Event Comment: We hear, that the company of Dutch/Children that are to perform to Tuesday next at the new theatre in the Haymarket, joyn'd with English, German, and Italian amount to above 25, and most of them excel either in Vocal or Instrumental Musick, Dancing Exercises, and playing of Pantomimes

Event Comment: Benefit for Sga Marina Giordani. Full Prices (Cross). A new Italian Comic Opera. The Music composed by Balthazar Galuppi. Ladies desired to send servants by Half an Hour after Three. This day publish'd at 1s. La Cameriera Accorta, Opera Comico, per Musica, as it is acted at Covent Garden. With an English Translation. Sold by H. Woodfall

Event Comment: At Hill's Large Theatrical Booth on the Bowling Green, Mainpiece an Italian Comic Farce translated into English by the celebrated Punch, Poet Laureate to the Grand Mogul

Event Comment: By Authority [repeated in each bill]. Music by Pergolesi. An English comicBurletta [translated] from the Italian (Public Advertiser)

Event Comment: A new English Comic Burletta from the Italian. Music by John Adolf? Hasse. To begin at half after seven

Event Comment: A new English Comic Burletta from the Italian. Music by Galuppi

Event Comment: Paid salary list 3 days at #72 4s. 1d. per diem #216 12s. 3d.; Mr Weston on his note #5 5s.; Mrs Abington 3 first days not on list #2 10s. (Treasurer's Book). [From a long review in the Public Advertiser 3 Oct.: Two new performers in parts very difficult to execute-Mr Cautherly a pupil of the greatest master of the art of acting that ever graced the English stage (if not European)...has this summer convinced us that he is susceptible of the most refined instructions of his great patron and tutor. Of the Lady, I can say nothing prior to her appearance 30 Sept. as I am noways acquainted with her history any more than that by declaration of common report; she is the spouse of the brother of that Mr Barry who has so greatly pleas'd the town this summer at the Opera House." [Comments on her figure, voice and countenance well adapted to express the stronger passions.] She seemed to be so much in love with Romeo as to forget she represented a young and inexperienced virgin unused to men...The first scene of consequence is the Masquerade scene, which was as to business very badly conducted; but this, I doubt not will be rectified another night, they were discovered in disorder and they went off in confusion. It appeared a tumultous assembly rather than a Masquerade of nobility in an Italian Palace. Romeo stayed so long behind the crow that he was oblig'd to run to his station opposite Juliet to be in time for "Cousin Benvolio, do you mark that lady." [A long and detailed review of the stage action act by act.] In the Garden scene an unlucky accident happened to Cautherly...his nose ran with blood and he was oblig'd to keep his handkerchief to his nose all through, which was a great loss to the audience...The Apothecary is the best figure I ever saw, and spoke more sensibly than I ever heard an apothecary speak in my life. Mr Castle has rescued that character from ridicule, and worked by pity what buffoonery used to run off with-applause." Receipts: #145 11s. 6d. (Treasurer's Book.

Event Comment: A Serious Opera, the music by Bianchi, under whose direction this Opera is now revived, and the Chorusses under Dr Arnold. ["A little miscreant Italian cabal, who have endeavoured to derange the performances at this Theatre, attempted to hiss Kelly, who had generously come from Drury Lane Theatre that the serious Opera might not be interrupted. The liberal feelings of the English subscribers overpowered the noise, and Kelly received the applause which his spirit deserved" (Morning Chronicle, 9 Feb.).

