He remained at Drury Lane until 1747, playing many parts in comedy, and adding to his repertory some fifty characters. Engaged by Thomas Sheridan for Smock Alley Theatre, Dublin, Woodward made his first appearance there in September 1747 as Marplot in Susanna Centlivre's The Busie Body. As Marplot he came out again in September 1748 at Drury Lane. He repeated some of his Dublin successes, and gave in March 1749 his own unprinted interlude, Tit for Tat.
|
|
The play was very popular with audiences: there were 475 recorded performances during the eighteenth century, and in reality the number was probably far higher. William Hazlitt said that The Busie Body had been played "a thousand times in town and country, giving delight to the old, the young, and the middle aged". Centlivre wrote a sequel featuring the character Marplot: Marplot, or the Second Part of the Busie Body (1710). The Busie Body was revived at the Southwark Playhouse in 2012 (called "The Busy Body").
|
|
On reappearing in London at Covent Garden in Marplot, in October 1763, Woodward, who had spoken in Dublin many prologues of his own writing, delivered one entitled "The Prodigal's Return"; this occasioned a vexatious charge of "ingratitude" when in 1764 he revisited Dublin. At Covent Garden he played some of the parts in which he had been seen in Ireland. In November 1770, as Marplot in The Busie Body he made under Samuel Foote his first appearance in Edinburgh, playing a round of characters. On his homeward journey he acted under Tate Wilkinson in York.
|
|
Between 1751 and 1756 Woodward produced and probably acted in several unprinted pantomimes of his own. These all displayed gifts of construction and invention, and were highly popular. Some of them had previously been seen in Dublin. Marplot in Lisbon was produced at Drury Lane in March 1754.
|
|
A busybody caricatured by Isaac Taylor in the 19th century to illustrate the character sketch by Theophrastus A busybody, do-gooder, meddler, or marplot is someone who meddles in the affairs of others. An early study of the type was made by the ancient Greek philosopher Theophrastus in his typology, Characters, "In the proffered services of the busybody there is much of the affectation of kind-heartedness, and little efficient aid." Susanna Centlivre wrote a successful play, The Busie Body, which was first performed in 1709 and has been revived repeatedly since. It is a farce in which Marplot interferes in the romantic affairs of his friends and, despite being well-meaning, frustrates them.
|
|
LandView is a public domain GIS viewer designed to display United States Census Bureau, Environmental Protection Agency (USEPA), and U.S.Geological Survey (USGS) data. The current version is LandView 6. LandView is related to the CAMEO system (Computer-aided Management of Emergency Operations), in that they share the same mapping program (MARPLOT).
|
|
The characterisation of Marplot as a busybody whose "chief pleasure is knowing everybody's business" was so popular that they appeared as the title character in a sequel, Marplot. The name is a pun — mar / plot — and passed into the language as an eponym or personification of this type. In English law, the doctrine of locus standi requires that a plaintiff have some connection with the matter being contested. In two cases in 1957 and 1996, Lord Denning ruled that "The court will not listen to a busybody who is interfering in things which do not concern him..." Similarly, there is a long- standing rule that a person must have an insurable interest in a property or person that they wish to insure.
|
|
It was a compression, with some slight alterations by Woodward, of Susanna Centlivre's Marplot, a continuation of The Busie Body, and was seen again in Dublin and at Covent Garden. At Drury Lane he remained until 1758. At the end of the season of 1757–58 Woodward finally severed his connection with Drury Lane. His last engagement had been prodigal of interest and incident.
|
|
For the rest of the 1786 season, Serjeant raced away from Newmarket for the first time since his Derby win, but had little success. On 18 July at Winchester he contested a four-mile Sweepstakes in which he finished third to Mr Tetherington's horse Marplot. Ten days later he appeared at Stockbridge Racecourse where he finished last of the three runners over four miles behind Sir John Lade's horse Punch and Mr Watts' mare Miss Kingland. In September he ran at Maidenhead in the Ladies' Plate, a race run in four mile heats.
|
|
All of Centlivre's later works have a clear anti-Tory, pro-Whig political affiliation, "notable through the characters of Tory fathers or guardians, whose party fervor forms another obstacle to the happiness of young lovers – always whiggishly inclined." In March 1710, Centlivre released A Bickerstaff's Burying, a political satire. Despite the risk of annoying Anne, Queen of Great Britain, Centlivre was not afraid to openly support the Hanoverian succession. Next, Centlivre took it upon herself to write a sequel to the successful The Busy Body, entitled Marplot, or, The Second Part of the Busie-Body (December 1710).
