Event Comment: A Musical Drama, in Two Parts...with Dances and other Decorations Entirely new. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be delivered this Day, at the Opera Office in the Haymarket, at Half a Guinea each. Gallery 5s. By His Majesty's Command, No Persons whatsoever to be admitted behind the Scenes. The Gallery to be open'd at Four o'Clock. Pit and Boxes at Five. To begin at Six o'clock. A New Opera [composed by Gluck; text by F. Vanneschi]. The Subscribers to the Opera are desired to make the last Payment of their Subscription Money to the Treasurer, at the Opera Office in the Haymarket, where Attendance will be given this and every Day, from Ten till Two, to receive the same, and deliver out the Silver Tickets. [Repeated until 28 Jan.] The new Musical Italian Drama; entitled La Caduta de Giganti, or the Fall of the Giants, writ on Occasion of the expulsion of the Rebels, was perform'd last Night at King's Theatre in the Haymarket. The performance was received and carried on with great Attention, Tranquility, and Applause: and not a little enliven'd by the Presence of his Royal Highness the Duke of Cumberland.--Daily Advertiser, 8 Jan

Event Comment: Benefit for the Fund established for the Support of Decay'd Musicians or their Families. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be delivered this Day at the Office in the Hay-Market, at Half a Guinea each. Gallery 5s. Gallery opened at Four o'clock, Pit and Boxes at Five. To begin exactly at Six. N.B.: Tickets delivered to Subscribers to this Charity will admit one Person to any part of the House

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: 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: 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: 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: The People flock'd about the doors by Two o'clock. there never was a greater Overflow-Mr G. was never happier in Lear -the Applause was beyond description 3 or 4 loud Claps Succeeding one another at all his exits and many Cry'd out Garrick for Ever &c., &c. House (Hopkins Diary). [Kemble's note differs slightly.] Paid Mr Short, Chorus Singer #1 10s. (Treasurer's Book). Hannah More wrote to Mrs Gwatkin: The eagerness of the people to see Garrick is beyond anything you can have an idea of. You will see half a dozen duchesses and countesses a night in the upper boxes: for the fear of not seeing him at all, has humbled those who used to go, not for the purpose of seeing but being seen; and they now courtsy to the ground for the worst places in the house" (Hampden, Journal). [Letter to David Garrick, Esq on his appearance in Lear last night 13 May: The correspondent who signs himself Stock Fish and who claims to have been one of the survivors of the Black Hole of Calcutta, and who took a young lady from the country to see Garrick's last performance, blames him for endangering the lives of his majesties subjects for not providing proper bars, lanes, and queue lines to handle the crowds: "I went with intention to get into the Pit as the most eligible Part of the House (for your Boxes are always engag'd) and we got to the Door in Vinegaryard about five o'clock. Here the Passage to the first Door was too full for me to entertain any Hopes of getting in that Way, we therefore made for Catharine-street but the Multitudes of People waiting for the Opening of the Gallery-doors, rendered it impossible for us to get along through the Court; we therefore made a Circuit, and at length arrived opposite the Door in Catharine-street, where it was with Difficulty we could keep our Stands on a Foot Pavement....You will be absolutely inexcusable, if after this Warning you neglect to adopt some Method for the Security of the Lives of his Majesties Subjects on similar Occasions.--What think you of the following Scheme, viz. To keep the outer Doors next the Street shut, till the inner ones are opened ; and then, by a Proper bar, to prevent more than one at a Time entering, who shall there pay Entrance-money, and receive the Tickets of Admission through the inner Doors' (Public Advertiser 18 May).] Receipts: #308 1s. (Treasurer's Book)