Event Comment: Pepys, Diary: To White Hall, and there in the Boarded-gallery did hear the musick with which the King is presented this night by Monsieur Grebus [Grabut], the master of his musick; both instrumentall--I think twenty-four violins--and vocall; an English song upon Peace. But, God forgive me! I never was so little pleased with a concert of musick in my life. The manner of setting of words and repeating them out of order, and that with a number of voices, makes me sick, the whole design of vocall musick being lost by it. Here was a great press of people; but I did not see many pleased with it, only the instrumental musick he had brought by pratice to play very just

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 United Company. This performance is on the L. C. list, 5@151, p. 369: Ye Q: a Box & a Box for ye Maids Honor Amphitrion. See also Nicoll, Restoration Drama, p. 352. The date of the first performance is not known, and it is doubtful that this one is the first; the premiere may have occurred early in October. The Songs and Music were published in 1690 and again in 1691, and have been edited by the Purcell Society, XVI (1906), iii-vi. Dedication, Edition of 1690: But what has been wanting on my part, has been abundantly supplied by the Excellent Composition of Mr Purcell; in whose person we have at length found an English Man equal with the best abroad. At least, my Opinion of him has been such, since his happy and judicious performances in the late opera [The Prophetess], and the experience I have had of him, in the setting my three Songs for this Amphitryon": To all which, and particularly to the composition of the Pastoral Dialogue, the numerous Quire of Fair Ladies gave so just an Applause on the Third Day. Cibber, Apology, I, 113: As we have sometimes great Composers of Musick who cannot sing, we have as frequently great Writers that cannot read; and though without the nicest Ear no Man can be Master of Poetical Numbers, yet the best Ear in the World will not always enable him to pronounce them. Of this Truth Dryden, our first great Master of Verse and Harmony, was a strong Instance: When he brought his Play of Amphytrion to the Stage, I heard him give it his first Reading to the Actors, in which, though it is true he deliver'd the plain Sense of every Period, yet the whole was in so cold, so flat, and unaffecting a manner, that I am afraid of not being believ'd when I affirm it

Event Comment: Betterton's Company. The date of the first performance is not certain, but contemporary sources refer to the fact that William Smith, who died in the last week of December, fell ill on the fourth day of its run; hence, it probably was first presented in mid-December. One song, O take him gently from the pile, set by John Eccles and sung by Mrs Bracegirdle, is in Deliciae Musicae, The Fourth Book, 1696. Downes, Roscius Anglicanus, p. 44: The Grand Cyrus, wrote by Mr Banks; it was a good Play; but Mr Smith, having a long part in it, fell Sick upon the Fourth Day and Dy'd, upon that it lay by, and ne'er have bin Acted since. Gildon, English Dramatick Poets, p. 6: Tho' this Play had been formerly refus'd the Action, yet it held up its Head about Six Days together, and has been since Acted several Times. A Comparison Between the Two Stages: Sullen, p. 16: Banks's, which the Players damn'd and wou'd not Act of a great while, but at length it was acted, and damn'd then in manner and form

Event Comment: Benefit Bowen, who will be (in a most particular Manner) Honour'd that Night with the Presence of L'Madam Signiora Fount, Native de Barselona Di Cala Qualificatta, being the first time of her appearance in the English Theatre; and by reason the Queen's Box will be taken up by the Foreign Ministers, The Spanish Lady will be in one of the Stage-Boxes in the Habit of of her Country

Event Comment: An Oratorio in English. Formerly Compos'd by Mr Handel, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. N.B. There will be no Action on the Stage. but the House will be fitted up in a decent Manner for the Audience. The Musick to be disposed after the maner of the Coronation Service. [Their Majesties, Prince, Princess Royal and Amelia present. See also Egmont, Diary, I, 266, and Dean, Handel's Dramatic Oratorios, pp. 205-97.

Event Comment: A Serenata. Being an Essay of several different Sorts of Harmony.[Music by Handel. Done into English by George Oldmixon.] Daily Advertiser, 14 March: Last Night Mr Handell's new Serenata, in Honour of the Princess Royal's Nuptials with the Prince of Orange, was perform'd before their Majesties, the Prince of Wales, the Princess Royal, the Prince of Orange, and all the Royal Family, and was received with the greatest Applause; the Piece containing the most exquisite Harmony ever furnish'd from the Stage, and the Disposition of the Performers being contriv'd in a very grand and magnificent Manner. [The marriage of the Prince of Orange and Royal Princess occurred on Thursday, 14 March.]

