Event Comment: Mainpiece: The Overture, Airs, &c. by Dr Arnold. The selected, by Handel, Vento, Giordani, Bertoni, Dr Arne, and Carolan. [Afterpiece in place of Animal Magnetism, advertised on playbill of 21 Sept.] Receipts: #199 6s. 6d. (197.5.6; 2.1.0)

Event Comment: [In afterpiece the playbill assigns Shelty to Edwin, but "Ryder in the stead of Edwin, who was said to be indisposed, played the part of Shelty" (World, 29 Sept.).] Afterpiece: The Music by Handel, Rizzio, ?J. C.? Bach, Gretry, Corri, Shield. A new Scotch Overture by Shield. Paid Music 25th Inst. #11 7s. 6d.; Properties 2s. 4d.; Kettle Drum 5s.; Wardrobe #5 10s. 6d.; Supernumeraries #8 12s. 6d.; Chorus Singers #2; Cox for Scenemen #28 1s.; Hodgins #4 4s. Receipts: #254 4s. 6d. (250.15.0; 3.9.6)

Event Comment: Benefit for Blandford and Randall. 3rd piece: A Pantomimical Interlude, from Don Juan. First Scene opens with a Tempestuous Sea, and Shipwreck of Don Juan and his man Scaramouch, who is cast on shore from off the Back of a Dolphin on the Island of Martinico. Scene from the pantomimes of The Enchanted Island, Wizard of the Silver Rock, The Witches Frolic, &c. The whole to conclude with a View of the Inside of the Bastille, with the different Gratings, Railings, and Instruments of Death and Torture by which the unfortunate Victims suffered, and the Grand Chorus of God save the King. The Curtain will rise precisely at 6:45

Event Comment: Mainpiece [1st time; CO 3, by James Cobb. Text 1st published (unauthorized), Dublin [1790]. Sga Storace had 1st appeared in concerts from 1774 to 1778, and at king's on 24 Apr. 1787 and thereafter]: With new Scenes, Dresses and Decorations. The new Music composed by Storace, the rest compiled from Linley? Sen., Purcell, Sarti, Paisiello, Martin y Soler?, Pleyel, &c. The Scenes designed and executed by Greenwood. Books of the Songs to be had at the Theatre. "In her own particular line on the stage [Sga Storace] was unrivalled, being an excellent actress, as well as a masterly singer. She settled entirely in England, and after quitting the opera (to which she was frequently recalled in times of distress, as was too often the case), she engaged at Drury Lane, where the English opera was raised to an excellence not known before, by her singing, with that of Mrs Crouch, Mrs Bland, Kelly, and Bannister, and under the direction of her brother Stephen Storace, who composed, or rather compiled, several very pretty operas, of which the Haunted Tower, and the Siege of Belgrade still remain favorites, and are frequently performed" (Mount-Edgcumbe, 65). Account-Book, 4 Jan. 1790: Paid Cobb on Acct. of the Purchase of the Copyright of the Haunted Tower #157 10s.; 27 Feb. 1790: Paid Cobb in full for Copyright #52 10s. Receipts: #219 9s. 6d. (200.13.0; 17.14.6; 1.2.0)

Event Comment: [As afterpiece Kemble Mem. lists The Island of St. Marguerite, but the playbill for 8 Jan. has "15th Night," for 13 Jan. "16th Night," for 15 Jan. "17th Night," &c. The enumeration for Harlequin's Frolicks is likewise consistent.] Receipts: #242 (222.12; 18.11; 0.17)

Event Comment: Mainpiece [1st time; C 5, by John Philip Kemble]: Taken from [The Rover, by] Mrs Behn, with considerable Alterations. With new Dresses and Decorations. Receipts: #165 14s. 6d. (133.8.0; 31.14.0; 0.12.6)

Event Comment: Benefit for Mrs Wells. Mainpiece [1st time; C 4, author unknown, not in Larpent MS; not published. Epilogue by Robert Merry (World, 30 Apr.). On 11 May acted as The Female Pursuit]: Taken from Moor's Gil Blas. Public Advertiser, 27 Apr.: Mrs Wells trusts the Public will have the Candour to excuse her not appearing in the Play, as the principal Woman's Character has many changes in it, and the Fatigue of going through various and numerous Imitations would render her incapable of undertaking it. Gazetteer, 9 Apr.: Tickets to be had of Mrs Wells, No. 12, Weymouth-street, Portland-place. Receipts: #301 14s. (166.2; 10.1; tickets: 125.11)

Event Comment: Benefit for Spencer and Nix. 1st piece: Some of the Music compiled from the best Masters. The rest of the Music, the Overture, Accompaniments, &c. by Linley? Sen.. Receipts: #252 4s. 6d. (44.17.0; 27.0.0; 3.11.6; tickets: 176.16.0) (charge: #110 11s. 10d.)

