Event Comment: The United Company. Newdigate newsletters, 2 June 1683: The same day [31 May] their Royall highnesses... in ye afternoone Countenanced a new play with their presences (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59). Wilson proposes that this play is Dame Dobson, as the separately Printed Prologue bears Luttrell's acquisition date of 1 June 1683 (Bindley Collection, William Andrews Clark@Jr@Library). The separately printed Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 176-78

Event Comment: The United Company. The date of the first Performance is not known, but, as the play was advertised in The Observator, 8 Aug. 1683, it was probably first acted not later than July 1683. A song, Welcome mortal to this place, set to music by Captain Pack for this play, is in Choice Ayres and Songs, 1684

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's copy of the separately printed Prologue and Epilogue bears the date 12 Nov. 1683 (item 87, Sotheby's sale, 12 June 1939), and the premiere probably occurred shortly before that date. A revised version of the Epilogue, correcting errors, appeared almost immediately after the one first published; it bears Luttrell's date of 14 Nov. 1683. The Epilogue, in the revised version, bears the note: Written by Mr Dryden. The Prologue and both versions of the Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 183-87. In addition, a song, Awake O Constantine awake, with music by Thomas Farmer, is in The Theater of Music, 1865; it also appeared in A Collection of the Newest and Choicest Songs, 1864 (which bears Luttrell's date, 10 March 1683@4, Bindley Collection, William Andrews Clark@Jr@Library)

Event Comment: The United Company. The date of this revival is not known, but the fact that this edition was entered in the Term Catalogues, February 1683@4, makes it likely that the revival occurred not later than December 1683. A new song, There was a jolly beggar, in Act IV, Scene ii, was probably written for this revival. It was printed in Choice Ayres and Songs, the Fifth Book, 1684

Event Comment: An unnamed play was given by the United Company. See A Calendar of the Middle Temple Records, ed. Hopwood, p. 180

Event Comment: The United Company. An order, 9 Feb. 1683@4, in L. C. 5@145, p. 14 (Nicoll, Restoration Drama, p. 356), and another, L. C. I, specify requirements for a play to be acted at Whitehall on 11 Feb. 1683@4, and name Valentinian as the drama. The first Prologue and the Epilogue Written by a Person of Quality were printed separately; Luttrell's copy (Bindley Collection, William Andrews Clark@Jr@Library) is dated 20 Feb. 1683@4. They are reprinted in Wiley, Rare Prologues and Epilogues, pp. 249-51. It is not certain on what date the first performance occurred, for premieres at court are quite rare in the Restoration period. In Nahum Tate's Poems by Several Hands (1685): Sir Francis Fane: A Masque Made at the Request of the Earl of Rochester, for the Tragedy of Vadentinian. Downes (p. 40): The well performance, and the vast Interest the Author made in Town, Crown'd the Play, with great Gain of Reputation; and Profit to the Actors. For an intended cast of Rochester's alteration of the play by John Fletcher, see the introductory note to the season of 1675-76. In A Pastoral in French by Lewis Grabu (published in 1684; advertised in the London Gazette, No. 1947, 17 July 1684) are two songs for this play for which Grabu apparently composed the music: Injurious charmer of my vanquished heart and Kindness hath resistless charms. In Choice Ayres and Songs, The Fourth Book, 1684, is: A new Song in the late reviv'd Play, call'd Valentinian: Where would coy Aminta run [the composer of the music not being indicated]

Event Comment: The United Company. This performance is on the L. C. list, 5@145, p. 120. See also Nicoll, Restoration Drama, p. 349

Event Comment: The United Company. The date of the first performance is not known, but Luttrell dated his copy of the separately-printed Prologue and Epilogue 5 April 1684 (J. W. Dodds, Thomas Southerne, p. 48). Very probably the play first appeared during the week of 31 March-5 April, immediately following Easter. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 191-94. This may have been the last new role William Smith undertook for some years; see Cibber, Apology, ed. Lowe, 1, 78-79, for the incident which prompted Smith's leaving the stage for awhile. One song, I never saw a face till now, with music by Captain Pack, is in The Theater of Music, the First Book, 1685; and another, O why did e'er my thoughts aspire, the music by R. King, is in the same collection. A third song, See how fair Corinna lies, the music by Captain Pack, is in A Collection of Twenty-Four Songs, 1685

