost of maintaining both an idyllic country lifestyle and his son JS's private education. The strain on Grimaldi's finances caused him to accept as many provincial engagements as he could. That year, he

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quotes an unpublished letter in which Dickens responds to the accusation that he must not have seen Grimaldi in person: "Now, Sir, although I was brought up from remote country parts in the dark ages of 1819 and 1820 to behold the splendour of Christmas pantomimes and the humour of Joe, in whose

954:. Egerton wanted to keep Grimaldi on the payroll but proposed loaning him to other theatres. Grimaldi refused a contract on these terms and instead appeared alongside JS in a few engagements in Ireland. During the Easter season of 1820, Grimaldi appeared at the Theatre Royal, Covent Garden, in 629:

was presented at Drury Lane on 3 January 1804. Grimaldi played the part of Pedro, a servant to Cinderella's sisters. The production was a major success for the theatre, enhanced by Michael Kelly's musical score; however Grimaldi and the critics grew concerned that the theatre was underusing his

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Sadler's Wells closed for refurbishment at the end of its 1801 season and re-opened on 19 April 1802; Grimaldi returned to take a major role in the Easter pantomime, for which he designed the look of his recurring Clown character "Joey". He began by painting a white base over his face, neck and

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Grimaldi's fame was established primarily by his numerous successes as Clown in pantomimes. His Clown satirised many aspects of contemporary British life, and made comic mockery of absurdities in fashion. Grimaldi quickly became the most famous Clown in London, gradually transforming the Clown

645:, at Drury Lane on short notice. He accepted on the proviso that his wages be increased for the show's entire run and not just until a new dancing instructor was found. The Drury Lane management agreed to pay Grimaldi £2 more per week. A few weeks into his new assignment, management appointed 499:

became "romantic and mercurial, instead of mischievous", leaving Grimaldi's Clown as the "undisputed agent" of chaos. The pantomime was a great success, running for thirty-three performances and having a second Drury Lane season at Easter 1801; as a result, Grimaldi became recognised as one of

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Grimaldi's father was a serial philanderer who had at least ten children with three different women. In 1778, he divided his time between two London addresses occupied by his mistresses, Brooker and Anne Perry. Both women gave birth that year, Perry to a daughter named Henrietta and Brooker to

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Grimaldi's association with Sadler's Wells came to an end in 1820, chiefly as a result of his deteriorating relationship with the theatre's management. After numerous injuries over the years from his energetic clowning, his health was also declining rapidly, and he retired in 1823. He appeared

873:, in which he played Friday to Charles Farley's title character. Grimaldi conducted a remunerative but gruelling tour to Scotland, Manchester and Liverpool in 1818. He sustained bruising and strains from two falls, the second of which left him briefly unable to walk. He and Mary moved to 56 760:

scenery; the production transferred to the Haymarket Theatre where it completed its run. While Kemble and Harris raised funds and renovated Covent Garden, Grimaldi made provincial appearances in Manchester and Liverpool. The Covent Garden theatre re-opened in December 1809 with a revival of

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Grimaldi met his future wife, Maria Hughes in 1796. The eldest daughter of the proprietor of the Sadler's Wells theatre, Richard Hughes, Maria was introduced to Grimaldi by his mother, Rebecca Brooker, and a romance soon blossomed. They married on 11 May 1799 and moved to 37 Penton Street,

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at Drury Lane. It was a success for him personally, and the pantomime enjoyed an extended run until March 1782. As a result of his performance, he received further work offers from the management and became an established juvenile performer at Drury Lane. At the same time, he was a prolific

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Despite Signor Paulo's success at Sadler's Wells, Richard Hughes's widow Lucy, who was a majority shareholder at the theatre, pleaded with Grimaldi to return. He agreed on the conditions that he was sold an eighth share in the theatre, remained the resident Clown and received a salary of 12

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McConnell Stott believes that Giuseppe fathered a third son with Brooker, named William, in about 1786. William Grimaldi, Joseph Grimaldi and a daughter from another relationship, Catherine, all performed together in a Christmas pantomime in 1789, appearing as "the three young

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Their success on the London stage allowed the Grimaldis to enjoy an affluent lifestyle in contrast to other working-class families living in Clare Market and Holborn. By the age of six, Grimaldi was considered a prominent stage performer by the press, with one critic from the

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occasionally on stage for a few years thereafter, but his performances were restricted by his worsening physical disabilities. In his last years, Grimaldi lived in relative obscurity and became a depressed, impoverished alcoholic. He outlived both his wife and his actor son,

92:, which confirmed his credentials as a key pantomime performer. Many productions followed, but his career at Drury Lane was becoming turbulent, and he left the theatre in 1806. In his new association with the Covent Garden theatre, he appeared at the end of the same year in 1473:

JS's desire to distinguish himself from his famous father had intensified during their frequent tours of provincial theatres. His verbal abuse of the heckler may have been an attempt to establish a persona much removed from the respectable reputation of his

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Joseph. Although jubilant at the birth of his first son, Giuseppe Grimaldi spent little time with Brooker, living mostly with Perry, and probably maintaining other mistresses as well. Brooker raised her son alone for the first few years in Clare Market, a

163:. John Baptist's son, Grimaldi's paternal grandfather, Giovanni Battista Grimaldi, began performing at an early age and spent much of his career in Italy and France. According to Grimaldi's biographer Andrew McConnell Stott, Giovanni was held in the Paris 300:

to 3 shillings a week, at which level it remained for the next three years. The loss of Giuseppe's income and Joseph's reduced summertime earnings meant the Grimaldis could no longer afford to keep the house in Holborn. They moved to the slum district of

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Born in London to an entertainer father, Grimaldi began to perform as a child, making his stage debut at Drury Lane in 1780. He became successful at the Sadler's Wells Theatre the following year; his first major role was as Little Clown in the pantomime

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upon the foibles and absurdities of society. ... He is the finest practical satyrist that ever existed. ... He was so extravagantly natural, that ashamed to laugh till tears coursed down their cheeks at Joe and his comicalities." The British dramatist

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wrote: "He invented clown make-up as we know it today (the wide grin was designed to be visible from the back of Drury Lane's auditorium, the biggest in Europe). He also created the stereotype of the "sad clown", taken up by later funsters including

305:, where they took lodgings with a furrier in Great Wild Street. Grimaldi's brother, John Baptiste, illegally signed on as a cabin boy aboard a frigate in 1788, when he was nine, using a false identity. Grimaldi saw him only once more in his life. 422:

In 1798, Drury Lane suspended its tradition of staging an annual Christmas pantomime, which meant that Grimaldi had to seek work elsewhere during the festive period. The following year, with the help of his father-in-law, he joined the company at

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joke about his condition: "I make you laugh at night but am Grim-all-day". In 1828, two "farewell" benefit performances were held for him. In the first, he appeared as Hock the German soldier and a drunken sailor in Thomas Dibdin's melodrama

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Grimaldi retired from the stage in 1823 as a result of ill health. The years of extreme physical exertion his clowning had involved had taken a toll on his joints, and he suffered from a respiratory condition that often left him breathless.

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After appearing in a few Christmas pantomimes and benefits for his father, JS fell into unemployment and was incarcerated in a debtors' prison for a time; his alcoholism also further worsened. In 1832, Grimaldi, Mary and their son moved to

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and construction of stage scenery and would often help to design sets. His stage performances over the next two years did not garner him the kind of success he had experienced under the management of his father, and the role of pre-eminent

348:. On 21 April 1794, the new Drury Lane theatre opened, and Grimaldi, now 15 years old, resumed his place as one of the principal juvenile performers. The same year, he played his first major part since his father's death; as the dwarf in 653:, in which Grimaldi played Pan, a role which he considered to be one of his best assignments to date. That October, however, the theatre reduced his wages. The extra £2 that he had been promised had been deducted from his salary when 958:. Grimaldi played the wife of the lead character Baron Pomposini; the role was probably an early example of a pantomime dame. In the latter months of 1820, Grimaldi's health worsened, and he suffered frequent emotional breakdowns, 151:, London, into a family of dancers and comic performers. His great-grandfather, John Baptist Grimaldi, was a dentist by trade and an amateur performer, who in the 1730s moved from Italy to England. There he performed the role of 500:

London's leading Clowns. Grimaldi originated the catchphrase "Here we are again!", which is still used in pantomime. He also was known for the mischievous catchphrase "Shall I?", which prompted audience members to respond "Yes!"