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: This piece was greatly Cut & Alter'd. the 5th Act Entirely left out & many Airs interspers'd all through; got up with a vast deal of trouble to everbody concern'd in it but particularly to Mr Coleman, who attended every Rehearsal & had alterations innumberable to make. Upon the Whole, never was anything so murder'd in the Speaking. Mr W. Palmer & Mrs Vincent were beyond Description bad; & had it not been for the Children's Excellent performance, (& particularly Miss Wright who Sung delightfully) the Audience would not have Suffer'd'em to have gone half thro' it. The Sleeping Scene particularly displeas'd. Next day it was reported, The Performers first Sung the Audience to S leep, & then went to Sleep themselves (Hopkins). Fairies pleas'd--Serious parts displeas'd--Comic between both (Cross Diary). This piece of Shakespear's was greatly cut and altered,--the fifth act entirely left out,--and many airs introduced--got up with a vast deal of trouble to all concerned, but particularly to Mr Colman, who attended every rehearsal, and had alterations innumerable to make. Upon the whole, I believe, never was piece so murdered as this was by the singing speakers, in which Mrs Vincent and Mr W. Palmer were beyond description bad; and had it not been for the children's excellent performance (particularly Miss Wright, who ran away with all the applause and very deservedly) the audience would not have suffered them to have gone half thro' it.--The sleeping particularly displeased. The next day it was reported, the performers sung the audience to sleep, and then went to sleep themselves (Hopkins Diary-MacMillan). Overture and airs composed by the most eminent English masters. Book of the play sold at the theatre, 1s. [See "A Midsummer Night's Dream in the Hands of Garrick and Colman," PMLA, June 1939.] Receipts: #98 7s. (MacMillan)

Event Comment: To be seen a Person who performs the most surprizing Things...he presents you with a common Wine bottle, which any of the Spectators may first examine; this Bottle is plac'd on a Table in the Middle of the Stage, and he (without any Equivocation) goes into it in Sight of all the Spectators, and sings in it; during his Stay in the Bottle, any Person may handle it, and see plainly that it does not exceed a common Tavern Bottle. The Performance continues about Two Hours and a Half. These Performances have been seen by most of the Crowned Heads of Asia, Africa, and Europe, and never appear'd anywhere Public but once. Stage 7s. 6d. where Masks may be worn. Boxes 5s. Pit 3s. Gallery 2s. [The famous Bottle Conjurer hoax.] Theatre was crowded...by five o'clock; at seven the house was lighted up [but not music]...a Person came before the Curtain, and, bowing, promis'd if Mr Conjurer did not arrive in half an Hour, their Money should be return'd...after near an Hour...a Gentleman in the Box snatch'd a Candle lighted, and in Violence threw it on the Stage; this was the Signal for the Onset of Battle...the Boxes, Seats, Glasses, Scenes, Chairs, Machinery, and all the Furniture of the Play House, were in less than ten Minutes carried into the Street...an excellent Bonfire was made of Mr Foote's Auction Room...it may put a [pe]riod to the Auction, till the Theatre can be refitted.--Charles Adams to John Gilbert-Cooper, Theatre Notebook, XI (1957) p. 139. [Potter was still owner of this theatre.] Those opposed to a recent late book would have been gratified had the Conjurer jumped into the bottle and proved that miracles had not yet ceased."--Daily Advertiser, 17 Jan. Last Night a numerous Audience, among whom were several Persons of Quality, was at the New Theatre in the Haymarket, in wonderful Expectation of seeing the Miraculous Man creep into a Bottle, and do several other Miracles; but the only one he perform'd was, that he render'd himself invisible (without any Equivocation) to the no small Disappointment of the gaping Multitude; who, being told from behind the Curtain that the Performer had not yet appear'd, but that if they would stay until the next Night, instead of a Quart Bottle he should creep into a Pint, immediately grew outrageous, and in a Quarter of an Hour's Time broke to Pieces all the Boxes, Benches, Scenes, and everything that was in their power to destroy, leaving only the Shell of the House remaining. Surely this will deter anyone from venturing to impose on the public in the like manner for the future.--General Advertiser, 17 Jan. [See also dl Comment 18, 19, 20, 27 Jan.