Event Comment: The United Company. That the King saw a play on this evening is indicated by the Newdigate newsletters, but the reference to the play is not by title. The play which most closely fits the brief description is The Duke of Guise. Newdigate newsletters, 24 May 1684: [In] the Evening his Matye is Entertained with Mr Dryden s new play the subject of which is the last new Plott (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59)

Event Comment: The United Company. The date of the first performance is not certain, but Luttrell dated his copy of the separately-printed Prologue and Epilogue 4 June 1684 (Bindley Collection, William Andrews Clark@Jr@Library). Ordinarily the broadside prologues and epilogues appear to have been available shortly after the premier; hence, it is likely that this play appeared in the first week of June 1684. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 211-14

Event Comment: The Prince of Orange's company of foreign comedians was apparently expected in England on this evening (HMC, 5th Report, Part I, 1876, p. 186). They were under the management of Francis Duperier and apparently remained in England for some four months. See Lawrence, Early French Players in England, p. 150. See also an order, L. C. 5@145, p. 90 (Nicoll, Restoration Drama, p. 253n), to prepare the Cockpit for the Prince of Orange's players

Event Comment: The United Company. The date of the first performance is not certain, but Luttrell acquired his copy of the separately-printed Prologue and Epilogue on 18 Aug. 1684. (Bindley Collection, William Andrews Clark@Jr@Library), and the play was probably first performed on that day or in the preceding week. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 221-23. In the broadside the speaker of the Prologue is identified as Jevon. A sofg, Ah poor Oliver never boast, the verse by a Lady, and the music by R. King, is in A Collection of Twenty-Four Songs, 1685. Another, Damon if you wilt believe me, the verse by a Person of Quality and the music by Alexander Damascene, is in The Banquet of Musick, The Fifth Book, 1691. Two songs, Tell me no more I am deceived, the verse by Sir George Etherege and the music by J. B. Draghi, and Who can resist my Celia's charms, the music by J. B. Drahgi, and the verse by A Person of Quality, are in the printed play. This cast contains the last new role certainly assigned to John Wiltshire, who, according to (Cibber, Apology, ed. Lowe, I, 84-85), entered the army and was killed in action

Event Comment: The United Company. A great deal of uncertainty surrounds this play. See the season of 1660-61 for a play called The Lyar and 28 Nov. 1667 for Pepys' attendance at a play called The Mistaken Beauty. As the edition of 1685 was entered in the Term Catalogues, November 1684, it was probably acted not later than September 1684

Event Comment: Langhans, New Restoration Theatre Accounts, pp. 125-26, suggests that acting resumed on 29 Sept. and continued to 6 Feb. 1684@5, when Charles II died, although the theatre may not have acted from 2 through 5 Feb. Resuming at the end of April, the company Played regularly to the end of May, then on 43 days between 1 June and 31 Oct. 1685

Event Comment: The United Company. The players received the customary fee of #20. See A Calendar of the Inner Temple Records, ed. Inderwick, III, 212. This play was also reprinted in 1685

Event Comment: The United Company. This performance is on the L. C. list, 5@145, p. 120. with ye Queene & a box for the Maydes of honor. See also Nicoll, Restoration Drama, p. 349

Event Comment: The United Company. This performance is on the L. C. list, 5@145, p. 120. See also Nicoll, Restoration Drama, p. 349

Event Comment: The United Company. This play may have been revived during this month or earlier. A song, Come Jug my honey let's to bed, the music by Thomas Farmer, sung by Reading and Mrs Norris, was printed in Choice New Songs never before Printed [by Thomas D'Urfey, 1684]. Luttrell purchased a copy of this collection on 8 Jan. 1684@5 (Bindley Collection, William Andrews Clark@Jr@Library)

Event Comment: The United Company. This performance is on the L. C. list,"5@145, p. 120. See also Nicoll, Restoration Drama, p. 349

Event Comment: The United Company. This performance is on the L. C. list, 5@145, p. 120: At ye Leiutenant. See also Nicoll, Restoration Drama, p. 349

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The Queene at Jerusalem ye secd part. See also Nicoll, Restoration Drama, p. 350

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The King & Queene at the Silent Woman. See also Nicoll, Restoration Drama, p. 350. Matthew Prior, Satire Upon the Poets: @Mountfort how fit for Politicks and Law@That play'd so well Sir Courtly and Jack Daw.