Event Comment: Afterpiece: A revived Grand Pantomimical Ballet. To conclude with a superb Prospect of the Infernal Regions. [This was included in all subsequent performances; and see 6 Nov.] Books of the Pantomime to be had at the Theatre. With new Scenes, Dresses and Decorations. The Scenes designed and painted by Greenwood. Receipts: #272 14s. (238.18; 32.4; 1.12)

Event Comment: Mainpiece [1st time; C 5, usually ascribed to Thomas Holcroft, but probably by James Marshall; adapted from Trau, Schau, Wem! (later entitled Der Gasthof), by Johann Christian Brandes. Authors of Prelude and Epilogue unknown]. Account-Book, 23 Nov.: Paid Marshall, author, in full, #99 8s. [not the actor, engaged at cg this season, whose Christian name was Thomas]. Diary, 23 Nov. 1790: This Day is published The German Hotel (1s. 6d.). Receipts: #179 14s. (166.4; 13.10)

Event Comment: Mainpiece [1st time; C 5, by Miles Peter Andrews and Frederick Reynolds; based on Le Dissipateur; ou, L'Honnete Friponne, by Philippe Nericault, dit Destouches. Prologue by the Duke of Leeds; Epilogue by Miles Peter Andrews (see text)]: With new Scenes, Dresses and Decorations. The Scenery designed and executed by Greenwood. Gazetteer, 18 Nov.: At the rehearsal of the new comedy on Tuesday the Duke of Leeds, Major Scott, Mr Angerstein [the banker] and Mr Boswell were in the boxes. Mr Boswell said an epigrammatic thought had struck him...and he brought the following Impromptu into life: Andrews, your play is safe enough; For noble Leeds endures it; Boswell and Scott are pledged to puff, And Angerstein ensures it. World, 13 Dec. 1790: To-morrow will be published Better Late than Never (1s. 6d.). Receipts: #240 14s. (206.7; 32.6; 2.1)

Event Comment: Afterpiece [1st time: P 1, by Roger Johnston. Not in Larpent MS; synopsis of action in World, 28 Dec.)]: The new Scenes designed and executed by Greenwood. Books of the Songs with a Description of the Pantomime [C. Lowndes, 1790] to be had at the Theatre. The Pantomime being partly compiled, Half Price will be taken. Receipts: #273 5s. (234.17.0; 35.11.6; 2.16.6)

Event Comment: Mainpiece [1st time; C 5, by Thomas Holcroft, based on Le Glorieux, by Philippe Nericault, dit Destouches. In 1793 reduced by the author to an afterpiece of 3 acts. Prologue and Epilogue by the author (Knapp, 101, 307). This play was originally attributed to James Marshall (Public Advertiser, 5 Feb.); on 8 Feb. he wrote a letter to the editor of the Oracle, stating that "The School for Arrogance is not mine, but Mr Holcroft's...By appearing for a time as the ostensible author I hope I have contributed to heal what was most unaccomodating between Mr Harris and Mr Holcroft." And see Genest, VII, 24, 27.] Oracle, 19 Feb. 1791: This Day is published The School for Arrogance (1s. 6d.). "If Mrs Wells could be prevailed upon to speak out, so that the audience might hear, it would be of some advantage to the new play. At present, the performer who happens to be on the stage with her has it all in confidence" (Gazetteer, 9 Feb.). Receipts: #186 11s. (181.8; 5.3)

Event Comment: 2nd piece: Never [previously] acted in this Kingdom [by Robert Jephson, altered by the author from his The Hotel; or, The Servant with Two Masters, which was based on Il Servitore di due Padroni, by Carlo Goldoni, and on Arlequin Valet de deux Maitres, by Jean Pierre de Ours de Mandajors, and 1st acted at Smock Alley Theatre, Dublin, 8 May 1783]. Oracle, 18 Mar. 1791: This Day is published Two Strings to Your Bow (1s). Receipts: #210 3s. 6d. (205.17.0; 4.6.6)

Event Comment: By Command of Their Majesties. 2nd Ballet: With entire new Scenes, Dresses, Machinery, &c. [Synopsis of action (H. Reynell, 1791); music by Mazzinghi.] "The machinery in this Ballet is highly deserving of praise. Calypso's Grottov, which is formed by the wings and a flat scene rising suddenly from the earth, had a surprising effect. The Mechanism by which this change is produced, we apprehend, is wholly new in this country" (Morning Post, 21 Mar.)

Event Comment: Benefit for Mrs Jordan. Part of the Pit will be laid into the Boxes. To prevent Confusion Ladies are desired to send their Servants by half past Four. Mainpiece [1st time; C 5, by Richard (later) Sir Richard? Ford. Kemble Mem.: Altered by R. Ford from the Humourous Lieutenant. Epilogue by Henry William? Bunbury. Larpent MS 894; not published]: Altered from Beaumont and Fletcher (recte Fletcher alone). Oracle, 25 Feb.: Tickets to be had of Mrs Jordan at her house, No. 14, Somerset-street, Portman-square. Receipts: #346 8s. 6d. (102.18.0; 13.5.0; 3.6.6; tickets: 226.19.0) (charge: free)

Event Comment: Benefit for Mrs Pope. Public Advertiser, 22 Mar.: Tickets to be had of Mrs Pope at her house in Half Moon-street, Piccadilly. Receipts: #306 12s. (190.13.6; 10.0.6; tickets: 105.18.0)

Event Comment: Mainpiece [1st time; MD 3, by the Hon. Francis North. Johnstone was from cg]: The Music partly new by Gyrowetz, and partly compiled [by Miss Monck, or Monckton] from Paisiello, Sacchini, and Guglielmi. With new Dresses, Decorations, &c. Books of the Songs to be had at the Theatre. Oracle, 27 June: The chief excellence of this piece is the preservation of costume. Gazetteer, 27 June: Bensley disgraced a performance otherwise good by concluding his sentences with a rant, and a look at the gallery. Times, 9 July 1791: This day is published The Kentish Barons (1s. 6d.)

