Event Comment: [This was James Aickin's last appearance on the stage.] Receipts: #364 10s. 6d. (295.17.0; 67.19.0; 0.14.6)

Event Comment: The Diary and Will of Elias Ashmole, ed. Gunter, pp. 70-71: 13 Dec. 1660: The King going to a Play at the new Theatre this afternoon, had his coach (the leathers whereby the coach hung broke and so the coach fell from the wheels) overturned over against the new Exchange, but (blessed be God) had no hurt. Sir Francis Floyd passing by took him in his arms and carried him to his coach. The Earl of Latherdale and my Lord of Ossory being with the King in his coach

Event Comment: On Sunday Charles, Duke of Cambridge, the son of the Duke of York, died. On 7 May 1661, Francis Newport wrote to Sir Richard Leveson: The Duke of Cambridge dyed on Sunday in the afternoon and was buryed yesternight without any solemnity, noe mourning in the Court for him (HMC, Sutherland MSS, 5th Report, Appendix, 1876, p. 151). If the theatres were closed because of this death, the closure was for not more than ten days

Event Comment: The Diary of Robert Hooke, 31 Oct. 1674: With Mr Francis Moegan at musick house

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@142, p. 81: At the Virtuoso. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance; see VanLennep, Nell Gwyn's Playgoing, p. 407. The Diary of Robert Hooke, 25 May 1676: Mr Abraham Hill gave J. Hoskins, Aubery and I an account of Vertuoso play. A song, How retched is the slave to love, the music by Francis Forcer, is in Choice Ayres and Songs, The Second Book, 1679. Downes (Roscius Anglicanus, p. 37): The Libertine and Virtuoso: Both Wrote by Mr Shadwell; they were both very well Acted, and got the company great Reputation

Event Comment: The Duke's Company. Nell Gwyn attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 408. It is not known when the premiere occurred, but this is the earliest known performance. The Prologue, missing in the 1677 edition, is in the 1693 edition. A song, Make haste, my shepherd, come away, with music by Francis Forcer, is in Choice Ayres and Songs, Second Book, 1679

Event Comment: The Duke's Company. The date of the first performance is uncertain, but the fact that Luttrell dated his separately printed copies of the Prologue and Epilogue 5 April 1682 (Huntington Library) sets a probability that the play first appeared within a week to ten days preceding that date. The Prologue and Epilogue, separately printed, have been reprinted in Wiley, Rare Prologues and Epilogues, pp. 89-91. A Prologue Intended for Vertue Bertray'd, by Thomas Shadwell, is reprinted in Welbeck Niscellany 3, A Collection of Poems by Several Hands, ed. Francis Needham, 1934. Some details in it suggest the "Dead Time" preceding Easter, when the Court was gone, the Russian ambassador departed, the Moroccan Ambassador shortly to go. The Russian ambassador left on 15 Feb. 1681@2 OS (see Evelyn, Diary), and the Prologue refers to the execution of Colonel Vratz and his accomplices on 10 March 1681@2 (Evelyn, Diary)

Event Comment: The United Company. An order, 9 Feb. 1683@4, in L. C. 5@145, p. 14 (Nicoll, Restoration Drama, p. 356), and another, L. C. I, specify requirements for a play to be acted at Whitehall on 11 Feb. 1683@4, and name Valentinian as the drama. The first Prologue and the Epilogue Written by a Person of Quality were printed separately; Luttrell's copy (Bindley Collection, William Andrews Clark@Jr@Library) is dated 20 Feb. 1683@4. They are reprinted in Wiley, Rare Prologues and Epilogues, pp. 249-51. It is not certain on what date the first performance occurred, for premieres at court are quite rare in the Restoration period. In Nahum Tate's Poems by Several Hands (1685): Sir Francis Fane: A Masque Made at the Request of the Earl of Rochester, for the Tragedy of Vadentinian. Downes (p. 40): The well performance, and the vast Interest the Author made in Town, Crown'd the Play, with great Gain of Reputation; and Profit to the Actors. For an intended cast of Rochester's alteration of the play by John Fletcher, see the introductory note to the season of 1675-76. In A Pastoral in French by Lewis Grabu (published in 1684; advertised in the London Gazette, No. 1947, 17 July 1684) are two songs for this play for which Grabu apparently composed the music: Injurious charmer of my vanquished heart and Kindness hath resistless charms. In Choice Ayres and Songs, The Fourth Book, 1684, is: A new Song in the late reviv'd Play, call'd Valentinian: Where would coy Aminta run [the composer of the music not being indicated]

Event Comment: The Prince of Orange's company of foreign comedians was apparently expected in England on this evening (HMC, 5th Report, Part I, 1876, p. 186). They were under the management of Francis Duperier and apparently remained in England for some four months. See Lawrence, Early French Players in England, p. 150. See also an order, L. C. 5@145, p. 90 (Nicoll, Restoration Drama, p. 253n), to prepare the Cockpit for the Prince of Orange's players

