Event Comment: A concert of Vocal and Instrumental Music. Likewise will be performed a new Burletta, composed by Galuppi. Cloaths and Scenes entirely new. Doors to be opened at Five. To begin exactly Half an Hour after Six. Prices 2s. 6d., Tea and Coffee included. [This notice, plus the advertisement of Daughter Trotter's plumb cakes-see 16 April-is repeated, and will not be further listed here.

Event Comment: At the Great Music Room, Dean St., Soho. To begin at Half an Hour after Six

Event Comment: By Authority. Benefit for Lauder. Boxes 5s. Pit 3s. Gallery 2s. To begin at Half an Hour after Six

Event Comment: Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. No Admittance behind Scenes. No Money to be returned after Curtain is drawn up. Places to be had of Mr Johnston at the Stage Door. To Begin precisely at half an hour after Six. [Customary information at foot of each bill, will not be further noted.] [Announcement of improvements in the physical plant appeared in the newspapers in August 1762. Aug. 2. "A great number of workmen are now employed in getting ready Drury Lane Theatre for the ensuing season. The stage has been greatly lengthened, and the Pit and Boxes considerably enlarged, having taken in one of the lobbies for that purpose; the two galleries are also entirely rebuilt, and rendered much larger and more commodious, and the slips on each side are formed into green boxes. It is computed from the several alterations made that the house will contain #90 more than heretofore." Aug. 11: "We hear that the greatest improvements are making in Drury Lane Theatre against the ensuing season ever known, particularly a fine artificial cascade which will be exhibited in an entertainment the grandest and most beautiful ever seen in this or in any Kingdom."-Theatrical Miscellanies, Boston Public Library, Cuttings, G 60.23.

Event Comment: Benefit for Jackson. No Building on Stage. Tomorrow the Play at this theatre will begin at half an hour after six, and continue so to the End of the Season

Event Comment: Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. No persons admitted behind the scenes, nor any money returned after the Curtain is drawn up. Places for the Boxes to be taken (only) of Mr Sarjant at the Stage-Door. The Doors to be opened at Half an Hour after Four. To begin exactly at Six o'clock. [Repeated for all bills during the season, but see change of hour for opening, 22 Sept., and 6 Oct. The source for receipts and financial matters is Covent Garden Account Book (BM Add MS. Egerton 2274).] Receipts: #209 9s. 6d

Event Comment: Mainpiece: By Particular Desire. King of Denmark. Richard-Mr Garrick (Cross Diary). For the King of Denmark.--Richard by Mr Garrick, for the first time these six years-Beyond discription fine, -his voice clear to the last (Hopkins Diary). No money taken at stage door. None returned after curtain is up. The doors (by particular desire) will be opened at half an Hour after Five. To Begin at Seven. Neville MS Diary: Hearing about 7 o'clock that Garrick did Richard III, one of his very capital characters which he has not done these 7 or 8 years, resolved (if I could get in to see him) to bear the abhorred sight of that woman-like painted puppy, the King of Denmark. After one unsuccessful attempt got into the Pit with the greatest difficulty after the third act. Garrick is inimitably great in Richard & very different from the other Richards I have seen; his expression of the dying agony of that wretch is beyond description. Some actors speak with as strong & loud voice in that scene as if they had received no wound & were not dying. One Lloyd, who waits on Garrick sometimes, observed that he himself says he never acted better in his life, modestly observing that something must be allowed to the improvement of his judgment. During the dance (for there was no farce) I was within a yard of the Danish tyrant

Event Comment: Mainpiece: By Particular Desire. The Doors By Particular Desire will be opened at Five. The Play to begin exactly at Half an Hour after Six. Played for the King of Denmark. [The anecodote is recorded by Genest, V, 237, that the king fell asleep. Annoyed, Mrs Yates, playing Alicia, drew near his Box and with violent exertion of voice cried out in her part "O Thou False Lord!" The King aroused declared he would not be married to a woman with such a voice for the world. The London Evening Post, however, for 10 Oct. states, "Mrs Yates had the greatest honour done her, after playing Jane Shore, by the King of Denmark going to her and thanking her for the pleasure she had given him." (Winston MS 10).] Receipts: #157 9s. 6d. (Account Book)

Event Comment: This New Comedy [Mainpiece] written by Mr Cumberland receiv'd with the greatest applause imaginable particularly Mr Moody's part. He play'd finely--it will have a great run (Hopkins Diary). New Scenes, Dresses, Decorations, &c. (Winston MS 10). [A six and one-half column review of the plot appeared in the Gentleman's Magazine for Feb. 1771.