Event Comment: 2nd piece [1st time; C 3, by Elizabeth Inchbald, based on L'Indigent, by Louis Sebastien Mercier, and on Le Dissipateur; ou, L'Honnete Friponne, by Philippe Nericault, dit Destouches. Prologue and Epilogue by Thomas Vaughan (see text)]. Morning Chronicle, 21 July 1791: This Day is published Next Door Neighbours (1s. 6d.)

Event Comment: Mainpiece: 32nd Night [i.e. in continuation, erroneously, of the reckoning for the preceding season, when it was acted 28 times]. With new Music, Scenes, Dresses, and Decorations. The Music (with a few Exceptions) composed entirely new by Shield. And new Scenery designed and chiefly executed by Richards. Books of the Songs to be had at the Theatre. "Covent-garden is the National Theatre. I was there on 10th Dec. and saw an opera called The Woodman. It was the very day on which the life story of Madam Billington, both from the good as well as from the bad sides was announced [i.e. Memoirs of Mrs Billington, and An Answer to the Memoirs of Mrs Billington, both anonymous, both predated 1792]...She sang rather timidly this evening, but very well all the same. The first tenor [Incledon] has a good voice and quite a good style, but he uses the falsetto to excess. He sang a trill on high C and ran up to G. The 2nd tenor [Johnstone] tries to imitate him, but could not make the change from the falsetto to the natural voice, and apart from that is most unmusical...But the cast is entirely used to him. The leader is Herr Baumgartner [sic], a German who, however, has almost forgotten his mother-tongue. The Theatre is very dark and dirty, and is almost as large as the Vienna Court Theatre. The common people in the galleries of all the theatres are very impertinent; they set the fashion with all their unrestrained impetuosity, and whether something is repeated or not is determined by their yells. The parterre and all the boxes sometimes have to applaud a great deal to have something good repeated. That was just what happened this evening, with the Duet in the 3rd Act, which was very beautiful; and the pro's and contra's went on for nearly a quarter of an hour, till finally the parterre and the boxes won, and they repeated the Duet. Both the performers stood on the stage quite terrified, first retiring, then again coming forward. The orchestra is sleepy" (Haydn, 273-74). Receipts: #194 11s. (191.8; 3.3)

Event Comment: Mainpiece: In 5 Acts, altered from the Dramatic Romance by David Garrick, Esq. With a new Overture and new additional Musick by Storace [on 2 Jan. 1792 and thereafter, added: Shaw] and other Eminent Masters. Entirely new Scenery by Greenwood, and new Dresses, Decorations and Machinery. To conclude with a Grand Procession of the Hundred Knights of Chivalry, and the Representation of an Ancient Tournament. [These were included in all subsequent performances.] Books of the Songs to be had at the Theatre. Morning Post, 3 Jan. 1792, prints a full description of the Procession of over 100 persons: 1st, Anglo-Saxon Knights and banners; then ancient British knights, Norman knights, Indians, Turks, Scythians, Romans, a dwarf, a giant; at end, "soldiers drawing a superb picture of St. George, knights in chain mail, a cupid leading a knight covered with a silver net, Hymen, piping fauns, bands of cupids drawing an altar--flame burning, cupids hovering over it, and others feeding doves below, a troop of Arcadian shepherds drawing the car of Cymon and Sylvia, characters of the drama, and chorus." "At the conclusion of the procession, a tournament took place of both horse and foot, between several combatants in armour, who fought with lances, swords and battle-axes: three of Hughes' horses [from the Royal Circus] were introduced, and managed with much dexterity; the Prince of Wales' Highlander made one of the procession, and entered the lists as a champion, fighting with an enormous club; against him a small female warrior was opposed, by whom he was subdued. It was by far the grandest spectacle ever seen upon the stage. Many of the characters were taken from Sir Philip Sydney's Arcadia, in which the scene of the piece was laid; and the dresses of the knights, armour, &c. from the drawings and descriptions of the best antiquarians" (Oulton, 1796, II, 215). [This was Edmund Kean's 1st appearance on the stage; he was about four years old. He personated a cupid lying in Cymon and Sylvia's car (Kelly, Reminiscences, II, 21-22).] Account-Book, 13 Jan. 1792: Paid Hughes for his Horses #16 19s. 10d.; 23 Jan.: Paid Gough for his Greyhounds in Cymon #5 19s. 6d. Receipts: #420 6s. (385.0; 35.5; 0.1)