Event Comment: Benefit for Robinson, Berrisford, Carlton Jr and Kaygill. Saw the Beggar's Opera at Drury Lane. Pit and Gallery so full no place Went into front Box ou much mob--low sort of people had tickets given them--side boxes almost empty. Extremely pleased with Mrs Smith (the Polly whom I never heard before), Mrs Wrighten (Lucy) and Vernon (Macheath) who all performed incomparably well (Baker Diary, p. 259). So Ends the Season 63 different Plays 36 different Farces 188 Nights in all (Hopkins Diary). Receipts: #201 15s. 6d. Charges: #84. Profits to Berrisford, Robinson, Carlton, and Kaygille: #117 15s. 6d. (Treasurer's Book). AFTER SEASON RECEIPTS (Treasurer's Book). 5 June: Rec'd Box Officer keeper's cash (deficit #6 5s.) #18 15s.; Benefit deficiencies #142 13s. 6d.; Remainder of Mr S. Barry's Bag #40 3s. 8d. 15 June: Rec'd in benefit deficiencies #223 18s.; Mr Griffith in full of #12 lent him #2 5s.; Mr Davies on acct #20; J. Aickin ditto #16 11s. 6d. 18 June: Public Advertiser and Gazetteer acct this season #100. 19 June: Sundry salaries taken up by Mr Evans #227 4s.; Remainder of Sinking Fund #70. 23 June: Rowland one yrs rent to Lady Day (#43 with #2 2s. tax decuted) #40 18s.; Mr Pope one yrs rent ditto (#30 with #1 13s. King's tax deducted) #28 7s.; Harrison one yrs rent ditto (#46 with #7 King's tax deducted) #39; Balance from Clutterbuck #159 16s.; Discount on #344 18s. 6d., the amount of tallow chandler's Bills this season #27 11s. 9d.; From the Managers per Mr D. G. #534 11s. 8d. 1 July: J. Johnston in part of Music forfeits #29 10s. 6d. 2 July: From A. Johnston for oil and sperm. Candle ends sold to sundry #6 12s. 6d. 3 July: Their Majesties Acct 3 nights #30; Her Majesty's Ladies Acct ditto #9; Williams one yrs rent to Lady Day last (#48 with #4 King's tax deducted) #44. EXPENDITURES 15 June: Paid J. French on acct #20; Wegg half yrs rent to Lady Day last #57. 19 June: Paid Miss Berkley on note #5 5s.; Loutherbourg (in full of #300) #70; D. Garrick (in full of #800) #254 11s. 8d.; King's extra salary at #3 Per week) #93 10s.; Parsons in lieu of a benefit night #80; J. Stevens 2 weeks as usual #1 16s. 23 June: Paid Black Lyon Wardrobe and Carpenter's Dinner bills #16 10s. 8d.; Pope's bill for wigs #21 4s., and for 54 nights extra dressing &c. #5 8s.; Tallow chandler's 10th and last bill #23 11s. 9d. 24 June: Paid Bibb, sword cutler, #14 16s. 6d.; Dorman, Coals, #27 15s., and for attending practices of Dances, as usual #10 10s.; Jennings, Glover & Furrier #21 9s.; Cropley (linen draper) #35 12s.; Cole (turner) #7 3s.; Hatsell (mercer) #35 9s.; Marshall & Co. (plumbers) #15; Thomson (smith) #15 15s. 6d.; Barber, for men's cloaths #6 6s.; Barret (wax chandler) #18 14s.; Ireland (upholder) #27 6s. 6d.; Blakes (hatter) #16 19s.; Hopkins & Co. (ironmongers) #42 2s.; Carpue (silk dyer) #9 10s.; Carter (scowerer); Jones (worsted lace man) #3 17s.; Hinchcliff (mercer) #36 11s. 6d.; Cubit (tinman) #12 7s.; Lowe & Co. (glasiers) #1 16s.; J. French on Acct #10. 25 June: Waller & Co. (hosiers) #20 19s.; Scott (copper laceman) #47 7s. 6d.; Kirkman, Harpsicord tuning #18 16s.; Mrs Chitty, Coals, #28 5s. A. Johnston a bill for gilt leather &c. #51 15s.; J. Aickin's Law bill to Mr Stephens #54 7s. 9d.; Mrs Garwood for work for the Wardrobe, &c. #17 16s. 6d.; Barrow & Co., for oil, #170; half yrs rent to Duke of Bedford to Lady Day Last, #165 17s. 7d.; Mrs Vaughan (haberdasher) #3 3s.; Mr Page in full of #25 for this season, #1 10s. 1 July: Paid Daigville's 5 Children Dancing &c. in full #5 5s.; Johnston Music bill to Xmas last, #29 10s. 6d.; Chettel (timber) #46 3s.; D. Richards of M: Band 31 weeks and 1 day, extra salary at #1 per week for this season, #31 3s. 4d.; Victor's gratuity as usual, #30; Evans in lieu of a Benefit #42; Hopkins, prompter's bill, #4 12s. 6d.; Jenkins, extra Trumpet 17 nights in full #8 18s. 6d.; Miss P. Hopkins, 8 Nights in full #2; C. Roberts (shoemaker) #6 9s. 6d.; One yrs Watch & Paving for Covent Garden Parish to Lady Day last #4 8s.; Victor & Evans 2 weeks salary as usual #8. BOOKS CLOSED 1 July 1773: Total income #32,639 15s. 5d. Total outgo #27,705 7s. 3d. Profit #4,934 8s. 2d. distributed as follows: To Managers #3,760; To Clutterbuck #1000, To Clutterbuck #174 8s. 2d

