work in King John had brought about a "revolution in nineteenth-century stage practice", which lasted for almost a century. In 1828 Planché left Covent Garden and went to work for Stephen Price at Drury Lane. His first play during this period, Charles XII, was staged in December of that year and was a great success. Prior to its publication (which would have allowed any theatre to produce it without charge), Planché received an enquiry from Murray, the manager of the Theatre Royal, Edinburgh who wished to stage the piece. Planché named a "modest sum" of £10 for the privilege which Murray said he could not pay, citing the poor financial situation of his theatre. But he acquired a manuscript copy of the play and staged it without permission. This prompted Planché to begin campaigning for copyright to be extended to dramatic works. He gathered a group of dramatists (including John Poole, James Kenney, Joseph Lunn and Richard Brinsley Peak) who prevailed upon writer and MP George Lamb to introduce a bill in Parliament; but the bill did not pass its third reading. In 1832 Edward Bulwer-Lytton, a novelist and MP, was successful in getting a select committee set up to consider dramatic copyright, as well as theatrical censorship and the monopoly of the patent theatres on drama. Planché gave evidence before the select committee; the following year the Dramatic Copyright Act 1833 (3 Will IV c. 15) was passed. In the production of his The Brigand, Planché created tableaux vivants of three recent paintings by Charles Eastlake: An Italian Brigand Chief Reposing, The Wife of a Brigand Chief Watching the Result of a Battle, and The Dying Brigand. This feature was a success and widely copied. Paintings inspired his work in a number of other plays. For The Golden Branch (1847) and Love and Fortune (1859), he created costumes based on the paintings of Watteau. The latter play, which was subtitled A Dramatic Tableau (in Watteau Colours), also included a tableau from Watteau's Noces de Village. Extravaganzas and revues After a brief period as acting-manager of the Adelphi Theatre, Planché moved to the Olympic Theatre when Lucia Vestris took over the management in 1831. He provided the first play which she produced, Olympic Revels, or, Prometheus and Pandora. This began a professional relationship which lasted over two decades. Planché went with Vestris and her husband, Charles Mathews, when they took