Event Comment: The favourite comic opera. Music by Guglielmi. Pit and Boxes to be put together, and no person to be admitted without Tickets, which will be delivered this day at Half a Guinea each. First Gallery 5s. Second Gallery 3s. The Galleries, Pit and Boxes to be opened at Five. To begin at six precisely. By their Majesties Command, no Persons whatsoever can be admitted behind the Scenes or into the Orchestra

Event Comment: Receipts: #200 7s. 6d. (Account Book). Mainpiece: With New Dresses and Decorations. [The first of a series of five performances (the last, Merchant of Venice, 18 Nov.) which got Macklin dismissed from the theatre until 1775, when his lawsuit against six persons whom he claimed formed a conspiracy to hiss him from the stage and ruin his livlihood was concluded favorably for him. His performance of Macbeth was favorably treated but with certain misgivings in the Morning Chronicle (25 Oct.), but he was mercilessly criticized in the London Evening Post and St James Chronicle: "In Act II, Sc. i, Shakespeare has made Macbeth murder Duncan; Now Mr Macklin, being determined to copy from no man, reversed this incident, and in the very first act, scene the second, murdered Macbeth." The favorable review (Morning Chronicle) thought he did well in first and last acts, but gave way to stage rant and "vehemence of energetic expression" wanting any variation in tone in between. It also pointed out a certain faulty memory of his lines. His novel stage effects came in for a paragraph of comment: The alterations in the jeux de theatre respecting the representation of this tragedy do Mr Macklin great credit. His change of the scenery is peculiarly characteristical. The Quadrangle of Macbeth's castle, and the door which is supposed to lead to Duncan's apartment (both of which are entirely new) are additions of consequence to the exhibition of the play. The door also through which Macbeth comes to the Weird Sisters, in the 4th act, is a better and more probable entrance than through the common stage portal. The dresses are new, elegant, and of a sort hitherto unknown to a London audience, but exceedingly proper. The Banquet was superbly set out, and it must be confessed that the managers seem to have spared neither cost nor assiduity to ornament and add to the effect of the representation." A favorable letter from a correspondent to the London Evening Post adds: "I must observe, Mr Printer, that from the graceful and characteristic manner in which Macbeth was introduced by the martial music and military procession, from the manner of M. Macklin's acting, from his judicious alteration of the dresses, the disposition of the scene where the King is killed, the cave of the witches in the 4th act, from the improvement of Mrs Hartley's thinking in Lady Macbeth and from her manner of speaking, which seemed plainly to be the effects of some intelligence she had received from Mr Macklin...I thought Mr Macklin deserv'd great praise." See the newspaper comments all gathered and reprinted in an Apology for the Conduct of Charles Macklin, (London, 1773). See also note to 30 Oct. See also London Chronicle, Oct. 23-26 (cf. Odell, I, 453). The Westminster Magazine suggests the performance was pitiable. "Macklin knew what he ought to do, but could not do it." The Scenemen's pay this week was about double the normal cost. (Account Book).] Verse Squibs from St James Chronicle (Oct. 1773) against Macklin: @Macbeth@"Eight Kings appear and pass over in order, and Banquo the last"@Old Quin, ere Fate suppressed his lab'ring breath@In studied accents grumbled out Macbeth:--@Next Garrick came, whose utt'rance truth impressed,@While ev'ry look the tyrant's guilt confess'd:--@Then the cold Sheridan half froze the part,@Yet what he lost by nature sav'd by art.@Tall Barry now advanc'd toward Birnam Woodv@Nor ill performed the scenes--he understood--@Grave Mossop next to Foris shaped his march@His words were minute guns, his action starch.@Rough Holland too--but pass his errors o'er@Nor blame the actor when the man's no more.@Then heavy Ross, assay'd the tragic frown,@But beef and pudding kept all meaning down:--@Next careless Smith, try'd on the Murd'rer's mask,@While o'er his tongue light tripp'd the hurried task:--@Hard Macklin, late, guilt's feelings strove to speak,@While sweats infernal drench'd his iron cheek;@Like Fielding's Kings [in Tom Thumb] his fancy'd triumphs past,@And all be boasts is, that he falls the last.@ Also from St James Chronicle:@The Witches, while living deluded Macbeth@And the Devil laid hold of his soul after death;@But to punish the Tyrant this would not content him,@So Macklin he sent on the stage to present him.