Event Comment: On this date a payment was made to the foreign performers who had come in the spring: To Francis Duperier, for the charge and expences of ye French players attending his Majestie at Windsor and Winchester, and returning to London (Moneys Received and Paid for Secret Services, ed. J. Y. Akerman, Camden Society, LII [1851], 93)

Event Comment: Betterton's Company. There may have been a revival of Oedipus in the summer of 1696. In Francis Manning's Poems upon Several Occasions and to Several Persons (1701) there is a poem To Mr Betterton, Acting Oedipus King of Thebes. The first stanza describes the splendor of the installation of the Duke of Gloucester as a Knight of the Garter, an event which occurred at Windsor Castle in July 1696; but there is no certainty that Betterton's performance occurred before that date. It should be noted also that the play was reprinted in 1696

Event Comment: Post Man, 20-23 April 1700: On Saturday last two Gentlemen [according to the Post Boy, 23-25 April 1700, they were Captain Francis and Mr Squibb, of the Exchequer] quarrelled at the Play-house, and one of them was mortally wounded

Event Comment: For the Benefit of your Humble Servant Francis Leigh. At the Desire of several Ladies of Quality

Event Comment: Benefit Your Humble Servant Francis Leigh. At the Desire of several Ladies of Quality. Receipts: #102

Event Comment: Weekly Journal or Saturday's Post, 30 May: On Saturday last died Mr Francis Leigh, one of the Comedians of Drury-Lane Playhouse, and Partner with Mr Bullock in the Entertainments of Southwark Fair, &c. He was Son of the Celebrated Tony Leigh, so fam'd heretofore for his Mastership in Comick Performances

Event Comment: Mainpiece: [By Francis Hawling. The Preface gives a long account of the unhappy preliminaries to the performance and the extremely poor acting by the company.] Afterpiece. The Words by Mr Motteux, and Set to Musick by Mr Eccles

Event Comment: Benefit August Freudenfeld and Francis Rosenberg, Clarients

Event Comment: Benefit Auguste Freudenfeld and Francis Rosenberg, Clarinets. Tickets 5s. At 7 p.m

Event Comment: At the Desire of several Persons of Quality. Written by the late Mr Gay. Receipts: #51 6s. [See Daily Advertiser, 26 March, for a letter from Francis Nivelon to the author of The Married Philosopher, to be acted on 27 March for the benefit of Nivelon.

Event Comment: In a letter to the Daily Post. 4 June, the Patentees of Drury Lane-Mary Wilks, John Ellys, Hester Booth, and John Highmore-stated the cast of the Patentees. The gist of their statement is: (1) They operate under a Patent commencing 1 Sept. 1732 which, by Deaths and Legal Assignments, is the property of the four, with Highmore possessing one half, at an expence of #6,000 and upwards. (2) Several of the Players have threatened to desert the service of the Patentees and have contracted with some of the Trustees (the Sharers) to secure possession of the Theatre. (3) Drury Lane is let upon lease from the Duke of Bedford, granted to Thomas Kynaston and Francis Stanhope, Trustees for the Sharers (commonly called Renters) of Drury Lane at the rent of #50 annually upon a Fine of 1,000 guineas paid for the renewal of the lease. (4) The Players, under the Patentees, have acted at Drury Lane for twenty-one years without any interruption form the Trustees upon the sole contract that the Patentees pay the Trustees #3 12s. each acting night, besides the Liberty of seeing Plays. (5) At the beginning of this Season the manager's office received a letter from a few of the Renters demanding an Advance of Rent. Highmore, being new, was concerned, and asked the managers to take care of the matter; and thereafter the signers (the Patentees) had heard of no further discontent among the Renters. (6) To defend themselves against stories of hardship or complaint by the actors, the Patentees point out that the following weekly salaries had been paid: Colley Cibber #12 12s.; Theophilus Cibber #5; Mills Sr, #1 daily for 200 days certain, and a benefit, clear of all charges; Mills Jr #3; Johnson #5; Miller #5; Harper #4; Griffin #4; Shepard #3; Hallam, for himself and his father, the latter of little or no service, #3; Mrs Heron #5; Mrs Butler #3. For these charges and others, the Patentees stand a daily expence of #49 when the theatre is open. (7) Further, the Patentees paid Cibber Jr his wife's whole salary without her being able to act the greater part of the winter, #9 weekly for the two; Mills Jr, in the same circumstances with his wife, #5 10s. weekly for the two; Miller a salary (amounting to #40) for eight weeks before he acted, and a gratuity of ten guineas; Griffin a present of ten guineas; Harper a present, amount not specified; Mrs Heron an increase form 40s. to #5 weekly, although she refused afterward to play several parts assigned her and acted but seldom