Event Comment: The United Company. The date of the first performance is not known, and the play is one of a large group commonly assigned to September-December 1690. As the Prologue implies an autumn production, it has been placed at late September, although the premiere may have been October. It was advertised in the London Gazette, 18-22 Dec. 1690, and entered in the Term Catalogues, Feb. 1690@1. The music was composed by Henry Purcell. See Purcell, Works, Purcell Society, XXI (Dramatic Music, III, 1917), xii-xiv. Dedication: So visibly promoting my Interest on those days chiefly (the Third and the Sixth) when I had the tenderest relation to the welfare of my Play [i.e. Southerne had two benefits]. Langbaine (English Dramatick Poets, 1691, Appendix): This Play was acted with extraordinary Applause, the Part of Sir Anthony Love being most Masterly play'd by Mr Montfort: and certainly, who ever reads it, will find it fraught with true Wit and Humour. Gentleman's Journal, January 1691@2: [The Wives' Excuse, newly performed] was written by Mr Southern, who made that call'd Sir Anthony Love, which you and all the Town have lik'd so well

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: Rich's Company. The date of the first production is not known, but the fact that it was advertised in the London Gazette, No. 3122, 10-14 Oct. 1695, indicates that it was probably acted not later than September 1695. Three songs were published separately: O how you protest, possibly set by Henry Purcell and sung by Mrs Knight; 'Twas within a Furlong, the words by Thomas D'Urfey, set by Henry Purcell, and sung by the Girl [Miss Cross]; and Man is for the woman made, the words by Pierre Motteux and set by Henry Purcell, are in Deliciae Musicae, The Third Book, 1696. See also Purcell's Works, Purcell Society, XX (1916), xix-xx. Preface, Edition of 1696: Notwithstanding the many Accidents that concurr'd to the Ruin of this Play, it succeeded above my Expectations: And I must own my self infinitely oblig'd to the Town, in receiving so favourably, what I at first never design'd for the Stage. Gildon, English Dramatick Poets, p. 121: This particular Play met with pretty good Success, for the Season of the Year, considering it the first Essay by a Young Writer, unacquainted with the Town. A Comparison Between the Two Stages (1702), p. 18: Sullen: Mock-Marriage, a young Fellows of the Town, a Retainer, and kind of Pensioner to the Stage. Ramble: What was it's Fate? Sullen: Damn'd, Damn'd

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: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 27-30 June 1696, suggests that it was first acted not later than early June 1696 and probably not later than late May 1696. A dialogue, Fly, fly from my sight, between a Eunuch Boyr and a Virgin, set by Daniel Purcell and sung by Bowen and Mrs Cross, is in Deliciae Musicae, The Second Book of the Second Volume, 1696. This was also printed separately, without a date, by Thomas Cross, with the statement that the dialogue was written by Thomas D'Urfey. Gildon, English Dramatick Poets, ca. 1698, p. 111: For the Distress of Morena never fail'd to bring Tears into the Eyes of the Audience

Event Comment: Rich's Company. The date of the first performance is not known, but the Prologue suggests that it was given shortly before Bartholomew and Southwark Fairs (Drolls shortly will amuse ye at the Fair), even though the play was not advertised until mid-October (Post Boy, 15-17 Oct. 1696). One song, Alas! when charming Sylvia's gone, is in the Edition and was also published separately,with the indication that Daniel Purcell set it. In the Edition, a song, Fairest nymph that ever bless'd our Shore, is sung in Act II Betwixt Mr Leveridge a Spaniard, and Mrs Cross an English Lady. Tne composer is not named. A Comparison Between the Two Stages (1702), p. 18: and 'tis a most damnable Farce

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Man, 22-24 Dec. 1696, suggests that it was probably first given not later than November 1696. A song, If Celia you had youth and all, the music possibly composed by Leveridge, was published in A New Book of Songs by Mr Leveridge (advertised in the London Gazette, No. 3293, 3 June 1697). Gildon, English Dramatick Poets, p. 176: This Play was our Author's first; and as it was writ in a Month,...so it had the Fate of those untimely Births, as hasty a Death....If the Voice of the Town had not been influenc'd by the Ill Representation, it must have met with a less rigorous Censure. A Comparison Between the Two Stages (1702): Damn'd

