294:"... so strong a family likeness that, from having seen any one of them, we may form a tolerable correct idea of the rest … The author does not profess to provide a public entertainment at his own entire expense, and from his own proper funds, but contracts with the manager to get up a striking and impressive exhibition in conjunction with the scene-painter, the scene-shifter, the musical composer, the orchestra, the chorusses on the stage, and the lungs of the actors!"
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as he had taught her for Bunn's production. Bunn printed that she would appear but 'Mrs Mardyn' withdrew from the production at the last minute "owing to ill health", and Bunn investigated to discover that Dimond had probably written the letters and sent them from Paris. The fact that Mrs. Mardyn was
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We have often met with Mr. Dimond, and have always found something to praise and something to censure in him. It will never be better. The talents he received from nature have wanted the cultivation of good taste; and the offences against propriety which wild genius commits, will never be corrected
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stated that Dimond spent time in many jails (in
Horsemonger Lane, under the name of James Bryant,) and tried in many courts, (he was said to have been tried at the Croydon Assizes under the name of William Driver,) "under many names, for heinous crimes — out of all of which he escaped by more
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Bunn may indeed not have been being entirely truthful concerning the past of the recently deceased Dimond, who of course could not defend himself against the claims. Bunn had been hoaxed by Dimond in 1834 by some forged letters said to have been written by the actress
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218:, of which he assumed the management after the death of his father in 1812. His stage works "evinced a strong tendency towards the striking tableau, the exotic setting, and the picturesque pose". He adapted
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Described as a "prolific playwright of little quality and a theatrical manager of little more", Dimond wrote about thirty works for the theatre, including operas, musical entertainments and
84:. William Dimond received his education from the Rev. James Morgan D.D.; and by 1807 was a member 'of the Honourable Society of the Inner Temple', having been articled in 1798.
211:, and is interrupted each time by another character who says: "Chestnut, you mean ... I have heard you tell the joke twenty-seven times and I am sure it was a chestnut".
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widely known among theatrical circles to be largely illiterate should perhaps have served as a warning. Bunn recorded that
William Dimond died in Paris in late 1837.
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but thought the dialogue "generally too florid, bordering frequently upon affectation, and occasionally … not far removed from nonsense". The review by the
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of the early 19th-century who wrote about thirty works for the theatre, including plays, operas, musical entertainments and melodramas.
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term for an old joke, often as 'old chestnut'. In his play one character keeps repeating the same stories, one of them about a
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miracles; his deeds at Bath, the early and great scene of his profligacy, would fit a volume in the narration".
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236:. It was one of three of Dimond's plays whose action takes place in Turkey, the other two being
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173:. He gave up the management of the Theatre Royal in Bath on the death of his mother in 1823.
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When Dimond's father died in 1812 William Dimond took over the management of the
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107:; however, the book was "criticized for its immature extravagances of diction".
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was performed as a benefit piece and proved somewhat of a success. The actress
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UK, Articles of
Clerkship, 1756-1874 for William Dimond 1798 - Ancestry.com
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The Stage: Both Before and Behind the
Curtain, 3 vols. (1840), pgs. 10–11
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was published in 1800 by private subscription and dedicated to the
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506:, ed. P. P. Howe, 21 vols. (1930–34), 5.366–8; 18.209–10, 406
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534:
Reading
Historical Fiction: The Revenant and Remembered Past
169:. By 1817 he was living in what had been the family home in
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Stephens, John
Russell. "Thomas Hailes Lacy (1809–1873)".
68:
Baker (1757–1823). His father was the manager at the
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made his London début in 1828 as Lenoir in Dimond's
578:The Journal of William Charles Macready, 1832-1851
306:the then vogue for melodramatic styles of acting.
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617:19th-century British dramatists and playwrights
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16:For the English actor and theatre manager, see
360:Baines, Paul. "Dimond, William Fisher Peach".
56:in December 1781, the eldest surviving son of
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413:(online ed.). Oxford University Press.
366:(online ed.). Oxford University Press.
330:, offering to come and perform Byron's work
214:Most of Dimond's works were written for the
268:Adrian and Orilla, or, A Mother's Vengeance
140:was the original Donna Isidora in Dimond's
101:Petrarchal Sonnets, and Miscellaneous Poems
460:. Open Book Publishers. pp. 193–197.
563:, Volume 18 (1834) - Google Books pg. 251
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612:British male dramatists and playwrights
410:Oxford Dictionary of National Biography
363:Oxford Dictionary of National Biography
36:(11 December 1781 – c1837) was a
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581:, Longman (1967) - Google Books pg. 25
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326:, rumoured to have been a mistress of
504:The Complete Works of William Hazlitt
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250:. Dimond's play had an influence on
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274:of Dimond's patriotic extravaganza
248:Aethiop, or the Child of the Desert
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531:Kate Mitchell (3 December 2012).
146:(1815). The actor and playwright
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454:Jacqueline Mulhallen (2010).
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110:In 1801 Dimond's comic opera
440:World Wide Words: "Chestnut"
427:UK public library membership
380:UK public library membership
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607:Writers from Bath, Somerset
537:. Springer. pp. 120–.
243:One Thousand and One Nights
199:Dimond originated the term
152:The Foundling of the Forest
129:The Foundling of the Forest
34:William Fisher Peach Dimond
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283:by ill-judging audiences.
70:Old Orchard Street Theatre
60:(1750–1812), an actor and
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627:British opera librettists
622:19th-century male writers
494:British Critic, 41, 302–3
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290:found in Dimond's plays:
192:Oxford English Dictionary
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118:appeared at Bath in his
395:(subscription required)
203:, now a common British
185:, the latter including
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457:The Theatre of Shelley
419:10.1093/ref:odnb/15862
372:10.1093/ref:odnb/38624
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171:Norfolk Crescent, Bath
167:Theatre Royal, Bristol
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29:William Dimond in 1808
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230:play of the same name
120:The Hero of the North
99:'Castalio'. His work
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252:Percy Bysshe Shelley
58:William Wyatt Dimond
18:William Wyatt Dimond
228:for the stage as a
225:The Bride of Abydos
216:Theatre Royal, Bath
163:Theatre Royal, Bath
126:played Bertrand in
74:Theatre Royal, Bath
482:The British Critic
263:The British Critic
148:Thomas Hailes Lacy
143:Brother and Sister
138:Catherine Stephens
112:The Sea-Side Story
87:Dimon contributed
76:together with the
62:theatrical manager
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544:978-1-137-29154-7
467:978-1-906924-30-0
425:(Subscription or
378:(Subscription or
266:approved of his
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560:Literary Gazette
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197:The Broken Sword
187:The Broken Sword
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195:claims that in
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602:1837 deaths
597:1781 births
516:Alfred Bunn
485:, 29, 431–2
315:Alfred Bunn
238:Abon Hassan
232:(1818) for
591:Categories
558:'Drama' -
429:required.)
382:required.)
341:References
328:Lord Byron
304:burlesqued
240:(based on
234:Drury Lane
201:'chestnut'
183:melodramas
132:(1809) in
95:under the
38:playwright
209:cork tree
134:Edinburgh
165:and the
136:, while
122:(1809),
97:pen name
54:Somerset
154:at the
82:Bristol
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310:Hoaxer
256:Hellas
246:) and
220:Byron
205:slang
177:Works
539:ISBN
462:ISBN
50:Bath
44:Life
415:doi
368:doi
254:'s
80:in
66:née
52:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