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area of west London. In about 1780, Brooker gave birth to a second son, John Baptiste. Keen to set up an acting dynasty, Giuseppe left Perry and his daughter and moved with Brooker and his two sons to Little Russell Street,

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cheated him. Despite his disabilities, he offered his services as a cameo performer in Christmas pantomimes. Along with Bologna, in 1827 he reappeared briefly at Sadler's Wells where he gave some acting instruction to the

257:, which educated the children of theatrical performers. Although Grimaldi struggled with reading and writing, he showed a talent for art, as evidenced by some of his drawings that survive in the Harvard Theatre Collection. 661:, the manager of the Covent Garden Theatre, hoping to persuade him to stage Christmas pantomimes. Harris was already a supporter of the shows and had employed the writing talents of both Charles Dibdin and his co-writer 167:

as the result of a scandalous performance. After his release, Giovanni moved to London in 1742, where John Baptist introduced him to John Rich; Giovanni then defrauded Rich and fled to the continent, where he later died.

538:, in 1801. In March 1802, he returned to Kent where he performed in pantomime, earning £300 for two days work. His dismissal from Drury Lane was short-lived, and he was reinstated within a few months in a revival of 171:

Grimaldi's father, Joseph Giuseppe Grimaldi (c. 1713–1788), an actor and dancer (known professionally as Giuseppe or "the Signor"), also made his way to London in around 1760. His first London appearance was at the

534:. There was no Christmas 1801 or Easter 1802 pantomime at Drury Lane, and Kemble noticed a reduction in his theatre's audiences. Grimaldi began to appear in provincial theatres, with the first appearance being in 3476: 1483:

The Cheltenham Spa was famous for its supposedly curative powers. Grimaldi factored this into his decision to take the engagement in ill health; he regularly drank the water during his visit and between

364:, a Parisian hit adapted for the London stage by Kemble. Grimaldi played Camasin, a role that required the acrobatic and sword-fighting skills that he had learned as a child. He won wider admiration as 2543: 844:, in which he played Clown, and he also played Clown in productions at the Surrey Theatre and Covent Garden – a challenging schedule. Later in 1814, he played the title role in a revival of 75:

in 1781, in which he starred alongside his father. After a brief schooling, he appeared in various low-budget productions and became a sought-after child performer. He took leading parts in

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in 1764. She was apprenticed to Giuseppe Grimaldi in 1773 as a dancer and public speaker, and she became his mistress shortly afterwards, even though she was under 14 and he was about 60.

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due to illness and learning of the death of his friend, mentor and former father-in-law, Richard Hughes, in December. In early 1815, Grimaldi and his son played father and son Clowns in

511:. Dubois was relegated to the role of Pierrot, while Grimaldi played Clown. Grimaldi's mother was in the cast, appearing as the Butcher's Wife. He then appeared in another Dibdin play, 992:, in which he caused a scandal by threatening and verbally abusing a heckler in the audience. In the early 1820s, Grimaldi made a brief recovery and held a six-week engagement at the 720:. Grimaldi, who considered the role of Orson to be the most physically and mentally demanding of his career, nevertheless performed the part with enthusiasm on tour in the provinces. 398:. Despite this, he was praised for his characterisations and was deemed a player of legitimate adult roles at Drury Lane, which qualified him to become a member of the prestigious 943:. Grimaldi's debut as a theatre proprietor was also a failure. Although Jack Bologna, Mary, JS and Bologna's wife Louisa were all cast in Grimaldi's only commissioned pantomime, 67:

make-up design were, and still are, used by other types of clowns. Grimaldi originated catchphrases such as "Here we are again!", which continue to feature in modern pantomimes.

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Rebecca's father, Zachariah Brooker, was a butcher who kept an abattoir in Bloomsbury. He encouraged Rebecca's career and secured for her minor roles in various London theatres.

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A child acting the part of an animal during a performance was known as "Skining" or "Skinwork". This was predominantly a male part, while girls often played fairies or trees.

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closed, and he approached Thomas Dibdin for advice. Dibdin advised him to leave Drury Lane and to take up a residency at the nearby Covent Garden Theatre. Grimaldi wrote to

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the chain snapped, causing young Grimaldi to land in the orchestra pit. From 1789 Grimaldi would appear alongside his siblings in an act entitled "The Three Young Grimaldis".

665:. Grimaldi met with Harris and obtained a contract. Before joining that theatre, however, he had to satisfy prior commitments at Drury Lane, appearing in the poorly received 785:

in a benefit performance in aid of his sister-in-law. The following year, Grimaldi sang "Tippitywitchet" for the first time at Sadler's Wells in Charles Dibdin's pantomime

3608: 360:. The pantomime was a success, and Grimaldi received rave reviews. The Drury Lane management were eager to capitalise on his success, and later that year he was cast in 1368:

underscored the whole piece, and there was no spoken dialogue. The performances were often flamboyant and hugely energetic, styles in which Grimaldi had become fluent.

984:. Doctors diagnosed him as suffering from "premature old age". JS took over his father's role and completed the remainder of the show's run. Now acting as an official 229:

by his father. Although he and his younger brother John Baptiste both displayed acting talent, Joseph was groomed for the London stage. He made his stage debut at the

1084:. His last farewell benefit performance on 27 June 1828 was at Drury Lane. Between 1828 and 1836, Grimaldi relied on charity benefits to replace his lost income. 507:, which set up a mock duel between the two Clowns, with the audience deciding who could pull the most hideous face. Grimaldi consistently won. In the next piece, 1142:

to edit and improve Thomas Egerton Wilks's clumsily written life of Grimaldi, which had been based on the clown's own notes, which Dickens did under his regular

328:, with a formidable repertoire of comic tricks. Grimaldi worked as Dubois' assistant, although in later life he denied that he had been the Frenchman's student. 1080:

at Sadler's Wells to an audience of 2,000 people. Unable to stand for long periods of time, he sang a duet with JS and finished the evening with a scene from

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theatres. He became so dominant on the London comic stage that the harlequinade role of Clown became known as "Joey", and both the nickname and Grimaldi's

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and became depressed. Critics thought differently, attributing the pantomime's success to Grimaldi's performance. It prompted one critic from

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The Sadler's Wells season commenced at Easter 1805, and Grimaldi and Jack Bologna enjoyed a successful period. Drury Lane staged the opera

4111: 35:(18 December 1778 – 31 May 1837) was an English actor, comedian and dancer, who became the most popular English entertainer of the 4146: 625:

had started, and the new proprietors of Sadler's Wells and Drury Lane looked to Grimaldi to satisfy audiences eager for comic relief.

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Acts such as dancers and buffoons were excluded from joining. Grimaldi was one of the few pantomimists allowed into the membership.

3533:"The Pantomime Life of Joseph Grimaldi: Laughter, Madness and the Story of Britain's Greatest Comedian by Andrew McConnell Stott" 3414: 1189:

worried, in a rhymed couplet, that Grimaldi's death meant the end of a genre: "Pantomime's best days are fled; Grimaldi, Barnes,

765:. In an attempt to recover the costs incurred by the rebuilding, Kemble raised the theatre's seat prices, causing audiences to 487:

still a topic of conversation within theatrical circles, Kemble decided to stage the first Drury Lane pantomime in three years,

3605: 3589: 4101: 3947: 3926: 3858: 3797: 3778: 3742: 3679: 3660: 769:

for more than two months, and the management was forced to reinstate the old prices. Grimaldi's 1809–10 productions included

3987: 2913: 1011:. Despite the rehearsals being cut short due to Grimaldi's rapidly deteriorating health, critics praised his performances. 603:. In 1803 Grimaldi's contract at Sadler's Wells was extended for another three years. He starred as Rufo the Robber in 4141: 3532: 3419: 969:

pain. These ailments did not affect his desire to perform. That September he appeared at Covent Garden, as Kasrac in

3894: 3839: 3818: 694: 4161: 4151: 3993: 4126: 658: 3566: 1417:

to be performed at Covent Garden at the close of this season in July. Covent Garden re-opened in September, and

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In 1822, Grimaldi travelled to Cheltenham, in poor health, to fulfil an engagement as Clown by another actor in

568:]. Bologna and Grimaldi's on-stage partnership had by now become the most popular on the British stage; the 1445:

by Maria de Camp. The principal boy role would not become a regular pantomime part for another 40 to 50 years.

