Event Comment: Directors of the Oratorios: Linley and Storace. Among the Principal Instrumental Performers are Ashe, W. Parke, Parkinson, Mason, Flack, Ashbridge, &c. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. No Money to be returned. Books of the performance to be had at the Theatre. [This was the 1st performance held in the new DL theatre]. Under the Management of Mr Kemble. The Box Office, for the present, is in Little Russell-Street, opposite to the Theatre, where Boxes and Places are to be taken of Fosbrook. The Box Doors are in Little Russell Street and Woburn Street. The whole of the Avenues [into the theatre], and the New Street ["which is intended to be called Woburn-street" (Carlton House Magazine, Apr. 1794, p. 136); see next paragraph] not being yet complete, Ladies and Gentlemen are particularly requested to direct their Coachmen to set down in Little Russell Street (where alone the Carriage Box Doors are at present) with the Horses heads toward Covent Garden, which is the only line in which Carriages can be permitted to pass. Carriages wanting to draw up after the performance should be headed to range in Drury Lane, toward Long Acre and Great Queen Street. The Chair Doors and Footway are in the Court in Woburn Street, where for the accomodation of those who may wish to have their Carriages wait out of the Croud, Chairs belonging to the Theatre and under proper regulations will attend. In order to keep the Colonnades quite clear no Servants can be permitted to wait there, but those belonging to the Carriages actually drawn up before the Pillars, and no Servants whatever can be permitted to pass the Doors of the Lower Saloon. Pit Door. The Temporary Pit Passage is in the center of the Theatre, in Bridges Street, which leads to a Spacious Saloon, which will be opened One Hour before the opening of the Pit Doors. All Carriages for the Pit Door are to wait in Catherine Street, or York-Street, to take up with the Horses heads towards Little Russel Street, and to pass through Great Russel-Street. Gallery Doors. The Gallery Doors, for Admittance, are in Little Russell-Street, and Woburn-Street, but, after the commencement of the Performance, the Gallery Doors, for the present can be only in Woburn Street. Every proper precaution is taken to prevent Croud and Inconvenience at the several Passages. The Doors to be opened at 5:15. To begin at 6:30 [same throughout oratorio season]. "The Orchestra represented the inside of a Gothic Cathedral [designed by Capon], and the Chorus Singers paid that attention to their attire that rendered the stage respectable. The house is so constructed that every note was distinctly heard at the remotest part of the theatre . . . The audience are so near the performers that the movement of every muscle is seen; a matter essentially necessary, particularly to the exhibition of an English Drama." [This opinion is greatly at variance with that of other commentators on the construction, the acoustics, &c. of the new theatre.] (European Magazine, Mar. 1794, p. 236). "The stage for the oratorios resembles a Gothic Cathedral, with illuminated stained glass windows, &c. The flies . . . [are] carved like the fretted roof of an antique pile, and the wings to the side scenes are removed for a complete screen, like those in use at the foreign theatres." (Thespian Magazine, Mar. 1794, p. 127). Account-Book, 12 Mar.: Paid Cabanel building Stage, on Acct. #130; Capon, painter, on Acct. #61 12s. Receipts: #358 6s. (281/2; 243 tickets sold by Fosbrook: 72/18; 4/6)

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Event Comment: The King's Company. Newdigate newsletters (Folger Shakespeare Library), 15 Nov. 1681: This being ye Q.s birthday ye K.s players acted Alexdr ye great after wch was a ball & entertainment given to ye Ct. (Wilson, Theatre Notes from the Newdigate Newsletters, p. 80). Luttrell, 15 Nov. 1681: The 15th, being the birth day of her majestie, was kept with ringing of bells, bonefires, &c.; and at night there was a play acted at Whitehall before the king and queen, where the court appeared in great splendor (A Brief Relation, I, 144). The Earl of Arran to Ormond, 15 Nov. 1681: I am going to a play at court (HMC, Ormonde MSS., New Series, VI, 230). L. C. 5@144, p. 246, 22 Nov. 1681: Whereas Jeoffrey Ayleworth, Thomas ffarmer, Thomas ffinall & Richard Tomlinson foure of his Mates Musitians have neglected their dury in attending at ye play acted before his Mate at Whitehall on Tuesday night last for which I have suspended them (L. C. to the Treasurer of the Chamber, in Boswell, Restoration Court Stage, p. 100)

