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finalising probate on Rich's will in 1779. They had four daughters who survived into adulthood: Henrietta (1727), Charlotte (c.1727?), Mary (1730) and Sarah (1733). Rich considered them to be his legitimate children, although no marriage has yet been found. Amy died in
November 1737, and was buried as 'Amie, wife of Mr J Rich' on 1st December in the family tomb in Hillingdon. During this period Rich also sired two children with another of his actresses, Ann Benson - Charles Rich was born in 1729, but nothing further is known about him; and he was followed by Catherine Benson c.1730. Rich acknowledged Catherine as his 'natural daughter' in his will, and left her a bequest. Finally, in 1744, Rich married Priscilla Wilford, who used the stage name, Mrs Stevens. She survived him, and Rich's estate was eventually distributed equally between her and the four daughters.
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200:. The true facts have been readily available since at least 1906, when Henry Saxe Wyndham's history of the theatre was published. Rich did what any entrepreneur might do - he advertised for investors, raised the money, and with it built the theatre. A complete paper-trail showing these events still exists: a copy of his
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Christopher Rich left his eldest son three-quarters of his share in the
Lincoln's Inn Fields theatre, and its associated patent, in his will. John Rich's younger brother, Christopher Mosyer Rich (1693-1774) received the remaining quarter. At that time, the theatre was still under re-construction,
308:
Rich began his work as "Lun" the
Harlequin character in 1717, wearing a leotard with diamond-shaped patches and a mask, encouraging the silence that became normal for the pantomime character. By 1728, Rich was synonymous with lavish (and successful) productions. He performed multiple roles as the
391:
John Rich married
Henrietta Brerewood on 7 February 1717 at St Clement Danes; they had a son who died in infancy. Henrietta died in September 1725, and Rich then formed a relationship with one of the actresses in his company, Amy Smithies. Her name is quoted in the dispute over the delay in
80:, performing fanciful tricks, dances and magic. Rich's decision to be a silent character was influenced by his unappealing voice, of which he was well aware, and the British idea of the Harlequin character was heavily inspired by Rich's performances.
288:, allowing performances of his operas and oratorios at his new Covent Garden theatre. However, the operas were now out of fashion, and had lost their popularity. Performances were discontinued after a couple of years. On the other hand, the
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and performances did not start until 14 December 1714. The two brothers undertook the management of the theatre together at the outset but, over the years, Christopher Mosyer gradually withdrew from active involvement.
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After Rich's death, pantomime was criticised for losing the artistry he exhibited with his performances, relying instead more on spectacle and choral numbers. It wasn't until after his death, that many of his rivals,
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Though he may have been portrayed poorly by his rivals, Rich earned a reputation for being a good manager among other players, for good business practices, as well as supporting actors who had left the stage.
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himself from 1717 to 1760 under the stage name of "Lun." Rich's version of the servant character, Arlecchino, moved away from the poor, dishevelled, loud, and crude character, to a colourfully-dressed, silent
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The play ran so successfully, with 62 performances, that it was famously said the play "made Gay rich and Rich gay." John Gay was a long-time friend of Pope's and a frequent collaborator of his.
693:, in Survey of London: Vol. 35, the Theatre Royal, Drury Lane, and the Royal Opera House, Covent Garden, ed. F H W Sheppard (London, 1970), pp. 71-85, and Appendix, pp. 109-111.
421:
112:." His stagings would endeavour to present actual cannon shots, animals, and multiple illusions of battle. In particular, John Rich exaggerated the theatricality of the
300:, and conveniently filled a niche in the theatrical calendar. The performances became an annual event, and continued long after the deaths of both Handel and Rich.
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he blames the degradation and skyrocketing costs of play productions on Rich. The general opinion of satirists was that Cibber was thoroughly as guilty as Rich.
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even includes an
Appendix giving the names of all the investors. Rich's theatre opened in 1732 and was the first of three theatres on the site, now known as the
120:. Rich's work was heavily criticised by some, with open letters being published, accusing his work of causing decay in the culture and morality of the stage.
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The exact date of John Rich's birth has not been established. He was baptised on 19 May 1692 at St Andrew, Holborn, the eldest son of the theatre manager
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133:, and even more in the second and third editions, Rich appears as a prime symptom of the disease of the age and debasement of taste. In his
192:, Rich moved his company from Lincoln's Inn Fields to a new theatre in Covent Garden. It is still a common misconception that Rich built
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show when the money was received. These facts can now be found elsewhere, in a variety of sources, and show that the profits from
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Oxford
Dictionary of National Biography: Bulkley née Wilford; other married name Barresford, Mary, by John Levitt
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Rich's
Lincoln's Inn, and then Covent Garden, theatres were in competition throughout his lifetime with Cibber's
232:. Rich commissioned some of the great landscape artists of his day to paint scenery for the Theatre, including
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in 1756–57. Rich's company also staged a number of
Shakespearean plays that are rarely seen today, among them
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included, would recognize his work. Garrick even said his pantomime performances were unmatched in his time.
