Event Comment: The King's Company. This play has generally been assigned to June 1669, partly on the basis of a suit--see Hotson, Commonwealth and Restoration Stage, pp. 252-53, 348-55-over a scene for it which Isaac Fuller, the scene designer, states was finished by 23 June 1669. The suit also states that the play ran for fourteen days, but it is not certain that the theatres played on consecutive days in the summer. The play has been assigned to 24 June 1669 on the basis of a letter from Charles II to Princess Henriette-Anne, dated 24 June [1669]: I am just now going to a new play that I heare very much commended (Cyril Hughes Hartmann, Charles II and Madame [London, 1934], p. 259). Elizabeth Cottington to Herbert Aston, ca. May 1669: Wee ar in expectation still of Mr Draidens play. Ther is a bowld woman [Aphra Behn (?)] hath oferd one: my cosen Aston can give you a better account of her then I can. Some verses I have seen which ar not ill; that is commentation enouf: she will think so too, I believe, when it comes upon the ptage. I shall tremble for the poor woman exposed among the critticks (Arthur Clifford, Tixall Letters [London, 1815], II, 60)

Event Comment: The Duke's Company. The date of the first production is not certain, particularly since an entry in L. C. 5@145, p. 120 (see also Nicoll, Restoration Drama, p. 349) lists this play for 8 March, the year uncertain. Since the entry follows one for The Souldier's Fortune which followed the premiere of The Female Prelate, 31 May 1680, the L. C. entry probably is one for 8 March 1680@1. That the premiere occurred near 1 Nov. 1680 is suggested by a letter of Anne Montague to Lady Hatton, 1 Nov. 1680: For I never see the towne fuller, for I was to see the new play, The Spanish Frier, and there was all the world, but the Court is a letell dull yet; the Queen being sick, there is noe drawing room (Hatton Correspondence, Camden Society, XXII [1878], 240). A song, Farewell ungratefull Traytor, with music by Captain Pack and sung by Mrs Crofts, is in Act V. For Leigh's and Nokes' acting, see Cibber, Apology, ed. Lowe, I, 143, 145-46. Downes (Roscius Anglicanus, p. 37): 'Twas Admirably Acted, and produc'd vast Profit to the Company

Event Comment: KKing, Queen, Princesses Amelia and Carolina present. (Delany, Autobiography, I, 165-66): Operas are somewhat mended within this fortnight; they are much fuller than they have been any time this Winter

Event Comment: Benefit Allen, Gallery Officekeeper. Tickets for Walker, Rumbal, Hewett, Little, Fuller taken

Event Comment: Benefit Raftor, Rogers. Mainpiece: Written by the late Mr Gay. [Tickets for Sanders, Fuller, Fulwood also taken.

Event Comment: Benefit Hough, Cooper, Fullwood, Fuller

Event Comment: Benefit Edwards, Fenn, Fulwood, Fuller

Event Comment: Benefit Doorkeepers &c., Buckley, Fen, Fuller, Fulwood, Sumner. Receipts: #100

Event Comment: Benefit Dukes and Mrs Freeman. Tickets for Mrs Freeman at the Rainbow Coffee House in Fuller's Rents. Tickets and places for the Boxes to be taken at the Stage Door of the Theater. Tickets that are bought out Side of the Door will not be admitted

Event Comment: Benefit Fenn (Stage-Door-Keeper), Fuller, Fullwood, and Walker (Numberer)

Event Comment: Set by Stanley. Oratorio published at 1s. for R. Griffith. Charges #35. Slept in at the Upper Gallery tonight, where I see Fuller and Hastings, then went to the Bedford (Hailey, Brietzcke Diary, Vol. 197, p. 142)

Event Comment: Nothing under Full Price will be taken. Benefit for the author of the Alterations [in mainpiece]. A Riot to demand admittance at 1!2 price after 3rd act, all times except at the run of New Pantomime, wch. not agreed to, the Mob broke Chandeliers, &c. No Play (Cross Diary). [Fuller account in Victor, History of the Theatres, III, 46 ff., he being the beneficiary that night. Elvira publish'd at 1s. 6d. (Winston MS 9). See account of riot in Gentlemen's Magazine (p. 31). See Comment 5 Feb.

