IN the early autumn of 1745, the future of Hanoverian rule in Britain hung in the balance. Bonnie Prince Charlie, the Stewart claimant to the throne, had landed in Scotland and occupied Edinburgh. On September 21, he also routed a government force close to the city at the Battle of Prestonpans. Regular soldiers were being hastily returned from Flanders to counter the threat and, in London, in response to the crisis, there was an outpouring of patriotic fervour. It found particular expression in theatres, where audiences responded enthusiastically to displays of loyalty to George II.
On September 28, 1745, therefore, a notice in the General Advertiser announced that Mr Lacy, Master of his Majesty’s Company of Comedians at the Theatre Royal, Drury Lane, had ‘applied for leave to raise 200 men, in defence of his Majesty’s person and government’. In the auditorium that evening, after a performance of Ben Jonson’s play The Alchemist, three celebrated singers of the day —Susannah Cibber, John Beard and Thomas Reinhold—stepped onto the stage and, with the support of a male choir, sang a traditional anthem with new words. It had been arranged by Thomas Arne, the composer who a few years previously had set a verse by James Thomson called Rule Britannia as the rousing finale of his 1740 masque Alfred.
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