SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Court Theatre Vienna"/1) | (@(roleclean,performerclean) "Court Theatre Vienna")') GROUP BY eventid ORDER BY weight() desc, eventdate asc OPTION field_weights=(perftitleclean=100, commentpclean=75, commentcclean=75, roleclean=100, performerclean=100, authnameclean=100), ranker=sph04

Result Options

Download:
JSON XML CSV

Search Filters

Event

Date Range
Start
End

Performance

?
Filter by Performance Type










Cast

?

Keyword

?
We found 2944 matches on Event Comments, 399 matches on Performance Comments, 117 matches on Performance Title, 0 matches on Author, and 0 matches on Roles/Actors.
Event Comment: Mainpiece: A new Pastoral piece in one act. Afterpiece: As it was originally performed at Vienna. Music by Gluck

Performances

Mainpiece Title: Il Triomfo D'amore

Afterpiece Title: Orfeo

Dance: New Dance adapted to the Opera (Orfeo) intermixed with Grand Choruses-; In pastoral piece: Grand Ballet with Pas de cinq-Slingsby, Mlle Grenier, Lepy, Sga Crispi, Mlle Lafond; End Opera: New Grand Ballet-Mlle Heinel, Fierville; with a new Allemand-; New Grand Chacone-Mlle Heinel, Fierville

Event Comment: Benefit for Mlle Theodore. [Scenario of new ballet (Vienna, c. 1773) lists the parts: Colin, Herpin, Le Baillif, Clitandre, Lucas, Julie, Mathurine, Javotte, Climene, Lisette.] Tickets to be had of Mlle Theodore, No. 39, Tichfieldstreet, Portland Chapel

Performances

Mainpiece Title: La Contadina In Corte

Dance: In the Masquerade Scene a Minuet by Mlle Theodore and Nivelon; End of Act I Le Triomphe de l'Amour Conjugal, as17820110; End of Act II a new Ballet (composed by Noverre), La Rosihe de Salency, by Gardel, Mlle Baccelli, Nivelon, Mlle Theodore, Leger, Henry, Bournonville, Olivier, Miss Simonet, Sga Crespi

Event Comment: A Serio-Comic Opera in 2 acts (never performed here [1st performed at Vienna, 1784; and in April 1795 performed at king's under the title of Il Conte Ridocolo]). The Music composed in his best style by Paisiello. Under the direction of Mazzinghi. Fineschi being hardly recovered from his late severe indisposition humbly hopes for the indulgence of the public, whom rather than disappoint, he would run any danger. Gallini, for the last time, most respectfully entreats those few Subscribers who have hitherto delayed of declaring themselves, or sending in the names of their Co-subscribers, to do it immediately, as no one can be admitted without showing the Ticket for this year; and the Boxes not bespoke cannot remain empty after the opening of the House. Tickets to be had, and Subscription paid, as usual, at Messrs Ransom, Morland and Hammersley's, bankers, No. 57, Pall-Mall. The Doors to be opened at 6:00. To begin precisely at 7:00 [see 3 Jan. 1788]. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. "The only Part of the scenery which is interesting is the bridge Rialtov, and this is badly executed; it looks like a pantomimic show, but not like a grand opera scene; the bridge is crowded with figurative passengers, and small gondolas appear beyond it. The first idea is a capital error, for the representation of the bridge is supposed sideways, and being covered with shops, no passengers can be seen; the latter idea of boats being placed beyond the bridge crowds the scene, and makes the bridge lose its grand appearance at a distance...The Managers of the Opera are exceedingly to blame for having substituted a Soprano to a Tenor in the character of Gafforio" (Public Advertiser, 17 Dec.). Receipts: #164 14s. [These receipts, and those on all other nights throughout the opera season, represent the sale of non-subscription tickets. On this night 400 tickets were delivered to Prendergrass, office-keeper at the Haymarket pit entrance; of these he sold 159 at 10s. 6d. (i.e. #83 9s. 6d.). 100 were delivered to Toosey, office-keeper at the King's Door pit entrance; he sold 26 at 10s. 6d. (i.e. #13 13s.). 300 were delivered to Butler, office-keeper of the 1st Gallery; he sold 190 at 5s. (i.e. #47 10s.). 200 were delivered to Snelson, office-keeper of the 2nd Gallery; he sold 118 at 3s. (i.e. #17 10s.). Sale of one box #2 2s. "Difference from Gallery to Pit" (i.e. money received from persons who changed their seats from gallery to pit, 5s. 6d.). The delivery of 1,000 non-subscription tickets to be disposed was almost invariably the case on every night of the season; but see 5 Apr. 1788.

