Event Comment: Matilda deferr'd Reddish ill. Afterpiece: Performed for the last time this Season. Mr Reddish was to have play'd in Matilda to Night but Sent word late last Night that he could not play Mr Brereton Play'd Posthumus & very well had great Applause-House (Hopkins Diary). Rec'd stopages #16 17s. 6d. Paid salary list #566 6s.; J. French on acct #5 5s. Receipts: #88 13s. (Treasurer's Book)

Event Comment: Benefit for Messrs Grimaldi and Hurst. Rec'd from Sinking Fund #420; from Stopages #11 7s. 6d. Paid salary list #564 16s.; J. French on acct #5 5s. Receipts: #166 16s. 6d. Charges: #70 19s. Profits to Grimaldi and Hurst: #95 17s. (Treasurer's Book)

Event Comment: Mrs Bradshaw & Mrs Johnston great Applause to the Farce (Hopkins Diary). Benefit for Mrs Bradshaw and Mrs Johnston. Afterpiece: Written by Henry Fielding, not played for 25 years. [Actually last played there 19 May 1759.] Music compiled from the works of the most eminent composers. Rec'd from Sinking Fund (2nd) #525, from Stopages #14 2s. Paid salary list #564 16s.; J. French on acct #5 5s. (Treasurer's Book). Receipts: #114 2s. 6d. Charges: #66 12s. 6d. Profits to Mrs Bradshaw and Mrs Johnston: #47 10s. (Treasurer's Book)

Event Comment: Benefit for Johnston (Housekeeper and Box-book keeper). Rec'd from Sinking Fund (3rd) #73 10s.; From Mr Clutterbuck (1st) #500; from Stopages #11; Paid Salary list #564 16s.; J. French on acct #5 5s.; G. Garrick on acct #100. Receipts: #276 4s. 6d. Charges: #84. Profits to Mr A. Johnston: #192 4s. 6d. (Treasurer's Book)

Event Comment: Paid 3 day's salary at #100 12s. 6d. per diem #301 17s. 6d. Salaries short-paid last week #168 8s. 6d.; Tabor and Pipe #3 13s. 6d. Louchre [Lauchery] #8 8s. Mr Abington #2; Mr King #3; (Treasurer's Book). [The payment to King was the first of 37 similar ones for extra salary amounting to #111. That to Mrs Abington was the first of weekly payments for her clothes account, amounting to #60 for the season. No further mention will be made of these items.] Receipts: #265 9s. 6d. (Treasurer's Book). [From the Middlesex Journal (7-9 Oct.) quoted by Hampden, Eighteenth Century Journal: "The Way of the World, though confessedly replete with wit and character, is not the most entertaining play in representation. It is so full of plot and intrigue, that it demands an Unusual degree of attention in the performers and audience to excite admiration. On Saturday they seemed averse to assist the author. Mr King in Witwou'd was as entertaining and full of spirits as usual. Mr Jefferson in the gay admired Mirabel (independent of the antique mode of his wig, and formal cut of his clothes, which surely were both uncharacteristic) seemed in attempting to be quite natural, to keep the entire plot of the play in his own bosom, looked more like the father than the Mirabel of Congreve. Mr Reddish was a contrast to his friend Mirabel; he seemed attentive nervous, and played the latter part of his character well....Mrs Abington's person, manner and dress were fashionable and elegant; but though the character was certainly a fine one, there was a want of that spirit best calculated to call her powers into action: her delivery was tediously formal; and had the audience been deprived of their sight they would conclude that Capt. Bobadill had got into petticoats. Her dress was no more decent than Madam Hidou's was on her first appearance last year; stays so low cut before puts modesty to the blush; and will not be countenanced by an English audience, though made after the French fashion....Mrs Greville, to convince the town that she could keep a secret, whispered it to only a few friends in the Pit....her indifference is intolerable, and should be noticed by her employer."