447: 4058: 685:(later renamed the Royal Opera House) in 1828; Grimaldi started a long collaboration with the theatre in 1806. 4136: 4131: 2642: 2004: 637:, in which Grimaldi, his mother and his wife all had starring roles. After this he was asked to choreograph 4017: 1401:, in which he played the Chinese Slave. Grimaldi's benefit show in early July featured three comic plays: 1212: 468:

described the crime as "the most heartless cruelty, and ... absence of all taste for scientific pursuits."

428: 325: 324:

in London productions soon fell to Jean-Baptiste Dubois, a versatile French acrobat, horseman, singer and

3723: 1139: 1048: 390: 526:

After a falling-out with Kemble at Drury Lane, Grimaldi was dismissed and began appearing at the nearby

4025: 3477:"The Pantomime Life of Joseph Grimaldi: Laughter, Madness and the Story of Britain's Greatest Comedian" 3037: 2234: 1197: 1150: 752:

Grimaldi as Clown opposite an actor playing a "pugilistic vegetable" at the Covent Garden Theatre, 1816

399: 276: 233:

in late 1780, when Giuseppe took him on stage for his "first bow and first tumble". On 16 April 1781,

3735:

Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America (1866–1870)

745:

called him "a genius ... yet unapproached". The production regularly played to packed audiences.

1493: 1216: 646: 424: 415: 234: 230: 185: 52: 4156: 1123: 1004:. Both productions were successful, but Grimaldi was taken ill half way through the latter's run. 617: 173: 935:

a week. She agreed to his terms, and he took the part of Grimaldicat in the 1818 Easter pantomime

4121: 2560:"Near here at Fallow Corner stood the home of Joseph Grimaldi actor and famous clown (1779–1837)" 1180: 297: 3851:

A Dictionary of Catchphrases: British and American from the sixteenth century to the present day

1377:

The song's full title was "A Typitywitchet, or, Pantomimical Paroxysms", and he also sang it in

1148:, "Boz". As a child, Dickens saw Grimaldi perform at the Star Theatre, Rochester, in 1820. The 370: 88: 1498: 1068: 1056: 638: 137: 2230: 1211:

Grimaldi is remembered today in an annual memorial service on the first Sunday in February at

260: 3981: 3033: 932: 476: 394:(as a maid). The roles he took in these productions were eccentric and usually reserved for 384: 345: 4003: 503:

Grimaldi and Dubois appeared together again later that spring at Sadler's Wells in Dibdin's

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JS excelled at school. After Ford's Academy, he attended a private school in Pentonville.

1112: 1092: 828:

Sadler's Wells opened its season in April 1814 with Grimaldi appearing in, amongst others,

156: 8: 1163: 702: 471: 3690: 3937: 3829: 940: 353: 316: 93: 820: 410: 241:. Sheridan employed dozens of children, including Grimaldi, as extras at Drury Lane. 3962: 3943: 3922: 3915: 3890: 3873: 3854: 3835: 3814: 3808: 3793: 3774: 3757: 3738: 3696: 3675: 3656: 1437:

was the first known pantomime to feature an early variation of what would become the

1320: 1205: 1155: 682: 612: 570: 527: 431:

plays. Grimaldi made a big impression, especially in Dibdin's Easter 1800 pantomime,

332: 268: 160: 152: 60: 56: 3625: 988:, JS filled many of his father's other theatrical engagements, including a rerun of 4039: 3410: 1224: 365: 302: 1358:

The cottage was demolished in 1908 to make way for the Finchley Memorial Hospital.

1306:

a robbery, although officials from the Royal Navy suggested that he may have been

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Grimaldi at his farewell appearance at Drury Lane in 1828 – too weak to stand

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thought they "stood unrivalled" compared to other acts within the harlequinade.

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Grimaldi became "easily the most popular English entertainer of his day". The

562:

remarked that the pair's death scene together was "truely affecting" [

352:. Two years later, at Sadler's Wells, he played the role of Hag Morad in the 331:

In 1791 the Drury Lane Theatre was demolished, and Grimaldi was loaned to the

237:, the manager of Drury Lane, cast both Giuseppe and Grimaldi in the pantomime 4085: 4063: 4051: 3761: 2009: 1442: 1438: 1421:

was the 1813 Christmas pantomime, which ran until April the following year.

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In September 1808, a fire at the Covent Garden theatre destroyed much of the

709:

in aid of Astley's. After two more plays, the company moved back to London.

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Grimaldi returned to Drury Lane late in 1802 and starred in a production of

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have both concluded that no other Clown achieved Grimaldi's level of fame.

1201: 1190: 1087: 726: 551: 226: 206: 144: 133: 99: 44: 913: 881:, where he recovered from his injuries before going on tour with his son. 1539: 1307: 1232: 1045: 993: 895: 867:

Harlequin and the Sylph of the Oak; or, The Blind Beggar of Bethnal Green

774: 748: 382:. Later that year, Grimaldi appeared in a succession of shows including 379: 148: 86:

Towards the end of the 1790s, Grimaldi starred in a pantomime version of

36: 21: 1268:. Giuseppe's mother was Catherine Grimaldi, a dancer, who died in 1773. 577:

On 21 November 1802, his wife Mary bore Grimaldi his only child, a son,

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The New Planet; Or, Harlequin Out of Place: An Extravaganza, in One Act

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From the age of two, Grimaldi was taught to act the characters in the

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Giuseppe was born sometime between 1710 and 1716 in either France or

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at Sadler's Wells, with his young son, JS, making his stage debut as

496: 181: 113: 48: 840:. Other pantomimes followed at Sadler's Wells that year, including 792:

By 1812, despite Grimaldi's success as a performer, he was close to

723:

Perhaps the best-known of Grimaldi's pantomimes was Thomas Dibdin's

217: 1391: 1104: 1060: 766: 693:, to which he retired between seasons. He was engaged to appear at 690: 584: 530:. He also took up an engagement at his father-in-law's theatre in 164: 308: 4005:

The Life of Joseph Grimaldi; with Anecdotes of his Contemporaries

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The shares in Sadler's Wells were sold, with Grimaldi's going to

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Grimaldi's father suffered ill health for many years and died of

193: 3994:

The Pantomime Life of Joseph Grimaldi by Andrew McConnell Stott

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1781, Grimaldi took the part of Little Clown in the pantomime

3887:

The Aurelian Legacy. British Butterflies and their Collectors

3358:"Coroner's Inquest on Joseph Grimaldi The Celebrated Clown", 1655: 1653: 1319:

The music was taken from separate operas of the same name by

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every night fresh and free for the next night's flagellation.

1009:

Harlequin and the Ogress; or, the Sleeping Beauty in the Wood

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then took over, with Grimaldi appearing as Hasan the Slave.

1000:; a pantomime which ran for a week before being replaced by 649:

as the new ballet master. D'Egville's debut production was

3150:, Oxford University Press, 2004, accessed 29 November 2012 2291:

London Metropolitan Archives, Saint Pancras Parish Church,

201: 83:(1796), the latter of which brought him wider recognition. 3810:

Harlequin In His Element: The English Pantomime, 1806–1836

3415:"Gravestone of Joseph Grimaldi in Grimaldi Park (1297999)" 1650: 495:

and then as Clown, instead of Dubois. In this production,

483:

With the Christmas season approaching, and the success of

2550:, London Borough of Barnet Council, accessed 20 June 2012 564: 442:

At Drury Lane later in 1800, he starred as an officer in

3695:. London: Longman, Hurst, Rees, Orme, Brown, and Green. 3626:"New Joseph Grimaldi film The Funniest Man In The World" 192:

there. Grimaldi's mother, Rebecca Brooker, was born in

3170:, Oxford University Press, 2004, accessed 28 April 2011 2958:, Islington Borough Council, accessed 22 September 2012 1002:

Disputes in China; or, Harlequin and the Hong Merchants

980:

In May 1821, Grimaldi collapsed after a performance of

239:

The Wizard of the Silver Rocks; or, Harlequin's Release

3813:. Cambridge, Massachusetts: Harvard University Press. 956:

Harlequin and Cinderella; or, the Little Glass Slipper

869:

at Covent Garden, followed by the Christmas pantomime

4023: 3903: 3718: 3714:. London: Simpkin, Marshall, Hamilton, Kent & Co. 1546:, Oxford University Press, accessed 13 February 2012 689:

In 1806, Grimaldi bought a second home, a cottage in

39:. In the early 19th century, he expanded the role of 2645:, Its-behind-you.com, 2002, accessed 9 December 2012 1413:. The Drury Lane management granted permission for 817:. After this, he increasingly played "dame" roles. 124: 3409: 509:

Harlequin Benedick; or, The Ghost of Mother Shipton

3914: 1435:Harlequin and Fortunio; or, Shing-Moo and Thun-Ton 1223:, revolves around Grimaldi's life and starred the 851:Harlequin and Fortunio; or, Shing-Moo and Thun-Ton 801:and appeared again as Scaramouche in a revival of 2864: 2862: 1091:Grimaldi's grave in St. James's Churchyard – now 815:Harlequin and the Red Dwarf; or, The Adamant Rock 522:Grimaldi as Clown, showing his own make-up design 475:Grimaldi's second wife, Mary Bristow (painted by 188:, earning high praise, and eventually became the 4083: 3615:London Gardens Online, accessed 26 January 2014. 2935: 2933: 2931: 990:Harlequin and Mother Bunch; or, the Yellow Dwarf 3921:. New Haven and London: Yale University Press. 3787: 3093: 3091: 1419:Harlequin and the Swans; or, the Bath of Beauty 433:Peter Wilkins: or Harlequin in the Flying World 3956: 2859: 2083: 2081: 1883: 1881: 221:Satirical depiction of Giuseppe Grimaldi, 1788 3539:, 19 December 2009, accessed 11 December 2012 3452: 3450: 3336: 3334: 3324: 3322: 3232: 3230: 2928: 2831: 2829: 1390:Other productions in 1813 included the comic 1255:No records exist of Giovanni's transgression. 998:Salmagundi; or, the Clown's Dish of All Sorts 977:; the pantomime was particularly successful. 630:talents and that he was miscast in the role. 250:The Triumph of Mirth; or, Harlequin's Wedding 73:The Triumph of Mirth; or, Harlequin's Wedding 3596:, 13 February 2010, accessed 2 December 2012 3088: 2214: 2212: 1812:"Son of Signor – Top Drury Lane Draw", 1143: 213:Early years at Sadler's Wells and Drury Lane 3567:"Remembering the Sad Clown Joseph Grimaldi" 3144:Payne, William Henry Schofield (1803–1878)" 2226: 2224: 2184: 2182: 2180: 2078: 2044: 2042: 2040: 2038: 2036: 1895: 1893: 1878: 1871: 1869: 1867: 1745: 1743: 1715: 1713: 1711: 1692: 1690: 1688: 1686: 1667: 1665: 1643: 1641: 789:; it became one of his most popular songs. 781:, as Clown. Later in 1810, he appeared in 405: 335:, where he appeared, briefly, in the opera 3917:Charles Dickens: A Life Defined by Writing 3628:. Jon Conway Productions. 14 November 2019 3447: 3440:Charles Dickens: Collected Papers, Vol 1, 3331: 3319: 3227: 2966: 2964: 2852: 2850: 2826: 2810: 2808: 2637: 2635: 2633: 2631: 2619: 2473: 2471: 2104: 2102: 1063:of Richard Brinsley Sheridan, who was the 265:Joe's debut into the pit at Sadler's Wells 3942:. Cambridge: Cambridge University Press. 3939:The Cambridge Guide to Theatre, 1660–1900 3848: 3751: 3707: 3692:Memoirs of the Life of John Philip Kemble 3034:"The origin of popular pantomime stories" 2916:, English Heritage, accessed 20 June 2012 2562:, Open Plaques.org, accessed 20 June 2012 2209: 1595: 1593: 1574:"Scraps from New Books and Periodicals", 937:The Marquis De Carabas; or, Puss in Boots 832:. That year he played the title role in 3831:Incidents In the Life of Joseph Grimaldi 3669: 3387:"Coroner's Inquest On Joseph Grimaldi", 2541:"Finchley, Friern Barnet and Totteridge" 2371:"Mr Grimaldi and Mr Bologna at Easter", 2221: 2177: 2033: 1956: 1947: 1890: 1864: 1740: 1708: 1683: 1662: 1638: 1122: 1118: 1086: 1018: 925:The Talking Bird, or, Perizade Columbine 819: 747: 676: 627:Cinderella; or, the Little Glass Slipper 583: 517: 489:Harlequin Amulet; or, The Magick of Mona 470: 409: 307: 259: 216: 128: 20: 3935: 3867: 3827: 3771:The Life of Charles Dickens (1872–1874) 3768: 3650: 3168:Oxford Dictionary of National Biography 3148:Oxford Dictionary of National Biography 2961: 2847: 2805: 2628: 2468: 2156: 2099: 1544:Oxford Dictionary of National Biography 1238: 1221:Grimaldi: The Funniest Man in the World 1014: 871:Robinson Crusoe; or, The Bold Buccaneer 4117:Comedians from the City of Westminster 4084: 3912: 3884: 3688: 3672:The Story of Sadler's Wells, 1683–1964 1590: 672: 599:, followed by the Christmas pantomime 358:The Talisman; or, Harlequin Made Happy 81:The Talisman; or, Harlequin Made Happy 3806: 3790:The Pantomime Life of Joseph Grimaldi 3732: 3474: 3280:McConnell Stott, pp. 293, 295 and 298 3164:"Peake, Richard Brinsley (1792–1847)" 3156: 1557: 1555: 1534: 1532: 1530: 1528: 1526: 1524: 1522: 1520: 1518: 1516: 3737:. London: C. Scribner's & Sons. 3674:. Newton Abbott: David and Charles. 1158:, sold well, to Dickens's surprise. 982:Undine; or, the Spirit of the Waters 973:followed by the Christmas pantomime 25:1807 portrait of Joseph Grimaldi by 4112:Actors from the City of Westminster 3504:, Issue 19, 24 May 1846, pp. 160–61 3122:, January 5, 1813, p. 3, Issue 8802 2641:Ellacott, Nigel and Peter Robbins. 945:The Fates; or, Harlequin's Holy Day 458:, and as the Second Gravedigger in 427:, where he played roles in several 368:in the 1796 Christmas pantomime of 13: 4012:Joseph Grimaldi Satirical Drawings 3996:review by Jenny Uglow, taken from 3984:at the Victoria and Albert Museum. 3792:. Edinburgh: Canongate Books Ltd. 3420:National Heritage List for England 3307:Grimaldi (Boz edition), pp. 250–51 3215:Grimaldi (Boz edition), pp. 231–33 3058:Grimaldi (Boz edition), pp. 254–55 3040:website, accessed 10 February 2013 2823:Grimaldi (Boz edition), pp. 188–89 2802:Grimaldi (Boz edition), pp. 184–85 2784:Grimaldi (Boz edition), pp. 178–79 2580:Grimaldi (Boz edition), pp. 119–20 2504:Grimaldi (Boz edition), pp. 117–19 1552: 1513: 1415:Robinson Crusoe and his Man Friday 1071:. Peake hired Grimaldi to star in 865:In 1815, Grimaldi played Clown in 16:English actor, comedian and dancer 14: 4173: 4147:English people of Italian descent 3975: 3655:. London: I. B. Taurus & Co. 3500:"You Should have seen Grimaldi", 2690:"We Have Not for Several Years", 1565:, Historyextra.com, 13 April 2012 125:Family background and early years 4107:19th-century English male actors 4069: 4057: 4045: 4033: 3990:on the English Heritage website. 