87:, and may have performed before the future King Charles II in Frankfurt in September 1655. The company came to include German as well as English actors over time, and apparently adapted its personnel to the countries in which it operated. Jolly also brought woman actors onto the stage in Germany in 1654, anticipating the greatest innovation of the Restoration theatre in England by several years. At the Krachbein (an inn in Frankfurt), Jolly used a tennis court ("Ballhaus") as a theatre, another technique that would be followed later in London, at
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Jolly still maintained his touring troupe; they remained successful at playing cities outside London – provided they didn't stay too long. In 1669 the city authorities of
Norwich complained about Jolly to the King; the actors' popularity with the town's cloth workers had led Jolly to stay there for
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During this time, Jolly leased his London license to
Killigrew and Davenant for £4 weekly. They falsely claimed that Jolly had sold them his license, which led to its revocation in July 1667. After 1667, Davenant and Killigrew were able to mollify Jolly somewhat by putting him in charge of "the
261:, were sometimes (often, regularly) ruthless and unscrupulous. Jolly was cut from the same cloth. (His name was a malapropism and a misnomer: Jolly wasn't jolly.) He has been characterised as an "irascible" man "whose hot temper made it difficult for him to keep a company together."
79:, then Prince of Wales, in Paris until 1646. Jolly eventually organised a company of fourteen actors, his English Comedian Players, and led them around Europe from 1648 to 1659. They began in Germany, and were in Poland and Sweden in 1649 and 1650. They regularly performed in
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Jolly was left behind in one key development of
Restoration dramaturgy: the use of scenery. The London patent companies built larger and more elaborate theatres for themselves, equipped with ever more advanced resources for the scenes and properties needed for the
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respectively – their famous "duopoly." Jolly had set up his own acting troupe by
November 1660; on 24 December 1660, Jolly obtained his own patent from the King to run a company and theatre. Jolly's 1660 company was apparently made up mostly of personnel from
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Jolly maintained a toehold in London for two years, though the erstwhile rivals
Davenant and Killigrew united in opposing his presence in the capital as strenuously as they could. On 1 and 29 January 1663, Jolly was granted new licenses (from
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period and the return of
Charles to the throne, the London theatres re-opened; in August 1660 Killigrew and Davenant received a patent to establish two theatre companies under royal patronage, the
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by
September of that year. Soon, though, they were back at the Cockpit; Jolly's company appears to have worked in whatever theatre was available to them. Their repertory probably included
156:; Pepys and his wife saw a performance of that play at the Red Bull on 26 May 1662, though he found it "so wretchedly done that we were sick of it." (The 1663 edition of
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of the middle seventeenth century. He was "an experienced, courageous, and obstinate actor-manager" who proved a persistent rival for the main theatrical figures of
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became a de facto base of operations for Jolly's company, where they played at the King's Arms Inn; their repertory in this period appears to have included
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had done in previous generations. Jolly therefore preserved the last remnant and vestige of the theatre of the previous age into the
Restoration era.
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and from the King respectively) to play in any city in
England except for London and Westminster; he led his troupe on a tour of provincial cities.
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authorities suppressed the London theatres in
September 1642; Jolly, like most actors, playwrights, and poets, was a royalist supporter, and served
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wrote that Jolly "always proved venal in proportion to his opportunities, and it is difficult to feel much sympathy for him."
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448:, Philadelphia, University of Pennsylvania Press, 1930; reprinted New York, Benjamin Blom, 1967; p. 119 n. 26.
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Nothing is known of Jolly's early life. He began his acting career c. 1640, at the crisis point of
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three months, and the town fathers were worried over his impact on the wool trade.
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The available evidence indicates that theatre managers of this age, from
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The History of World Theater from the English Restoration to the Present
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Archiv für Frankfurts Geschichte und Kunst, 3. Folge, pp. 185–187 (
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Seymour M. Pitcher, "Some Observations on the 1663 Edition of
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may reflect the version of the play that Jolly staged.)
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Nursery", a school for the training of young actors.
297:, London, Kegan Paul, Trench, Truber, 1935; p. 115.
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446:Thomas Killigrew, Cavalier Dramatist, 1612–1683
382:Bernard M. Wagner, "George Jolly at Norwich",
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324:The Changing Room: Sex, Drag, and Theatre
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