Event Comment: The King's company. On 31 Aug. or 1 Sept. 1664 Orrery wrote to Sir Henry Bennett: Ther was noe Play of myne Acted, they are now but Studyinge it; I hope within less then a Fortnight twill be on ye Theater And if you are not surfetted, with what of mine you have already seene [Henry V], I will beg ye honour to wait on you when tis Acted (see The Dramatic Works of Roger Boyle, ed. W. S. Clark@II [Cambridge, Mass., 1937], 1, 102). The play is also on the list of Herbert, Dramatic Records, p. 138. Boswell, Restoration Court Stage, p. 281, lists it among the plays given at court, but Sir Heneage Finch's note (see below) seems to indicate an afternoon performance. Sir Heneage Finch to Sir Edward Dering, 15 Sept. 1664: Yesterday was acted, in the Greatest and noblest presence wch ye Court can make, before ye fullest Theatre, & with the highest applause imaginable, my Lo Orerys new play calld ye Generall formerly acted in Ireland by the name of Altamira, but much altered & improved. From thence the whole Court went to Wallingford house, where the Earl of Arran and the Lady Mary Stuart were that night before Supper marryd in the Gallery (Dramatic Works of Roger Boyle, I, 103, from Stowe MS 744 f. 81)

Event Comment: Listed only in Colman's Opera Register: No Opera performed since ye 23 July, ye Rebellion of ye Tories and Papists being ye cause--ye King and Court not liking to go into such Crowds these troublesome times

Event Comment: Elizabeth Barry to the Right Hon. Lady Lisburne, 5 Jan. 1698@9: As for the little affairs of our house I never knew a worse Winter only we have had pretty good success in the Opera of Rinaldo and Armida where the poet made me command the Sea the earth and Air but had I really that Authority I cou'd with joy forsake it all to wait on your Ladyship....Eliz: Barry. Lon: jan: ye 5th this monent Alexander is bespoke to entertain ye Bride I mentioned [the daughter of Lord Litchfield married to Lord Baltimore's son] & all their guest to-morrow (See M. A. Shaaber, A Letter from Mrs Barry, The Library Chronicle, The University of Pennsylvania, XVI [1950], 46)

