Event Comment: "DuBellamy, who played Douglas, and was to have assailed Falstaff, during the combat between Harry Percy and the Prince of Wales [in V.iv], went up to undress, having forgot that his part was not finished" (Morning Chronicle, 29 July)

Event Comment: Mainpiece [1st time; T 5, by William Shirley. Not in Larpent MS; not published; synopsis of plot in London Chronicle, 19 Dec. Prologue by the author (London Chronicle, 23 Dec.). Epilogue by Richard Cumberland (Collection...of English Prologues and Epilogues, IV, 194]: With New Scenes and Dresses. "I have been at another new play, The Roman Sacrifice. It is the old story of Junius Brutus, without a tolerable line. I went to see it, as I had never seen Henderson, and thought I could Judge him better in a new part; but either the part was so bad, or he wants to copy, that I should not have found out he was at all superior to all other actors" (Walpole [23 Dec. 1777], X 170). Receipts: #2223s. 6d. (207.8.0; 13.13.6; 1.2.0)

Event Comment: Mainpiece: Not acted these 4 years acted 6 Nov. 1775. Prologue by Nicholas Rowe. Afterpiece [ 1st time; f 2, by Frederick Pilon. Prologue by the author (Public Advertiser, 5 Nov.). In speaking a line in the Prologue that won applause Whitfield waved his hat so vehemently tha he "dislocated a Bone in his Arm. He went to the side of the stage, and one of the Scene-men taking him by the Wrist, and giving four or five pretty severe jerks, the Bone recovered its place" (ibid). In all subsequent performances the Prologue was spoken by Lee Lewes.]. Public Advertiser, 18 Nov. 1778: This Day at Noon is published The Invasion (1s.)

Event Comment: Mainpiece [1st time; C 5]: By the celebrated Henry Fielding; and never yet performed or published. With new Scenes, Dresses, &c. [and incidental music by Michael Arne. Prologue by David Garrick. Epilogue by the same (see text)]. Public Advertiser, 12 Dec. 1778: This Day is published The Fathers (1s. 6d.). "This play was written by Mr Henry Fielding, some years before his death. Mr Garrick saw it at that time. Mr Fielding gave the only fair copy he had of it to his friend Sir Charles Williams, of whose judgment he entertained a high opinion. Sir Charles soon after went abroad, and the comedy was mislaid. Mr. Fielding communicated this circumstance to his family on his death-bed; and enquiry was made for it, but without effect. At length Mr Thomas? Johnes, Member for Cardigan, looking over Sir Charles's books, found a comedy in manuscript, which he read, and, approving, had it transcribed and sent to Mr Garrick for his opinion, who, like Archimedes, cried out, 'This is the lost sheep! This is Mr Henry Fielding's play!' Mr Garrick communicating it to Mr Johnes, Mr Johnes immediately sent the original manuscript, which was in Mr Fielding's hand-writing, to the family, with his best wishes for its success, promising to assist it to the utmost of his power" (Gentleman's Magazine, Dec. 1778, p.586). See also, for corroboration of the above and for other details, Wilbur L. Cross, The History of Henry Fielding, 1918, III, 99-104. Receipts: #210 11s. 6d. (186.6.0; 23.19.6; 0.6.0)

Event Comment: Afterpiece [1st time at a public theatre; C 3, by Elizabeth Craven, Baroness Craven, afterwards Margravine of Anspach, 1st acted privately at the Town-Hall, Newbury, 6 Apr. 1780. Text (G. Riley, 1781) assigns no parts. Prologue by Richard Brinsley Sheridan. Epilogue by Joseph Jekyll (see text)]: With new Dresses, &c. "The Prologue [the first 30 lines and the concluding couplet of which were used by Sheridan as the Prologue to Pizarro (see dl, 24 May 1799)] was so much admired that at the request of the Duchess of Devonshire and several other of the nobility it was respoken after the piece; but as King was absent from the theatre, it was delivered by Palmer" (Town and Country Magazine, May 1780, p. 23 ). "The chief singularity was that [Lady Craven] went to it herself the second night, in form; sat in the middle of the front row of the stage-box, much dressed, with a profusion of white bugles and plumes, to receive the public homage due to her sex and loveliness. The Duchess of Richmond, Lady Harcourt,...Mrs Damer, Lord Craven,...and I were with her. It was amazing to see so young a woman entirely possess herself-but there is such an integrity and frankness in her consciousness of her own beauty and talents, that she speaks of them with a naivete as if she had no property in them, but only wore them as gifts of the gods. Lord Craven on the contrary was quite agitated by his fondness for her and with impatience at the bad performance of the actors, which was wretched indeed, yet the address of the plot, which is the chief merit of the piece, and some lively pencilling carried it off very well, though Parsons murdered the Scotch lord, and Mrs Robinson (who is supposed to be the favourite of the Prince of Wales) thought on nothing but her own charms, or him. There is a very good though endless prologue written by Sheridan and spoken in perfection by King, which was encored (an entire novelty) the first night: and an epilogue that I liked still better and which was full as well delivered by Mrs Abington, written by Mr. Jekyl. The audience, though very civil, missed a fair opportunity of being gallant, for in one of those ----logues, I forget which, the noble authoress was mentioned, and they did not applaud as they ought to have done, especially when she condescended to avow her pretty child and was there looking so very pretty...Yet Lady Craven's tranquillity had nothing displeasing;...and it was tempered by her infinite good nature, which made her make excuses for the actors instead of being provoked at them" (Walpole [28 May 1780], XI, 178-80). Public Advertiser, 14 July 1781: This Day at Noon will be published The Miniature Picture (price not listed). Receipts: #144 9s. (94.9; 48.3; 1.17)