Event Comment: TThe London Magazine (Feb. 1742) reprinted an article from the Universal Spectator of this date on an Indian's observations on the manners of the English, which included a general account of a night at the theatre, in which the scene shifting and the music seemed most impressive to the writer

Event Comment: Written by Shakespear. Play to begin at 6 o'clock. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Hobson at the Stage-Door of the Theatre. As the Admittance of Persons behind the Scenes has occasioned a general Complaint on Account of the frequent Interruptions in the Performance, tis hop'd Gentlemen won't be offended, that no Money will be taken there for the future. [This notice appears on succeeding bills for the season and will hence not be repeated. See note on public objection to nonadmittance behind scenes 22 Feb. 1748.] Receipts: #150 (Cross); #I26 12s. (Clay MS). Nichols Literary Anecdotes, II, 319-20: There is one part of theatrical conduct which ought unquestionably to be recorded to Mr Garrick's honour, since the cause of virtue and morality and the formation of public manners are very considerably dependent upon it, and that is the zeal with which he ever aimed to banish from the stage all those plays which carry with them an immoral tendency, and to prune from those which do not absolutely on the whole promote the interests of vice such scenes of licentiousness and libertinism as a redundency of wit and too great liveliness of imagination have induced some of our comic writers to indulge themselves in, and to which the sympathetic disposition of an age of gallantry and intrigue had given a sanction. The purity of the English stage was certainly much more fully establish'd during the administration of this theatrical minister than it had ever been during preceding managements; for, what the publick taste had itself to some measure begun, he, by keeping that taste within its proper channel, and feeding it with a pure and untainted stream, seems to have completed; and to have endeavoured as much as possible to adhere to the promise made in the prologue which was spoken at the first opening of that theatre under his direction, @Bade scenic virtue form the rising age@And truth diffuse her radiance from the stage.

Event Comment: CCross: (Pam: publish'd). Play dislik'd. Hiss'd much. [The pamphlet referred to was "Mr Garrick's Conduct as Manager of TRDL considered in a Letter Addressed to him," by E. F. 18 Oct.: As a manager, Sir, it is your business not only to prepare the Evening's Entertainment, but to prepare it in the best manner you are able; and the manager who does otherwise uses his customers ill." The burden of the author's complaints was: (1) the theatre has been operating for a month yet Garrick has appeared in only one character; (2) that he should buy himself off with speaking a prologue only, then sell that to the public at 6d. shows vanity, avarice, and lack of managerial responsibility; (3) that plays such as Albumazar (simple and poorly cast) and Scornful Lady, (with irreligious and atheistical parts) should not have been passed off on the public, whose expectations were raised high at the thought of Garrick's management. Macklin even had to apologize to the audience as he played the part of Sir Roger in the latter play. E. F. closed by urging: "Get up the best of our English Tragedies and Comedies; encourage the rising Wits and be under no apprehesion of the want of success." If you use common sense in casting your actors, as your former managers did (with all their other faults) in casting you, you will not yourself have to play every night. Above all remember your responsibility to the public.] Receipts: #100 (Cross); #127 4s. 6d. (Powel)

Event Comment: To the Printer of the Public Advertiser: Sir, On seeing the Burletta of Galligantus at the little theatre in the Haymarket, I was agreeably surprised to see a performance of the kind carried on in so genteel a manner, no way inferior to any opera; and after the nicest inspection of the whole performance, I have the pleasure to inform the Nobility, Gentry, &c., I found all the performers were English, their Dresses very completely adapted, their voices excellent, and their actions quite genteel and comic, their music charming and set without the assistance of any Foreigner, it being composed by Mr J@@D@@, a Native of Ireland, whose excellency in that art needs no encomium. I am, yours A True Briton

