*p1767 10 27 dl As You Like It. ^As17671022^, but Orlando-Reddish, 1st time.*a1767 10 27 dl A Peep behind the Curtain. ^As17671023^.*d1767 10 27 dl I: <i>Hearts of Oak</i>, ^as17671022^.*c1767 10 27 dl Mainpiece: By Desire. Music [to afterpiece] by $Barthelemon=. I often go to both theatres, have seen $Garrick= and $Mrs Yates=, who are the first in this theatrical sphere. The former has hitherto [i.e., this season] appeared only in comedy, --his manner, his humour, and his judgment are not to be equall'd. The adoration he meets with from $the English= is equal to his merit. His every motion they attend to, and every turn of his eye seems to transport them. $Mrs Yates= [at <i>Covent Garden</i>] has much tragic merit. Her low voice is very tuneful, her feeling great, her action peculiarly graceful and her figure uncommonly fine. She has more power than $Mrs Dancer= (at <i>Drury Lane</i>] and more variety than $Mrs Fitz-Henry=, tho' less strength and compass. On the whole she is superior to the former and inferior to the latter. $Barry= and $Mrs Dancer= are engag'd here (MS Letter from $Henry Grattan= to $Cornet Broome= giving his first impressions of living in <i>London</i>, 27 Oct. 1767, in <i>Folger Library</i>). <i>Neville MS Diary</i>: Went into the Pit to see <i>As You Like It</i> a second time. $Reddish= did <i>Orlando</i> for the 1st time. He is a pretty good player. End Act I, <i>Hearts of Oak</i>. The Entertainment was the new Farce called a <i>Peep Behind the Curtain</i>. <i>Glib</i> by $King= who is the author. The piece is not unentertaining, whatever other merit it may have. The <i>Prologue</i> and an Address to the Town by way of <i>Epilogue</i>, are spoken by $Mr King=, the music by $Barthelemon=.