Event Comment: The King's Company. For the identification of this play and details of its performance, see W. J. Lawrence, "Foreign Singers and Musicians at the Court of Charles II," Musical Quarterly, IX (1923), 217-25, and James G. McManaway, "Entertainment for the Grand Duke of Tuscany," Theatre Notebook, XVI (1961), 20-21. The Travels of Cosmo the Third [Monday 3 June 1669 NS; Monday 24 May 1669 OS]: In the afternoon his highness left home earlier than usual to make his visits, that he might be at the King's Theatre in time for the comedy, and a ballet set on foot and got up in honor of his highness by my Lord Stafford, uncle of the Duke of Norfolk. On arriving at the theatre, which was sufficiently lighted on the stage and on the walls to enable the spectators to see the scenes and the performances, his highness seated himself in a front box, where, besides enjoying the pleasure of the spectacle, he passed the evening in conversation with the Venetian ambassador, the Duke of Norfolk, Lord Stafford, and other noblemen. To the story of Psyche, the daughter of Apollo, which abounded with beautiful incidents, all of them adapted to the performers and calculated to express the force of love, was joined a well-arranged ballet, regulated by the sound of various instruments, with new and fanciful dances after the English manner, in which different actions were counterfeited, the performers passing gracefully from one to another, so as to render intelligible, by their movements, the acts they were representing. This spectacle was highly agreeable to his highness from its novelty and ingenuity; and all parts of it were likewise equally praised by the ladies and gentlemen, who crouded in great numbers to the theatre, to fill the boxes, with which it is entirely surrounded, and the pit, and to enjoy the performance, which was protracted to a late hour of the night (pp. 347-48). In BM Add. Mss. 10117, folio 230, Rugge's Diurnall states that towards the end of May 1669 Cosmo, Prince of Tuscany had several plays acted for him

Event Comment: [The Young Gentleman who played Zaphna was Wroughton. "His real name was Rottan, but altered euphonia gratia. He was designed for a surgeon and served his apprenticeship at Bath. The following playbills show that he met with approbation on the stage. He remained with Covent Garden from this time till the end of the season 1785-86. He then played in Ireland one Winter, and was engag'd at Drury Lane Theatre in the beginning of the season 1787-88. This was the occasion of Mr Wroughton's leaving Covent Garden, I mean it was thus conjectured. Mr Lewis had been appointed manager of that theatre for Mr Harris. Mr Lewis and Mr Wroughton lived next door neighbors in Broad Court at the top of Bow Street, and were sworn friends:--they laughed together, lived together--In the season 1784-85 two new performers Mr Holman and Mr Pope, appeared on the Covent Garden Stage--these young men were great favorites with Mr Harris; Mr Holman, attracting at this time very crowded audiences, stood so particularly high in his regard, that his partiality made him guilty of some injustice to older and abler actors in the theatre. Mr Henderson had really cause to complain of neglect; and Mr Wroughton thought himself equally oppressed. At this time we had a Club and met every Wednesday fortnight during Lent at the Long Room in Hamstead at dinner. Our Club consisted of a certain number of us belonging indifferently to either theatre, and two or three other gentlemen who were not actors. Mr King, Mr Quick, Mr Farren, Mr Mattocks, myself, etc., etc. When the bottle had a little warmed Mr Wroughton he threw out some sarcasms on his Friend Mr Lewis's management; Mr Lewis retorted; Their tempers grew hot, their words grew aggravating; Mr Wroughton struck Mr Lewis; Mr Lewis returned the blow. They were parted; all the pleasures of the day were over, and the Club broke up in confusion. I was not present this day, but have related what Mr Siddons told me of this Quarrel, and I imagine that Mr Wroughton's attack on Mr Lewis sprang from a suspicion that he was too willing to execute Mr Harris's designs in favour of Mr Holman. Be this as it may, Mr Wroughton was discharged from cg at the expiration of his Articles with Mr Harris."--Hopkins MS Notes.] Receipts: #186 3s. (Account Book)

Event Comment: The King's Company. Pepys, Diary: After dinner I went to the theatre, and there saw Love's Mistress done by them, which I do not like it some things so well as their acting in Salsbury Court. [Although Pepys saw this play on 2 March 1660@1 at Salisbury Court, done by the Duke's Company, here he appears to indicate a rival performance of it by the King's Company in Vere St.]