|
|
Joe Miller's Jests, or the Wits Vade-Mecum (1739) Joseph Miller (1684 – 15 August 1738) was an English actor, who first appeared in the cast of Sir Robert Howard's Committee at Drury Lane in 1709 as Teague. Trinculo in The Tempest, the First Grave-digger in Hamlet and Marplot in Susanna Centlivre's The Busybody, were among his many favourite parts. He is said to have been a friend of Hogarth. In 1715 he appeared on bills promoting a performance on the last day of April, where he played Young Clincher in Farquhar's comedy, The Constant Couple.
|
|
The Busie Body is a Restoration comedy written by Susanna Centlivre and first performed at the Drury Lane Theatre in 1709. It focuses on the legalities of what constitutes a marriage, and how children might subvert parental power over whom they can marry. The Busie Body was the most popular female authored- play of the eighteenth century, and became a stock piece of most anglophone theatres during the period. The original Drury Lane cast featured Robert Wilks as Sir George Airy, Richard Estcourt as Sir Francis Gripe, John Mills as Charles, William Bullock as Sir Jealous Traffick, George Pack as Marplot, Christopher Bullock as Whisper, Jane Rogers as Isabinda, Letitia Cross as Miranda, Margaret Saunders as Patch and Margaret Mills as Scentwell.
|
|
Nouns for people who are associated with intrusive behavior include snooper, interferer, interrupter, intruder, interposer, invader, intervener, intervenist, interventionist, pryer, stickybeak, gatecrasher, interloper, peeping tom, persona non grata, encroacher, backseat driver, kibitzer, meddler, nosy parker, marplot, gossipmonger and yenta. There are also some more derisive terms such as buttinsky or busybody.OneLook Dictionary Search retrieved 28 October 2013 Intrusiveness can come at the hands of a political administration where it may be described as a nanny state or mass surveillance, but can also be derived from oneself or by other individuals such as family members, friends, associates or strangers.Maximum Potential an American Possibility - Page 2, Richard Monts 2010Richard hanley, South Park and Philosophy: Bigger, Longer, and More Penetrating p 91, 2013 Such an occurrence may culminate into feelings of embarrassment.
|
|
She followed it with Lady Rodolpha Lumbercourt to his Sir Pertinax MacSycophant in Charles Macklin's Man of the World; Charlotte to his Sir Archy MacSarcasm in Love a la Mode by the same author; and Lady Percy to his Falstaff in Henry IV, Part 1. Other roles she played at this time were Miranda, with her husband as Marplot, in The Busy Bodie by Susanna Centlivre; and Eliza Ratcliff, with John Bernard as Sheva, in The Jew by Richard Cumberland. She also appeared in the pantomimes Oscar and Malvina by William Reeve, in which she also danced; and Brazen Mask by James Hewitt. On 29 April 1811 the Duffs appeared at a benefit in which Mary danced a solo while her husband performed in The Three and the Deuce by Prince Hoare.
|
|
He played also in low comedy, sang occasionally, and for benefits took on some serious characters, appearing on one occasion as Richard III.During his first year's engagement he was seen as Jack Meggott in the The Suspicious Husband, Osric in Hamlet, Lord Trinket in The Jealous Wife, Lord Plausible in The Plain Dealer, Slender in the Merry Wives of Windsor, Sir Harry Wildair in The Constant Couple (George Farquhar), Roderigo in Othello, Alexas in All for Love, Sparkish in The Country Wife, Sir Novelty Fashion in Love's Last Shift, and Marplot in The Busybody (Susanna Centlivre), with other characters. He was especially noted as Sir Andrew Aguecheek and Abel Drugger. Among characters of which Dodd was the first exponent were Sir Benjamin Backbite in The School for Scandal, Dangle in The Critic, Lord Foppington in A Trip to Scarborough, and Adam Winterton in The Iron Chest.
|
|
He played during the season Archer in Beaux Stratagem, Orlando, Belcour in The West Indian, and Pedro in The Pilgrim. He then returned to York, and while there received an offer from Drury Lane, where he appeared, with the company then temporarily occupying the Lyceum, as ‘Wrench from Bath and York,’ playing on 7 October 1809 Belcour in The West Indianand Tristram Fickle in The Weathercock. Frank Heartall in The Soldier's Daughter, Lenitive in The Prize, Howard in Reynolds's Will, Marplot, Frederick in The Poor Gentleman, Captain Absolute, Benedict, Charles Austencourt in Man and Wife, Delaval in Matrimony, Colonel Lambert in Hypocrite, Storm in Ella Rosenberg, Loveless in Trip to Scarborough, Millamour in Know your own Mind, with some other parts in which he had been seen in Bath, were given in his first season; he was also seen as the first Henry Torringham in Cobb's Sudden Arrivals (19 Dec. 1809), and Edward Lacey in Riches, adapted by Sir James Bland Burges from Massinger's City Madam.
|
|