Event Comment: Mainpiece: By Particular Desire. Paid Whitefield for cloaths bought #34 7s. (Account Book). All the differences between the managers of Covent Garden Theatre are settled. They met together without the interposition of any other person, shook hands, dined at Mr Colman's, and put a final stop to all the proceedings at law (Gentleman's Magazine, XLI, 520). Receipts: #186 18s. (Account Book)

Event Comment: Afterpiece: A New Farce [by a Gentleman from Dublin] never performed. [It was fitted to the stage as an afterpiece, and provided with a Prologue by Colman. Advertisement for the Edition of 1772 indicates that it was "attempted to be acted, "but was damned. Taken principally from Moliere's Marriage Force. See account of damning of Farce, in Town and Country Magazine (Theatre No. XXXIII), before last act was over by a candle being thrown on stage.] Paid one year's ground rent for theatre due Mich. last #100 minus land tax of #16 5s.: Total #83 15s.; Paid ditto for the New Building adjoining the theatre #30, minus Land Tax of #4 17s. 6d.: Total #25 2s. 6d. (Account Book). Receipts: #198 16s. 6d. (Account Book)

Event Comment: Mainpiece: By Particular Desire. Paid Mr Babett for Papier Machee Ornaments 19s. 4s.; Paid Colman & Mrs Powell for Branson's additional salary for the last 3 seasons being advanc'd by them #93 7s. 6d. Paid ditto for 4 years' rent for apartments in their House, due lady Day next #80 (Account Book). Receipts: #124 (Account Book)

Event Comment: Mainpiece: A Dramatic Poem, Never Performed [written on the model of a Greek Tragedy by William Mason]. The Overture and all the Music entirely New Composed by Dr Arne. With New Scenery, Dresses, and Decorations (playbill). Altered by Colman to Mason's distress. (Biographia Dramatica). Books of the Chorus to be had at the Theatre. Rec'd from Bensley on account of Cash advanc'd last season #100 (Account Book). Receipts: #201 12s

Event Comment: [The preliminary number of The Westminster Magazine this date heartily condemned Colman's Comus "picked down into a skeleton," his production of King Henry VIII, and the new play Cross Purposes.] Receipts: #172 10s

Event Comment: Mainpiece: Not acted these 2 years. [See 11 April 1771.] Paid Mrs Rich the balance of the Benefit for the Dispensary #36 11s. 6d., and paid Garton the balance due the Theatrical Fund #143 3s. (Account Book). [The Westminster Magazine this month comments upon the revival of the pantomime and the new scene of the Pantheonv: "This thought evidently was borrowed from the ludicrous situations of the Macaroni in the pantomime of the Pigmy Revels at the other theatre; but no one in the world borrows with less ceremony than Mr Colman, especially from Mr Garrick."] Receipts: #126 2s. 6d

Event Comment: Mr Colman's Night for the Alterations of Elfrida and Comus, & for the New Occasional Prelude (Account Book). Receipts: #254 15s. 6d

Event Comment: Gave the Porters at the several Inns of Court their Christmas Box, #3 11s. 6d. Paid Colman for the clear receipts of his night for alterations &c. the 11th inst. #254 15s. 6d. (Account Book). Receipts: #213 8s. 6d

Event Comment: Music of Afterpiece entirely new Composed by Dibdin. [An adaptation of Goldoni's Il Filosofo di Campagna.] Book of Songs to be had at Theatre (playbill). The Wedg R. a Comic Opera of Two Acts wrote & composed by Mr Dibdin. The Music very pretty--as the Author was kept a Secret The Town fancy'd that is one of Mr Bickerstaff & call'd out to know who was the Author. Mr Garrick inform'd them that he had no power to declare who the Author was but he could assure them that it was not Mr Bickerstaffs this did not Satisfy them at last Mr Dibdin went on & declard himself to be the Author & made an Affidavit of it & then the Farce went on with Applause (Hopkins Diary). [Account of The Wedding Ring in Westminster Magazine for Feb. 1773.] Paid #4 4s. for licensing The Wedding Ring and Alonzo (Treasurer's Book). [Maria Macklin, in a MS letter to her father, 3 Feb. 1773, commented fully on this night's performance: "Written as it was suppos'd by Bickerstaffe. The music by Dibdin. I went with a party into the Gallery to see the event as there was a great riot expected, & indeed never did I see an audience more inflamed. They would not suffer them to begin the piece. At last Mr King came on with a written paper in his hand, which he said he was desir'd to read in the name of the managers. After a great noise they let him read it. He said just before the play began the managers had receiv'd a letter from Mr Dibdin in which he declared that Bickerstaff was not the author of that piece, that he had made oath of it, and was ready to do the same again, but that for very particular reasons the author could not be given up. Then they stopp'd him & roar'd out that the author should be given up then. He continued as loud as he possibly could, reading on that 'but that if Mr Dibdin did not very soon given up the author he never should be suffered to appear again on that stage or any other.' Very luckily that turn'd them as I believe the House would have come down. The piece then began. Before the end of the first act one of Bannister's songs were encor'd. The other party were against it and would not let it go on. They all stood up and insisted that the author should be known then. After some time the house being nothing but confusion, Dibdin was push'd upon the stage ready to drop with fright, and declared that he was the author himself. Then they were as noisy the other way. Made them finish the piece, but how you may guess in a storm. It is like the Padlock, but the songs not so good." (Brander Matthews, Actors and Actresses, extra illustrated, Vol. I. Harvard Theatre Collection.). Westminster Magazine this month included in parallel columns flattering "Characters of Mr Garrick and Mr Colman," the Rival managers. The article especially praised Garrick's acting.] Receipts: #252 3s. 6d

