The Restoration spectacular was a type of theatre production of the late 17th-century Restoration period, defined by the amount of money, time, sets, and performers it required to be produced. Productions attracted audiences with elaborate action, acrobatics, dance, costume, scenery, illusionistic painting, trapdoors, and fireworks. Although they were popular with contemporary audiences, spectaculars have earned a reputation from theatre historians as vulgar in contrast to the witty Restoration drama. The spectacular has roots in early 17th-century court masque, though it borrowed ideas and technology from French opera. Sometimes called "English opera", spectaculars were so varied as to give reluctance to theatre historians to define them as a genre. Spectaculars became increasingly expensive for their theatre companies; a flop could leave a company deeply in debt, while a success could leave a sizeable profit. Definition The distinction between "legitimate" Restoration drama and the Restoration spectacular, "musical spectacular," "Dorset Garden spectacular," or "machine play" is one of degree rather than kind. Many plays of the period featured music, dancing, scenery, and songs. However, the true spectacular, of which Milhous counts only eight over the entire 1660–1700 Restoration period, was produced on a different scale. The spectacular is defined by a large number of sets and performers required, the vast sums of money invested, the potential for great profits, and the long preparation time needed. Milhous calculates that they likely required at least four to six months of planning, contracting, building, and rehearsing, compared to the four to six weeks of rehearsal time a new "legitimate" play required. Special effects Previous generations of theatre historians have criticized the operatic spectaculars, such as John Dryden's comments about expensive and tasteless "scenes, machines, and empty operas". However, audiences reportedly enjoyed the performances, as Samuel Pepys' diary shows. Dryden wrote several baroque machine plays himself. The first, The State of Innocence (1677), was never staged, as his designated company, the King's, had neither the capital nor the machinery for it: a dramatization of John Milton's Paradise Lost, it called for "rebellious angels wheeling in the air, and seeming transfixed with thunderbolts" over "a lake of brimstone or rolling fire". The King's Company's Theatre Royal, Drury Lane was unequipped to stage such effects. However, the "machine house" at Dorset Garden was appropriately equipped, though it belonged to the King's Company's competition, the Duke's Company. When the two companies merged in the 1680s and Dryden had access to