Event Comment: Benefit Mrs Clive. Mainpiece: Never acted there Before. Amphitheatre on stage [see 12 March]. Mainpiece: By Command of their Royal Highnesses the Prince and Princess of Wales. Tickets and places of Mrs Clive at her house in Great Queen St., Lincoln's Inn Fields; or of Page at the stage door of the theatre. Last Night their Royal Highnesses the Prince and Princess of Wales were at the Theatre Royal in Covent Garden to see the Merchant of Venice; when the Song of Britons strike home was commanded to be sung, which was accordingly done, with the Chorus's, accompanied by Trumpets, Kettle-Drums, etc. and met with the Greatest Applause.--General Advertiser, 14 March. [The notice about Miss Edwards' first attempt means in an acting role; she was a singer.

Event Comment: Benefit Raftor and Miss Edwards. Mainpiece: Written by Shakespear. Advertised as not acted for 5 years. Afterpiece not acted these 12 years [see 23 April 1734]

Event Comment: Benefit for Mrs Thompson

Event Comment: Benefit for Mrs Thompson. Prices 3s. The Musical Piece from the Italian of Goldoni, and adapted to the original Music of Galuppi by Storace, compiler of La Serva Padrona

Event Comment: Tickets delivered for this Evening [by Wm. Banks, Dale Sen., Chippendale, Gregson, Jacobs, Wells, Thompson, Whitmell, Mrs Byrne, Mrs Butler, Miss Jackson (Account-Book)] will be admitted. Receipts: #305 4s. (17.4.6; 22.0.0; 1.7.0; tickets: 264.12.6)

Event Comment: Mainpiece [1st time; D 5, by Benjamin Thompson, altered from Menschenhass und Reue, by August Friedrich Ferdinand von Kotzebue. Prologue by William Linley; Epilogue by Matthew Gregory Lewis (European Magazine, Mar. 1798, p. 260)]: With new Scenes, Dresses, &c. With Musick [by Thomas Shaw]. "Mrs Siddons was succesful in all the impassioned parts; but she cannot sustain a mixed character. She is the Muse of Tragedy herself, and when she descends from her lofty state to the level of familiar dialogue, she instantly ceases to astonish and we to admire" (Monthly Mirror, Apr. 1798, p. 234). "The dialogue must be considerably abridged, as well for the purpose of preserving the interest of the piece, as for shortening the time of representation, which is at least an hour too long, it being half past ten before the curtain dropt" [see 26 Mar.] (Morning Herald, 26 Mar.). Receipts: #420 7s. 6d. (378.11.6; 40.18.0; 1.8.0)

Event Comment: Afterpiece [1st time; F 2, by Elizabeth Inchbald. Prologue by Edward Topham (London Chronicle, 26 Aug. 1786)]. Account-Book, 5 June 1786: Paid Mrs Inchbald in full for Appearance is against Them #50. Public Advertiser, 11 Nov. 1785: This Day is published Appearance is against Them (1s.). Receipts: #207 2s. (204/10/6; 2/11/6)

Event Comment: Benefit for Mrs Thompson. The Roman Father is oblig'd to be deferr'd on account of the indisposition of Powell (playbill). Charges #66 2s. 6d. Balance to Mrs Thompson #62 11s. plus #31 14s. in tickets (Box 92; Pit 58) (Account Book). Receipts: #128 13s. 6d. (Account Book)

Event Comment: Mainpiece [1st time; MD 3, by Miles Peter Andrews and Frederick Reynolds. Prologue by Edward Topham; Epilogue by Miles Peter Andrews (Crouch, II, 229)]: With new Scenes, Dresses and Decorations. The new Music composed, and the rest selected by Shield. Morning Chronicle, 25 Feb. 1795: This Day is published The Mysteries of the Castle (2s.). [Mrs Cornelys was from the Crow Street Theatre Dublin.] Receipts: #243 12s. (241.19; 1.13)

Event Comment: Mainpiece [1st time; C 5, by Thomas Morton. Prologue by William Thomas Fitzgerald. Epilogue by Edward Topham ( see text)]: With new Scenery, Dresses, &c. [Oracle, 1 Feb. 1796, recounts the financial transactions relative to this play. Thomas Harris, the cg proprietor, bought the copyright from Morton for #140; he was also to give Morton #100 on each of his benefit nights, i.e. the 3rd, 6th, 9th and 21st of the run of the play. Morton's profit was therefore #540.] Receipts: #281 16s. 6d. (278.9.6; 3.7.0)

Event Comment: Benefit for Holman. 1st piece [1st time; C 5, by Benjamin Hoadly, based partly on L'Ecole des Femmes, by Moliere. Larpent MS 1160; not published. Prologue by John Taylor; Epilogue by Edward Jerningham (European Magazine, May 1797, p. 342)]: Mr Holman having been favored by the Family of Doctor Hoadly, Author of the Suspicious Husband, with a Manuscript Comedy in Five Acts, the production of that celebrated Writer, he most respectfully informs the Public that it will be presented under the Title of The Tatlers. True Briton, 1 May: The Play was given to Holman by Dr Hoadly Ashe, Hoadly's nephew. Ibid, 10 Apr.: Tickets to be had of Holman, No. 14, John-street, Adelphi. Account-Book: Paid Insurance and Duty on #10,000 for one year from 16th Inst. at the Royal Exchange Fire Office #136 17s; ditto on #10,000 for one year from Lady Day at the Phoenix Fire Office #112 10s. Receipts: #290 11s. 6d. (143.16.0; 10.11.6; tickets: 136.4.0)

