Event Comment: Benefit for Kent and Family. By Desire of Her Serene Highness, the Margravine of Anspach. Kent's most respectful Compliments waits on the Ladies and Gentlemen of Hammersmith, and its Vicinity, informs them that Mr Newman has kindly granted the Assembly Room for one or two Evenings; to accomodate Her Highness the Margravine and principal Inhabitants: Kent has spar'd neither trouble or expence to render it conveniant [sic] as possible, the Room itself being very respectable & the Entrance unexceptionable. He earnestly solicits the company of his Friends in general, assuring them that every endeavour will be exerted for their Entertainment; the Interest of every Lady & Gentleman will be ever most gratefully remember'd, as very highly contributing to Kent's extricating himself from a Situation obvious to all acquainted with the Expence he has been at, and the ill Success he has met with. To begin exactly at 6:30. Admittance 2s. Tickets to be had at the Winsor Castle, of Kent, and Miss Connard in Union Court, and of Miss Kent, at Mrs Bevias

Event Comment: London Gazette,No 3021, 12-15 Nov. 1694: A Consort of Musick composed by Mr Grabue, will be performed on Saturday next, at Mr Smiths in Charles-street, Covent-Garden, between the Hours of Seven and Eight

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: [Maria Macklin wrote her father (13 March 1773): Smith has rais'd such a fury in the Town, owing to Colman's having refus'd Mrs Yates to play for him, that last Saturday [6 March] being the fifth night of Alzuma, when the play ought to have begun, the Audience made a most violent noise, called for Colman, insisted that the play should not begin till he was found & the reasons given why Mrs Yates was not suffered to play for Smith. In vain did Bensley endeavor frequently to speak and tell them that Colman was not to be found. The still continued hissing and roaring, and this last till past seven o'clock. Dagge and Harris were behind in a dreadful consternation least the house should be demolished, of which indeed it was in some danger. At last they said something must be said to quiet them, when Smith in the confusion ran on and told them that the managers had consented Mrs Yates should play for him. Then they sent him off to tell them that his day must be settled whenever he thought proper, to give her time to come here. He went off and made them fix it for the 19th of April, went on and told them it was settled. They then insisted that Smith should tell them whether everything was settled to his entire satisfaction. He assured them it was. The play was then ordered to begin. I am told they have given him up his articles for three years, at his desire. Several Gentlemen went round into the Hall and sent for Smith, telling him his private quarrels with the managers were nothing to them. That if Mrs Yates play'd they should be glad to see her, but that as she was not in the company it was not right in him to disturb the play and hinder them from seeing it. He expostulated with them and told his story. The Town rings with this affair. Various are the opinions. Some think it is her plan to get once more upon the stage, and they say there is a most powerful Party making to oppose her & that she shall not play that night. Others say Colman is very wrong to hinder her. I find she entirely built upon your playing for me, and there has been a very impatient card in the Ledger to Colman insisting upon his telling the town why Mrs Yates was hindered to play, and why Mr Macklin had any more right to be suffered to come over so long unmolested to play for Miss Macklin? But that everybody sees thru'....Colman I am certain has not a thing against your playing for me. He seems rather to wish for your coming....I do not think the Yeats's will be engag'd tho' the Town rail much at Mrs Hartley & Miss Miller, and sure enough they are bitter bad....On Tuesday I shall send you the fate of Dr Goldsmith's Comedy, which comes out on Monday next. It is call'd the Mistakes of a Night....Foote's Rary Shew has been rehears'd three mornings but he got no money, so he shews off again at night instead-but it does not fill violently. Alonzo goes on but Barry is too ill to play. The great support of it is Mrs Barry's acting." (Harvard Theatre Collection, A.L.S.)] Receipts: #196 19s

Event Comment: TThe London Chronicle for 1758 (p. 455): On Friday the 3rd instant was presented Coriolanus. The two first acts of this play, as it is performed at the above theatre, were written by Shakespear; the three last for the most part by Mr. Thomson. But how a man of Mr Sheridan's knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. Mr Smith enters in the first act, after having (as we are to suppose) just overcome the Volsci, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which Coriolanus lived, before the Roman empire had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of the Gracchi, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. Mrs Hamilton in the part of Veturai, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born Englishman. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, Ryan and Sparks, only give us just cause to regret that the parts of Tullus and Volscius are not longer....After the play was presented a Ballad Opera called The Contrivances; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage

Event Comment: By Command of Their Majesties. Tickets and places to be taken of Mr Johnston at the Stage Door of the Theatre at Half a Guinea. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. Doors to be opened at Five o'clock. To begin at Half past Six. Theatrical Review (London, 1772), appendix, pp. 207-8: The Oratorios performed at this House were conducted by Messrs. Stanley and Smith, for their own emolument; the Managers of the theatre having had no Share of the profit arising from these performances, nor any advantage, except a premium for the use of the house. Mr Stanley's musical abilities are well known. Mr Smith, was, if we are not mistaken, a pupil of the celebrated Mr Handel's; and, we believe, that Gentleman left Mr Smith the greatest part of his music, if not his whole library; so that Mr Smith may with great propriety claim the right of succeeding Mr Handel in the exhibition and conduct of his Oratorios, which he has undertaken (in conjunction with Mr Stanley) every since Mr Handel's death. Their band was composed of some of the most capital performers in this kingdom, and was led by Mr Ximenes. The vocal performers (exclusive of Chorus singers) were Mr Norris, well known to all lovers of Music, for his taste and delicacy of execution. Mr Parry (a Bass voice) from the Cathedral Church of Salisbury. This gentleman, though very young, has an extensive compass, and a great power of voice, and acquits himself with considerable reputation. Mrs Weichsel and Mrs Scott, of whom it would be superfluous and unnecessary to say anything, since their abilities are generally known. And lastly Signora Grassi, a performer of great merit. Theatrical Review, 6 March: This is Mr Dryden's celebrated Ode on St Cecelia's Day, and not an Oratorio, but performed as such...It contains many beauties and such as are worthy of Mr Handel's genius...Being much shorter than the usual length of oratorios, Mr Handel's celebrated Coronation Anthems were added in order to make the evening's entertainment of a proper length. Also a Solo on the Violincello by Mr Janson...lately arrived from Paris, said to have been a pupil of Mr Duport's but, though his taste and excution is very astonishing, we cannot give him the preference of his master. [See 13 April 1773.Charge seems to have been #28 per night plus expenses for oil, candles &c.