Event Comment: Queen Mab is reviv'd with Alterations and Additions particularly Grand New Scene with a Representation of a Regatta very well executed but is too much like The Naval Review (Hopkins Diary). [MacMillan's note from Hopkins differs slightly. He also adds from the Public Advertiser, 13 Nov., The last grand scene is a Representation of the whole Regatta sailing by Ranelagh. That and the Red House were invented and drawn by Mr deLoutherberg, and painted by Messrs French, deRoy, Greenwood, and others."] Rec'd stopages #11 12s. 6d. Paid Salary list #626 16s. 6d. Receipts: #152 12s. (Treasurer's Book). [Fuller descriptions of the Regatta scene appeared in the Westminster Magazine for Nov.: The Scene affords a picturesque view of the Thames on the Surry Side to Ranelagh Gardens representing the procession of barges etc., of the different squadrons, previous to their landing the company. The effect produced by this united scenery and machinery was very pleasing; every barge appeared to be rowed to the time of the band of music which is supposed to be upon the water, and evepy man and oar keeps a regular stroke: the sky, flat behind, was finely designed and executed for the general relief, and disposition of the men and boats near shore, in the foreground, was beautiful and did the painter great credit. The whole concluded with a Tar 's song in character, by Mr Bannister, and a dance by sailors and their doxies.'

Event Comment: By Particular Desire. A dispute...between a German Baron and a French Gentleman would have terminated in a duel, but that an Englishman of rank sent an account of the matter to Bow Street, on which the parties were desired to attend when it appeared that the Baron had insulted the Gentleman at the Opera, insisted on his fighting immediately in the street or the next morning at Hyde Park with pistols. [The Baron was charged with the responsibility of keeping the peace (Public Advertiser)]

Event Comment: Last time but one of the Company's performing this season. House. Mr Garrick as before Mr Vernon being hoarse Mr Davies play'd Sr. John Loverule some body in the Pit call'd for Vernon as his Name was in the Bills Mr Davies told them that Mr Vernon had been ill these two day [sic] and it was thought unnecessary to trouble them with an apology they afterwards call'd for the Early Horn Mr Davies told them he did not know of doing the part till after two therefore he was not prepar'd. they call'd out & bid him go on his own way (Hopkins Diary). [MacMillan's note from Kemble omits the comment on the afterpiece. Song The Early Horn had been traditional for the part of Sir John for over 30 years. See 10 Sept. 1741.] Paid Mr Short, Chorus, 5s.; Blurton 4 days salary in full #1 6s. 8d.; French on acct #100. Receipts: #305 13s. 6d. (Treasurer's Book)