Event Comment: Pepys, Diary: And there took up my wife and Ashwell to the Theatre Royall, being the second day of its being opened. The house is made with extraordinary good contrivance, and yet hath some faults, as the narrowness of the passages in and out of the pitt, and the distance from the stage to the boxes, which I am confident cannot hear; but for all other things it is well, only, above all, the musique being below, and most of it sounding under the very stage, there is no hearing of the bases at all, nor very well of the trebles, which sure must be mended. The play was The Humerous Lieutenant, a play that hath little good in it, nor much in the very part which, by the King's command, Lacy now acts instead of Clun. In the dance, the tall devil's actions was very pretty....I am resolved to deny myself the liberty of two plays at court, which are in arreare to me for the months of March and April, which will more than countervail this excess, so that this month of May is the first that I must claim a liberty of going to a Court play according to my oath

Event Comment: This play was presumably acted by the Duke's Company. In the preface to Heraclius, Emperour of the East, published in 1664, the author, Lodowick Carlell, complains that he had submitted his translation of Corneille, only to have it returned the very day that this version appeared on the stage. See also the letter by Katherine Philips, under Pompey the Great, Jan. 1663@4. Pepys, Diary: We made no long stay at dinner; for Heraclius being acted, which my wife and I have a mighty mind to see, we do resolve, though not exactly agreeing with the letter of my vowe, yet altogether with the sense, to see another this month, by coming hither instead of that at court, there having ueen none conveniently since I made my vowe for us to see there, nor like to be this Lent, and besides we did walk home on purpose to make this going as cheap as that would have been, to have seen one at Court, and my conscience knows that it is only the saving of money and the time also that I intend by my oaths....The play hath one very good passage well managed in it, about two persons pretending, and yet denying themselves, to be son to the tyrant Phocas, and yet heire of Mauricius to the crowne. The garments like Romans very well. The little girle is come to act very prettily, and spoke the epilogue most admirably. But at the beginning, at the drawing up of the curtaine, there was the finest scene of the Emperor and his people about him, standing in their fixed and different postures in their Roman habitts, above all that ever I yet saw at any of the theatres

Event Comment: Pepys, Diary: By and by with Lord Bruncker by coach to his house, there to hear some Italian musique: and here we met Tom Killigrew, Sir Robert Murray, and the Italian Signor Baptista, who hath composed a play in Italian for the Opera, which T. Killigrew do intend to have up; and here he did sing one one of the acts. He himself is the poet as well as the musician.... This done, T. Killigrew and I to talk: and he tells me how the audience at his house [Bridges St.] is not above half so much as it used to be before the late fire. That Knipp is like to make the best actor that ever come upon the stage, she understanding so well: that they are going to give her #30 a-year more. That the stage is now by his pains a thousand times better and more glorious than ever heretofore. Now, wax candles, and many of them; then, not above 3 l6s. of tallow: now, all things civil, no rudeness anywhere; then, as in a bear-garden: then, two to three fiddlers; now, nine or ten of the best: then, nothing but rushes upon the ground, and every thing else mean; and now, all otherwise: then, the Queen seldom and the King never would come; now, not the King only for state, but all civil people do think they may come as well as any....That he hath gathered our Italians from several Courts in Christendome, to come to make a concert for the King, which he do give #200 a-year a-piece to: but badly paid, and do come in room of keeping four ridiculous gundilows, he having got the King to put them away, and lay out money this way; and indeed I do commend him for it, for I think it is a very noble undertaking. He do intend to have some times of the year these operas to be performed at the two present theatres, since he is defeated in what he intended in Moorefields on purpose for it; and he tells me plainly that the City audience was as good as the Court, but now they are most gone