Performances

Mainpiece Title: Il Re Teodoro In Venezia; Or, Theodore (king Of Corsica) At Venice

Dance: End I: a new Divertissement (composed by Chevalier)-Chevalier, Coulon, Vestris, the two Miss Simonets, Sga Bedini, Mlle Coulon (1st appearance); End Opera: a new ballet (composed by Noverre) Les Offrandes a l'Amour-Didelot (1st appearance), Coulon, Vestris, Mlle Hilligsberg, Mlle Vedie, Mlle Coulon, Saulnier, Henry, Sala, the two Miss Simonets, Mlle Grenier, Mezierres

Event Comment: Opera: 1st time in this Country [1st performed at Vienna, 1787. In subsequent bills occasionally entitled, as originally, L'Arbore di Diana]. The Music by Martini [i.e. Martin y Soler]

Performances

Mainpiece Title: L'albero Di Diana

Dance: As17970131

Event Comment: A New Comic Opera (1st time [in London; 1st performed under this title, with revised libretto by Lorenzo DaPonte, at Vienna, 1798; originally with libretto by Giuseppe Petrosellini, as La Dama Pastorella, at Rome, 1780]): the Music by Salieri

Performances

Mainpiece Title: La Cifra

Dance: As17980306

Event Comment: The death of the Duke of Gloucester on this day apparently closed the theatres for a short time. Andrew Newport, writing on 15 Sept. 1660 to Sir Richard Leveson, stated: The court is in deep mourning and will continue so for 6 weeks (Sutherland MSS., HMC, 5th Report, Appendix, 1876, p. 156), but it is not until 27 Sept. 1660 that Rugg reported: playes are for present forbiden because of the death of the Duke of Gloucester (BM Add. Mss. 10116, folio 90v). The theatres may have opened on Monday 8 Oct. 1660; certainly they were acting by 11 Oct. 1660

Performances

Event Comment: The Diary of Robert Hooke, 1672-1678: at Scaramuches at york house. present: the King, Duke of York, Lord Ormond &c. (ed. H. W. Robinson and Walter Adams [London, 1935], p. 42). See slso Boswell, Restoration Court Stage, pp. 118-19, and John Harold Wilson, A Theatre in York House, Theatre Notebook, XVI (1962), 75-78

Performances

Event Comment: The United Company. The date of the first performance is not known, but it very probably occurred not later than May 1691, as the play was advertised in the London Gazette, 4-8 June 1691. For discussions of it, see E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44-45, and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter III. Downes, Roscius Anglicanus, p. 42: King Arthur an Opera, wrote by Mr Dryden: it was Excellently Adorn'd with Scenes and Machines: The Musical Part set by Famous Mr Henry Purcel; and Dances made by Mr Jo. Priest: The Play and Musick pleas'd the Court and City, and being well perform'd, twas very Gainful to the Company. Roger North: I remember in Purcell's excellent opera of King Arthur, when Mrs Butler, in the person of Cupid, was to call up Genius, she had the liberty to turne her face to the scean, and ner back to the theater. She was in no concerne for her face, but sang a recitativo of calling towards the place where Genius was to rise, and performed it admirably, even beyond any thing I ever heard upon the English stage....And I could ascribe it to nothing so much as the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants, or at least her envious sex. There was so much of admirable musick in that opera, that it's no wonder it's lost; for the English have no care of what's good, and therefore deserve it not (Roger North on Music, ed. John Wilson [London, 1959], p. 217-18)

