John Rich (producer)

He was baptised on 19 May 1692 at St Andrew, Holborn, the eldest son of the theatre manager Christopher Rich, who died on 4 November 1714, and his wife Sarah (née Bewley).

Christopher Rich left his eldest son three-quarters of his share in the Lincoln's Inn Fields theatre, and its associated patent, in his will.

The two brothers undertook the management of the theatre together at the outset but, over the years, Christopher Mosyer gradually withdrew from active involvement.

In particular, John Rich exaggerated the theatricality of the Restoration spectacular by creating a new form of hireling drama designed strictly to generate opulent stagecraft.

[7] When Alexander Pope wrote the first version of The Dunciad, and even more in the second and third editions, Rich appears as a prime symptom of the disease of the age and debasement of taste.

how calm he sits at ease Mid snows of paper, and fierce hail of pease; And proud his mistress' orders to perform, Rides in the whirlwind, and directs the storm."

A couple of years after the success of The Beggar's Opera, Rich moved his company from Lincoln's Inn Fields to a new theatre in Covent Garden.

[10] The subsequent share allocation for each investor is entered in the Middlesex Deeds Register at the London Metropolitan Archives, and the records of Hoare’s Bank in Fleet Street show when the money was received.

Rich commissioned some of the great landscape artists of his day to paint scenery for the Theatre, including George Lambert.

[6] Around 1735, John Rich founded the Beefsteak Club along with his scenic artist, George Lambert, that met on Saturdays at a room in Covent Garden theatre.

[1][7] According to Soame Jenyns in The Art of Dancing,[15] Rich was a fine dancer, noted for his elevation: That Pindar Rich despises Vulgar Roads, And soars an Eagle’s height among the Clouds, Whilst humbler Dancers, fearful how they climb, But buzz below amidst the flow’ry Thyme: Now soft and slow he bends the circling Round, Now rises high upon the spritely Bound, Now springs aloft, too swift for Mortal sight, Now falls unhurt from some stupendous Height; Like Proteus, in a thousand Forms is seen, Sometimes a God, sometimes an Harlequin.

After Rich's death on 26 November 1761, pantomime was criticised for losing the artistry he exhibited with his performances, relying instead more on spectacle and choral numbers.

Private life John Rich married Henrietta Brerewood on 7 February 1717 at St Clement Danes; they had a son who died in infancy.

[4] Rich's niece, by Priscilla Wilford, was Mary Bulkley, who trained and performed at Covent Garden Theatre during his lifetime.