Abstract
This article examines the 1750 “Battle of the Romeos,” a twelve-night run of Romeo and Juliet at both of London’s patent theatres, during which audiences sought to compare the performances of David Garrick at the Theatre Royal in Drury Lane to those of Spranger Barry at the theatre in Covent Garden. With reference to Garrick’s 1748 and 1750 print editions of Shakespeare’s Romeo and Juliet, media representations of the battle, and insights from the Cross-Hopkins theatre diaries concerning the profitability of competition and the importance of paratexts such as prologues and epilogues, I argue that examination of non-parodic imitation and repetition in print and performance, and not only differentiation in performance, is crucial to understanding the effects of dramatized competition upon celebrity.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
