Abstract
This paper sets the success of Garrick's Drury Lane production of Arthur Murphy's The Orphan of China in 1759 against the failure of his staging of Noverre's The Chinese Festival four years earlier. It argues that the Francophobia displayed by the audience in 1755 was an expression of patriotic possessiveness, and that, by 1759, Garrick had found a way of giving a peculiarly English flavour to the taste for Chinoiserie, a flavour that lacked the ingredient of French neoclassicism. Garrick's Chinese staging reflected his English contemporaries' concerns for nationalism, Orientalism and imperial competition with France.
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