Event Comment: Mainpiece: By Desire. Music [to afterpiece] by Barthelemon. I often go to both theatres, have seen Garrick and Mrs Yates, who are the first in this theatrical sphere. The former has hitherto [i.e., this season] appeared only in comedy, --his manner, his humour, and his judgment are not to be equall'd. The adoration he meets with from the English is equal to his merit. His every motion they attend to, and every turn of his eye seems to transport them. Mrs Yates [at Covent Garden] has much tragic merit. Her low voice is very tuneful, her feeling great, her action peculiarly graceful and her figure uncommonly fine. She has more power than Mrs Dancer (at Drury Lane] and more variety than Mrs Fitz-Henry, tho' less strength and compass. On the whole she is superior to the former and inferior to the latter. Barry and Mrs Dancer are engag'd here (MS Letter from Henry Grattan to Cornet Broome giving his first impressions of living in London, 27 Oct. 1767, in Folger Library). Neville MS Diary: Went into the Pit to see As You Like It a second time. Reddish did Orlando for the 1st time. He is a pretty good player. End Act I, Hearts of Oak. The Entertainment was the new Farce called a Peep Behind the Curtain. Glib by King who is the author. The piece is not unentertaining, whatever other merit it may have. The Prologue and an Address to the Town by way of Epilogue, are spoken by Mr King, the music by Barthelemon

Event Comment: Mainpiece: A New Comedy of 3 Acts [by George Colman] never performed. [In the Shakespearean Pageant, with figures from seventeen of his plays, the chief effectiveness lay with the Musicians who ushered in each group with appropriate music: Martial Music-The Roman Characters of Coriolanus and Julius Caesar; Soft Music-Antony and Cleopatra; Grand Music, Old English Characters-King John, Richard III, Henry VIII: Magical Music, "above, about, underneath" for Prospero; Macbeth's Music; Fairy Music-Oberon and Titania; Solemn Music for Tragic Muse accompanied by Othello, Hamlet, the Ghost, Mad Ophelia and Lear with Cordelia; Dead March in Saul-Juliet's Bier with attendants; Allegro for the Comic Muse-Falstaff, Touchstone, Launcelot, Malvolio; Andante-Florizel and Perdita, Portia Antonio and Bassanio; Flourish-for Car drawn by the muses carrying Shakespeare's Bust; Final Song by Mrs Mattocks, "Sweetest Bard that Ever Sung, Nature's glory, Fancy's Child--." The Prelude is, in print, entirely favorable to Garrick's effort at Stratford. But it could be rendered in a mercilessly ironical manner if the three participating actors so chose. Mainpiece reviewed in the Freeholder's Magazine, Oct.] Receipts: #224 10s

Event Comment: Alterations and additions to the afterpiece in form of a Trip to Naplesv. Includes two views of the eruption of Vesuviusv [a display used afterwards in Harlequin's Invasionv 19 March]. Theatrical Review, 26 Dec.: The Witches; or a Trip to Naples,...one of those Mummeries, in which the carpenters, painters and taylors belong1ng to the theatre are the principal projectors; who torture dull brains to furnish out most contemptible pieces of entertainment...the disgrace of the English stage. This what-shall-we-call-it...now reviv'd with alterations and the addition of two new scenes, viz. two views of Mount Vesuviusv: the first of which represents a Vulcano burning at a distance, and is reflected by the water in the bay of Naplesv. The second is a nearer land view of the Mounts, and represents the manner in which the Lava is thrown out whenever an eruption happens; the torrents of the lava, like a river of liquid fire, falling into a cascade from a rock. As far as carpenters and painters are concerned, these additional scenes seem to be well executed, but whether the resemblance is exact, we cannot pretend to say; though we suppose it is. Be this as it may we cannot help thinking, the terrific ideas these scenes naturally raise in the mind, must defeat every intention of giving pleasure, and consequently afford less satisfaction to curiosity than a written account of that Vulcano, or any descriptive drawing of it. Paid Printer's Bill #9 6d. Receipts: #235 12s. 6d. (Treasurer's Book)