Event Comment: This being the Last time of Mr G. performing he generously gave the Profits of the Night to the Theatrical Fund, he spoke the Usual prologue & after the play he went forward & address'd the Audience in so pathetic a Manner as draw Tears from the Audience & himself & took his leave of them forever (Hopkins Diary). [Accounts of the farewell address in the Morning Post and in Davies; Life of Garrick.] So Ends the Season 67 different Play 32 different Farce 189 Nights in all (Hopkins Diary). N.B. The profits of this night appropriated to the benefit of the Theatrical Fund: Cash #309 2s.; After Money #2 10s. 6d. Received #311 12s. 6d. Paid #36 5s. 9d. viz: @Renters #8@Supernumeraries & Kettle Drum #2 11s.@Soldiers 14s.@Extra Constables #1 10s. 6d.@Candles, Oyl & Lampmen #3 18s. 6d.@Carpenters Extras #2 1s.@Music Band #7 18s. 9d.@Messrs. Legg, Lauchery, Larivere, Garland & Langlois Salary #1 13s. 4d.@Sundry Doorkeepers & Servants #7 18s. 8d. @#36 5s. 9d.@Rec'd #311 12s. 6d.@Paid #36 5s. 9d.@Remains #275 6s. 9d.@Brought Fd #62 3s. 7d. from 10th May@Total #337 10s. 4d.@ N.B. The above sum of the two Nights for Theatrical Fund-order'd by Mr Garrick this 25th day of June 1776 to be paid into the hands of Mr Hatsell (Treasurer's Book). AFTER SEASON RECEIPTS (Treasurer's Book): 11 June: Rec'd Box office keeper's cash #25; Candles, Oil &c. the 2nd Fund night #7 17s.; From Mr Dodd in Full #21. 24 June: From Sinking Fund (3rd) in full #963 10s.; From Grimaldi on acct #70; From Mrs Smith (singer) in full #31 10s. 2 July: From Public Advertiser for this season #50; Gazetteer ditto #50. 4 July: Their Majesties Acct this season #76; from Mr Harrison one yrs. rent Land tax deducted #37 5s. 5 July: From Mr Parsonage 1 yr. & one quarter rent to Midsummer (tax deducted) #53 15s. 15 July: From Mr Pope 1 yr. & one quarter rent to Mids. Last (taxes deducted) #35 12s. 6d.; Mr Heath 1 yr. and 1!2 Rent to Mids last #15. 19 July: From Mrs Johnston 1 yr. & one quarter rent to Mids. last #7 10s.; Mrs Groath 1!2 year to ditto #1 10s. Mr Percy three quarters Rent to ditto #7 10s.; Mr Waterer five quarters rent to ditto (land tax deducted) #51 7s. 25 July: Sundry forfeits taken up by Evans #38 5s. AFTER SEASON EXPENDITURES (Treasurer's Book): 11 June: Five days salary to sundries at #88 2s. 10d. per diem #440 14s. 2d.; George Garrick in full of #400 #5 13s. 4d.; Slingsby in full of #350 #1 3s. 4d.; Everard on note #10 10s.; Davis on note #21; Mr King to make up #500 in full #32 10s.; Lauchery on note #15 15s.; Mr Page in full of #25 #1 12s. 6d. 28 June: To Lord Walpole for one year's acting season #315; Mr Highly in Full of his building acct #85 19s.; Ditto for 3 yrs. ground rent to the 24th inst. #42. [For explanation of Walpole payment, see Boaden, Garrick Correspondence, II, 155 an involved agreement re an annuity dating from October 1761, now being collected because of new taxes on Carriages, and because Lady Walpole was footsore and would walk nowhere.] 20 June: Adelphi Tavern Bill & Waiters #20 10s. 6d.; Mr Park, chorus 4 nights in full #1 10s.; Mr R. Johnston's property Bills in full #33 1s. 6d. 24 June: Mr D. Garrick in full of #1,300 #235 13s. 2d.; Mr R. Harwood's gratuity #5 5s. 2 July: One yrs. subscription for St George's Hospital for both the managers #10 10s. 5 July: Three quarter's rent pd for Miss Abrahams at Gardners #37 10s. 9 July: Blakes (hatter) #11 15s.; Mrs Chitty (coals) #94 17s.; Hadley & Co., Engine, #12 12s.; Thomson (smith) #6 15s.; Barrow & Co., Oil, #108 13s. 6d.; Ireland (upholsterer) #17 2s. 6d.; Stevens (mason) #42 7s. 6d.; Hewetson (laceman) #9 2s.; Racket (taylor) #16 9s.; Barret (wax chandler) #14 5s.; Waller (hosier) #11 5s. 11 July: Machin, Chorus singer, #6, Bibb (sword cutler) #2 5s.; Gardner (shoemaker) #3 2s.; Marshall (plumber) #4 13s.; Stacey (colourman) #4 17s. 15 July: Daley (sadler) #5 5s.; Scott (copperlace) #25 14s. 6d.; Norfolk (glazier) #3 7s.; Carpue (silk Dyer) #18 13s.; Mrs Carter (scowerer) #1 14s. 6d.; Chettle (timber) #4 6s. 7d.; Pope, for Wiggs, #12 12s.; ditto for 81 extra nights dressing #8 2s.; Mr Preston 69 nights dressing Mr Garrick #5 3s. 6d.; Hatsell (mercer) #47 3s. 16 July: Powney (stationer) #2 10s.; Jennings (glover) #25 17s. 6d.; Prior (turner) #9 5s. 6d; Hopkin's Prompter's bill #13 18s.; Palmer for Sperma. Candles #7 14s.; Kirkman (harpsicord maker) #13 17s. 6d.; Hele (surveyor) #26 10s. 19 July: Mrs Garwood (laundress) #2 12s. 8d.; a Green coat for Mr Garrick #3 3s.; Mr Woods, chorus, 63 nights in full, #15 15s.; Mr French's bills in full #235 3s. 6d. 22 July: Mr Waterer, Black Lyon dinner Bills #56 8s. 6d. 25 July: Mrs Vaughan (haberdasher) #3 18s. 6d.; Cubit (tinman) #2 15s.; Kirk (housekeeper) three quarter's salary to Midummer #30; Victor's gratuity and two weeks salary #35; Evans in lieu of Benefit #42 and 2 weeks salary #3; Mr Westley 2 weeks salary #1 10s. AFTER SEASON COMPUTATION: DRURY LANE 1775-1776: Books closed 25 July 1776. @Total income #37,917 3s. 10d.@Total Expense #33,453 18s. 4d.@Profit #4,463 5s. 6d. divided as follows:@Mr Clutterbuck #1,000@Managers #3,240@ In Victor's hands #223 5s. 6d. [presumably for summer expenses and opening the next season. The Treasurer's Book also mentions a sum of #575 18s. 8d. at Mr Clutterbucks, without indication of its source or contemplated use.