Performances

Mainpiece Title: King Arthur; Or, The British Worthy

Event Comment: The United Company. The date of the first performance is stated in Luttrell, A Brief Relation, II, 435, 28 April 1692: On Monday will be acted a new opera, call the Fairy Queen: exceeds former playes: the clothes, scenes, and musick cost 3000#. [According to Some Select Songs As they are Sung in the Fairy Queen (1692) tne singers were Mrs Ayliff, Mrs Dyer, Freeman, Mrs Butler, and Pate. See Purcell's Works, Purcell Society, XII (1903), ii; E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59 ), 45; and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter IV.] Downes, Roscius Anglicanus, pp. 42-43: The Fairy Queen, made into an Opera, from a Comedy of Mr Shakespeare s: This in Ornaments was Superior to the other Two [King Arthur and The Prophetess]; especially in Cloaths, for all the Singers and Dancers, Scenes, Machines and Decorations, all most profusely set off; and excellently perform'd, chiedly the Instrumental and Vocal part Compos'd by the said Mr Purcel, and Dances by Mr Priest. The Court and Town were wonderfully satisfy'd with it; but the Expences in setting it out being so great, the Company got very little by it. Gentleman's Journal, May 1692: The Opera of which I have spoke to you in my former hath at last appear'd, and continues to be represented daily: it is call'd, The Fairy Queen. The Drama is originally Shakespears, the Music and Decorations are extraordinary. I have heard the Dances commended, and without doubt the whole is very entertaining. [As the May issue of the Gentleman's Journal was licensed on 14 May, the statement that The Fairy Queen continued to be acted daily may indicate consecutive performances from 2 May to at le ast 14 May 1692.

Performances

Mainpiece Title: The Fairy Queen

Event Comment: Benefit R. Williams. Mainpiece: Not Acted these Twenty Years. On this day the Lord Mayor and the Court of Aldermen of the City presented a petition to the King seeking the suppression of the theatre in Goodman's Fields. Thomas Odell, Master of the Theatre, also appeared before His Majesty and sought royal leave to continue acting.--See Grub St. Journal, 7 May, for a summary of the events, but see also Weekly Journal or British Gazetteer and London Journal, 2 May

Performances

Mainpiece Title: The Man's Bewitch'd; Or, The Devil To Do About Her

Afterpiece Title: Harlequin Turn'd Dancing-Master

Dance: TThe White Joke (new)-Eaton

Event Comment: By a Company of Comedians from Goodman's Fields, and both the Theatres Royal, at the New Theatre in Tottenham Court

Performances

Mainpiece Title: Amurath, The Great Emperor Of The Turks; Or, The London Prentice's Glory

Song: Excell

Event Comment: Benefit for Hobson. Tickets and places of Hobson at the stage door of the Theatre. Presentment of the Grand Juryv for the County of Middlesex: We the Grand Jury sworn to enquire for our Sovereign Lord The King, and the body of this county, have observed from most of the presentments delivered to us by the Constables of this County, that they have been, as we apprehend and fear, very remiss in their duty, by returning their several districts to be quiet and in good order. Whereas the contrary does most manifestly appear, in many instances as well from the accounts or advertisements we read in the daily Papers, printed and dispersed within the County (inviting and seducing, not only the inhabitants, but also all other persons, to several places kept apart for the encouragement of Luxury, Extravagance, and Idleness, and we fear other wicked, illegal purposes, which by such means go on with impunity, to the destruction of many families) as otherwise to the great Dishonour of the Kingdom...especially at a time when we are engaged in expensive Wars, and so much overburdened with Taxes of all sorts, both Parliamentary and Parochial, that it is much as a prudent man can do, without a taste to extravagant and illegal pleasure to support himself and family according to his degree and station in life under the most regular economy. [If unchecked this bad example will lead to National destruction]. We do accordingly hereby present as places riotous, of great extravagance, luxury, idleness, and ill fame, the several house &c following: [lists two gambling houses, then the Proprietors of the avenues leading to the several playhouses for not preventing wicked loose and disorderly persons from loitering at the front of their several houses on nights of the play to the prejudice of playgoers.] 4. Saddlers Wells, near Islington; 5. New Wells, Goodman's Fields; 6. New Wells, Clerkenwell; 7. The Proprietors of a Place call'd Hallam's New Theatre at Mayfair. Prays that the court will close all listed. N.B. Many people believed that after this presentment, the places mentioned would be shut up or reformed, but they advertise and continue the same diversions as before.-Gentlemen's Magazine (May, 1744), pp. 278-79

