1 Preface 2 List of Illustrations 3 Abbreviations 4 Contributors 5 Chronology 6 Family Tree 7 Introduction Part 8 I. Management Chapter 9 1. John Rich as Manager and Entrepreneur Chapter 10 2. The Finances of an Eighteenth-Century Theatre Revisited: Tales of John Rich's Company in 1724-1725 Chapter 11 3. What the Prompter Saw: The Diary of Rich's Prompter, John Stede Chapter 12 4. John Rich, Theatrical Regulation, and the Dilemma of the Commercial Stage Part 13 II. Dance Theatre Chapter 14 5. John Rich, French Dancing, and English Pantomimes Chapter 15 6.
Harlequin Choreographies: Repetition, Difference, and Representation Chapter 16 7. Pierrot Strikes Back: François Nivelon at Lincoln's Inn Fields and Covent Garden, 1723-1738 Part 17 III. Musical Theatre Chapter 18 8. Good for the Garden: The Composition of Handel's Ariodante Chapter 19 9. "Heathen Gods and Heroes": Singers and the Pantomimes at Lincoln's Inn Fields Chapter 20 10.The Beggar's Opera in London's Theatres, 1728-1761 Chapter 21 11. Beyond The Beggar's Opera: John Rich and English Ballad Opera Chapter 22 IV. Dramatic Theatre Chapter 23 12.
The Impact of the Shakespeare Ladies Club on John Rich's Repertory in the 1737-738 Theatrical Season Chapter 24 13. The Nation in Breeches: Actress Margaret Woffington Part 25 V. Scenography and Iconography Chapter 26 14. Scenographies behind the Scenes: Mapping, Classifying, and Interpreting John Rich's 1744 Inventory of Covent Garden Chapter 27 15. Harlequin Newton: John Rich's Necromancer and the Public Science of the 1720s Chapter 28 16. Hogarth and Rich: Gesture and Expression in The Beggar's Opera Chapter 29 17. Picturing John Rich Part 30 Appendices Chapter 31 1. John Rich, Preface to The Rape of Proserpine (1727) Chapter 32 2.
The Sublime Society of Beefsteaks.