Event Comment: 2nd piece [1st time; D 3, by Henry Neuman, based on Der Opfertod, by August Friedrich Ferdinand von Kotzebue. Text (R. Phillips, 1799) assigns no parts]. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 6:00. To begin at 7:00 [same throughout season]. Places for the Boxes to be taken of Rice, at the Theatre. The Theatre, since the last Season, has been newly Decorated. [Beginning with 19 June the playbill: Printed by T. Woodfall, Drury Lane; on 4 Sept.: No. 104, Drury Lane.] Morning Chronicle, 27 June 1799: This Day is published Family Distress (2s.). Gentleman's Magazine, May 1800, pp. 406-8, prints a letter from "J. B." in which strong exception is taken to Kotzebue in general, and this play in particular. "Theatrical entertainments have an extensive influence upon the manners of Society. When well regulated, and the pieces for representation well selected both as to matter and manner, they may be esteemed friendly to morality, and improvers of public taste. But what shall we say when both these ends are disregarded; when moral virtue is banished from the scene, and purity of taste is destroyed by affected language and pantomimical decorations? Improvements in almost every art and science have been within a few years, rapid and important. But that is not the case with the stage; nor can it be, while Kotzebue and his friends usurp the venerable boards of Shakespeare." The writer then, in sarcastic terms, outlines the plot of Family Distress. [Pope and Miss Chapman were both from cg.

Event Comment: "...Richard III, which I saw performed at Drury-lane theatre at the beginning of the present season...The dresses of the characters which here make their appearance are in the usual half-and-half mode, made up from portraits of Charles I's reign, and from unrestrained fancy. Richard's habit, indeed, shews a faint hint, at the costume of his day; but how modernized! A fancy cap and feather,with a milliner's white-ribband rose, sewed thereon. A deep ruff, of that make not known until the reign of James I From the neck depends a ribband With the George: this decoration never seen in paintings till about the fashions of the abovementioned monarch's court. On his legs and feet, white silk stockings, white shoes, and red roses. These latter ornaments unknown before Elizabeth or James I's modes of dress prevailed; at any rate, they should have been white ones to have accorded with the party-badge in his cap." Writer signing himself "An Artist and an Antiquary" in Gentleman's Magazine, Apr. 1800, p. 319. Receipts: #225 16s. 6d. (178.3.6; 47.12.0; 0.1.0)

Event Comment: [In mainpiece the playbill retains Pope as Charles Stanley, but "The part of Charles Stanley this night devolved upon Claremont. It were to be wised that this gentleman would suffer the austerity of his features to relax, when he acts the lover. A continual frown ill accords with the soft workings of the tender passion" (Dramatic Censor, I, 78).] Receipts: #207 15s. (197.5; 10.10)

Event Comment: "The part of Lord Albert seems to be a kind of give and take between Messrs Pope and Claremont. After being resumed for a night or two by the original representative [27, 31 Jan., 1 Feb.], it again devolved upon the latter gentleman [28 Jan., 5 Feb.]" (Dramatic Censor, I, 203). Receipts: #183 12s. (177.12.6; 5.19.6)

Event Comment: By Command of Their Majesties. [On this night an unsuccessful attempt was made to assassinate the King. As he entered his box he was shot at by James Hadfield, who was in the pit. The royal family remained in the theatre throughout the performance, during which God save the King was sung on four different occasions. Hadfield was subsequently adjudged insane. See Gentleman's Magazine, May 1800, pp. 478-80.] Receipts: #438 13s. 6d. (345.15.6; 87.9.0; 5.9.0)

Event Comment: Benefit for Mme Banti. A New Serious Opera [1st time; SER 2]. The Poetry by Metastasio, and the Music entirely new, composed by an English Gentleman [Richard Edgcumbe, Earl of Mount-Edgcumbe], who has obligingly lent Mme Banti the Score, and kindly consented to its being represented upon that occasion. Tickets to be had of Mme Banti, No. 24, St. Alban's-street. "Having granted the use of this opera to Banti only, I withdrew it immediately, and would not permit it to be again represented for the manager, who requested to have it. After this, Roselli sung no more, nor had we ever another soprano [i.e. castrato] at the opera [until 1825]" (Mount-Edgcumbe, 88)