Event Comment: Mainpiece: By Desire. Play not acted: theatres closed for death of Augusta Princess Dowager of Wales. [For comment Theatrical Review, II, p. 93 attaches to the evening of 7 Feb.]: Another additional scene was introduc'd this evening, for the first time in which Mr Dunstall, in the character of a Female Ballad Singer, entertained the audience with the following new song, relative to the tricks of the Stockwell Conjuror, which it exposes with some degree fo humour, and which has a good effect, from the manner in which it is introduc'd; but from such poetry, Heaven delvier us!@The Stockwell Wonder@Ye beaux, belles and flirts, who the Pantheon stock well,@Come and see the renown'd Pandemonium at Stockwell.@Where the house and the furniture's all in bon ton@And the pewter and crockery dance cottillon. Derry Down, down, down Derry Down.@A pickling-pan first, which exceeds all belief,@Jumps and skips to the tune of old English Roast Beef;@While a barrel so lively, it cannot be said,@That the beer that is in it can ever be dead, Derry Down &c.@ @The tables, chairs, jars, frisk about too, and soon@The pestle and warming-pan move to some tune;@The clock too chimes in, and we very well know@That a clock that don't stand must undoubtedly go, Derry down, &c.@But let not amazement your fancies perplex@The enchantment arose from th'enchanting fair sex;@A sweet girl was the cause, and girls wonders are rich in@For we all know sweet girls-are extremely bewitching.@Derry down, &c.

Event Comment: Mainpiece: Not acted these 20 years. [See 11 Nov. 1752.] Characters New Dressed in the Habits of the Times. This play is alter'd by Mr Colman and receiv'd with Some Applause, but it don't seem to hit the present Taste a few hisses at the End (Hopkins Diary). [MacMillan's note from Kemble differs slightly.] Paid salary list #630 1s. 6d.; Widow Hunter #2 2s.; King's glass bill #3 17s. 6d. (Treasurer's Book). [Mainpiece reviewed and contrasted with the original in the Westminster Magazine for Jan.: "Upon the whole we cannot esteem this a striking comedy, even with the assistance it has now received,--the fine manner in which it is got up, and the great expence which the managers have been at in habiting the whole dramatis personae in splendid and characteristic Old English dresses. All the actors except Mr King and Mr Parsons performed but indifferently. Bensley is the worst Old Man we ever saw. He presents the countenace of a sickly old woman; and the uniform goggle of his eye, by which he means to express infirmity and distress is the look of a man in anguish from the colic. Mr Palmer, Mr Brereton, and Mr Davis have a bloated vulgarity about them, which should ever deter the manager from assigning them the parts of cavaliers or men of fashion. Baddeley, as usual, overdid his part, and Mr Yates, as usual, was not very perfect in his."] Receipts: #192 11s. (Treasurer's Book)

Event Comment: By Command of their Majesties. Tickets to be had and places for the Boxes to be taken of Mr Fosbrooke at the Stage Door of the Theatre, at Half a guinea each. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. Doors to be opened at Half past Five. To begin at Half past Six. N.B. Those ladies who have had boxes for the Oratorios and who intend continuing them are humbly requested to give notice to Mr Fosbrooke at the Stage Door. Rec'd Stoppages #1 1s. (Treasurer's Book). [The Westminster Magazine, Feb., p. 75, contained an article on the "Origin of Oratorios," followed by one on the Musical Powers of Handel, particularly relating to his Oratorios. The Morning Chronicle for 24 Feb. commented as follows on Miss Linley's performance in Acis and Galatea: "Miss Linley...gave every delight that the ear, the heart, or understanding could receive from Music...Miss Linley's manner of delivering Recitative is peculiarly distinct and sensible; a circumstance of infinite importance in a performance of this nature. Her voice is clear and melodious, and capable of truest expression as was peculiarly evident in the song of 'Must I my Acis still bemoan?'...Their Majesties' presence and apparent satisfaction lead us to hope that the Royal countenance and encouragement will never again be withdrawn to grace the innovations of foreigners on the only musical ground which is left for English genius to take root and flourish"( (Quoted in Hampden, Journal).]