Event Comment: Betterton's Company. The date of the first performance is not certain, but the evidence points toward this day. On Thursday 19 Nov. 1696, Robert Jennens reported that the two pieces had been acted four or five days together. If that day saw the fifth performance, the premiere probably occurred on 14 Nov. 1696. The Single Songs and Dialogue in Mars and Venus, set by John Eccles (Acts I and II) and Godfrey Finger (Act III), was published separately in 1697. The pieces for whom a performer is indicated are as follows: Prologue. The first Song Sung by Mrs Hudson, set by Finger: Come all, with moving songs [it is reproduced opposite page 300 in Wiley, Rare Prologues and Epilogues]. Love alone can here alarm me, sung by Mrs Ayloffe. Scorn tho' Beauty frowns to tremble, sung by Mrs Hudson. To double the sports, sung by Mrs Ayloffe. To treble the pleasures with regular measures, sung by Mrs Ayloffe. To meet her, May, the Queen of Love comes here, set by John Eccles and sung by Mrs Hudson. See Vulcan, Jealousie, Jealousie appears, set by Finger and sung by Mrs Hudson. Yield, no, no, sung by Mrs Bracegirdle and Bowman. Gildon, English Dramatick Poets, p. 115: This Play met with extraordinary Success having the Advantage of the excellent Musick of The Loves of Mars and Venus perform'd with it. Downes, Roscius Anglicanus, pp. 44-45: The Anatomist, or Sham Doctor, had prosperous Success, and remains a living Play to this Day; 'twas done by Mr Ravenscroft. A Comparison Between the Two Stages (1702), p. 20: I remember the success of that was owing to the Musick

Event Comment: Rich's Company. The evidence for this date as the premiere of The Relapse is Jennens' report on 19 Nov. 1696 that Drury Lane expected to produce a new play on this date, coupled with the fact that Lady Morley saw this play on 25 Nov. 1696. The play was advertised in the Post Boy, 26-29 Dec. 1696. Preface, Edition of 1697: One word more about the Bawdy, and I have done. I own the first Night this thing was acted, some indecencies had like to have happen'd, but 'twas not my Fault. The fine Gentleman of the Play, drinking his Mistress's Health in Nants Brandy, from six in the Morning, to the time he wadled upon the Stage in the Evening, had toasted himself up, to such a pitch of Vigor, I confess I once gave Amanda for gone, and am since (with all due Respect to Mrs Rogers) very sorry she scap'd; for I am confident a certain Lady (let no one take it to herself that is handsome) who highly blames the Play, for the barenness of the conclusion, wou'd then have allowed it, a very natural Close. Gildon, English Dramatick Poets, p. 145: This Play was received with mighty applause. Cibber, Apology, I, 216: This Play (the Relapse) from its new and easy Turn of Wit, had great Success, and gave me, as a Comedian, a second Flight of Reputation along with it

Event Comment: Betterton's Company. Possibly Edmund Warcup attended this performance: Soe to the play with Dr Needham (The Journals of Edmund Warcup, 1676-1684, ed. Keith Feiling and F. R. D. Needham, English Historical Review, XL [1925], 241)

Event Comment: Betterton's Company. The date of the first performance is not known, but the Prologue refers to The World in the Moon, suggesting a premiere during (or shortly after) the run of that opera. Since The Innocent Mistress was advertised in the Post Boy, 29-31 July 1697, this fact points also to a late June premiere. A song, When I languished and wished, set by John Eccles and sung by Mrs Hodgson, is in Wit and Mirth, Second Edition, 1707. Gildon, English Dramatick Poets, p. iii: This is a diverting Play, and met with good Success, tho' acted in the hot Season of the Year. A Comparison Between the Two Stages (1702), p. 20: Tho' the Title calls this Innocent, yet it deserves to be Damn'd for its Obscenity

Event Comment: Rich's Company. This performance is known by a playbill in the Folger Shakespeare Library: At the New Theatre, in Little Lincolns-Inn Fields, this present Wensday the 27th of October, will be presented, A Comedy call'd, The Committee, or The Faithful Irishman. No Persons to Stand on the Stage. Nor any Money to be after Return'd [sic] the Curtain is Drawn up. By his Majesties Servants. Vivat Rex. [The playbill is reproduced, opposite page 230, in William VanLennep, Some Early English Playbills, Harvard Library Bulletin, VIII (1954).