Event Comment: About this time Mr Theo: Cibber Mr Maddocks the wire Dancer, & several other Theatrical performers, with & number of other Passangers embark'd on board the Dublin, Captain White, in order to go to Ireland but the Ship was lost & every Soul perish'd (Cross). As Mr Sparks & others complain'd of Mr Wilkinson for taking them off, it [Diversions of ye Morning] was intended to be omitted this Night, But the Audience call'd so violently for it, that we were oblig'd to let him do it--he took off Foote & Sheridan, & wou'd have left out Sparks but ye Audience wou'd not be satisfied without it--when they first call'd Mr Foote went forward & said as some of the performers had complain'd it was to be omitted; as for being taken off himself he had no Objection to it, as he was always glad to contribute to their Entertainm[en]t &c. (Cross). Mainpiece: Not acted these 2 years [see 14 Oct. 1756]. Receipts: #130 (Cross); #139 10s. (Winston MS 8)

Event Comment: [Dedication signed by John James Heidegger.] By Subscription. Never Perform'd before. Colman's Opera Register: Monr John James Heidegger managed both this & ye former Opera for ye Singers & ye Subscription was for Six Nights paying 10 Guin for 3 Tickets each Night, they not to give out above 400 Tickets a Night

Event Comment: The King's Company. Newdigate newsletters, 4 Feb. 1681@2: On Monday morn [the Moorish Ambassador] & ye Comers meet to conclude ye treapy & in ye Afternoon goes to see Rollo D. of Normandy at ye Ks playhouse (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59)

Event Comment: Alice Hatton, writing on (possibly) 20 Jan. 1699@1700: I was last night (with Lady Longuevil and Lady Arundel) at ye Princess's, and Lady Long: was so kind to offer to carry me to ye Oppera to day with her and Lady Portland; but I was so unfortunate as to be engaged to go to Lady Denbighs to see ye famous Mrs Binges dance, or else I should have bin glad to have waited on Lady Long: tho I had seen it before and think it very silly. Mr Abel is to have a fine musicke meeting to morrow, and ye tickets are guineas a piece, wch is a little to much for me to throw away; so I shall not be there, and I find so many yt can afford it better of my mind, yt I fancy, if he had lower rates, he would have got more (Hatton Correspondence, Camden Society, XXIII [1878], 245). It is difficult to assign a proper date to this letter. It is unlikely that it was written on Saturday 20 Jan., as Abell was not likely to offer a concert on Sunday at which admission would be charged. It is possible that the opera referred to is The Grove, which is known to have been performed on 19 Feb. 1700, but the fact that this opera was unsuccessful makes it unlikely that it had its premiere in mid-January and was played again in mid-February. Perhaps the letter should be dated mid-February

Event Comment: [Performances] went off better. N.B. Mrs Clive spoke the Epilogue (tho' left out ye bills after ye 6th Night) every Night since ye first except those mark'd X [i.e., Oct. 24, 26, 30] it being call'd for by ye Audience (Cross). We hear M Devisse (the first dancer from the Opera at Paris) will in a few days perform at Drury Lane wiht Mlle Auretti, in a new Comic Dance, and the celebrated Dance of Pigmalion. Receipts: #70 (Cross)

Event Comment: Benefit for ye Marine Society. Boxes & pit 10s. 6d.; Gal: 3s. up: Gall 2s.; Stage 5s. (Cross). Tickets to be had of Mr Brogden at Mr Fieldings; Mr Stephens, 1st Secretary to the Society, in Princes's St. near the Bank, and of Mr Box, 2nd Secretary to said Society, in Duke St., York Buildings; and places of Varney at Stage-Door. [Advertisements for this performance for "clothing Friendless Boys and Men for the Sea" appeared in the Public Advertiser from 26 April to this day. The long Notice for the day pointed out that benefactors who attended would enjoy the satisfaction of seeing about 100 men and boys, all volunteers, clothed by the Marine Society appear on stage to thank them. The next day they would march to Portsmouth to go on board the Fleet. "As Britannia herself is to make her appearance on the scene in behalf of her warlike offering, it is pleasing to reflect that so many of her lovely daughters will attend her. It is not doubted but there will be the most Brilliant House that has been seen for sometime."] Receipts: #280 (Cross)