Performances

Mainpiece Title: The Careless Husband

Afterpiece Title: The Lying Valet

Song: I, IV: Morland

Dance: III: Mlle Auguste

Event Comment: At the Old Theatre. Advertisement for the Publick Good: Whereas a pack of Strolling Players, who by the Laws now in force are liable to be punished by His Majesty's Justices/of/the/Peace as vagrants and vagabonds, lately infested the villages of Clapham, Stackwell and Borough of Southwark and other places in the County of Surrey and have made several riots and have contracted several debts with His Majesty's liege subjects and have given out printed handbills and Tickets for several of their benefits, particularly that the play called the Recruiting Officer and the Entertainment called Flora, or Hob in the Well would be performed on Monday Night Last at Yeates Old Theatre in the Bowling Green in Southwark and Several Gentlemen and Ladies were prevailed on and paid for majy tickets and went in coaches expecting to see and hear the proposed entertainments but the said strollers neither performed nor returned the money advanced for such tickets though demanded, this Advertisement is therefore hembly recommended to the serious consideration of the justices of the peace for the said county of Surrey and also to give a friendly caution to unwary people not to be imposed upon by such persons in the future.--Daily Advertiser, 8 Nov. [See 27 Nov. at hay] On Tuesday last the Court Leets for the Town and Borough of Southwark...Likewise directed the Constables to use their utmost Endeavours toward suppressing the Acting of Plays...and avoiding all unlawful Games and Plays....By the Statue, no Plays to be acted but in Westminster, or Place of his Majesty's Residence, on forfeit of #50.--London Courant, 6 Nov

Performances

Mainpiece Title: The Recruiting Officer

Afterpiece Title: Flora

Event Comment: Benefit for Havard. [Stage arranged as on 7 March.] Tickets and places at Havard's House in Broad Court the upper end of Bow St., and of Hobson at the stage door. The manager of the Smock Alley theatre Dublin in order to support decayed players, has resolved to apply the whole receipts of one night every year towards raising a fund for the purpose, which is to be increased by the players allowing a small portion of their salaries to be deducted weekly. A scheme worthy the imitation of the managers and players of our theatres. -Gentleman's Magazine, March 1749, p. 238

Performances

Mainpiece Title: The Fair Penitent

Afterpiece Title: Tit for Tat

Dance: SSavoyards, as17480920

Event Comment: Nothing said abour ye prolog: (Cross). The Music of the Funeral Procession compos'd by Dr Boyce. [See "William Boyce's 'Solemn Dirge' in Garrick's Romeo and Juliet Production of 1750," by Charles Haywood, Shakespeare Quarterly, Spring, 1960.] This day is Publish'd at 1s. 6d. Romeo and Juliet a Tragedy, revised and alter'd from Shakespear by Theophilus Cibber, First revised in September 1744, at the Theatre in the Haymarket; now acted at the Theatre Royal in Drury Lane. To which is added a Serio-Comic Apology for Part of the Life of Mr Theophilus Cibber, Comedian, written by himself. Interspers'd with memoirs and anecdotes relating to the Stage Managements, Theatrical Resolutions, &c. also cursory Observations on principal Players: particularly Mr Quin, Mr Ryan, Mrs Woffington, Mrs Ward, and Miss Bellamy; Mr Garrick, Mr Barry, Mrs Cibber, Mrs Clive, Mrs Pritchard, &c. Likewise Original Letters that passed between the late Sir Thomas DeVeil and Mr Theophilus Cibber relating to the Stage Act, Concluding with a copy of Verses, call'd the Contrite Comedian's Confession. Printed for C. Corbett, the Publisher, at Addison's Head, facing St Dunstan's Church, Fleet St; G. Woodfall, at the King's Arms, the corner of Craig's Court, Charing Cross. [See 11 Oct.] Receipts: #170 (Cross)

Performances

Mainpiece Title: Romeo And Juliet

Event Comment: Benefit for Cross, Prompter, Mrs Cross, and Son. N.B. Mr Cross takes the liberty to inform the Ladies and Get&ntlemen who intend to honour him with their company, that his constant Attendance upon the Business of the theatre, will hinder him from applying to them in person, and therefore hopes to receive their commands at his house in Crown Court, Little Russel-Street, Covent Garden, or at the Stage Door of the theatre, where Tickets and Places are to be had for his benefit. Receipts: #156 (Cross)

Performances

Mainpiece Title: The Suspicious Husband

Afterpiece Title: A Duke and no Duke

Dance: II: A Provincial Dance, as17520314

Event Comment: A revived Serious Opera; the Music by the most eminent Composers [Bertoni, Gugliclmi, Giordani, Rauzzini, Gretry, &c], under the direction of Bertoni. With entire new scenes painted by Novosielski. New Dresses and Decorations both for the Opera and Dances. The Doors to be opened at 6:00. To begin exactly at 7:00 [see 18 June 1782]. By Command of Their Majesties no Persons to be admitted behind the Scenes. Pit 10s. 6d. 1st Gallery 5s. Upper Gallery 3s. To prevent inconvenience in getting to their carriages, the Nobility and Gentry are requested to order their servants to set down and take up with their horses' heads towards Pall-Mali. The Subscribers to the Opera are intreated to send their instructions to Jewell and Johnson at the Office in Union-court before the opening of the Theatre, when the final arrangement of the Boxes will take place, and those which are not retained will then be disposed of. Subscriptions to be paid on delivery of the tickets. Books of the Opera, with an account of the Pantomime Dance, to be had at the Theatre

