ABSTRACT

Performing animals in Restoration theatre have seldom been the focal point of research. Exceptions include Michael Burden’s “Dancing Monkeys at Dorset Garden,” which examined the possible use of live monkeys in Henry Purcell’s opera The Fairy-Queen (1692), and Rafael Portillo’s “Staging Restoration Dramas,” a portion of which is dedicated to animals on the stage. This article provides a survey of animals on the Restoration stage and demonstrates the survival of a meaningful amount of evidence to suggest that live animals were employed more often than has hitherto been believed. It further argues that animals made a significant contribution to theatrical productions of the Restoration period.

You do not currently have access to this content.