Event Comment: Pepys, Diary: Though nine o'clock at night, carried them [Mary Joyce, Anthony Joyce and Kate Joyce] into a puppet play in Lincolnes Inn Fields, where there was the story of Holofernes, and other clockwork, well done

Event Comment: Richard ye Third. Coriolanus. Andronicus. Julius Ceaser. The Moore of Venice [Othello]. Anthony & Clopatra. Cymbelyne. The Doubtfull Heire [Rosania; or, Love's Victory, by James Shirley]. The Impostor. The Brothers. The Sisters. The Cardinall. The Duke of Lerma. The Duke of Millan. Alphonso. The vnnaturall Cumbat. The Gardian. Aglaura. Arviragus & Philitia 1st pt. Arviragus & Philitia 2d pt. The Spartan Ladyes. The Bashfull Lover. Bussy D'Amboys. Brenoralt [or, The Discountented Colonel]. Country Captaine. The Variety. The Emperour of ye East. The Deserveing ffavorett. The Goblins. The ffatall Dowry. The Lost Lady. The Devell of Edmonton. More Desemblers then Weomen. The Mayor of Quinborough. The Northen Lasse. The Novella. Osmond ye Great Turke [or, The Noble Servant]. The Roman Actor. The Widdow. The Widdows Teares

Event Comment: On this day Jeffreys Boys gave Punchinello 1s. See I. K. Fletcher, "Italian Comedians in England in the Seventeenth Century," Theatre Notebook, VIII (1954), 87, for Anthony Devoto, presumably the puppet player whom Boys saw

Event Comment: John Aubrey to Anthony a Wood, 26 Oct. 1671: I am writing a comedy for Thomas Shadwell, which I have almost finished since I came here, et quorum pars magna sui.... And I shall fit him with another, The Countrey Rebell, both humours untoucht, but of this, mum! for 'tis very satyricall against some of my mischievous enemies which I in my tumbling up and down have collected (Aubrey's Brief Lives, ed. Andrew Clark [Oxford, 1898], I, 52n). See also the season of 1670-71

Event Comment: Downes (Roscius Anglicanus, p. 8) gives a cast for Julius Caesar [by William Shakespeare] which includes Richard Bell, who died in the Drury Lane fire at the end of this month. It is not known when a performance of this play occurred, but a Prologue to Julius Caesar is in Covent Garden Drollery, 1672. Downes lists: Julius Caesar-$Bell; Cassius-$Major Mohun; Brutus-$Hart; Anthony-$Kynaston; Calphurnia-$Mrs Marshal. [Downes adds Portia-$Mrs Corbet, but this probably refers to a later performance.

Event Comment: A playbill [PRO, State Papers 29, Vol. 317, No. 187): At the Booth at Charing-Cross, every day in the Week will be presented variety of Farces Drolls, and Comical Entertainments by Mr Anthony Devo, His Majesties Servant. And this present Monday being the Eleventh of November, will be presented the Dutch cruelties at Amboyna, with the humours of the Valiant Welch-Man. Acted by Men and Women. Beginning exactly at Two of the Clock in the Afternoon, and at Four. Vivat Rex. [This playbill is reproduced in Theatre Notebook, VI (1952), opposite page 36.] L. C. 5@140, p. 129 (Nicoll, Restoration Drama, p. 250): That Antonio diVoto Doe sett forth Exercise & Play all Drolls and Interludes, He not receiuing into his Company any person belonging to his Mates or Royal Highnesse Theatres Nor Act any Play usually acted at any of ye said Theatres Nor takes peeces or Sceenes out of ye Playes Acted at ye said Theatres

Event Comment: According to Anthony Aston, A Brief Supplement to Colley Cibber (in Cibber, Apology, ed. Lowe, II, 314-15) Joseph Haynes had a booth at Bartholomew Fair and presented this droll in the first year of James II's reign