Performances

Mainpiece Title: Ezio

Dance: End of Act I a Pastoral Dance (composed by Simonet) by Henry, Bournonville, Raymond, Sga Crespi, Mlle Dumont; End of Act II A Divertisement Dance (composed by Noverre) by Gardel, Mlle Baccelli, Nivelon, Mlle Theodore, Henry. Sga Crespi, Bournonville, &c; End of Opera a new Tragi-Pantomime Ballet (composed by Noverre), Les Amans Reunis, by Gardel, Mlle Baccelli, Nivelon, Mlle Theodore, Slingsby, Simonet, Henry, Bournonville, Raymond, Mlle Dumont, Sga Crespi. [Partial cast, with synopsis of action, from Morning Herald, 18 Dec: Alphonso-Gardel; Ines-Mlle Baccelli; Chief of the Island-Slingsby.]

Event Comment: Benefit for Lewis. Public Advertiser, 25 Mar.: Tickets to be had of Lewis at his house in Broad-court, Bow-street. Afterpiece [1st time in London; co 2. MS: Larpent 620; not published]: Written by the Author of The Castle of Andalusia, The Agreeable Surprise, Son-in-Law, &c &c. [John O'KeefFe, 1st acted at the Crow Street Theatre, Dublin, 15 Apr. 1777, and altered in the CG season of 1783-84 as The Poor Soldier]. The Airs Select [ed by the author from] Irish [airs]. With a New Overture and Accompaniments by Shield, who composed the music of Rosina. The Words of the Songs to be had at the Theatre. Receipts: #256 9s. (201/10; tickets: 54/19) (charge: #105)

Performances

Mainpiece Title: The Chapter Of Accidents

Performance Comment: Woodville-Lewis; Lord Glenmore-Aickin; Grey-Hull; Vane-W. Bates; Gov. Harcourt-Wilson; Capt. Harcourt-Whitfield; Jacob-Edwin; Cecilia-Miss Satchell; Miss Mortimer-Miss Morris; Warner-Mrs Davenett; Bridget-Mrs Wilson .
Cast
Role: Harcourt Actor: Wilson
Role: Harcourt Actor: Whitfield

Afterpiece Title: The Shamrock; or, The Anniversary of St

Dance: As17830221

Event Comment: "Palmer and Bannister having withdrawn from the theatre, The School for Scandal and The Quaker, which were intended for the opening pieces, were changed" (Town and Country Magazine, Oct. 1787, p. 445). [These two actors thought themselves ill-used because of the refusal of the dl management to acknowledge their right to open the Royalty (see 20 June 1787). Oulton, 1796, II, 1-8, prints an exchange of letters between Palmer, Bannister, and King (the dl acting manager) relating to this situation.] "Some twenty of thirty bars of Handel, on the approach of the court to the play [in III. ii of mainpiece]...made a fine preparation for the scene which followed" (World, 19 Sept.). Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Fosbrook at the Theatre. The Doors to be opened at 5:30. To begin at 6:30 [see 13 Nov.]. Receipts: #186 5s. 6d. (151.0.0; 35.4.6; 0.1.0)

Performances

Mainpiece Title: Hamlet

Afterpiece Title: The First Floor

Event Comment: Among the Instrumental Performers are Messrs Ashley and Sons, Patria, Sarjant, Billington, Mahon, Boyce, Mountain, J. Mahon, the Leanders, Ware, Kaye, Rawlings, Sharp, Lyon, &c. &c. &c. Double Drums by J. Ashley. The Whole under the Direction of Harrison and Ashley. No Money to be returned. Places for the Boxes to be had of Brandon at the Theatre. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]. Books of the Performances, with the Names of the Performers to their respective Songs, to be had at the Theatre, Price Six-pence. And to prevent imposition in the Streets, the Manager's Books are printed with the following Words at the bottom of each Title Page: "Printed by H. Macleish, Duke's-Court, Drury-Lane.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music, From The Works Of Handel

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Afterpiece Title: Grand Selection 3