Event Comment: Evelyn, Diary: Saw a Comedie at night, at court, acted by the Ladys onely, viz: The Lady Mary & Ann his R. Highnesses two Daughters, & my deare friend Mrs Blagg, who having the principal part, perform'd it to admiration: They were all covered with Jewels. [It seems likely that Evelyn saw a rehearsal or was in error concerning the date of performance.] Newdigate newsletters (Folger Shakespeare Library): On Twelfe day the principallest abt ye Court divert their Matys with a Play & Opera where in ye Splendor & Grandeur of the English Monarchy will be seen (Wilson, Theatre Notes, p. 79). See also Nicoll, Restoration Drama, pp. 357-58, for an order of this date, L. C. 5@141, p. 83, concerning habits for the opera

Event Comment: Newdigate newsletters (Folger Shakespeare Library), 23 Feb. 1674@5: Last night ye mask at Court was publiquely acted in ye presence of their Maties, R:11 Hsess & ye whole Court & will be once more acted before his Matie goes to Newmarket (Wilson, Theatre Notes, pp. 79-80). [Wilson points out that this performance is nowhere else mentioned.

Event Comment: The Bulstrode Papers (I, 302): There is arrived Scaramouchy, ye famous Italien comedian with his crew, to act againe, & are to have ye King's Theatre in Whitehall for their use during their stay, and all people are allowed to come there & see them, playing as they doe at other houses, so yt now a Papist may come to Court for halfe a crowne. This is not much lik'd by our other players, for it will half break both our houses. [See also a Treasury warrant for the importing of their belongings, Calendar of Treasury Books, 1672-1675, p. 757, in Boswell, Restoration Court Stage, p. 121.

Event Comment: The Duke's Company. The date of this performance is uncertain. It is one of a series of plays acted at Court, in L. C. 5@145, p. 120. See also Nicoll, Restoration Drama, p. 350. In view of the recent disorders at the Duke's Theatre, it is somewhat surprising to have this series of plays acted at Court at this time, but three of the entries would fall on Sunday if the sequence is assigned to the season of 1680-81; hence, the series has been assigned to 1679-80

Event Comment: Benefit W. Grove, M.R. by Command of the Honourable Court of Non-Common-Pleas. The Gentlemen of the Society are desir'd to meet at their Court, at Sir John's, at 5 o'Clock exactly, from thence to proceed to the Theatre. 6 p.m. 5s., 4s., 2s

Event Comment: [For the Relief of the Sufferers by a late Calamity...at his Auction-Room late the Little Theatre in the Hay-Market Mr Foote will exhibit for the satisfaction the curious a choice Collection of Pictures, all warranted Originals, and entirely new. To begin at twelve noon. [Cross, Fielding, II, 89, states that Foote mimicked Fielding as "Trottplaid" on this date.] Daily Advertiser, 28 April: It being represented unto this Court, that several Common Players of Interludes, Gamesters...have for several Years used and accustomed to assemble and meet together at several Fairs or pretended Fairs, held in this County of Middlesex, not warranted by Law, to wit, Tottenham Court Fair, Hampstead Fair, in Holborn Division, the Shepherd's Bush Fair in Kensington Division, Mile-End Fair and Bow-Fair, commonly called Green-Goose Fair, in the Tower Division, and May Fair in Westminster Division

Event Comment: Benefit for ye widow of Capt. James Spencer, an Officer &c., and her small Children (Cross). An Old Officer who had been in His Majesty's Service 46 years, but dying when upon half-pay has left the Widow without pension and with several small children in greatest distress. N.B. Part of the Pit will be rail'd into the boxes and servants will be allowed to keep places on the Stage. Tickets to be had of Mrs Spencer, the uppermost house in Prince's Court, by Storey's Gate; the Bedford Coffee House, Covent Garden; the Tiltyard Coffee House; St James Coffee House; Sweet's Coffee House, Bukingham Court; Bridge Street Coffee House; The Rainbow Coffee House, Ludgate Hill; the Temple Exchange, Fleet St.; the Rainbow, Cornhill; and at the Stage Door of the theatre where places may be taken. Mr Norton Amber, humbly hopes this general acknowledgment of the favour which his friends were pleas'd to confer on him by their generous appearance last Night at Drury Lane, will be accepted, instead of a more particular application, which his constant employment prevents; and begs leave to assure them, that he shall ever retain a most grateful sense of their indulgent assistance. Receipts: #252 (Cross)