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the Songs were advertised in the Post Boy, 29-31 March 1698, and performance probably occurred in early March. One song, All things seem deaf to my complaints, set by John Eccles and sung by Mrs Bowman, was published in The A'lamode Musician, 1698. According to the Post Boy, 17-19 March 1697@8, another song, Fair Amoret is gone Astray, had its words written by Congreve, and, according to the Post Boy, 29-31 March 1698, the music set by John Eccles. A Comparison Between the Two Stages (1702), p. 20: Damn'd. Gildon, English Dramatick Poets, p. 173: I have little to say to this Play, for 'tis not fair to attack a Man that's down, tho' I do not think (considering what Plays have pleas'd) that this ought to have met with so severe a Fate

Event Comment: Rich's Company. The date of the premiere is not known, but Dryden, writing on 14 Dec. 1699, indicates that this play had had its first performance by that date. The Dedication is dated 10 Jan. 1699@1700, and the play was advertised in the Post Boy, 20-23 Jan. 1699@1700. Preface, Edition of 1700: Another difficulty this Play labour'd under, was its being acted at a time when the whole Town was so much, and so justly diverted by the Trip to the Jubilee. When the play was revised and reprinted in 1714, the new edition--The Victim; or Achilles and Iphigenia in Aulis--indicates that The Invocation to Diana in the last act was set by Gottfreid Finger, the first verse being sung by Freeman, the second verse by Mrs Erwin, and the third verse by W. Pate. Advertisement, Edition of 1714: The following Tragedy...having been translated into English [from Racine], with considerable Additions, by Mr Boyer, and pass'd the Correction and Approbation of the late famous Mr Dryden, and several other Persons distinguish'd as well by their Wit and Learning, as by their Taste and Discernment, was acted with general Applause, towards the End of the Year 1699, and Beginning of 1700. The Reasons why this Excellent Play stopt, on a sudden, in a full Career, are, in some Measure, accounted for in Mr Boyer's Preface: To which he might have added, That the Dutchess of Marlborough, who at that Time bore an irresistable Sway, bespoke the Comedy then in Vogue [The Constant Couple], during the Ruin of Iphigenia in Aulis; And that this Tragedy receiv'd no small Prejudice, from the Person that acted Eriphyle [Mrs Wilkins], who sunk under the Weight of so great a Part. A Comparison Between the Two Stages (1702), pp. 24-25: Sullen: Then comes the second Iphigenia in all her Charms, and like a superious Mistress was resolv'd to eclipse her Rival: No cast was spar'd by the Masters, nor toil by the Actors; the Town was bespoke in its favour, and all the Friends of this new Fletcher and Beaumont were ingaged to clap it. She appear'd, but what pity 'twas (as the Prefacer says) that a Play which had such a glorious run shou'd in four Days disappear, never to rise again. Oh! says Mr D@@, mine was acted six Days; and I'll hold you a hundred Pound--just what I got by't--How's that?, says Boyer--I say, Sir, that I'll hold you, or any Man, a hundred Pound, 'twill be acted again ten times this Winter. With that B@@ fell a laughing, and replies, Sir, says he, I'll stake my French Dictionary against your Criticisms on Blackmore, and that I think is odds enough--I say,"I'll hold you that Bet, that you did not get fifty Shillings by't, and that the House lost a hundred Pound. This had like to ha' made sad work; but all was well, for neither of 'em have been acted since, for they both sleep in everlasting Tranquillity. [See also pp. 23-25 for other remarks about the two Iphigenia plays.

Event Comment: Rich's Company. Post Boy, No. 818, 4-6 July 1700: For the Benefit of Mrs Oldfield. This day at the Theatre Royal in Drury-Lane, will be presented, a Comedy call'd, The Pilgrim. Revis'd with Large Alterations, and a Secular Masque. With the Dialogue between the 2 mad Lovers. Being Acted this time at the desire of several Persons of Quality. And Entertainments of Singing and Dancing between the Acts and in particular, a new Entry Compos'd by the late Mr Eaglesfield, and perform'd by Mr Weaver, Mr Cottin, and Miss Campion. A Scotch Song with the Dancing of the Bonny Highlander; never done but once before on the English Stage

Event Comment: The same as it was acted at the Theatre Royal Italien at Paris. [In Daily Post, 29 March, a company of English actors had announced The Stratagem for this day at hay, but they postponed it to 12 April.

