Cineasts may remember the film Stage Beauty all about Nell Gwynne convincing Charles II to keep Edward Kynaston from playing female roles that could be better served by first female actress Margaret Hewes (1645-1719).
Behind the times as usual. By the time Ms Hewes was born, the Italians had already buried and praised Isabella Andreini, as one of the finest exponents of Commedia dell’Arte.
Rather modern in concept, was Commedia dell’Arte, performance art by stock characters – Pulcinello, Arlecchino – often with stock masks (a throwback to Roman stage craft) and very loose scripts if scripts there were at all. Think An Evening At The Improv, with a touch of audience participation. You had to be quick to take on that kind of job. Continue reading