Event Comment: [T$Theophilus Cibber opened the theatre this one night. Mainpiece, a Mock Tragedy by Joseph Reed. Afterpiece, anonymous.] Tickets to be had at the Swan, Westminster Bridge; Forest's Coffee House and Cannon Tavern, Charing Cross; the Tuns in the Borough, Southwark; the Rainbow Coffee House, near the Royal Exchange; and the Bedford Coffee House, Covent Garden. N.B. Tickets for the Author to be had at Mr Briscall's at Parliament-Street Coffee House; the Bedford Head, Southampton St.; Mr Wells at the Crown and W in Russel Court, Covent Garden; Mr Long's in Little Britain; the Union Coffee House in Cornhill; the White Lion in Talbot Court; and the Sun Tavern, Shadwell

Event Comment: [Emery was from cg. Mainpiece: Epilogue by the younger George Colman.] Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 6:00. To begin precisely at 7:00 [same throughout season]. Places for the Boxes to be taken of Rice, at the Theatre. Printed by T. Woodfall, No. 1, Cross Court, Russel Court, Drury Lane

Event Comment: The Duke's Company. This date marks the opening of the new theatre in Dorset Garden. Downes (Roscius Anglicanus, p. 31): The new Theatre in Dorset-Garden being Finish'd, and our Company after Sir William's Death, being under the Rule and Dominion of his Widow the Lady Davenant, Mr Betterton and Mr Harris, (Mr Charles Davenant her Son Acting for her) they remov'd from Lincolns-Inn-Fields thither. And on the Ninth Day of November 1671, they open'd their new Theatre with Sir Martin Marral, which continu'd Acting 3 Days together, with a full Audience each Day; notwithstanding it had been Acted 30 Days before in Lincolns-Inn-Fields, and above 4 times at court. [This play is also on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage", p. 18: Sir Martin.

Event Comment: Betterton's Company. The date of this performance, which coincides with the opening of the playhouse in Lincoln's Inn Fields by Betterton's Company, is established by Downes, Roscius Anglicanus, pp. 43-44: [Betterton, Mrs Bracegirdle, Mrs Barry, and others] set up a new Company, calling it the New Theatre in Lincolns-Inn-Fields; and the House being fitted up from a Tennis-Court, they Open'd it the last Day of April 1695, with a new Comedy: Call'd, Love for Love....This Comedy being Extraordinary well Acted, chiefly the Part of Ben the Sailor, it took 13 Days Successively. Three songs in the play were published separately: I tell thee, Charmion, the music by Finger, sung by Pate and Reading, is in Thesaurus Musicus, 1696, The Fifth Book. A Nymph and a Swain, the music by John Eccles and sung by Pate; and A Soldier and a Saylour, the music by John Eccles, and sung by Dogget, are in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 196-97: After we had stolen some few Days March upon them, the Forces of Betterton came up with us in terrible Order: In about three Weeks following, the new Theatre was open'd against us with veteran Company and a new Train of Artillery; or in plainer English, the old Actors in Lincoln's-Inn-Fields began with a new Comedy of Mr Congreve's, call'd Love for Love, which ran on with such extraordinary Success that they had seldom occasion to act any other Play 'till the End of the Season. This valuable Play had a narrow Escape from falling into the Hands of the Patentees; for before the Division of the Company it had been read and accepted of at the Theatre-Royal: But while the Articles of Agreement for it were preparing, the Rupture in the Theatrical State was so far advanced that the Author took time to pause before he sign'd them; when finding that all Hopes of Accomodation were impracticable, he thought it advisable to let it takes its Fortune with those Actors for whom he had first intended the Parts. A Comparison Between the Two Stages (1702), p. 10: Ramble: You know the New-house opened with an extraordinary good Comedy, the like has scarce been heard of. Critick: I allow that Play contributed not a little to their Reputation and Profit; it was the Work of a popular Author; but that was not all, the Town was ingag'd in its favour, and in favour of the Actors long before the Play was Acted. Sullen: I've heard as much; and I don't grudge 'em that happy beginning, to compensate some part of their Expence and Toil: But the assistance they receiv'd from some Noble Persons did 'em eminent Credit; and their appearance in the Boxes, gave the House as much Advantage as their Contributions. Ramble: Faith if their Boxes had not been well crowded, their Galleries wou'd ha' fallen down on their Heads. Sullen: The good Humour those Noble Patrons were in, gave that Comedy such infinite Applause; and what the Quality approve, the lower sort take upon trust. Gildon, The Lives and Characters (ca. 1698), p. 22: This Play, tho' a very good Comedy in it self, had this Advantage, that it was Acted at the Opening of the New House, when the Town was so prepossess'd in Favour of the very Actors, that before a Word was spoke, each Actor was clapt for a considerable Time. And yet all this got it not more Applause than it really deserv'd. An Essay on Acting (London, 1744), p. 10: The late celebrated Mr Dogget, before he perform'd the Character of Ben in Love for Love, took Lodgings in Wapping, and gather'd thence a Nosegay for the whole Town