Event Comment: A Serious Opera [1st time; SER 3, author unknown; a pasticcio]. The Music by several celebrated Composers, and conducted [i.e. arranged] by Bianchi. Public Advertiser, 4 Dec.: Roncaglia was welcomed with merited and very flattering Applause, yet he seemed hurt at sharing with Ansani those marks of public Favour. We exhort them both to remember that Persons of their superior Talents ought to lay aside every petty Prejudice and personal Animosity. "[Ansani] had a finely toned, full, and commanding voice, was a spirited actor, and in the first opera, called Ricimero, sustained the most prominent and important part. But he was unfortunately of a most peevish, quarrelsome temper; Roncaglia was saucy and conceited, and neither could brook the superiority claimed by the other. Their mutual jealousy, and the importance assumed by the tenor soon produced an irreconcilable breach, Ansani threw up his engagement, and the season went on heavily to its close for want of him"(Mount-Edgcumbe, p. 29)

Event Comment: [In mainpiece the playbill assigns the 1st Gravedigger to Parsons, but "an Apology was made for Parsons, and Suett went through his Part" (Public Advertiser, 2 Oct.). In afterpiece the playbill retains Parsons as Solomon; for Fawcett see 26 Nov.] "We have for so many years been accustomed to see Hamlet dressed in the Vandyke costume, that it may be material to state that Mr Kemble played the part in a modern court dress of rich black velvet, with a star on the breast, the garter and pendant ribbon of an order-the mourning sword and buckles, with deep ruffles: the hair in powder; which, in the scenes of feigned distraction, flowed dishevelled in front and over the shoulders" (Boaden, Kemble, I, 104). Receipts: #285 16s1. (265/14/0; 19/19/6; 0/2/6)

Event Comment: By Permission of the Lord Chamberlain. Benefit for the Author. Play [1st time; T 5]: Written by the Rev. [Thomas] Stratford. The Doors to be opened at 6:00. To begin at 7:00. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Tickets to be had of Dr Stratford, No. 5, Cecil-street, Strand, and of Fosbrook at the Theatre. Dr Stratford, in the overflowing of a grateful heart, is happy indeed in returning thanks to the Ladies and Gentlemen who, with equal benignity and humanity, have so generously exerted themselves in bringing forward his tragedy of Russel. Above the mean manoeuvres that have been practised by persons he had the least reason to expect such a conduct from, and which have detained him almost three years in London, at a ruinous expense, he went with a party of his friends, on Wednesday last, to the Hay-market, in support of the other Lord Russel, penned by superior genius. As he never injured an individual, he trusts every intention to defeat the success of his play will be disappointed by a generous London audience who, he still presumes to hope, will be actuated by the same noble spirit and principle that first induced the Lady and Gentleman to undertake so arduous a task as appearing on a public theatre. As many parts of the play will be expunged and altered, he begs leave to mention that it cannot be again represented till Wednesday next, when the characters of Lord Howard and Hubert will be performed by two other Gentlemen, who have generously undertaken their parts, and an entire new address will be spoken by the Gentleman who performs Lord Russel, wrote by himself. "The performers ... rendered the Doctor's Tragedy one of the most laughable farces at which we were ever present. [It] has much Calimanco in it, and where we could hear a sentence compleat (which was seldom indeed) it abounded with Fustian" (Public Advertiser, 21 Aug.)

Event Comment: Windham Diary (30 Jan. 1784), 41: On the Wednesday 1 went to see Mrs Crawford in 'Belvidera', and found her much as I expected, though her disparity was very great. I can perhaps better conceive the delusion that, aided by a little prejudice [in favor of Mrs Siddons] and the recollection of Mrs C. in better times, could hesitate about the preference. The chief faults that I should find would be, that her articulation was cramped and timid, her tones sometimes colloquial and vulgar, her action confined, and her countenance inexpressive. A new man of the name of Pope performed; I pronounced him in my own judgment as inferior, upon the whole, to Brereton. [Henderson's 1st appearance as Pierre was at Bath, 14 Oct. 1773.]

