Day-by-day and hour-by-hour, in the weeks and months leading up to the crime, Aldama, Blanco, and Quintero made decisions which eventually fated them to become New Spain’s most infamous killers. The deaths of Dongo and his family shocked New Spain. But after a close examination of the lives of all three of the perpetrators, it does not seem so surprising that they resorted to brutality to satisfy their greed. In the conquistador tradition, these killers had a pattern of seeking material rewards through violence. Even their favorite hobby – gambling on cockfights – involved fighting and death for the purpose of winning money. Years before the Dongo massacre, Blanco, Quintero, and Aldama traveled across the Atlantic to New Spain, imagining that they would find wealth and success like so many Spanish immigrants had done since Cortes stepped on the beach at Veracruz in 1519. Instead, they drifted through agricultural towns in the provinces, or skulked around the shadows of Mexico City’s busy streets and bustling businesses, scamming off of the hard work of the people who had the misfortune of meeting them.

The Dublin-born actor, James Field Stanfield (1749–1824), spent much of his career performing in northern Britain where his improving spirit had an impact both inside and outside the playhouse. His Irish Catholic identity combined with the alterity intrinsic to travelling acting life, and this appears to have heightened his sympathy for the marginalised. At theatrical benefits he promoted his abolition writing which was based on personal experience of the transatlantic slave trade. He also helped to establish the first public library in Sunderland where he was a prominent freemason; after associating with leading Scottish intellectuals, he wrote An Essay on the Study and Composition of Biography, the first long form treatise on the subject in English. McCormack’s original archival work shows how Stanfield built on his theatrical success and forged a reputation as a public reformer with a genuine spirit of Enlightenment; he was an Irishman who brought about real change in political and intellectual circles. Taken collectively, Stanfield’s remarkable contributions to a ‘Northern Enlightenment’ are an important corrective to the London-centric tendencies of much theatre and Enlightenment scholarship. McCormack’s analysis is a timely reminder in methodological terms of the importance of regional theatre history in Britain and Ireland.

Macklin’s Henry the VII (1746) has received little critical attention. This chapter reads the play as part of a tradition of Irish history plays that were influenced by Joseph Addison’s Cato (1713). Addison’s themes of personal self-sacrifice, love of country and resistance to tyranny proved inspirational for Irish dramatists in the wake of the Declaratory Act (1720) as can be seen in William Philips’s Hibernia Freed (1722) and Henry Brooke’s Gustavus Vasa (1739). History plays then might offer an alternative genealogy of eighteenth-century Irish theatre which is often focused on comedies.