Event Comment: Epilogue by David Garrick. Second Ballet: with New Scenes [by deLoutherbourg] and Dresses [by Lupini]. Two new Grand Ballets, composed by Gallet, were introduced in this Piece (The Maid of the Oaks) in which Gallet and Mlle Dupre made their first Appearance upon the Eng. Stage--the first Dance, which was to be in the 2nd Act, was obliged to be deferred till the end of the 3rd Act, as Lupini, who made the Dancers Dresses, had not brought them to the House--this put us all into great Confusion, and Dodd made an Apology to the Audience, that an unforseen Accident had prevented the Dance being done in the proper Place. At the beginning of the 3rd Act most of the Dresses were brought, but not all, and some of the Dancers were obliged to put on what Dresses could be got for them--They were all very much confused--the Music also was not perfect. Gallet went on, and spoke in French to the Audience, and told the Band that he wished they had any Heads. In the first Dance Mlle Dupre fell down, and a little after Gallet fell down, but (they) did not hurt themselves, and the Dance went on--and even with all these Disadvantages was much applauded (Hopkins Diary). Receipts: #181 19s. 6d

Event Comment: [Mainpiece in place of The Orphan, announced on playbill of 31 Dec. 1776. Public Advertiser assigns the Ghost to Farren.] Afterpiece: With Additions and Alterations, New Music, Scenes [by Greenwood, Leroy and French Jun. (Morning Post, 4 Jan.)], Dresses, and Decorations. Receipts: #175 1s. 6d. (137.1.0; 34.17.0; 3.3.6)

Event Comment: Tickets delivered by Messink and Miss Reynolds for The Orphan will be admitted this Evening. [Afterpiece in place of The Little French Lawyer, announced on playbill of 29 Apr.] Receipts: #139 2s. (121.0; 3.0; tickets: 15.2)

Event Comment: Mainpiece: With alterations [by David Garrick]. "The managers, to our astonishment, continue to play with Garrick's alterations. [The original play] is materially injured by those which Garrick adopted in compliance to the French criticks" (Morning Chronicle, 20 Sept.). [For a summary of these alterations see my Shakespeare in the Theatre, II, 188-89.] Boxes 5s. Pit 3s. Ist Gallery 2s. Upper Gallery 1s. Places for the Boxes to be had of Fosbrook, at the Stage-door. No Money to be taken at the Stage-Door, nor any Money returned after the Curtain is drawn up. The Doors to be opened at 5:30. To begin at 6:30 [see 30 Oct.]. Receipts: #174 6s. 6d. (135.1.0; 38.17.6; 0.8.0)

Event Comment: Benefit for Wilson. 1st piece: Taken from Beaumont and Fletcher. 2nd piece [1st time; F 2, by John Dent. Prologue by Turner (see text)]. 4th piece: A Tragical, Comical, Operatical, Pastorical, Pantomimical, Farcical, Burlettical, Preludical, Interludical, Whimsical, Rhetorical, Diabolical, Oratorical Representation, being the most Comical Tragedy that ever was Tragedized by any Comical Company of Tragedians. With the Triumphal Entry of Chrononhotonthologos into Queerumania, attended with Drums, Trumpets, Fiddles, Flutes, Fifes, Flagelcts, Lutes, Bag-Pipes, Tabours and Pipes, Marrowbones and Cleavers, Post-Horns, French-Horns, Salt Box, Broomstickados, &c

Event Comment: Afterpiece [1st time; MF 2, by Charles Stuart and John O'Keene. Text 1st published, unauthorized, Dublin: For the Booksellers [1783]. Prologue by George Colman, the elder (O'Keeffe, I, 140)]: With a new Overture by Dr Arnold. With Italian, French, Irish, Scotch, Welsh and English

Event Comment: Benefit for D'Auberval, ballet-master. Opera: An entirely new Species of Entertainment, after the French style [1st time; ser 3, by Antonio Andrei]. The Music entirely new, composed by Rauzzini. [Libretto (H. Reynell, 1784) is entitled Alina; o sia, La Regina di Golconda.] The Scenery and Decorations devised and painted by Novosielski. The Dresses in character, and entirely new by Lupino. Tickets, half a guinea each, to be had of D'Auberval, No. 5, Great Pultney-street, Golden-square. To prevent all manner of confusion, the Subscribers are most respectfully entreated to give early notice, addressed as above, of their intention concerning their Boxes

Event Comment: Benefit for Mme Theodore. Tickets made out and delivered for the 1st of April will be admitted, and may be had of Mme Theodore, No. 5, Great Pultney-street, Golden-square. Public Advertiser, 15 May: The Ballet was founded on the French piece of Le Deserteur, of which there was retained a good deal of the

Event Comment: Mainpiece: Written by Ben Jonson. Afterpiece: With a New Overture by Dr Arnold. With Italian, French, Irish, Scotch, Welsh and English

Event Comment: Afterpiece [1st time; MF 2, by Henry Knapp; music by Samuel Arnold. Author of Prologue unknown. London Chronicle, 24 Aug., states that this was based on a French comedy of the same title.]