Event Comment: Oratorio: Written by Milton. Set to Music by Handel. Among the instrumental performers are Messrs Ashley andSons, Patria, Sarjant, Billington, Mahon, Boyce, Mountain, Howard, Lavenu, Simpson, Gwilliam, Purney, Munro, Leander, Kaye, Sharp, Lyon, &c. Double Drums by J. Ashley. The whole under the direction of Harrison and Ashley. At Play-house Prices. No money to be returned. Places for the Boxes to be had of Brandon at the Theatre. The Doors to be opened at 5:30. To begin precisely at 6:30 [same throughout oratorio season]. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Books of the Performance, with the names of the performers to their respective songs, price 6d., may be had at the Theatre, and to prevent imposition in the streets, the Manager's books are printed with the following words at the bottom of each title-page, "Printed by H. Macleish, Duke's court, Drury-Lane.

Performances

Mainpiece Title: L'allegro Ed Il Pensieroso 0

Afterpiece Title: L'Alegro ed il Pensieroso 1

Afterpiece Title: L'Allegro ed il Pensieroso

Afterpiece Title: Grand Miscellaneous Act

Event Comment: Mainpiece: In Act I The Cardinal's Banquet. In Act II The Court for the Trial of Queen Katharine. In Act V a Grand Procession to the Christening of Princess Elizabeth. Paid Charles Smith on Acct. of Upholders Work at Drury Lane Theatre #400. Powell: Henry VIII rehearsed at 10 (for Packer, lame, and Mrs Siddons); Siege of Belgrade music at 12 (for Storace, Bannister Jun., Crouch, Davis, Danby). The Iron Curtain being finish'd was this Evening exhibited for the first Time with the Epilogue [and see 21 Apr.]. "On the 24th February, 1809, this theatre was burnt down . . . Every care had been taken to guard against such a calamity. Two large reservoirs for water, on the top of the house, happened, unfortunately, at this crisis to be empty; and an iron curtain, intended to separate the auditory from the stage, for the purpose of saving a part of the edifice in case of conflagration, was, with its machinery, so much out of order as to be useless; it was, in fact, utterly immoveable" (Brayley, p. 8). Receipts: #451 8s. 6d. (389/4/0; 56/5/0; 4/6/6; tickets not come in: 1/13/0)

Performances

Mainpiece Title: King Henry The Eighth

Afterpiece Title: THE CHILDREN IN THE WOOD

Event Comment: Benefit for Fawcett 1st piece: By permission of G. Colman, Esq. Never performed at that Theatre. As performed at the Theatre Royal, Haymarket, with universal Applause. With new Scenery, Dresses and Decorations. Written by the Author of The Way to Get Married [Thomas Morton]. 2nd piece [1st time; M. INT 1]. Oracle, 8 Apr.: Tickets to be had of Fawcett at his house, No. 9, Tottenham-Court-Road, opposite Howland-street. Receipts: #507 9s. 6d. (185.7.6; 10.0.0; tickets: 312.2.0)

Performances

Mainpiece Title: Zorinski

Afterpiece Title: A Nicknackatory

Afterpiece Title: Lock and Key

Dance: 2nd piece to conclude with: Highland Festivity, as17951125

Song: 1st piece: Vocal Parts-Linton, Williamson, Blurton, Street, Abbot, Holland, Rees, Lee, Little, Miss Logan, Miss Ives, Miss Leserve, Miss Walcup, Mrs Castelle, Mrs Masters, Mrs Watts

Entertainment: Monologue.End: Monsieur Tonson (Founded on Fact, and recited at Free-Mason's Hall, last Winter, with universal Applause)-Fawcett

Event Comment: Benefit for Fawcett. 1st piece: By Permission of the Proprietor of the Theatre Royal, Hay-Market. 2nd piece [1st time; M. INT 1]. 3rd piece: Never acted here; by Permission of the Proprietor of the Theatre Royal, Hay-Market. With appropriate Scenes, Dresses & Decorations. The Music composed & selected by Attwood. Morning Chronicle, 15 Apr.: Tickets to be had of Fawcett, No. 3, Tanfield-court, Temple. Receipts: #535 6s. (233.2; 7.3; tickets: 295.1)

Performances

Mainpiece Title: The Heir At Law

Afterpiece Title: The Social Songsters

Afterpiece Title: The Castle of Sorrento

Event Comment: The King's Company. Pepys, Diary: we went by water to Salisbury Court play-house, where not liking to sit, we went out again, and by coach to the Theatre, and there saw The Scornful Lady, now done by a woman, which makes the play appear much better than ever it did to me

Performances

Mainpiece Title: The Scornful Lady