3961:. London: Cassell & Co Ltd. 3788:McConnell Stott, Andrew (2009). 3618: 3599: 3582: 3560: 3551: 3542: 3525: 3516: 3507: 3494: 3468: 3459: 3434: 3403: 3394: 3381: 3365: 3352: 3343: 3310: 3301: 3292: 3283: 3274: 3265: 3248: 3239: 3224:McConnell Stott, pp. 294 and 309 3218: 3209: 3200: 3191: 3182: 3173: 3134: 3125: 3113: 3100: 3079: 3070: 3061: 3052: 3043: 3027: 3018: 3009: 3000: 2991: 2982: 2973: 2942: 2919: 2907: 2898: 2889: 2880: 2871: 2838: 2817: 2796: 2787: 2778: 2769: 2760: 2751: 2742: 2733: 2724: 2715: 2706: 2697: 2684: 2675: 2666: 2657: 2648: 2610: 2601: 2592: 2583: 2574: 2565: 2553: 2534: 2525: 2516: 2507: 2498: 2489: 2480: 1487: 1477: 1467: 1458: 1448: 1428: 1397:, in February 1813, followed by 1384: 1371: 1361: 1352: 912: 888: 556:Ko and Zoa; or, the Belle Savage 3957:Thornbury, Walter (1887–1893). 3728:. London: G Routledge & Co. 3475:Carey, John (11 October 2009). 2459: 2450: 2441: 2432: 2423: 2414: 2405: 2396: 2387: 2378: 2365: 2352: 2343: 2334: 2325: 2316: 2307: 2298: 2285: 2276: 2267: 2258: 2249: 2240: 2237:website, accessed 27 April 2017 2200: 2191: 2168: 2147: 2138: 2129: 2120: 2111: 2090: 2069: 2060: 2051: 2024: 2015: 1992: 1983: 1974: 1965: 1938: 1929: 1920: 1911: 1902: 1855: 1846: 1837: 1828: 1819: 1806: 1797: 1788: 1779: 1770: 1761: 1752: 1731: 1722: 1699: 1674: 1629: 1620: 1343: 1334: 1313: 1299: 1290: 1280: 1271: 1055:. He also started working for 860: 713:Harlequin and the Forty Virgins 548:St. George, Champion of England 3904:Robert René Meyer Sée (1922). 3756:. London: Magibbon & Kee. 2895:Grimaldi (Boz edition), p. 193 2844:Grimaldi (Boz edition), p. 187 2814:Grimaldi (Boz edition), p. 186 2793:Grimaldi (Boz edition), p. 180 2694:, vol. 51, January 1807, p. 54 2672:Grimaldi (Boz edition), p. 129 2607:Grimaldi (Boz edition), p. 127 2598:Grimaldi (Boz edition), p. 126 2589:Grimaldi (Boz edition), p. 122 2571:Grimaldi (Boz edition), p. 119 2531:Grimaldi (Boz edition), p. 154 2495:Grimaldi (Boz edition), p. 116 2486:Grimaldi (Boz edition), p. 115 2477:Grimaldi (Boz edition), p. 114 1617:McConnell Stott, pp. 10 and 12 1611: 1602: 1581: 1568: 1258: 1249: 1127:1838 Poster advertisement for 996:where he appeared as Clown in 1: 3872:. London: S. G. Fairbrother. 3834:. London: Jonathan Cape Ltd. 3372:"The Tragic Life of Grimaldi" 3188:Grimaldi (Boz edition), p. 13 2438:Grimaldi (Boz edition), p. 97 2313:Grimaldi (Boz edition), p. 94 2264:Grimaldi (Boz edition), p. 91 2255:Grimaldi (Boz edition), p. 90 2144:Grimaldi (Boz edition), p. 88 2005:New Grove Dictionary of Opera 1843:Grimaldi (Boz edition), p. 37 4102:19th-century British dancers 4020:at The Public Domain Review. 4008:by Henry Downes Miles, 1838. 3179:McConnell Stott, pp. 272–273 2914:Grimaldi, Joseph (1778–1837) 2721:McConnell Stott, pp. 199–200 1659:Grimaldi (Boz edition), p. 6 1455:not allowed to take encores. 965:, breathlessness and severe 787:Bang up, or, Harlequin Prime 741:his art", while the actress 683:Theatre Royal, Covent Garden 528:Theatre Royal, Covent Garden 312:Grimaldi as "Joey" the Clown 119: 47:that formed part of British 7: 3959:Old And New London Volume 2 3885:Salmon, Michael A. (2000). 3752:Findlater, Richard (1955). 3349:McConnell Stott, pp. 309–12 3328:McConnell Stott, pp. 307–08 3298:McConnell Stott, pp. 273–74 3289:McConnell Stott, pp. 298–99 3131:McConnell Stott, pp. 230–31 3097:McConnell Stott, pp. 264–65 3085:McConnell Stott, pp. 257–60 3015:McConnell Stott, pp. 251–52 2997:McConnell Stott, pp. 249–50 2949:Sadler's Wells Introduction 2904:McConnell Stott, pp. 242–43 2886:McConnell Stott, pp. 238–39 2868:McConnell Stott, pp. 236–37 2739:McConnell Stott, pp. 206–07 2625:McConnell Stott, pp. 171–73 2513:McConnell Stott, pp. 144–45 2340:McConnell Stott, pp. 117–18 2282:McConnell Stott, pp. 106–07 2108:McConnell Stott, pp. 95–100 1917:McConnell Stott, pp. 127–29 1411:Harlequin and the Red Dwarf 1051:, the future father of the 830:Kaloc; or, The Pirate Slave 391:Rule a Wife and Have a Wife 10: 4178: 3725:Memoirs of Joseph Grimaldi 3643: 3262:in McConnell Stott, p. 278 3038:Victoria and Albert Museum 2235:Victoria and Albert Museum 1908:McConnell Stott, pp. 58–59 1776:McConnell Stott, pp. 38–39 1728:McConnell Stott, pp. 45–46 1198:Victoria and Albert Museum 1151:Memoirs of Joseph Grimaldi 898:on Grimaldi's house at 56 773:, in which he appeared as 400:Drury Lane Theatrical Fund 176:. He was later engaged by 4142:English male stage actors 3906:Masquerier and his circle 3708:Broadbent, R. J. (1901). 3670:Arundell, Dennis (1978). 3579:, accessed 16 August 2012 1078:The Sixes; or, The Fiends 975:Harlequin and Friar Bacon 235:Richard Brinsley Sheridan 186:Theatre Royal, Drury Lane 53:Theatre Royal, Drury Lane 3913:Slater, Michael (2009). 3849:Partridge, Eric (2005). 3572:27 December 2013 at the 3162:Stephens, John Russell. 1599:McConnell Stott, pp. 7–9 1578:, 8 February 1879, p. 10 1134:After Grimaldi's death, 618:A Bold Stroke for a Wife 554:. This was followed by 406:Last years at Drury Lane 4162:People from Westminster 4152:Male actors from London 3936:Thomson, Peter (1995). 3868:Planché, James (1847). 3828:Neville, Giles (1980). 3754:Grimaldi King of Clowns 3651:Anthony, Barry (2010). 