Event Comment: Benefit for Fox and Owenson. To begin exactly at Half an Hour after Six o'clock. Charges #65 19s. 6d. Deficit to each #9 4s., cover'd by income from tickets: Fox, #101 17s. (Box 118; Pit 349; Gallery 200); Owenson #86 10s. (Box 138; Pit 206; Gallery 211). Receipts: #46 19s. 6d. (Account Book)

Event Comment: Benefit Betterton. At the Desire of several Persons of Quality. The Boxes to be open'd to the Pit, and No Person to be admitted but by printed Tickets at half a Guinea each. Note, That the Tickets deliver'd out for the Moor of Venice, and Great Mogul, will be taken at this Play. [Receipts: possibly #154 6s. 7 1!2d., according to Baggs.] For a comment on this occasion, see Tatler, 12 April. Whincop (pp. 175-76) states: But Mr Betterton being new past Seventy Years of Age, and lame with the Gout, seemed but to burlesque the Part of youthful Valentine

Event Comment: The Subscribers to the Opera are desir'd to send their Silver Tickets on Saturday next, and the three succeeding Days of Performance, to the Opera Office, where a Half Guinea Ticket extraordinary will be delivered to each, or a proportionable Part of Money return'd as Equivalent for four representations, which the Season already too far advanced, cannot admit of being exhibited, thro' the absolute Necessity there was of postponing the proper Time of beginning the Opera. Forty-Two Representations are past

Event Comment: For the Benefit and Increase of a Fund established for Decay'd Musicians, or their Families. Pit and Boxes to be put together at Half a Guinea. Gallery 5s. Upper Gallery 3s. Tickets delivered to Subscribers to this Charity will admit one Person into any Part of the House. [#627 7s. 6d. expended during the past year.

Event Comment: Pit and Boxes Half a Guinea. Gallery 5s. Upper Gallery 3s. 6d. Benefit for the Fund for Decay'd Musicians. To begin at 6:30 p.m. Expended in past year #593 8s. 6d

Event Comment: MMiss Morris was a pupil of Mr Colman's--She was very much approved by the public in the character of Juliet. On the sixth night of her appearance on the stage she was taken ill, and died before the end of this season. See the Bill for her Benefit (Hopkins MS Notes). Afterpiece: Not acted these 6 years. [See 19 May 1762.] [The Occasional Prologue, by Colman, is Larpent MS 288, which introduces Miss Morris as Juliet, and stresses the qualms and fears of a new performer.] Receipts: #227 19s. 6d. (Account Book). Lloyd's Evening Post, 28-30 Nov.: Sir: The managers of both theatres have of late, in order to put a stop to the Public complaint against a dearth of actors, given trials to several stage candidates that seemed to have any promising requisite. Such experiments have not proved fruitless. The most brilliant and interesting of which was the young lady's appearance on Covent Garden Theatre last night, in the character of Juliet. So great was her terror, on presenting herself for the first time before a crowded audience, that, deprived of all her powers, she fell down on the stage in a swoon. The first act in consequence, was all terror on her side, all compassion and anxiety on that of the audience. But having had time between the first and second Acts to recover from her panic, she shone forth in the Balcony Scene the most pleasing promise of a young tragic actress that has been seen for half a century past, and continued so throughout. Her person is genteel, her tone of voice insinuating, variable, and melodious; her recitation is just and sensible; very affecting in the pathetic parts; condescending, free, and polite are the familiar speeches with the Nurse. She is happily devoid of all stage whine, and tragedy Cant. The manner she has been rudimented in does great honour to her instructors, who have so judiciously prevented the so excellent actor of this verily a Shakespeare's Juliet, from being sophisticated by the studied tricks, and false ornamenting of mistaken modern and degenerate art

Event Comment: For the Benefit and Increase of a Fund established for the Support of decayed Musicians and their Families. Pit and Boxes put together at Half a Guinea. First Gallery 5s. Upper Gallery 3s. 6d. [Expenditure for past year #653 9s. Towards relieving the proper beneficiaries.

Event Comment: Benefit for increase of a Fund established for the support of Decay'd Musicians, or their Families. Pit and Boxes Half a Guinea. Gallery 5s. Upper Gallery 3s. 6d. To begin at 6:30 p.m. [The Governors announce #738 6s. 8d. spent during the past year.

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 Mrs Woffington. As ye Curtain was rising for ye farce a Gentleman's sword was taken out of ye Scabbard & carry'd up with ye Curtain & there Hung to ye terror of those under it (least it shou'd fall) & ye Mirth of ye rest of ye Audience--a Scene man fetch'd it down (Cross). Four rows of the Pit will be rail'd into the Boxes; and the stage form'd into front and side boxes. Tickets and places of Hobson at the stage door. Receipts: #240 (Cross); house charges, #50 (Powel).This was also in her agreement to pay no more than the above sum (Powel). Cash, #84 19s. 6d.; tickets, #100 3s. (Clay MS)