Event Comment: The United Company. The date of the premiere is not known, but the Gentleman's Journal, January 1691@2, suggests that it was first given in December 1691, although the tendency of this journal to be dated one month and appear in the next month makes the interpretation of its information difficult: We have had a new Comedy this last Month, call'd The Wives Execuse; or Cuckolds make themselves: It was written by Mr Southern, who made that call'd Sir Anthony Love, which you and all the Town lik'd so well. I will send you The Wives Excuse, as soon as it comes out in Print, which will be very speedily: And tho' the Town hath not been so kind to this last, as to the former, I do not doubt but you will own that it will bear a Reading; which some that meet with a better Fate too often do not; some that must be granted to be good Judges commend the Purity of its Language (pp. 51-52). Henry Purcell composed the music for this work. One song, Corinna I excuse thy face, the words (according to the Edition of 1692) by Tho. Cheek, the music by Henry Purcell, but without the singer's name, is in The Banquet of Musick, The Sixth and Last Book, 1692 (licensed 17 Feb. 1691@2). Say, cruel Amoret, sung by Mountfort; Hang this whining way, sung by Mrs Butler; and Ingrateful lover, the words by Major General Sackville, are in Joyful Cuckoldom, ca. 1695. See also Purcell, Works, Purcell Society, XXI (1917), xxvi-xxix

Event Comment: Gentleman's Journal, February 1691@2 (licensed 12 Feb. 1691@2): Mr Dryden has compleated a new Tragedy, intended shortly for the Stage, wherein he hath done a great unfortunate Spartan no less justice than Roman Anthony met with in his All for Love. You who give Plutarch a daily reading, can never forget with what magninimity (under all his tedious misfortunes) Cleomenes behaved himself, in the Aegyptian Court. This Hero, and the last Scene of his Life, has our best Tragic Poet chose for his fruitful Subject....Mr Dryden makes his Spartans, in this, speak as manly heroic Lacedaemonians, those more than Romans ought to speak, and since I am certain of your assent, at least, to my faith, I shall be bold to add, That tho I cannot but grant that Cleomenes alone could be author of his own glorious performances, yet I am most confident that their intire lustre will be fully maintained by Dryden's lively description, and Mr Betterton's natural imitation

Event Comment: Luttrell, A Brief Relation, II, 647: Anthony Lee, the famous comedian, died on Wednesday last

Event Comment: Benefit Anthony Young, Organist of St. Clement-Danes. Tickets 5s

Event Comment: He gives his humble Duty to the Quality and Service to his Friends and Acquaintances, hoping they will grace his first Night, at 6 p.m. 1s. N.B. All this is perform'd by Mr Anthony Aston, his Wife and Son of 10 Years only, and will continue Nightly, Bills being stuck up of the whole Entertainment, which varies each Night

Event Comment: [Written by Shakespear. With new Scenes and Cloaths. At the Desire of several Persons of Distinction the Pit and Boxes will be put together at 3s. Boxes on the Stage 4s. Gallery 1s. [The Prologue is in The Comedian, No. VII, October 1732, with a long essay on the major theatres of the present season.] Daily Advertiser, 4 Oct.: A very splendid and crowded Audience...testify'd their Approbation both of the Decorations and Performance. The principal Embellishments are as follows: On a large Oval over the Pit is represented the Figure of His Majesty, attended by Peace, Liberty, and Justice, trampling Tyranny and Oppression under his Feet; round it are the Heads of Shakespear, Dryden, Congreve, and Betterton. On the Coving on the Left Hand is painted the Scene of Cato pointing at the dead Body of his Son Marcus; in the Middle, that of Julius Caesar stabb'd in the Senate-House; and on the Right, that of Marc Anthony and Octavia, where the Children are introduc'd in All for Love. On the Sounding-Board over the Stage is an handsome Piece of Painting of Apollo and the Nine Muses. [See also Daily Post, 4 Oct. and Gentleman's Magazine, II (October 1732), 1028.

Event Comment: Mr Anthony Aston, commonly call'd Tony Aston . . . His Comical and Unparallelled Medley at the Bouffler's Tavern. 6 P.M. Tickets 2s. 6d

Event Comment: Afterpiece [1st time; burl 2, by Charles Dibdin, based on The Loves of Mars and Venus, by Peter Anthony Motteux]: With New Scenes and Dresses. The Music chiefly composed by Dibdin. [Dr Arne and Dr Arnold each wrote one air.] Books of the Burletta to be had at the Theatre. Public Advertiser, 5 Feb. 1778: This Day at Noon is published Poor Vulcan! (1s.). [The playbill lists Reinhold in place of Mahon, but on the Kemble playbill his name is deleted and a MS annotation substitutes Mahon's.] Receipts: #232 5s. 6d. (230.2.6; 2.3.0)

