La Mariée on the London stage

La Mariée, a ballroom dance for a man and a woman, was one of the dances Pierre Rameau described as the most beautiful choreographies created by Guillaume-Louis Pecour. Rameau included his own notation of the dance in his Abbregé de la nouvelle methode,dans l’art d’ecrire ou de traçer toutes sortes de danse de ville, published in Paris probably in 1725. The duet already had a long history by then, for it was first published in 1700 in Feuillet’s Recueil de dances composées par M. Pecour, one of the collections that accompanied Choregraphie.

Guillaume-Louis Pecour. Recueil de dances (Paris, 1700), plate 12, opening of La Mariée

Guillaume-Louis Pecour. Recueil de dances (Paris, 1700), plate 12, opening of La Mariée

The dance historian Rebecca Harris-Warrick showed, in an essay published in 1989, that La Mariée was almost certainly originally a stage dance created for a revival of Lully’s opera Roland in 1690. She suggested that the dance entered the French ballroom repertoire during the 1690s. It may have been danced in mascarade entertainments during the 1700 carnival season at the French court. It may well have continued to be danced on the stage of the Paris Opéra in later revivals of Roland, by such stars as Ballon and Mlle Subligny (1705) and David Dumoulin and Mlle Prévost (1709). It was mentioned in many dance treatises and republished in notation many times between 1700 and 1765. After that it apparently faded from view.

Pecour’s popular duet had probably reached London by 1698, when the music was published in John Walsh’s compilation Theater Musick, being a Collection of the Newest Ayers for the Violin. Harris-Warrick speculates that it may have been danced at William III’s birth night ball that year. If so, one of the performers could have been Anthony L’Abbé who had already danced before the King in May 1698. On 1 June 1703, L’Abbé was billed at Lincoln’s Inn Fields in The Wedding Dance. This was described in advertisements as ‘compos’d by Monsieur L’Abbé, and perform’d by him, Mrs Elford, and others’. The piece seems to have been a divertissement, which may or may not have incorporated Pecour’s La Mariée.

In later years, ‘Wedding’ dances reappeared every so often among the entr’acte entertainments in London’s theatres. There was a Wedding Dance ‘by Prince and others’ at Drury Lane on 20 July 1713 and a Grand Comic Wedding Dance, created by Moreau, at Lincoln’s Inn Fields on 14 January 1717. Moreau’s Wedding Dance was performed by three men and three women together with the Sallé children, Francis and Marie. I am inclined to think that La Mariée was performed as part of Moreau’s divertissement, possibly by the Sallés. On 15 May 1718, a dance titled Marie was given at Drury Lane by Cook and Miss Schoolding. Apart from the ongoing dance rivalry between the theatres, which caused much copying of repertoire, Cook had danced in Moreau’s piece and Miss Schoolding was Mrs Moreau’s younger sister.

Thereafter The Marie (as it was often billed) was regularly given as an entr’acte dance. The Sallés performed it, as adult dancers, several times during the 1725-26 and 1726-27 seasons. The duet was later taken up by Leach Glover, one of the leading dancers in John Rich’s company, who gave it regularly at his benefit performances during the 1730s. Pecour’s famous ball dance apparently made its last London stage appearance, after a gap of many years, on 24 April 1759 at Covent Garden. It was performed ‘By Desire’ by Lalauze and Miss Toogood at his benefit. Did they really dance the choreography as created some seventy years earlier?

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