Event Comment: Among the Principal Instrumental Performers are G. Ashley, Leader of the Band; C. Ashley, Principal Violoncello; Wm. Parke, Sarjant, J. Mahon, Boyce, Bridgtower, Parkinson, Lavenu, Taylor, W. Ware, Flack, Dressler, Gwilliam, Nicks, [the] Munros, I. Sharp, W. Sharp, M. Sharp, J. Sharp, Archer, Cobham, Jackson, Wood, Coyle, Cornish, Purney, Leffler, Woodham, Piele, [the] Cantelos, Skillern, Beale, Lloyd, Franki, Simpson, Jenkinson, &c.; J. Ashley, Organ; R. Ashley, Double Drums (used at Westminster Abbey). The Chorusses will be numerous and complete. The whole under the Direction of Ashley. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Brandon at the Office in Hart-street. The Doors to be opened at 6:00. To begin at 7:00 [same throughout oratorio season]. Books of the Performance (with the imprimatur of E. Macleish) to be had at the Theatre. [Sga Galli did not sing in The Messiah when it was originally performed in Dublin in 1742, or in London in 1743, in which year the cg oratories under Handel were established.] "I had the curiosity to go, and heard [Sga Galli] sing, 'He was despised and rejected of men' in the Messiah. Of course her voice was cracked and trembling, but it was easy to see her school was good; and it was pleasing to observe the kindness with which she was received, and listened to; and to mark the animation and delight with which she seemed to hear again the music in which she had formerly been a distinguished performer. The poor old woman had been in the habit of coming to me annually for a trifling present; and she told me on that occasion that nothing but the severest distress should have compelled her so to expose herself, which after all did not answer its end, as she was not paid according to her agreement" (Mount-Edgcumbe, pp. 19-20). [At the rehearsal, 1 Mar., I know that my Redeemer liveth sung by Mme Mara; Comfort ye my people by Braham; But@thou didst not leave by Miss Poole (Morning Herald, 2 Mar.).] "The chorusses are not such as would give satisfaction to a musical amateur: in this department we must endeavour to be content with noise and bawling, instead of sense and science:--they are not, however, worse than usual" (Monthly Visitor, Mar.1797, p. 262)

Event Comment: AA Compleat List (1747), pp. 182-83: [After some resentment at Quin's refusing a part in Fatal Retirement, 12 Nov.]. When coming on one Night to play the Part of Pierre...and he was treated in the same Manner, he came forward, and speaking to the Audience said, 'That he had met with Insults of that kind for several Nights past, and that he judged they came from the Friends of the Author of a Play lately acted at that House, called Fatal Retirement; that the Author of it desired him to read it before it was acted, which he did, at his Requests, and likewise, at his Request, gave him his sincere Opinion of it, which was, that it was the very worst Play he had read in his Life; and therefore he had refused to act a Part in it, &c.' After his Speech was ended, he found a thundering Applause from the Audience, and went thro' the whole Play without any farther Disturbance. But we ought not entirely to form out Judgment of its being the very worst Play, from what this Gentleman was pleased to say of it, in the Heat of his Resentment for being ill-treated; nor wonder that an Audience should applaud a Sentence which condemned an Author, at a Time when it was the Fashion to condemn them all, right or wrong, without being heard; and when Parties were made to go to new Plays to make Uproars, which they called by the odious Name of The Funn of the first Night. For the Afterpiece, A Compleat List, p. 183: And on the very Night I am speaking of it, at the End of the Play, was acted for the first [second] Time a new Farce, called, An Hospital for Fools, of which one single Word was not heard that the Actors spoke, the Noise of these First-Night Gentlemen was so great; however, the Actors went thro' it, and the Spectatbrs might see their Mouths wag, and that was all

Event Comment: At Cibber-Griffin-Bullock-Hallam Booth by Hosier-Lane. Whereas it has been reported that [the Proprietors] intend to raise the Prices of their Seats...they intend to take only the Common Prices usually paid in the Fair, viz. Boxes Half a Crown. Pit Eighteen pence. First Gallery One Shilling. Upper Gallery Six pence