Event Comment: [Lucy identified as Miss Dayes by Kemble note on playbill and by Winston MS 10.] At the opening of this season Justice Sir John Fielding wrote to Garrick not to play the Beggar's Opera fearing it had a bad influence on the minds of the young. But both Garrick and Colman continued to play it (Winston MS 10). Receipts. #183 13s. (Account Book)

Event Comment: Mainpiece: By Desire. Afterpiece: Not acted these 12 years. [See 9 Nov. 1761.] With Additions and Alterations. [The Additions to The Fair seem to have included a number of actual animals (instead of the men costumed as an Ass and a Hog as used in Mother Shipton), for the Account Book this year for the first time notes payments, 22 March 1774, "for the hire of Horses in The Fair," and 18 June 1774, "To Mr Brooks for attending with the Camels &c. in the Fair." The tradition of bigger and better spectacles seems to have passed on from Rich to Colman.] Receipts: #180 17s. 6d. (Account Book)

Event Comment: Mainpiece: A Comedy [by William Kenrick] never performed before. [The play failed to succeed. Kenrick accounts for the failure in his Preface to the 1773 edition by reference to the Macklin affair (See 23 Oct., 30 Oct. and 18 Nov.) He quotes from the Public Advertiser (22 Nov.): "On Saturday last a new comedy called the Duellist was performed, for the first time, at Covent Garden Theatre. Previous to the curtain being drawn up, the following written handbill was dispersed about the house. 'Mr Macklin has been pursued by a malicious party to such a pitch of rancour, that at last they have succeeded so far in their cursed designs, as to get him discharged this theatre, and thereby have deprived him of the means of a livelihood; therefore if the public have any spirit, they will not suffer the new play to begin till Mr Colman promises that Mr Macklin shall be engaged again.' This handbill found its way into the green-room, and had a very visible effect on the performers, as was plainly evident from their confusion. The piece was received with great marks of approbation, and given out again for Monday, which was attended with some hissing, but that was greatly overpowered by the general applause of the audience. The overture to Thomas and Sally being attended to with silence, the greatest part of the author's friends quitted the theatre; which being taken advantage of by a party in the gallery, a riot ensued, and the entertainment was not suffered to go on till another play was given out for Monday." Kenrick agrees with this account, then analyses several other objections which he dismisses, to wit, in the play (a) too lengthy a satire on lawyers, (b) an indelicate passage in Latin (omitted from the printed version); in the audience, a conspiracy of Garrick and Bickerstaffe against him; and lack of a claque of his own friends to carry through their suport of him. Macklin's name appears on the playroll this night, but only for a accumulated 4 days of pay #8 16s. (Account Book).] Receipts: #221 3s. 6d. (Account Book)

Event Comment: Paid Colman the balance of his 3 nights for the Man of Business #230 7s. 6d. Receipts: #213 4s. (Account Book)

Event Comment: Afterpiece: By Desire. [The presence of Arante as a character in the mainpiece seems to indicate that Barry returned to the Tate version or brought with him the Garrick modification from dl. She does not appear in the Colman version.

Event Comment: Benefit for Mrs Jewell. By Permission. A Tragedy for Warm Weather, not acted these ten Years, written after the manner of the worst as well as the best English Poets [author unknown] Containing, amongst a Variety of Particulars curious, entertaining, and pathetic, the Rebellion of the Journeymen Tailors, their Military Preparations and Election of a Chief, their Skirmishes, Ambushes, Sieges, Councils and Combats; their Division into Flints, and Dungs; with the Defection of the Dungs, at the Pass of Butcher Row and total Overthrow of the Flints at the famous Battle of Temple Bar; together with the Captivit and End of their valiant leader. [Colman's shortened version of the 1767 play (Biographia Dramatica).