Event Comment: Queen Mab is reviv'd with Alterations and Additions particularly Grand New Scene with a Representation of a Regatta very well executed but is too much like The Naval Review (Hopkins Diary). [MacMillan's note from Hopkins differs slightly. He also adds from the Public Advertiser, 13 Nov., The last grand scene is a Representation of the whole Regatta sailing by Ranelagh. That and the Red House were invented and drawn by Mr deLoutherberg, and painted by Messrs French, deRoy, Greenwood, and others."] Rec'd stopages #11 12s. 6d. Paid Salary list #626 16s. 6d. Receipts: #152 12s. (Treasurer's Book). [Fuller descriptions of the Regatta scene appeared in the Westminster Magazine for Nov.: The Scene affords a picturesque view of the Thames on the Surry Side to Ranelagh Gardens representing the procession of barges etc., of the different squadrons, previous to their landing the company. The effect produced by this united scenery and machinery was very pleasing; every barge appeared to be rowed to the time of the band of music which is supposed to be upon the water, and evepy man and oar keeps a regular stroke: the sky, flat behind, was finely designed and executed for the general relief, and disposition of the men and boats near shore, in the foreground, was beautiful and did the painter great credit. The whole concluded with a Tar 's song in character, by Mr Bannister, and a dance by sailors and their doxies.'

Event Comment: Mainpiece [1st time; C 5, by Richard Brinsley Sheridan. Prologue by David Garrick. Epilogue by George Colman elder (London Chronicle, 9 May). Text 1st published (unauthorized), Dublin, 1780]: With New Scenes and Dresses. "No modern theatrical piece ever met with a fuller success, nor deserved it more... The performers deserve every sort of commendation for their spirited exertion in supporting the respective characters, especially Smith, King and the incomparable Mrs Abington" (Gazetteer, 9 May). "To my great astonishment there were more parts performed admirably in The School for Scandal than I almost ever saw in any play. Mrs Abington was equal to the first of her profession, Yates (the husband), Parsons, Miss Pope, and Palmer, all shone. It seemed a marvellous resurrection of the stage. Indeed, the play had as much merit as the actors. I have seen no comedy that comes near it since The Provoked Husband" (Walpole [13 July 1777], X, 82). Receipts: #224 10s. (215.12.0; 8.14.6; 0.3.6)

Event Comment: [This was Mrs Pope's last appearance on the stage. She dies on 15 Mar. 1797. "Her talents...were of the first order. She studied no model; she played from her own understanding and feeling. Perhaps her chief forte was comedy. Her elegance, her playfulness, her understanding had here fuller scope" (Monthly Mirror, Mar. 1797, p.200). "There is a certain peculiarity in her action which I never could reconcile to my notions of grace and propriety, viz. a constant outstretching of the arms at the close of a sentimental or a declamatory speech, accompanied with a lowly inclination of the head, like that of the oriental sage when he pays reverence to his prophet" (ibid, p. 170).] Receipts: #431 5s. 6d. (423.0.6; 8.5.0)

Event Comment: Account-Book: Tickets delivered by Aberdein, Bennett, Calkin, Cameron, Dale Jun., Dashwood, Douglas, Ditcher, Dudley, Fishett, Francois, Fuller, Gooding, Humphries, Hough, Harman, Lings, Monday, Marks, Macdougall, Rogers, Scott, Smith, Tice, Tildsley, Tirrell, Wyatt, Waterer, Williams, Willey will be admitted. [Miss Usher is identified in MS list in Kemble playbills of new performers for this season.] Receipts: #56 1s. (31.1.6; 24.4.6; 0.15.0; tickets: none listed)