Event Comment: [For the King (Cross). With New Music, Scenes, Machines, Habits, and other Decorations. Compos'd by Mr Noverre. All our Dancers appear. A good deal of hissing & Clapping & some Cries of No french Dancers; a great clapping too-the Dance is fine-(Mr Delaistre is a good Dancer) (Cross). [See for details of preparation, importation of dancers, especially of M Delaistre, The Chevalier Noverre, Father of Modern Ballet, Deryck Lynham (London, 1950), pp. 26-40. See also advertisement in Public Advertiser: 'Mr Noverre, whose entertainments of Dancing have been celebrated in almost all the courts of Europe, exhibits this evening his Chinese Festival at the Theatre Royal in Drury Lane, in pursuance of a contract made above a year ago with the managers of the said theatre: The Insinuation that at this time, an extraordinary number of French dancers are engaged, is groundless, there being at Drury Lane at present as few of that nation, as any other theatre now has, or perhaps ever had. Mr Noverre and his brothers are Swiss, of a protestant family in the Canton of Berne, his wife and her sisters Germans; there are above sixty performers concerned in the entertainment; more than forty of which are English, assisted only be a few French (five men and four women) to complete the Ballet as usual. As the intention of the Managers on this occasion is to give Variety to Entertainments of the town, it is not doubted it will meet with public approbation.'] Receipts: #210 (Cross)

Event Comment: A new Comic Opera. The music entirely new by Sacchini. With entire new Scenes, Dresses and Decorations both for the Opera and Dances. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. By Their Majesties' Command, no person can be admitted behind the Scenes. The Doors to be opened at 6:00. To begin at 7:00 [see 5 June 1779]. To prevent Inconvenience to the Nobility and Gentry in getting to their Carriages they are respectfully intreated to give positive orders to their Servants to set down and take up with their Horses Heads towards Pall-mall. The door in Market Lane for Chairs only. Public Advertiser, 31 Oct.: To prevent mistakes Ladies who have not honoured the Director with the names of the Subscribers to their Boxes are particularly requested to send them as early as possible to Johnson, at the Office of the Theatre, in order to [permit] their Tickets being engraved. The Renters' Shares proposed to be granted on this Theatre are now made out, and particulars prepared, at Messrs Wallis and Parker's, Norfolk-street, Strand, who are impowered by the Proprietors to dispose in single Shares of those which remain unsubscribed for. The annual Subscriptions are receiving by Johnson at the Office of the Theatre in Union-court, Haymarket

Event Comment: Note, Madem. Violette, a New Dancer from Vienna, will perform this day for the first time

Event Comment: As my Monkeys and me and my Dogs am promised to go to L'Haye and Vienna after some Days more, the grand Noblemans and Gentlemans of this Nation England do desire me to perform every Night, and so me shall do with Mrs Midnight at the Haymarket Playhouse this Thursday Night. Ballard Mango, my big Monkey, will talk the Prologue