3611:2 February 2014 at the 3557:McConnell Stott, p. 320 3400:McConnell Stott, p. 312 3316:McConnell Stott, p. 303 3271:McConnell Stott, p. 280 3245:McConnell Stott, p. 122 3236:McConnell Stott, p. 274 3152:(subscription required) 3076:McConnell Stott, p. 256 3067:McConnell Stott, p. 255 3049:McConnell Stott, p. 252 3024:McConnell Stott, p. 253 3006:McConnell Stott, p. 250 2979:McConnell Stott, p. 251 2970:McConnell Stott, p. 389 2925:McConnell Stott, p. 245 2877:McConnell Stott, p. 248 2856:McConnell Stott, p. 247 2835:McConnell Stott, p. 254 2775:McConnell Stott, p. 230 2757:McConnell Stott, p. 211 2748:McConnell Stott, p. 209 2730:McConnell Stott, p. 203 2681:McConnell Stott, p. 200 2654:McConnell Stott, p. 174 2546:1 November 2012 at the 2522:McConnell Stott, p. 146 2456:McConnell Stott, p. 144 2420:McConnell Stott, p. 123 2411:McConnell Stott, p. 121 2402:McConnell Stott, p. 246 2384:McConnell Stott, p. 153 2375:, 31 August 1802, p. 11 2331:McConnell Stott, p. 113 2188:McConnell Stott, p. 109 2135:McConnell Stott, p. 101 2012:(ed.) 1992, pp. 1303–04 1816:, 10 April 1794, p. 18 1548:(subscription required) 705:where they performed a 588:Grimaldi with his son, 4127:English male comedians 4014:at the British Museum. 3773:. London: Nabu Press. 3769:Forster, John (2010). 3733:Dolby, George (1887). 3711:A History of Pantomime 3689:Boaden, James (1825). 3606:"Joseph Grimaldi Park" 2362:, 21 August 1802, p. 6 2117:McConnell Stott, p. 99 1962:McConnell Stott, p. 68 1953:McConnell Stott, p. 64 1899:McConnell Stott, p. 58 1861:McConnell Stott, p. 53 1852:McConnell Stott, p. 47 1803:McConnell Stott, p. 42 1794:McConnell Stott, p. 48 1749:McConnell Stott, p. 31 1737:McConnell Stott, p. 30 1719:McConnell Stott, p. 28 1705:McConnell Stott, p. 56 1696:McConnell Stott, p. 22 1680:McConnell Stott, p. 21 1671:McConnell Stott, p. 20 1647:McConnell Stott, p. 19 1608:McConnell Stott, p. 10 1144: 1131: 1095: 1057:Richard Brinsley Peake 1041: 1024: 825: 753: 686: 607:, as Sir John Bull in 592: 523: 480: 419: 388:(as a countryman) and 313: 279: 231:Sadler's Wells Theatre 222: 140: 138:Thomas Hosmer Shepherd 29: 3853:. London: Routledge. 3807:Mayer, David (1969). 3720:Boz (Charles Dickens) 3513:Broadbent, chapter 16 3378:, 17 June 1959, p. 22 3206:Findlater, pp. 195–96 3106:"Death of Grimaldi", 2393:Findlater, pp. 123–24 2293:Register of marriages 1587:McConnell Stott, p. 9 1576:Sheffield Independent 1126: 1119:Legacy and reputation 1090: 1036: 1022: 823: 751: 695:Astley's Amphitheatre 680: 587: 521: 477:John James Masquerier 474: 450:, a Jewish pedlar in 413: 385:A Trip to Scarborough 311: 263: 220: 180:to play Pantaloon in 143:Grimaldi was born in 132: 24: 4137:English male singers 4132:English male dancers 3988:Grimaldi Blue Plaque 3590:"Juggling for Jesus" 3502:Bentley's Miscellany 3110:, 10 June 1837, p. 4 2447:Findlater, pp. 94–95 2358:"Truely affecting", 2349:Findlater, pp. 89–90 2322:Findlater, pp. 83–88 2295:, P90/PAN1, Item 055 2231:"Grimaldi the Clown" 2197:Findlater, pp. 82–83 2174:Findlater, pp. 80–81 2075:Findlater, pp. 68–69 1989:Findlater, pp. 59–60 1926:Findlater, pp. 53–56 1767:Findlater, pp. 14–17 1407:Love, Law and Physic 1239:Notes and references 1181:Bentley's Miscellany 1113:Joseph Grimaldi Park 1093:Joseph Grimaldi Park 1015:Last years and death 729:; or, The Golden Egg 667:Harlequin's Fireside 651:Terpsichore's Return 550:opposite his friend 444:The Wheel of Fortune 356:Christmas pantomime 341:, which starred the 102:; or, The Golden Egg 3442:Preface to Grimaldi 3391:, 3 June 1837, p. 3 3362:, 3 June 1837, p. 4 3108:Westmorland Gazette 2954:30 May 2013 at the 2153:Salmon, pp. 131–132 1423:Sadak and Kalasrade 1381:the following year. 1213:Holy Trinity Church 1129:Memoirs of Grimaldi 1069:English Opera House 923:At Easter 1819, in 718:Valentine and Orson 716:in Thomas Dibdin's 703:Crow Street Theatre 673:Covent Garden years 505:Harlequin Alchemist 491:, with Grimaldi as 350:Valentine and Orson 277:memoirs of Grimaldi 112:, dying at home in 77:Valentine and Orson 4000:, 1 November 2009. 3908:. The Connoisseur. 3577:Camden New Journal 1540:"Grimaldi, Joseph" 1441:role, played as a 1327:with additions by 1132: 1096: 1025: 826: 779:Castles in the Air 754: 687: 593: 524: 481: 448:Richard Cumberland 420: 354:Thomas John Dibdin 317:John Philip Kemble 314: 280: 267:, illustration by 223: 141: 116:in 1837, aged 58. 94:Thomas John Dibdin 30: 3949:978-0-521-43437-9 3928:978-0-300-11207-8 3860:978-0-415-05916-9 3799:978-1-84767-761-7 3780:978-1-147-55282-9 3744:978-1-108-03979-6 3681:978-0-7153-7620-1 3662:978-1-84885-430-7 3653:The King's Jester 3197:Findlater, p. 195 2939:Findlater, p. 139 2692:European Magazine 2643:"Joseph Grimaldi" 2373:Morning Chronicle 2206:Partridge, p. 188 2066:Thornbury, p. 280 1409:, and a rerun of 1321:Rodolphe Kreutzer 1206:Richard Findlater 1178:A contributor to 1156:George Cruikshank 1154:, illustrated by 767:protest violently 738:European Magazine 613:Susanna Centlivre 571:Morning Chronicle 333:Haymarket Theatre 269:George Cruikshank 136:slum in 1815, by 51:, notably at the 4169: 4074: 4073: 4062: 4061: 4050: 4049: 4038: 4037: 4036: 4029: 3970: 3953: 3932: 3920: 3909: 3900: 3889:. Harley Books. 3881: 3864: 3845: 3824: 3803: 3784: 3765: 3748: 3729: 3715: 3704: 3685: 3666: 3638: 3637: 3635: 3633: 3622: 3616: 3603: 3597: 3586: 3580: 3564: 3558: 3555: 3549: 3546: 3540: 3529: 3523: 3520: 3514: 3511: 3505: 3498: 3492: 3491: 3489: 3487: 3472: 3466: 3465:Dolby, pp. 39–40 3463: 3457: 3454: 3445: 3438: 3432: 3431: 3429: 3427: 3411:Historic England 3407: 3401: 3398: 3392: 3385: 3379: 3369: 3363: 3356: 3350: 3347: 3341: 3338: 3329: 3326: 3317: 3314: 3308: 3305: 3299: 3296: 3290: 3287: 3281: 3278: 3272: 3269: 3263: 3252: 3246: 3243: 3237: 3234: 3225: 3222: 3216: 3213: 3207: 3204: 3198: 3195: 3189: 3186: 3180: 3177: 3171: 3160: 3154: 3153: 3138: 3132: 3129: 3123: 3117: 3111: 3104: 3098: 3095: 3086: 3083: 3077: 3074: 3068: 3065: 3059: 3056: 3050: 3047: 3041: 3031: 3025: 3022: 3016: 3013: 3007: 3004: 2998: 2995: 2989: 2986: 2980: 2977: 2971: 2968: 2959: 2946: 2940: 2937: 2926: 2923: 2917: 2911: 2905: 2902: 