Event Comment: [This was a puppet show, rewritten by Charles Dibdin from his Comic Mirror; it consisted of 7 different acts, presented in 3 Parts. The audience was both misled into thinking that it was to be performed by actual persons, and made angry because of the "almost unintelligible manner of conveying [the various acts], as the singers were scarcely audible, and the objects very indistinctly visible.' A riot ensued. Lighted candles were thrown on the stage against the curtain, chandeliers broken, benches torn up. The audience was not "satisfied" until Colman the proprietor of the theatre, disclaimed any concern with the entertainment, and Dibdin made an apology. Although announced for repetition on 3 Mar., it was not again performed. (See Dibdin, II, 65; Morning Chronicle, 2 Mar. )]

Event Comment: "'Was he alive?' [was] uttered with a more rapid tone, and quicker feeling. Though in opposition to her manner in these words stand the great names of Henderson, Colman, and the Author himself" (Public Advertiser, 11 Oct.). Receipts: #299 (276/3; 21/17; 1/0)

Event Comment: Benefit for Bannister Jun. [Author of Prologue to 1st piece unknown. 2nd piece: By permission of G. Colman, Esq. [owner of the copyright]. 3rd piece [1st time; F 2 (?)]: Altered from Woman's a Riddle [by Christopher Bullock; alterer unknown. Not in Larpent MS; not published]. Public Advertiser, 2 Apr.: Tickets to be had of Bannister Jun., No. 2, Frith-street, Soho. Receipts: #286 11s. (145.16; 14.5; 1.12; tickets: 124.18) (charge: #106 1s. 5d.)

Event Comment: Kemble Mem., 18 May: On account of Whitsun Eve the Opera was yesterday [at king's]; we acted therefore at Mr Colman's Theatre. Receipts: #73 (64.3; 8.17)

Event Comment: Benefit for Bannister Jun. 1st piece: 1st Time at this Theatre. 2nd piece: By permission of G. Colman, Esq. [as owner of the copyright]. Morning Chronicle, 26 Mar.: Tickets to be had of Bannister Jun., No. 2, Frith-street, Soho. Receipts: #681 2s. (392.3.6; 57.18.0; 7.17.6; tickets: 223.3.0) (charge: #211 14s. 5d.)

Event Comment: Benefit for Fawcett 1st piece: By permission of G. Colman, Esq. Never performed at that Theatre. As performed at the Theatre Royal, Haymarket, with universal Applause. With new Scenery, Dresses and Decorations. Written by the Author of The Way to Get Married [Thomas Morton]. 2nd piece [1st time; M. INT 1]. Oracle, 8 Apr.: Tickets to be had of Fawcett at his house, No. 9, Tottenham-Court-Road, opposite Howland-street. Receipts: #507 9s. 6d. (185.7.6; 10.0.0; tickets: 312.2.0)

Event Comment: Afterpiece [1st time; MF 2, by Henry Lee. Larpent MS 1221; not published in this form, but altered by the author in 3 acts, as Caleb Quotem and His Wife!; or, Paint, Poetry, and Putty (J. Roach, 1809)]: The Musick by Dr Arnold. Books of the Songs to be had at the Theatre. "Suett was, as he always is on a first night, most shamefully imperfect" (Monthly Mirror, July 1798, p. 52). [For Lee's accusing Colman, in his The Review, of plagiarism, see Genest, VII, 387-90. And see 1 Sept. 1800.

Event Comment: Pepys, Diary: And then out to the red bull (where I had not been since plays come up again)...where I was led by a seaman that knew me, but is here as a servant, up to the tireing-room, where strange the confusion and disorder that there is among them in fitting themselves, especially here, where the clothes are very poor, and the actors but common fellows. At last into the pitt, where I think there was not above ten more than myself, and not one hundred in the whole house. And the play, which is called All's lost by Lust, poorly done; and with so much disorder, among others, that in the musique-room the boy that was to sing a song, not singing it right, his master fell about his ears and beat him so, that it put the whole house in an uprore. Nicoll (Restoration Drama, p. 309) argues that George Jolly probably occupied the red bull in St John's Street, Clerkenwell. When Richard Walden saw the red bull players at Oxford in July 1661, Anne Gibbs acted Dionysia in All's Lost by Lust. It is possible that she played that role on this day. See Walden's Io Ruminans, 1662

Event Comment: The Prologue, with the date of performance given as 28 May 1661, is in Thomas Jordan's A Royal Arbour of Loyal Poesie, 1664. See also Wiley, Rare Prologues and Epilogues, p. 326. This is possibly George Jolly's company. See also 23 March 1660@1