Event Comment: Benefit for Mr and Mrs Baddeley. House charges #67 9s. 6d. [Profits to Baddeley family 16s. plus tickets.] Tickets deliver'd for this night will be taken. Paid Palmer of Bath for Spermecetti candles #128 4s. Paid Mr Deeble (chorus singer) omitted 3 nights 15s.; Chorus singers 1 night #2 10s. 6d.; Salary list #435 19s. (Treasurer's Book). Receipts: #68 5s. 6d. (Treasurer's Book). I find ye corner of ye orchestra is ye best place to stand in...Holland played Iago very well, and Mrs Baddeley Desdemona pretty well, being her 1st appearance in that character...End of ye play Baddeley spoke a composition of his own, called "Search after Scrubs," to hear which Garrick came into ye orchestra. He looks healthy and strong, and should oftener entertain ye Public to which he owes so much. Entertainment Daphne and Amintor. Daphne (for ye first time) Mrs Baddeley, who does not shine in the singing part, as Mrs Arne does (Neville MS Diary)

Event Comment: Rich's Company. That this day was the premiere is implied by the Post Boy, 6-9 July 1700: This Day at the Theatre Royal in Drury-Lane, will be presented a New Comedy, never Acted before, called Courtship Alamode. Preface, Edition of 1700: This Play was so long expected e're it came into the World, that I'm oblig'd in Justice to my self, to excuse its appearance at at time when there were scarce Witnesses in Town of its Birth. It was enter'd in the other House [lif], where Mr Betterton did me all the Justice I cou'd indeed reasonably hope for. But that Example he gave, was not it seems to be follow'd by the whole Company, since 'tis known that Mr Bowman (I mention his Name to keep the reflection from other sharers) kept the first Character of my Play six weeks, and then cou'd hardly read six lines on't. How far that Way of management makes of late for the Interest and Honour of that House, is easie to be judg'd. Some who valu'd their reputations more, were indeed rarely or never absent. To these I gave my thanks; but finding that six or seven people cou'd not perform what was design'd for fifteen, I was oblig'd to remove it after so many sham Rehearsals, and in two days it got footing upon the other Stage [dl]. Where twas immediately cast to the best Advantage, and Plaid in less than twenty days. [In the Dedication Penkethman states that he saw the play into print after its being received well by the town.] A Comparison Between the Two Stages (1700), pp. 104-5: Ramble: Courtship Alamode, the Author, one Crawford, a Caledonian. Sullen: I remember it, and its Adventures; it was enter'd into the New-House, at the Recommendation of a certain Scotch Lord, and sojourning there six Months to no purpose, it travell'd afterwards to the Old-House, where it was with much ado Acted. Ramble: And Damn'd-there I was in with you

Event Comment: Benefit for ye Author (Cross). Places for Boxes to be taken of Hobson at the stage door. Tickets to be had of Mr Miller, in the strand; Mr Dodsley in Pall Mall; at the Half-Moon Tavern, near Holborn Bars, and of Mr Hobson. Just Publish'd Mahomet and Palmira. A Tragedy as it is acted at the Theatre Royal in Drury Lane, by a Gentleman of Wadham College. [This would seem to be James Miller's Mahomet, with the printer capitalizing on Johnson's production at dl.] Receipts: #175 (Cross); house charges, #63 (Powel)

Event Comment: Benefit for ye Author (no more Noise) (Cross). Tickets as of 5 Feb. Tickets deliver'd out for the third and sixth Nights will be taken. Receipts: #140 (Cross). Gentleman's Magazine, Feb. 1751, pp. 77-78, concerning Gil Blas: To animadvert upon a piece which is almost universally condemned is unneccessary, and to defend this is impossible. There is not one elegant expression or moral sentiment in the dialogue; nor indeed one character in the drama, from which either could be expected. It is however, to be wished that the Town, which opposed this play with so much zeal, would exclude from the theatre every other in which there is not more merit; for partiality and prejudice will be suspected in the treatment of new plays, while such pieces as the London Cuckolds, and the City Wives Confederacy, are suffered to waste time and debauch the morals of society....Upon the whole the Author appears to have intended rather entertainment than instruction, and to have disgusted the Pit by adapting his comedy to the taste of the Galleries....Perhaps the ill success of this comedy is chiefly the effect of the author's having so widely mistaken the character of Gil Blas whom he has degraded from a man of sense, discernment, true humor, and great knowledge of mankind...to an impertinent silly, conceited coxcomb, a mere Lying Valet, with all the affectation of a Fop, and all the insolence of a coward. [Thomas Gray wrote to Horace Walpole 3 March 1751, "Gil Blas is the Lying Valet in five acts. The fine lady has half-a-dozen good lines dispersed in it."