2896: 2893: 2887: 2884: 2878: 2875: 2869: 2866: 2857: 2854: 2845: 2842: 2836: 2833: 2824: 2821: 2815: 2812: 2803: 2800: 2794: 2791: 2785: 2782: 2776: 2773: 2767: 2764: 2758: 2755: 2749: 2746: 2740: 2737: 2731: 2728: 2722: 2719: 2713: 2710: 2704: 2701: 2695: 2688: 2682: 2679: 2673: 2670: 2664: 2661: 2655: 2652: 2646: 2639: 2626: 2623: 2617: 2614: 2608: 2605: 2599: 2596: 2590: 2587: 2581: 2578: 2572: 2569: 2563: 2557: 2551: 2538: 2532: 2529: 2523: 2520: 2514: 2511: 2505: 2502: 2496: 2493: 2487: 2484: 2478: 2475: 2466: 2465:Findlater, p. 95 2463: 2457: 2454: 2448: 2445: 2439: 2436: 2430: 2429:Findlater, p. 92 2427: 2421: 2418: 2412: 2409: 2403: 2400: 2394: 2391: 2385: 2382: 2376: 2369: 2363: 2356: 2350: 2347: 2341: 2338: 2332: 2329: 2323: 2320: 2314: 2311: 2305: 2304:Findlater, p. 84 2302: 2296: 2289: 2283: 2280: 2274: 2271: 2265: 2262: 2256: 2253: 2247: 2246:Findlater, p. 85 2244: 2238: 2228: 2219: 2216: 2207: 2204: 2198: 2195: 2189: 2186: 2175: 2172: 2166: 2160: 2154: 2151: 2145: 2142: 2136: 2133: 2127: 2126:Findlater, p. 76 2124: 2118: 2115: 2109: 2106: 2097: 2096:Neville, pp. 6–7 2094: 2088: 2087:Findlater, p. 68 2085: 2076: 2073: 2067: 2064: 2058: 2057:Findlater, p. 67 2055: 2049: 2046: 2031: 2030:Findlater, p. 60 2028: 2022: 2021:Findlater, p. 69 2019: 2013: 1996: 1990: 1987: 1981: 1980:Findlater, p. 56 1978: 1972: 1969: 1963: 1960: 1954: 1951: 1945: 1944:Findlater, p. 51 1942: 1936: 1935:Findlater, p. 46 1933: 1927: 1924: 1918: 1915: 1909: 1906: 1900: 1897: 1888: 1887:Findlater, p. 41 1885: 1876: 1873: 1862: 1859: 1853: 1850: 1844: 1841: 1835: 1834:Findlater, p. 22 1832: 1826: 1825:Findlater, p. 21 1823: 1817: 1810: 1804: 1801: 1795: 1792: 1786: 1785:Findlater, p. 20 1783: 1777: 1774: 1768: 1765: 1759: 1758:Findlater, p. 18 1756: 1750: 1747: 1738: 1735: 1729: 1726: 1720: 1717: 1706: 1703: 1697: 1694: 1681: 1678: 1672: 1669: 1660: 1657: 1648: 1645: 1636: 1635:Findlater, p. 15 1633: 1627: 1624: 1618: 1615: 1609: 1606: 1600: 1597: 1588: 1585: 1579: 1572: 1566: 1559: 1550: 1549: 1536: 1502: 1491: 1485: 1481: 1475: 1471: 1465: 1462: 1456: 1452: 1446: 1432: 1426: 1388: 1382: 1375: 1369: 1365: 1359: 1356: 1350: 1347: 1341: 1338: 1332: 1317: 1311: 1303: 1297: 1294: 1288: 1284: 1278: 1275: 1269: 1262: 1256: 1253: 1225:Chuckle Brothers 1147: 916: 892: 842:The Talking Bird 824:Grimaldi in 1819 809:he met the poet 611:and Aminadab in 558:. A critic from 540:Harlequin Amulet 414:The interior of 4177: 4176: 4172: 4171: 4170: 4168: 4167: 4166: 4157:Pantomime dames 4082: 4081: 4080: 4068: 4056: 4044: 4034: 4032: 4024: 4018:Joseph Grimaldi 3982:Joseph Grimaldi 3978: 3973: 3950: 3929: 3897: 3861: 3842: 3821: 3800: 3781: 3745: 3682: 3663: 3646: 3641: 3631: 3629: 3624: 3623: 3619: 3613:Wayback Machine 3604: 3600: 3587: 3583: 3574:Wayback Machine 3565: 3561: 3556: 3552: 3548:Findlater, p. 9 3547: 3543: 3531:Callow, Simon. 3530: 3526: 3521: 3517: 3512: 3508: 3499: 3495: 3485: 3483: 3473: 3469: 3464: 3460: 3455: 3448: 3439: 3435: 3425: 3423: 3408: 3404: 3399: 3395: 3389:London Standard 3386: 3382: 3370: 3366: 3357: 3353: 3348: 3344: 3339: 3332: 3327: 3320: 3315: 3311: 3306: 3302: 3297: 3293: 3288: 3284: 3279: 3275: 3270: 3266: 3253: 3249: 3244: 3240: 3235: 3228: 3223: 3219: 3214: 3210: 3205: 3201: 3196: 3192: 3187: 3183: 3178: 3174: 3161: 3157: 3151: 3139: 3135: 3130: 3126: 3118: 3114: 3105: 3101: 3096: 3089: 3084: 3080: 3075: 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2273:Neville, p. 28 2266: 2257: 2248: 2239: 2220: 2218:Slater, p. 178 2208: 2199: 2190: 2176: 2167: 2155: 2146: 2137: 2128: 2119: 2110: 2098: 2089: 2077: 2068: 2059: 2050: 2032: 2023: 2014: 1991: 1982: 1973: 1964: 1955: 1946: 1937: 1928: 1919: 1910: 1901: 1889: 1877: 1863: 1854: 1845: 1836: 1827: 1818: 1805: 1796: 1787: 1778: 1769: 1760: 1751: 1739: 1730: 1721: 1707: 1698: 1682: 1673: 1661: 1649: 1637: 1628: 1619: 1610: 1601: 1589: 1580: 1567: 1551: 1511: 1504: 1503: 1486: 1476: 1466: 1457: 1447: 1427: 1403:Five Miles Off 1383: 1370: 1360: 1351: 1342: 1333: 1312: 1298: 1289: 1279: 1270: 1257: 1247: 1240: 1237: 1229:Vicki Michelle 1200:and the actor 1120: 1117: 1053:Payne Brothers 1016: 1013: 994:Coburg Theatre 952:Daniel Egerton 911: 910: 909: 900:Exmouth Market 894: 887: 886: 885: 884: 883: 875:Exmouth Market 862: 859: 725:Harlequin and 674: 671: 663:Charles Farley 643:The Honey Moon 601:Love and Magic 454:, as Clown in 437:Robert Paltock 429:Charles Dibdin 425:Sadler's Wells 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3648: 3627: 3621: 3614: 3610: 3607: 3602: 3595: 3591: 3588:Boult, Adam. 3585: 3578: 3575: 3571: 3568: 3563: 3554: 3545: 3538: 3534: 3528: 3519: 3510: 3503: 3497: 3482: 3478: 3471: 3462: 3453: 3451: 3443: 3437: 3422: 3421: 3416: 3412: 3406: 3397: 3390: 3384: 3377: 3373: 3368: 3361: 3355: 3346: 3337: 3335: 3325: 3323: 3313: 3304: 3295: 3286: 3277: 3268: 3261: 3257: 3251: 3242: 3233: 3231: 3221: 3212: 3203: 3194: 3185: 3176: 3169: 3165: 3159: 3149: 3145: 3142: 3137: 3128: 3121: 3116: 3109: 3103: 3094: 3092: 3082: 3073: 3064: 3055: 3046: 3039: 3035: 3030: 3021: 3012: 3003: 2994: 2985: 2976: 2967: 2965: 2957: 2953: 2950: 2945: 2936: 2934: 2932: 2922: 2915: 2910: 2901: 2892: 2883: 2874: 2865: 2863: 2853: 2851: 2841: 2832: 2830: 2820: 2811: 2809: 2799: 2790: 2781: 2772: 2763: 2754: 2745: 2736: 2727: 2718: 2709: 2700: 2693: 2687: 2678: 2669: 2660: 2651: 2644: 2638: 2636: 2634: 2632: 2622: 2616:Mayer, p. 321 2613: 2604: 2595: 2586: 2577: 2568: 2561: 2556: 2549: 2545: 2542: 2537: 2528: 2519: 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House 1495: 1490: 1484:performances. 