Event Comment: 2nd piece: With Italian, French, Irish, Scotch, Welsh and English

Event Comment: Benefit for Palmer. Mainpiece [1st time; C 3, by George Colman, the elder, altered from The Mutual Deception, by Joseph Atkinson, which was based on Le Jeu de l'Amour et du Hasard, by Pierre Carlet de Chamblain de Marivaux, and 1st acted at the Smock Alley Theatre, Dublin, 2 Mar. 1785. Prologue by the author (.European Magazine, Sept. 1786, p. 166). Author of Epilogue unknown]. Afterpiece: Never acted at this Theatre. [Prologue and Epilogue by David Garrick.] "This play, originally French, was translated by an Officer (the plot of which may be found in The Man's the Master, as well as in many other English plays and farces) who, with some few additions, changed it into five acts, and called it The Mutual Deception (which is now in print), but was represented in Ireland with little or no success. This Comedy, however, has undergone many very masterly alterations, and received many additions by the able hand of the attentive Manager of this Theatre" (Public Advertiser, 30 Aug.). Public Advertiser, 6 May 1788: To be published May 7, Tit for Tat (1s.)

Event Comment: "[Mrs Siddons's] dress was a French grey satin gown, trimmed with dark sage coloured ribbon, edged with steel, white satin petticoat covered With tiffany, and trimmed With the same as the gown, a girdle of the same colour, a dark sage coloured cane hat ornamented with feathers and edges with gold, with a band of gauze and large bows, the ends fastened to the waist" (Daily Universal Register, 4 Oct.). Receipts: #302 2s. (281.18.0; 19.6.6; 0.17.6)

Event Comment: Mainpiece [1st time; CO 3, by Leonard Macnally, adapted from the same, by Michel Jean Sedaine. Not in Larpent MS; not published; synopsis of plot in Morning Chronicle, 17 Oct. For text of abridged version see 21 Oct.]: Taken from the celebrated French Opera of that Name. With the original Overture, Airs, Duetts, Trios, Chorusses and Finale, by the celebrated Gretry. To which are added Compositions by the following Masters; Anfossi, Bertoni, Duni, David, Rizzio, Carolan, Tenducci, and Shield. With new Dresses, Scenery and other Decorations. Books of the Songs to be had at the Theatre. [The printed score (Longman & Broderip, c. 1786) indicates that the music was adapted by Shield; it does not refer to Duni, Rizzio or Tenducci, but includes Philip Hayes and John Wilson. After the 1st 4 performances the mainpiece was reduced to an afterpiece of 3 short acts; see 21 Oct.] Account-Book, 28 Nov.: Paid Macnally in full for Coeur de Lion #121 18s. 6d. "Inchbald we thought [was] rather hardly dealt with. His voice happened to fail him in a particular turn of the tune he was singing, and some of the audience were ungenerous enough to disconcert him so far that he made a modest bow and retired [leaving his part unfinished. In consequence of this] a duet that was to have been sung by the King from the battlements of the castle, and Blondel without the walls, on which the turn of the fable hinged, was omitted; a circumstance that could not but materially affect the intrinterest, as it destroyed the connexion of the fable" (Morning Chronicle, 17 Oct.). [The following day Inchbald withdrew from his engagement at cg.] Receipts: #249 12s. 6d. (247.11.6; 2.1.0)

Event Comment: Afterpiece [1st time; MD 3, by John Burgoyne]: From the French of Michel Jean? Sedaine. With new Scenery, Dresses and Decorations. The Music by the celebrated Gretry [adapted by Linley Sen.]; and the Paintings by Greenwood. Books of the Dialogue & also of the Songs to be had at the Theatre. Morning Chronicle, 25 Oct 1786: This Day is published Richard Coeur de Lion (1s. 6d.). Receipts: #226 (191.3; 32.14; 2.3)