Event Comment: A Grand Serious Opera; the music by Sacchini, with additions and alterations [by Andreozzi and Mazzinghi]. Under the direction of Mazzinghi. The dresses executed from original drawings of Bartolozzi and Tresham, by Lupino. With dances analogous to the Opera. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. There are a number of green boxes which may be taken on application to Lee, at the Theatre; the entrance to which, and to the Gallery, will be in Oxford-street. Subscriptions will be received by Messrs Wright and Co., Henrietta-street, Covent-garden (only) where tickets are delivering daily; and such Ladies as have not compleated their subscriptions to their boxes are intreated to send their names to the office, in order to have the tickets prepared, as no person can be admitted without producing a ticket. The Nobility and Gentry are intreated to give particular orders to their coachmen to set down and take up with their horses' heads towards Hyde-park. The Doors in Blenheim-mews for chairs only. By Command of His Majesty no person can be admitted behind the scenes during the performance. "We fear that [the Pantheon as converted into a theatre] will gratify only the eye. It must undergo still more changes before the ear will be satisfied. Whether it is that the dome is too high and disproportioned to the breadth, or that the orchestra is sunk too low beneath the audience we cannot tell, but the sound does not swell and spread in equal volume; and it is the most inaudible in the best parts of the Theatre: the Pit and the first and second tier of Boxes hear very indistincly...We found this to be the complaint of every judge of music in the place" (Morning Chronicle, 18 Feb.). "The Pantheon has opened, and is small, they say, but pretty and simple; all the rest ill-conducted, and from the singers to the scene-shifters imperfect; the dances long and bad, and the whole performance so dilatory and tedious, that it lasted from eight to half an hour past twelve" (Walpole [18 Feb. 1791], XIV, 377) [and see 19 Feb.]

Event Comment: Benefit for Miss Broadhurst. 3rd piece [1st time; M. ENT 1, author unknown. Larpent MS 910; not published]: Overture and Music entirely new, composed by Percy, with some airs from Andreozzi and Stevens. Books of the Songs to be had at the Theatre. Public Advertiser, 24 May: Tickets to be had of Miss Broadhust at Mr Percy's, No. 13, Tavistock-street, Bedford-square. Receipts: #202 9s. (52.5.6; 3.17.6; tickets: 146.6.0)

Event Comment: Mainpiece [1st time; DO 3, by Prince Hoare, based on Didone Abbandonata, by Pietro Metastasio]: The Musick is chiefly new, and composed by Storace. The Selections are made from the most celebrated works of Salieri, Paer, Rampini, Sacchini, Sarti, Giordani, Cimarosa, Schuster, Andreozzi. The Scenery and Machinery designed by Greenwood and executed by himself and his Pupils. The Dresses of the Tyrians, Trojans and Africans entirely new, and taken from the most accurate descriptions of the Habits of their respective Nations. [Both Miss Barclay and Master Welsh had 1st appeared at the king's oratorios, 24 Feb.]. "A procession was introduced in which an Ostrich, a Dromedary and an Elephant marched to slow music. The Masque, which concluded the opera, was some insipid stuff about Neptune and Nereids, with a representation of the Temple of Neptune. Young Welsh sang prettily in this said Masque" (Morning Herald, 24 May). "[Mara] retained only one song of her Didone [see king's, 14 Feb. 1786]; the brilliant bravura, Son Regina, of Sacchini" (Mount-Edgcumbe, 80). Morning Herald, 28 May 1792: This Day is published Dido (price not listed). Receipts: #244 8s. 6d(213.14.5; 28.15.0; 1.19.0)

Event Comment: Afterpiece [1st time; MD 3, by John Philip Kemble, adapted from LODOISKA; ou, Les Tartares, by Jean Elie Bedeno Deiaure]: The Music composed, and selected from Cherubini, Kreutzer, and Andreozzi, by Storace. With entirely new Dresses, Scenes, Decorations and Machinery. [Scenery for Acts I and III was by Greenwood, for Act II by Malton, Lupino and Demaria; machinery was by Cabanel (see text).] Books of the Songs to be had at the Theatre. Morning Chronicle, 4 Oct. 1794: This day is published LODOISKA (1s. 6d.). Powell, 7 June: Lodoiska rehearsed at 12 and at night (Bannister Jun., Hobler absent). 8 June: Lodoiska rehearsed at night at 6. 9 June: Lodoiska rehearsed at 12. Receipts: #318 1s. (213/11; 101/15; 2/15)

Event Comment: [Mrs Gibbs was from the hay.] Afterpiece: 21st time [i.e. in continuation of the reckoning for the previous season]. The Music composed, and selected from Cherubini, Kreutzer and Andreozzi, by Storace. An Accurate Edition of Lodoiska to be had at the Theatre. Powell, 26 Sept.: Provoked Husband rehearsed at 10; Lodoiska at 12 (for Palmer); 27 Sept.: Lodoiska rehearsed at 10 (for Bannister). Receipts: #433 19s. 6d. (296.14.0; 134.13.0; 2.12.6)

Event Comment: Afterpiece: The Musick composed, and selected from Cherubini, Kreutzer, and Andreozzi, by Storace. An accurate Edition of Lodoiska to be had in the Theatre. Receipts: #387 5s. (273.12.0; 106.7.6; 7.5.6)

Event Comment: 2nd piece: By permission of the Proprietor of the Theatre Royal Hay-Market. 3rd piece: The Musick composed, and selected from Cherubini, Kreutzer, and Andreozzi, by Storace. An Accurate Edition of Lodoiska to be had in the Theatre. Receipts: #302 6s. 6d. (186.13.6; 109.17.6; 5.15.6)

Event Comment: [Mainpiece in place of The Secret, advertised on playbill of 31 Dec. 1799.] In IV a Masquerade Scenev. Afterpiece: Not acted these 3 years. The Scenery, Dresses and Decorations entirely New. The Music composed, and selected from Cherubini, Kreutzer, and Andreozzi, by the late Mr Storace. [In mainpiece the playbill retains Barrymore as Doricourt, but "On account of the illness of Barrymore, the part of Doricourt was sustained, at a short notice, by Archer." In afterpiece Barrymore is assigned to Kera Khan, but "C. Kemble, in consequence of Barrymore's indisposition, undertook the part of Kera Khan, at a few hours' notice. Suett displayed his wonted humour in his old character of Varbel, His drollery forms a pleasing contrast to the apathy of Kelly" (Dramatic Censor, I, 32).] Receipts: #205 11s. 6d. (105.12.6; 98.15.0; 1.4.0)