Event Comment: Benefit for Quick. "Quick, in July 1777, played Richard III at Bristol" (Anthony Pasquin [pseud. for John Williams], Poems [1789], II, 244). "Most people expected from Quick a comic representation of Richard the Third--but strange to tell he was earnest in the attempt, and succeeded tolerably. The audience, however, were not disposed to be very serious, and named him 'Little Dicky'" (Public Advertiser, 8 Apr.). [Address by Robert Merry (European Magazine, Apr. 1790, p. 307.] Gazetteer, 1 Apr.: Tickets to be had of Quick, Broad-court, Bow-street. Receipts: #430 17s. 6d. (265.5.6; 4.15.0; tickets: 160.17.0)

Event Comment: Afterpiece [1st time; MD 2, by George Colman, ynger, based on Raoul Barbe Bleue, by Michel Jean Sedaine (although, in the 1st edition of the play, this denied by Colman). Text (Cadell and Davies, 1798)]: The Scenery, Machinery, Dresses, and Decorations entirely new. The Musick composed and selected [from Paisiello] by Kelly. The Scenes designed and executed by Greenwood? Jun, Chalmers, and others. The Machinery, Decorations, and Dresses designed and under the direction of Johnston, and executed by him, Underwood, Gay, and Miss Rein. Books of the Songs to be had in the Theatre. Times, 8 Feb. 1798: This Day is published Blue Beard (1s. 6d.). "In the course of the representation, many blunders in working the scenery, which are unavoidable in a first representation of this nature, occurred, and the delays which took place were frequently very great...It was twelve o'-clock before the curtain dropped...The Expense of getting it up is said to be not less than #2,000" (London Chronicle, 18 Jan.). Proud swells the tide, with loads of capering heels, And vacant Folly shouts applause in peals; Hoards, even beyond th miser's wish, are thrown, To deck some sham farago for the town...Money for dresses, money for new scenes, New music, decorations, and machines; The cost of these, including every freak, Would pay ten decent players four pounds a week. Anthony Pasquin (pseud. for John Williams), "Innovation," in The Devil [1787], II, no. 2, 46. Receipts: #319 14s. 6d. (216.17.6; 102.2.0; 0.15.0)

Event Comment: 2nd ballet: 1st time; composed by Barre; the Music by Bossi. "Mme Hilligsberg, who possesses the first rank among the dancers of London, is a woman of distinguished merit: she succeeds with peculiar happiness in sportive and jocose expressions, and she is bewitchingly graceful as a Welch or Scotch country girl. Her figure is very handsome; but her arms are somewhat long and thin. The third dancer is Mme Laborie; she possesses an agreeable figure, much animation and native gracefulness. She might become a first-rate dancer [if] she did not trust too much to her natural talents, and bestowed more attention on the art" (Goede, 265). "Les Deux Jumelles, ou la Meprise, pouvoient tres bien faire le sujet d'unjoli divertissement; mais pour un grand ballet, il a fallu y appeller le secours des dieux, & faire descendre ce que nous appelons une gloire de nuages qui se developpent assez mal: c'est la faute du machiniste ou du charpentier. D'ailleurs, cette gloire ne sert a rien, puisque l'Amour vient dans un assez mauvais cabriolet, pousse par des hommes qu'on voit un peu trop distinctement, & s'en retourne de meme a reculons. Nous avons vu souvent le char de l'Amour aller en avant; mais il est rare qu'on le voie reculer, & cette meme gloire eprouve autant de difficulte pour remonter qu'elle en avout eue pour descendre, laissant le spectateur tres convaincu de son inutilite" (Anthony LeTexier, L'Ami des Meres, 1799, I, 192-93). The subscribers are most respectfully intreated to be careful to whom they give their Tickets, as many improper persons have lately presented themselves for admission into the Theatre with those Tickets; and the subscribers are requested to observe that, in future, persons of this description will be conducted directly to the identical Boxes to which such Tickets belong, instead of being admitted into any other part of the Theatre. And the public are intreated to understand that neither Ladies in Undress Hats or Bonnets, nor Gentlemen in Boots will be admitted into the Pit of the Opera