1480: 1470: 1461: 1451: 1444: 1443:breeches role 1440: 1439:principal boy 1436: 1431: 1424: 1420: 1416: 1412: 1408: 1404: 1400: 1396: 1393: 1387: 1380: 1374: 1364: 1355: 1346: 1337: 1330: 1326: 1322: 1316: 1309: 1302: 1293: 1283: 1274: 1267: 1261: 1252: 1248: 1246: 1245: 1236: 1234: 1230: 1226: 1222: 1218: 1214: 1209: 1207: 1203: 1199: 1194: 1192: 1188: 1187:James Planché 1183: 1182: 1176: 1174: 1173:Peter Sellers 1170: 1165: 1159: 1157: 1153: 1152: 1146: 1141: 1137: 1130: 1125: 1116: 1114: 1108: 1106: 1100: 1094: 1089: 1085: 1083: 1079: 1074: 1073:Monkey Island 1070: 1066: 1062: 1058: 1054: 1050: 1049:William Payne 1047: 1040: 1035: 1033: 1032: 1021: 1012: 1010: 1005: 1003: 999: 995: 991: 987: 983: 978: 976: 972: 968: 964: 961: 957: 953: 948: 946: 942: 938: 934: 928: 926: 915: 905: 901: 897: 891: 882: 880: 876: 872: 868: 858: 854: 852: 847: 843: 839: 835: 831: 822: 818: 816: 812: 808: 804: 800: 797:travelled to 795: 790: 788: 784: 780: 776: 772: 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Retrieved 3620: 3601: 3594:The Guardian 3593: 3584: 3576: 3562: 3553: 3544: 3537:The Guardian 3536: 3527: 3518: 3509: 3501: 3496: 3484:. Retrieved 3480: 3470: 3461: 3441: 3436: 3424:. Retrieved 3418: 3405: 3396: 3388: 3383: 3375: 3367: 3360:Morning Post 3359: 3354: 3345: 3312: 3303: 3294: 3285: 3276: 3267: 3259: 3255: 3250: 3241: 3220: 3211: 3202: 3193: 3184: 3175: 3167: 3158: 3147: 3141:Boase, G. C. 3136: 3127: 3119: 3115: 3107: 3102: 3081: 3072: 3063: 3054: 3045: 3029: 3020: 3011: 3002: 2993: 2984: 2975: 2944: 2921: 2909: 2900: 2891: 2882: 2873: 2840: 2819: 2798: 2789: 2780: 2771: 2762: 2753: 2744: 2735: 2726: 2717: 2708: 2699: 2691: 2686: 2677: 2668: 2663:Mayer, p. 16 2659: 2650: 2621: 2612: 2603: 2594: 2585: 2576: 2567: 2555: 2536: 2527: 2518: 2509: 2500: 2491: 2482: 2461: 2452: 2443: 2434: 2425: 2416: 2407: 2398: 2389: 2380: 2372: 2367: 2359: 2354: 2345: 2336: 2327: 2318: 2309: 2300: 2292: 2287: 2278: 2269: 2260: 2251: 2242: 2202: 2193: 2170: 2158: 2149: 2140: 2131: 2122: 2113: 2092: 2071: 2062: 2053: 2026: 2017: 2003: 1999: 1994: 1985: 1976: 1967: 1958: 1949: 1940: 1931: 1922: 1913: 1904: 1857: 1848: 1839: 1830: 1821: 1813: 1808: 1799: 1790: 1781: 1772: 1763: 1754: 1733: 1724: 1701: 1676: 1631: 1622: 1613: 1604: 1583: 1575: 1570: 1543: 1507: 1506: 1494:John Forster 1489: 1479: 1469: 1460: 1450: 1434: 1430: 1422: 1418: 1414: 1410: 1406: 1402: 1398: 1394: 1386: 1378: 1373: 1363: 1354: 1345: 1336: 1315: 1308:press-ganged 1301: 1292: 1282: 1273: 1260: 1251: 1243: 1242: 1220: 1210: 1202:Simon Callow 1195: 1179: 1177: 1160: 1149: 1145:nom de plume 1133: 1128: 1109: 1101: 1097: 1082:Mother Goose 1081: 1077: 1072: 1042: 1037: 1029: 1026: 1008: 1006: 1001: 997: 989: 981: 979: 974: 970: 955: 949: 944: 936: 929: 924: 922: 870: 866: 864: 861:Later career 855: 850: 845: 841: 833: 829: 827: 814: 805:. In nearby 802: 791: 786: 778: 770: 763:Mother Goose 762: 758:Mother Goose 757: 755: 737: 733:Mother Goose 732: 727:Mother Goose 724: 722: 717: 712: 711: 688: 681:The rebuilt 666: 654: 650: 642: 634: 632: 626: 616: 608: 604: 600: 596: 594: 576: 569: 563: 559: 555: 552:Jack Bologna 547: 544: 539: 525: 512: 508: 504: 502: 488: 484: 482: 459: 455: 451: 443: 441: 432: 421: 389: 383: 376: 369: 361: 357: 349: 336: 330: 315: 290: 284: 281: 264: 249: 243: 238: 227:harlequinade 224: 207:High Holborn 198: 170: 145:Clare Market 142: 134:Clare Market 106: 100:Mother Goose 97: 87: 85: 80: 76: 72: 69: 45:harlequinade 32: 31: 18: 4097:1837 deaths 4092:1778 births 1395:Poor Vulcan 1287:Grimaldis". 1233:David Essex 1046:mime artist 896:Blue plaque 775:Scaramouche 655:Terpsichore 435:, based on 380:Pentonville 149:Westminster 79:(1794) and 37:Regency era 4086:Categories 3701:0405082762 3258:, p. 266, 1508:References 1164:John Carey 1065:dramaturge 986:understudy 967:rheumatoid 838:Man Friday 811:Lord Byron 807:Gloucester 799:Cheltenham 794:bankruptcy 783:Birmingham 743:Mrs Jordan 639:John Tobin 452:The Indian 246:Boxing Day 182:pantomimes 49:pantomimes 27:John Cawse 4040:Biography 3762:558202542 3632:21 August 3481:The Times 3254:Dickens, 3120:The Times 2360:The Times 1814:Gazetteer 1031:The Times 904:Islington 879:Islington 641:'s play, 609:New Broom 597:Bluebeard 560:The Times 497:Harlequin 326:strongman 303:St. Giles 298:shillings 285:Gazetteer 161:Harlequin 157:John Rich 155:opposite 153:Pantaloon 120:Biography 114:Islington 65:whiteface 3967:35291703 3722:(1853). 3609:Archived 3570:Archived 2952:Archived 2544:Archived 2000:Lodoiska 1392:burletta 1379:Don Juan 1105:Woolwich 1061:namesake 846:Don Juan 803:Don Juan 771:Don Juan 691:Finchley 635:Lodoiska 362:Lodoiska 296:from 15 165:Bastille 55:and the 4076:Theatre 4026:Portals 3878:9180307 3644:Sources 3486:5 April 3426:5 March 3376:The Age 3256:Memoirs 1474:father. 1399:Aladdin 1217:Hackney 1193:dead!" 1191:Bologna 1067:at the 971:Aladdin 960:gastric 933:guineas 466:Dickens 418:in 1809 366:Pierrot 273:Dickens 194:Holborn 184:at the 43:in the 4064:London 4052:Comedy 3965: 3946: 3925: 3893: 3876: 3857: 3838: 3817: 3796: 3777: 3760: 3741: 3699: 3678: 3659: 3444:, p. 9 3260:quoted 2164:p. 183 963:spasms 777:, and 699:Dublin 621:. The 532:Exeter 461:Hamlet 293:dropsy 255:Putney 2162:Sée, 1266:Genoa 1244:Notes 493:Punch 343:tenor 338:Cymon 322:Clown 147:, in 41:Clown 3963:OCLC 3944:ISBN 3923:ISBN 3891:ISBN 3874:OCLC 3855:ISBN 3836:ISBN 3815:ISBN 3794:ISBN 3775:ISBN 3758:OCLC 3739:ISBN 3697:OCLC 3676:ISBN 3657:ISBN 3634:2021 3488:2022 3428:2019 1323:and 1231:and 1171:and 271:for 202:slum 59:and 2008:, 2002:in 1215:in 1175:." 697:in 615:'s 565:sic 446:by 275:'s 244:On 159:'s 96:'s 4088:: 3592:, 3535:, 3479:. 3449:^ 3417:. 3413:. 3374:, 3333:^ 3321:^ 3229:^ 3166:, 3146:, 3090:^ 3036:, 2963:^ 2930:^ 2861:^ 2849:^ 2828:^ 2807:^ 2630:^ 2470:^ 2233:, 2223:^ 2211:^ 2179:^ 2101:^ 2080:^ 2035:^ 1892:^ 1880:^ 1866:^ 1742:^ 1710:^ 1685:^ 1664:^ 1652:^ 1640:^ 1592:^ 1554:^ 1542:, 1515:^ 1405:, 1235:. 1227:, 1115:. 1059:, 902:, 877:, 853:. 669:. 590:JS 542:. 402:. 4028:: 3969:. 3952:. 3931:. 3899:. 3880:. 3863:. 3844:. 3823:. 3802:. 3783:. 3764:. 3747:. 3703:. 3684:. 3665:. 3636:. 3490:. 3430:. 1331:. 1310:. 479:)

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