Event Comment: By the Great Mogul's Company of English Comedians, Newly Imported. [By Henry Fielding.] N.B. Mr Pasquin intending to lay about him with great Impartiality, hopes the Town will all attend, and very civilly give their Neighbours what they find belong to 'em. N.B. The Cloaths are old, but the Jokes intirely new. N.B. All Ladies that intend to be present during the first Run, cannot take Places too early. To prevent any Interruption in the Movement of the Persons in the Drama (some of whom are Machines) no Person whatever can possibly be admitted behind the Scenes. Boxes 4s. Pit 2s. 6d. Gallery 1s

Event Comment: At the Temple Punch House, Tony Aston, the oldest approv'd Actor in the three Kingdoms, being deni'd his bread in both Theatres, this Day exhibits his learned comic demonstrative Oratory on the Face, with English, Irish, Scotch, and Negroe Songs, in proper habits, Prologue and Epilogue, and all his own Pasquin Invention. 6 p.m. 1s. He is under Misfortunes, and desires the Company of the Ingenious and Humorous. [Repeated 29, 31 Dec.; and with some changes in wording on 2, 5, 9, 25 Jan., 6, 15 Feb. 1744.

Event Comment: This month, as recorded in the Gentleman's Magazine Register of Books, was published A General History of the Stage, from its origin in Greece down to the present time. With the Memoirs of most of the principal performers that have appeared on the English and Irish Stage. With notes antient and modern, foreign, domestic, serious, comic, moral, merry, historical, and geographical. Containing many theatrical anecdotes; also several pieces of poetry never before published. Collected and digested by W. R. Chetwood, twenty years prompter to His Majesty's Company of Comedians at the Theatre Royal in Drury Lane. Printed for W. Owen

Event Comment: A Concert, etc. by the English Anti-Gallic Company that perform'd the Beggar's Opera last Season. Play translated from Farquhar's The Recruiting Officer. Prices: 5s., 3s., 2s. None to be admitted into the Boxes, but with printed Tickets, which will be delivered at the Office of the said Theatre. To begin at Six o'clock

Event Comment: [MMrs Midnight will entertain the Town with her Grand Carnival Concert. After the Concert, gratis, will be given...at Bence's Booth, upper end of Bowling Green. The Afterpiece: a Pantomime Burletta by the Company of Lilliputians. To begin at 12 Noon each day. To prevent mistaking the Booth, Mrs Midnight has thought proper to hoist English Colours. [Bill repeated each day.

Event Comment: Opera [1st time; Past 3, author unknown]. The music [to Part I] composed by Giovanni Battista? Bianchi, [to Part II by] Rauzzini, [to Part III by] Giordani. With Grand Chorusses. With new Decorations devised and painted by Novosielski, and new Dresses. The Side-boards, with a cold Collation and all sorts of Wines, at 12 o'clock. The Performance under the direction of Vestris Sen., and to conclude with a Ball. Tickets, at 2 Guineas each, are ready to be delivered at the Office in Union-court, where Boxes may be taken. No Masks will be admitted. The Doors will be opened at 9:00, and the Performance to begin at 10:00. Books of the Performance will be given out (gratis) at the Theatre. Morning Herald, 7 June: The Omaggio, or homage paid by the vassals and tenants to their Lord, is naturally calculated to give free scope to lively, and sentimental music. In the former stile Bianchi and Giardini [sic] were equally succesful; and in the latter Rauzzini was surprisingly great, both as composer and performer...Slingsby would, in our opinion, have come out with as great a share of applause as the best of them, having to go through an English dance in his own stile, but by some unaccountable accident...the music-band stopped short when he was in the very climax of his exertions. The scenes are in the rural stile, with the addition of natural trees, flowering shrubs, &c., set in the neatest order...The company did not begin to move till about four, and by five the rooms were cleared. Public Advertiser, 7 June: The Vestris' gave incontrovertible proof of the variety of their powers...They did more, they shewed what this country had never seen-the possibility of presenting to the eye a large and extensive stage filled with dancers all in motion at the same time