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along with his scenic artist, George
Lambert, that met on Saturdays at a room in Covent Garden theatre.
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in 1732. He managed Covent Garden until 1761, putting on ever more lavish productions. He popularised
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During his time as producer and director, Rich had multiple battles with his rival managers, including
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Original list of share-holders in Covent Garden
Theatre, on its being built by John Rich in 1731
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378:"Rich's Glory": John Rich takes over (seemingly invades) his new Covent Garden Theatre. (
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where he portrayed the harlequin being hatched from an egg. According to Soame Jenyns in
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He was praised for his movement style, allowing each limb to tell a story, such as in
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performances proved to be extremely successful. They were performed on those days in
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by creating a new form of hireling drama designed strictly to generate opulent
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edited by Berta Joncus & Jeremy Barlow, (Delaware U.P., 2011) pp. 40-41.
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309:"Harlequin" character while the Manager at Lincoln's Inn Fields, including
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edited by Stanley Sadie (Cambridge, CUP, 2001), vol. 10, pp. 755-764
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Rides in the whirlwind, and directs the storm." (III l. 257–260)
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Rich's theatre came to specialize in what contemporaries called "
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John Rich, as shown in the catalogue raisonné of William Hogarth
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of 1732, he makes John Rich the angel of the goddess Dulness:
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The New Grove Dictionary of Music and Musicians, 2nd edition
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Covent Garden Theatre and the Royal Opera House: Management
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Hume, Robert D: "John Rich as Manager & Entrepreneur”.
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204:, which all the prospective investors signed, is in the
655:(London, Chatto & Windus, 1906), vol. 1, pp. 20-26.
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The National Archives: C 12/1056/10: Bencraft v. Rich
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The Annals of Covent Garden Theatre from 1732 to 1897
448:, PeoplePlayUK Theatre Museum, retrieved 2 July 2007
321:, Rich was a fine dancer, noted for his elevation:
296:when theatrical performances were forbidden by the
71:on the English stage and played a dancing and mute
548:"John Rich | British theatrical manager and actor"
530:John Rich: the man who built Covent Garden Theatre
167:Contending Theatres our (Dulness's) empire raise,
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584:"Londoners of Note: John Rich, Pioneer of Panto"
442:: CS1 maint: bot: original URL status unknown (
165:"Here shouts all Drury, there all Lincoln's-Inn;
789:The Theatre History Encyclopaedia Entry on Rich
333:Whilst humbler Dancers, fearful how they climb,
157:. Pope summarizes the battle between Cibber's
732:(W.P. and sold by J. Roberts, 1729), pp. 28-9.
719:(Oxford, OUP, 2004), vol. 25. pp. 33 & 35.
341:Now springs aloft, too swift for Mortal sight,
337:Now soft and slow he bends the circling Round,
169:Alike their labours, and alike their praise."
343:Now falls unhurt from some stupendous Height;
331:And soars an Eagle’s height among the Clouds,
145:Mid snows of paper, and fierce hail of pease;
63:in 1714, which he managed until he built the
730:The Art of Dancing: A Poem, in Three Canto's
616:. New York: Benjamin Blom, Inc. p. 147.
495:The Rutledge Companion to Commedia dell'Arte
777:. London: Smith, Elder & Co. 1885–1900.
424:. Archived from the original on 2 July 2007
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715:Donald Burrows: "George Frideric Handel".
147:And proud his mistress' orders to perform,
702:Anthony Hicks: "George Frideric Handel",
679:The Stage’s Glory, John Rich (1692-1761)
497:. New York: Routledge. pp. 359–60.
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395:Rich's niece, by Priscilla Wilford, was
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335:But buzz below amidst the flow’ry Thyme:
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467:. Portsmouth, NH: Heinemann.
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210:London Metropolitan Archives
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65:Theatre Royal, Covent Garden
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493:Wilson, Matthew R. (2015).
127:wrote the first version of
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311:Harlequin Doctor Faustus.
612:Smith, Winifred (1964).
463:Grantham, Barry (2001).
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588:London Historians' Blog
552:Encyclopædia Britannica
114:Restoration spectacular
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614:The Commedia dell'Arte
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180:The Beggar's Opera
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590:. 7 December 2013
504:978-0-415-74506-2
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637:9 December
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106:spectacle
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69:pantomime
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438:cite web
428:25 April
290:oratorio
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175:John Gay
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