In my first post about dancing on the London stage during the 1725-1726 season, I provided some statistics for the number of entr’acte dances performed in the theatres. At Drury Lane there were 28 dances in all – 4 group dances, 1 trio, 13 duets and 10 solos. At Lincoln’s Inn Fields there were 43 entr’acte dances – 7 group dances, 2 trios, 22 duets and 12 solos. I should qualify this set of figures immediately by noting that 5 dances – 1 trio, 3 duets and 1 solo – were given only during the Lincoln’s Inn Fields summer season. Nevertheless, the disparity between the two theatres is interesting since Drury Lane had 91 performances with entr’acte dancing billed, whereas (excluding its summer season) Lincoln’s Inn Fields had 81.
As with the dancers, the figures are not quite accurate, although it is probably next to impossible to be sure exactly what dances were performed. At Drury Lane, Roger danced a solo Peasant, a solo Drunken Peasant and a solo French Peasant. Were these all different choreographies? Were all (or perhaps two) of them the same dance, but performed differently according to the various characters depicted? At Lincoln’s Inn Fields, Nivelon gave both a solo Wooden Shoe Dance and a solo Wooden Shoe Dance in the Character of a Clown. Were these actually the same choreography? There were also two Shepherd and Shepherdess duets given at Lincoln’s Inn Fields during the course of the season, one by Francis and Marie Sallé and the other, titled Shepherd and Shepherdess representing Acis and Galatea, by Le Sac and Miss La Tour. I think that these had different music and different choreographies (which may, however, have been related in terms of steps, figures and even choreographic motifs). The duet by Le Sac and Miss La Tour may have used music by Handel, whose Acis and Galatea had first been performed some years previously, although it would not reach the London stage (in a revised version) until 1731. The duet was performed at their joint benefit on 11 May 1726, when Miss La Tour also played a ‘Set of Mr Hendel’s Lessons’ on the harpsichord as an entr’acte entertainment. It seems likely that the Sallés danced to music from a French opera. I also made a mistake when I included the new Dance of Slaves advertised on 25 October 1725 among the entr’acte dances. When I took another look, I concluded that it was probably danced within Oroonoko which was the mainpiece that evening.
There is an overlap in the dance titles advertised at the two theatres, suggesting a common source for some dances and perhaps shared music, if not similar choreographies. Here are those titles.
Myrtillo, a group dance
Polonese, a duet
Dutch Skipper, a duet
Pastoral, a duet
Saraband, a duet
Minuet, a duet
Peasants, a duet
Spanish Entry / Spanish Dance, a solo
I will use these dances as the starting point to look more closely at the repertoire of entr’acte dances given at Drury Lane and Lincoln’s Inn Fields in 1725-1726. I will deal with each of the dance types – group (including trios), duet and solo – in separate posts. Curiously, there is quite a lot we can discover (and that I can say) about them, even though we cannot reach the actual choreographies.