Event Comment: Gentlemen are particularly entreated to observe that in consequence of the displeasure expressed by the Subscribers, as well as the Public, at the frequent interruption of the business of the Representation, by the pressure of people on the Stage, the Company will hereafter be admitted behind the Scenes, before and after the Opera, and during the intervals between the Opera and Ballets only; but while the Curtain is up, Gentlemen are earnestly entreated to withdraw from the Stage; otherwise the request of the Nobility and Gentry, in conformity also to the public opinion, of shutting entirely the doors between the audience part of the Theatre and the Stage, must at last be compiled with. Those persons entitled to Admissions previous to the year 1789, who may not have an opportunity of sending their Securities to be registered before the opening of the Theatre, are requested to produce them at the Door, as they pass. The Public are entreated to observe that Ladies dressed in Bonnets, and Gentlemen in Boots, cannot be admitted into the Pit of the Opera. Pit 10s. 6d. Gallery 5s. No Money to be returned. The Doors to be opened at 6:30. To begin at 7:30 [same throughout opera season]. The Nobility are entreated to give direction to their Servants to set down and take up at the Theatre with the Horse's head toward Pall Mall. On account of the abuses practised in the names of the Subscribers, it is become necessary to require the production of the Subscription Ticket at the Doors and the Boxes. At the Chair-door in Market-Lane, Subscribers only will be admitted. "Braham sustained his part so well that we trust he will give us an example that shall induce us to chace from an English stage the degrading and distusting form of a Castrato" (Morning Chronicle, 28 Nov.). [The playbill omits Rovedino, but his performance is reviewed in True Briton, 28 Nov. The only other male part in the opera is that of Sandro. And see 14 Feb. 1797.

Event Comment: The United Company. There is uncertainty concerning this date; it appears on Luttrell's copy (Huntington Library) of the separately printed Prologue and Epilogue, and the date may represent the time of his purchase rather than a date of performance. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 141-45. Downes (Roscius Anglicanus, pp. 39-40): All the preceding Plays, being the chief that were Acted in Dorset-Garden, from November 1671, to the Year 1682; at which time the Patentees of each Company United Patents; and by so Incorporating the Duke's Company were made the King's Company, and immediately remov'd to the Theatre Royal in Drury-Lane. Upon this Union, Mr Hart being the Heart of the Company under Mr Killigrew's Patent never Acted more, by reason of his Malady; being Afflicted with the Stone and Gravel, of which he Dy'd some time after: Having a Sallary of 40 Shillings a Week to the Day of his Death. But the Remnant of that Company; as, Major Mohun, Mr Cartwright, Mr Kynaston, Mr Griffin, Mr Goodman, Mr Duke Watson, Mr Powel, Sr, Mr Wiltshire, Mrs Corey, Mrs Bowtell, Mrs Cook, Mrs Montfort. [Joined the new company]. Note, now Mr Monfort and Mr Carlile, were grown to the Maturity of good Actors. The mixt Company then Reviv'd the several old and Modern Plays, that were the Propriety of Mr Killigrew, as Rule a Wife, and have a Wife: Mr Betterton Acting Michael Perez; Don Leon, Mr Smith, Cacofogo, Mr Cartwright: Margaretta, Mrs Barry: Estiphania, Mrs Cook. Next, @The Scornful Lady.@The Plain Dealer.@The Mock Astrologer.@The Jovial Crew.@The Beggars Bush.@Bartholomew-Fair.@The Moor of Venice.@Rollo.@The Humorous Lieutenant.@The Double Marriage.@ With divers others. George Powell, Preface to The Treacherous Brothers (1690): The Time was, upon the uniting of the Two Theatres, that the Reviveing of the old stock of Plays, so ingrost the study of the House, that the Poets lay dorment; and a new Play cou'd hardly get admittance, amongst the more precious pieces of Antiquity, that then waited to walk the Stage. Cibber, Apology, ed. Lowe, I, 95-96): I shall content myself with telling you that Mohun and Hart now growing old [for, above thirty Years before this Time, they had severally born the King's Commission of Major and Captain in the Civil Wars), and the younger Actors, as Goodman, Clark, and others, being impatient to get into their Parts, and growing intractable, the Audiences too of both Houses then falling off, the Patentees of each, by the King's Advice, which perhaps amounted to a Command, united their Interests and both Companies into one, exclusive of all others in the Year 1682. This Union was, however, so much in favour of the Duke's Company, that Hart left the Stage upon it, and Mohun survived not long after

Event Comment: Benefit Rippard. For the Entertainment of their Excellencies, all the Foreign Ministers, and the Nobility. At 6 p.m. Tickets 5s