Event Comment: [As afterpiece Public Advertiser announces The Rival Candidates, but see Hopkins Diary, 12 Oct.] The Managers met again to-day, but nothing settled. Hamlet was given out. I saw Mr Sheridan, he told me that Mr Lacy and he had agreed that no Play should be given out, nor any Bills put up, till they had settled this Affair, which was to be done to-Morrow at Mr Wallis's (the Attorney's) where they were all to dine. I waited on Mr Lacy, who agreed to the same, and no Bills or Paragraph were sent to the Papers. All the Business of the Theatre is at a Stand, and no Rehearsal called. Wed. 16th--Mr Sheridan, Dr Ford and Mr Linley dined today by Appointment with Mr Wallis where Mr Lacy was to have met them; about four o'clock he sent a verbal Message that he could not come to Dinner, but would wait upon them in the Evening, and about nine o'clock he came, and everything was settled to the Satisfaction (of them all) and a Paragraph sent to the Papers, and the Hypocrite and Christmas Tale was advertised for Friday, but no Play was to be done on Thursday--Covent Garden did not play on Friday (Hopkins Diary). Public Advertiser, 16 Oct., summarizes the proprietors' dispute: the Drury Lane patent had been purchased [in 1747] by David Garrick and James Lacy. On his death Lacy had devised his half-share to his son, Willoughby Lacy; on his retirement from the stage Garrick had sold his half-share to Sheridan, Ford and Linley. The original agreement between Garrick and Lacy, as recited in a document retained by the attorney Albany Wallis was that, in case of the sale of either share of the patent, or any part of either share, the seller was obligated to offer the first refusal to purchase to the other partner, and that this was to be done only when the theatre was closed for the summer. In selling one half of his share to Robert Langford and to Edward Thompson, Willoughby Lacy was--so argued his three partners--acting illegally: he had not offered to them the first refusal, and he was negotiating the sale at a time when the theatre was open. Public Advertiser, 17 Oct.. prints a statement from Lacy saying that he did not feel himself bound by the original agreement between his father and Garrick, but that, in the interest of the business of the theatre, he had asked Langford and Thompson to withdraw their claim to partnership, to which request they had acceded. Receipts: #130 9s. 6d

Event Comment: New Scene [1st time; by Edward Thompson, with music by Dr Arne. Larpent MS 438; synopsis ("Macheath, after trial, is sentenced to work on the Thames" in London Chronicle, 18 Oct.]. Paid Hull on Acct. of salary as Acting Manager #30. Account-Book, 23 Mar. 1778: Paid Capt. Thompson for writing the new Scene in The Beggar's Opera #25. Receipts: #240 9s. (240.2.6; 0.6.6)

Event Comment: Benefit for Quick. Mainpiece: Altered from Shirley. Never acted here. With proper Scenes, Dresses, and Decorations. [Epilogue by Edward Topham (European Magazine, May 1786, p. 368).] Afterpiece: In 2 Acts; written by Addison. Public Advertiser, 29 Mar.: Tickets to be had of Quick, No. 99, High Holborn. Receipts: #281 17s. 6d. (153/14/6; 4/4/0; tickets: 123/19/0) (charge: #105)

Event Comment: [Seymour is identified in European Magazine, Oct. 1787, p. 315. Address by Edward Hickey Seymour (London Chronicle, 4 Oct.).] "The clock striking two -instead of the usual folly of a small table bell, when Macbeth's drink was ready -forms an alteration of much good sense and propriety" (World, 2 Oct.). "Of the Lady Macbeths [since the time of Garrick] Mrs Siddons has exhibited the most happy effect of her skill -has shown a portrait of Lady Macbeth which before existed but in imagination. Mrs Yates claims the second place of eminence; her deportment and manner were equal to Mrs Siddons, but very inferior to her in pathos and energy. Mrs Pope's performance lays claim to praise, particularly in the sleeping scene, but there is a certain delicacy and tenderness associated with the powers of that lady which prevents her giving a glowing picture of that female fiend. Mrs Bates's performance was sufficiently marking and bold in some passages, but the whole wanted uniformity and finishing" (Public Advertiser, 4 Oct.). Receipts: #225 (224.5; 0.15)

Event Comment: Paid Edwards & Co. for Crape, Gauze & Tiffeny #23 9s. Receipts: #128 16s. 6d. (127.13.0; 1.3.6)

Event Comment: Mainpiece: 42nd [recte 40th] Time [i.e. in continuation of the reckoning for the previous season. Epilogue by Edward Topham]. Receipts: #212 17s. (209.6.6; 3.10.6)

