The text of Mountfort's "Dr. Faustus" reveals that his farce, like any, must depend to a great extent on its _farceurs_. In Jevon and Leigh he had talented players and much of the script can be regarded merely as an improvisational chart allowing the two famed comics to maneuver. Jevon, as Leo Hughes points out, built up a considerable reputation, chiefly in low comedy roles since his first notice as Osric in a revival of Hamlet in 1673.[12] Having a slight, thin figure, he was noted for his grace of movement and agility on the stage; he played Harlequin. Although Jevon could play such straight roles as Young Bellair in _The Man of Mode_, he, along with Nokes, Underhill, and Leigh, made his reputation in the boisterous farce of which "Dr. Faustus" is an excellent example. Anthony Leigh played Scaramouche. Of his acting Cibber says: In Humour, he lov'd to take a full Career, but was careful enough to stop short, when just upon the Precipice: He had great Variety, in his manner, and was famous in very different Characters.... But no wonder _Leigh_ arriv'd to such Fame, in what was so completely written for him; when Characters that would make the Reader yawn, in the Closet, have by the Strength of his Action, been lifted into the lowdest Laughter, on the Stage (_Apology_, p. 85-86). That Jevon and Leigh played well together is evident, and one can see great possibilities in their improvisation of such _lazzi_ as the episode of the "dead body," Act I, Scene i, or in the elaborate show of compliment which ends the first act. The presence of Scaramouche and Harlequin in Mountfort's adaptation suggests the influence of the Italian and French _commedia_ on the Restoration stage, although, as Leo Hughes points out, the native tradition of farce is paramount (pp. 134-141). Hughes notes that although the _commedia_ influence is obvious, Italian farce is different in style from the English, and that although there were four or five tours by _commedia_ troops between 1660 and 1700, these visits were not enough to influence significantly English farce writing. Furthermore, the Italian's art was improvisational--they used no printed texts, and the English would therefore have even less chance to copy from the _commedia_. Readers of "Dr. Faustus" will find little trace of _commedia_ influence apart from the conventional names. Hughes acknowledges (p. 141) the greater influence of the French stage in the Restoration, owing chiefly to the great popularity of Molière, whose influence on farce, especially on the afterpiece which became a staple on the English stage after 1695, was long-lived. His prestige was great; he appealed to English taste, and such characters as M. Jourdain, M. Pourceaugnac, and Sganarelle appear repeatedly in English adaptations.