1. See J. Lamb (2009) ‘Historical Re-enactment, Extremity and Passion’, Eighteenth Century: Theory and Interpretation, 49:3, pp. 239–250.
2. G. D’Arcy Wood (2001) The Shock of the Real: Romanticism and Visual Culture, 1760–1860 (New York: Palgrave Macmillan), pp. 17–42.
3. By far the best analysis of Garrick’s and Loutherbourg’s stage innovations is C. Baugh (1987) ‘Philip James de Loutherbourg and the Early Pictorial Theatre: Some Aspects of its Cultural Context’, in J. Redmond (ed.) The Theatrical Space (Cambridge; New York: Cambridge University Press), pp. 99–128.
4. R. G. Allen (1965) ‘Topical Scenes for Pantomime’, Education Theatre Journal, 17:4, pp. 289–95.
5. For Dominic Serres the Elder, see P. H. Highfill Jr, A. Kalman Burnim and E. A. Langhans (1991) A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800, vol. 13 (Carbondale: Southern Illinois University Press), pp. 256–7.