Event Comment: Benefit for Lewis. 3rd piece [1st time; M. INT 1, by Thomas John Dibdin. Larpent MS 1288; not published]: Founded on a late Glorious Naval Achievement [the recapture by Capt. Edward Hamilton, on 25 Oct. 1799, of the British frigate Hermione, from the Spaniards]. The Music selected and composed by Attwood. Morning Chronicle, 1 Apr.: Tickets to be had of Lewis, No. 52, Great Queen-street, Lincoln's Inn Fields. Receipts: #361 17s. (263.2.0; 33.5.6; tickets: 65.9.6)

Event Comment: Mainpiece: Not acted these 12 years. [See 24 Jan. 1758.] Prologue written by Paul Whitehead. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant (only) at the Stage-Door. No persons can be admitted behind scenes, nor any Money returned after curtain is drawn up. To begin exactly at 6 o'clock. [Customary note in succeeding bills.] Receipps: #190 14s. (Account Book). @The New Occasional Prologue@As when the merchant to increase his store@For Dubious seas, advent'rous quits the shore;@Still anxious for his freight, he trembling sees@Rocks in each buoy, and tempest in each breeze@The curling wave to mountain billow swells,@And every cloud a fancied storm fortells:@Thus rashly launch'd on this Theatric main,@Our All on board, each phantom gives Us pain;@The Aatcall's note seems thunder in our ears,@And every Hiss a hurricane appears;@In Journal Squibs we lightning's blast espy,@And meteors blaze in every Critic's eye.@Spite of these terrors, still come hopes we view,@Hopes, ne'er can fail us--since they're plac'd--in you.@Your breath the gale, our voyage is secure,@And safe the venture which your smiles insure;@Though weak his skill, th' adventurer must succeed,@Where Candour takes th' endeavor for the deed.@For Brentford's state, two kings could once suffice;@In ours, behold! four kings of Brentford rise;@All smelling to one nosegay's od'rous savor@The balmy nosegay of--the Public favor.@From hence alone, our royal funds we draw,@Your pleasure our support, your will our law.@While such our government, we hope you'll own us;@But should we ever Tyrant prove--dethrone us.@Like Brother Monarchs, who, to coax the nation@Began their reign, with some fair proclamation,@We too should talk at least--of reformation;@Declare that during our imperial sway,@No bard shall mourn his long-neglected Play;@But then the play must have some wit, some spirit,@And We allow'd sole umpires of its merit.@For those deep sages of the judging Pit,@Whose taste is too refin'd for modern wit,@From Rome's great Theatre we'll cull the piece,@And plant on Britain's stage the flow'rs of Greece.@If some there are, our British Bards can please,@Who taste the ancient wit of ancient days,@Be our's to save, from Time's devouring womb,@Their works, and snatch their laurels from the tomb.@For you, ye Fair, who sprightlier scenes may chuse,@Where Music decks in all her airs the Muse,@Gay Opera shall all its charms dispense,@Yet boast no tuneful triumph over sense;@The nobler Bard shall still assert his right,@Nor Handel rob a Shakespear of his night,@To greet the mortal brethren of our skies [upper galleries]@Here all the Gods of Pantomime shall rise:@Yet midst the pomp and magic of machines,@Some plot may mark the meaning of our scenes;@Scenes which were held, in good King Rich's days,@By sages, no bad epilogues to plays.@If terms like these your suffrage can engage,@To fix our mimic empire of the stage;@Confirm our title in your fair opinions,@And crowd each night to people our dominions.@--(Poems and Miscelaneous Compositions, Ed. Capt. Edward Thompson, 1777) Covent Garden opened with the Rehearsal with alterations. I was in the Pit. Powell, from Drury Lane, one of the new managers who have bought the patent from Rich's heirs, spoke an occasional Prologue. Shuter did Bayes pretty much to my liking, adding many crochets of his own.... Entertainment The Mock Doctor,...Young Jasper pretty well by one Massey, being his first appearance on that stage (Neville MS Diary)

Event Comment: [By Theophilus Cibber.] Alter'd from Shakespear. Containing the Marriages of King Edward the Fourth , and young Prince Edward , with Lady Gray , and Lady Anne . The Distresses of Queen Margaret . The Deposing King Henry the Sixth . The Battles Fought at St. Albans, Wakefield, Mortimer's-Cross, and Tewkesbury. The Deaths of Lord Clifford of Cumberland , and his Son, the Duke of York , his Steward. And many other True Historical Passages

Event Comment: Benefit for Barrington Fox. Tickets deliver'd by Thompson and Master Harris will be taken. Charges #67 4s. 6d. were borne by Barrington and Fox, who faced a deficit of #16 4s. 9d. apiece. It was cover'd by income from tickets. Thompson and Master Harris rec'd their tickets gratis (Account Book). @Tickets Box Pit Gallery Value@Barrington 69 92 50 #36 1s.@Fox 93 194 61 #58 9s.@Thompson 0 24 94 #13 @Mas. Harris 114 61 52 #42 17s.@ Receipts: #34 15s. (Account Book)