Event Comment: 2nd piece [1st time; F 1, by John Rose; in Town and Country Magazine, Aug. 1788, p. 374, said to be translated from a French farce]. "Edwin was too ill to sing, but went through the part [in Peeping Tom; see 16 Aug.]" (Public Advertiser, 4 Aug.)

Event Comment: "Yesterday evening Palmer performed the part of Inkle for the first time to a very full house. He went through the two first acts with much credit, and had he been less imperfect in the last scene it would have proved more interesting" (Diary, 24 Aug.)

Event Comment: The Nobility, Gentry and Public at large are respectfully informed that, in compliance with the wishes of many of the principal Subscribers an supporters of this undertaking, and it being found that, without offence to law, the entertainments advertised for the Hanover-square Rooms may be given at this Place. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. As the Proprietors would not presume, even to save themselves from utter ruin, to offend either the Authority of the King, or of the Laws, they forbear all idea of performing Operas until the hardship and justice of their case shall produce the proper influence upon his Majesty's benevolent mind; and, under the circumstances in which thy stand, with a Company of the most celebrated singers and dances in the world, in their respective departments, engaged at an expense of #18,000, they confide in the liberality to the Public that they will countenance and support such an Entertainment as they are legally warranted to give, until they shall recover their just right of performing Operas under his Majesty's license. "From dinner we all went to the Opera House in the Haymarket, where for the first time they performed for money [see 23 Feb., 10 and 22 Mar.]; the singers, to avoid the [licensing] Act, coming in their own dresses and confining themselves to the airs. It will be seen whether this restriction will be considered sufficient" (Windham Diary, 219). "The action of Orpheus and Eurydice has been seen before at both the rehearsals [see 10 and 22 Mar.], but the scenery could not be then sufficiently displayed. It was very correctly managed on Saturday night...The scene of the Elysian fields deserved the most admiration, where, by means of lights placed behind gauze, a filmy hue is thrown over the stage, and the figures assume the appearance of aerial beings" (Gazetteer, 28 Mar.)

Event Comment: Benefit for Wood, Percey, Cameron, Wilson, George, Woollams. Kemble Mem.: Benefit for the Boxkeepers. A New Edition of the [mainpiece] to be had at the Theatre. "Went to play. Mrs Jordan in 'Rosalind.' I am still of opinion, there is more in her person and natural manners than in her acting. Her merit lies out of her part. The words set down by the author she does not repeat with great propriety of tone, emphasis, or gesture, than others. But she has of these, certain peculiarities, which indicate dispositions, such as take strong hold of the affections, at least of the male part of her audience; and therefore, when the part is of a sort to admit a large portion of these, she produces a great effect. The true acting of the part may, in many instances, not require what she throws into it, but it may admit it; and if the expression so thrown in is of the sort described, the effect of the whole will be improved, though the part is thereby neither better nor worse acted" (Windham Diary, 28 May 1791, 227). Receipts: #363 4s. 6d. (33.5.0; 9.5.6; 2.13.0; tickets: 318.1.0) (charge: #117 1s. 7d.)

Event Comment: Mainpiece: 32nd Night [i.e. in continuation, erroneously, of the reckoning for the preceding season, when it was acted 28 times]. With new Music, Scenes, Dresses, and Decorations. The Music (with a few Exceptions) composed entirely new by Shield. And new Scenery designed and chiefly executed by Richards. Books of the Songs to be had at the Theatre. "Covent-garden is the National Theatre. I was there on 10th Dec. and saw an opera called The Woodman. It was the very day on which the life story of Madam Billington, both from the good as well as from the bad sides was announced [i.e. Memoirs of Mrs Billington, and An Answer to the Memoirs of Mrs Billington, both anonymous, both predated 1792]...She sang rather timidly this evening, but very well all the same. The first tenor [Incledon] has a good voice and quite a good style, but he uses the falsetto to excess. He sang a trill on high C and ran up to G. The 2nd tenor [Johnstone] tries to imitate him, but could not make the change from the falsetto to the natural voice, and apart from that is most unmusical...But the cast is entirely used to him. The leader is Herr Baumgartner [sic], a German who, however, has almost forgotten his mother-tongue. The Theatre is very dark and dirty, and is almost as large as the Vienna Court Theatre. The common people in the galleries of all the theatres are very impertinent; they set the fashion with all their unrestrained impetuosity, and whether something is repeated or not is determined by their yells. The parterre and all the boxes sometimes have to applaud a great deal to have something good repeated. That was just what happened this evening, with the Duet in the 3rd Act, which was very beautiful; and the pro's and contra's went on for nearly a quarter of an hour, till finally the parterre and the boxes won, and they repeated the Duet. Both the performers stood on the stage quite terrified, first retiring, then again coming forward. The orchestra is sleepy" (Haydn, 273-74). Receipts: #194 11s. (191.8; 3.3)