Event Comment: Afterpiece [1st time; F 2, by John O'KeefFe, altered from his The She Gallant; or, Square-Toes Outwitted, 1st acted at Smock Alley Theatre, Dublin, 14 Jan. 1767, and in London at the HAY, 13 Oct. 1779. Incidental music by Michael Arne and William Shield. Text 1st published by T. N. Longman and O. Rees, 1800. Prologue by George Colman, the elder (Colman, Prose, m, 231)]. Receipts: #228 10s. 6d. (226/14/6; 1/16/0)

Event Comment: [Lacy was from DL. Address by George Colman, the elder (Colman, Prose, in, 260).]

Event Comment: Afterpiece [1st time; F 2, By John O'Keeffe. Prologue by George Colman elder (Colman, Prose, III, 276)]. The curtain was obliged to be dropt before the piece was finished, amidst the disapprobation of a very splendid and numerous audience" (Public Advertiser, 29 Jan.). Receipts: #219 6s. 6d. (216.5.0; 3.1.6)

Event Comment: Benefit for Palmer. End I afterpiece: A Grand Representation of Mount Vesuvius, at the Time of an Eruption. Oracle, 28 Feb: Tickets to be had of Palmer, No. 3, London Road, St. George's Fields. Receipts: #340 5s. 6d. (144.1.0; 22.0.0; 4.4.6; tickets: 170.0.0) (charge: #126 4s. 11d.)

Event Comment: Mainpiece: In 5 Acts, altered from the Dramatic Romance by David Garrick, Esq. With a new Overture and new additional Musick by Storace [on 2 Jan. 1792 and thereafter, added: Shaw] and other Eminent Masters. Entirely new Scenery by Greenwood, and new Dresses, Decorations and Machinery. To conclude with a Grand Procession of the Hundred Knights of Chivalry, and the Representation of an Ancient Tournament. [These were included in all subsequent performances.] Books of the Songs to be had at the Theatre. Morning Post, 3 Jan. 1792, prints a full description of the Procession of over 100 persons: 1st, Anglo-Saxon Knights and banners; then ancient British knights, Norman knights, Indians, Turks, Scythians, Romans, a dwarf, a giant; at end, "soldiers drawing a superb picture of St. George, knights in chain mail, a cupid leading a knight covered with a silver net, Hymen, piping fauns, bands of cupids drawing an altar--flame burning, cupids hovering over it, and others feeding doves below, a troop of Arcadian shepherds drawing the car of Cymon and Sylvia, characters of the drama, and chorus." "At the conclusion of the procession, a tournament took place of both horse and foot, between several combatants in armour, who fought with lances, swords and battle-axes: three of Hughes' horses [from the Royal Circus] were introduced, and managed with much dexterity; the Prince of Wales' Highlander made one of the procession, and entered the lists as a champion, fighting with an enormous club; against him a small female warrior was opposed, by whom he was subdued. It was by far the grandest spectacle ever seen upon the stage. Many of the characters were taken from Sir Philip Sydney's Arcadia, in which the scene of the piece was laid; and the dresses of the knights, armour, &c. from the drawings and descriptions of the best antiquarians" (Oulton, 1796, II, 215). [This was Edmund Kean's 1st appearance on the stage; he was about four years old. He personated a cupid lying in Cymon and Sylvia's car (Kelly, Reminiscences, II, 21-22).] Account-Book, 13 Jan. 1792: Paid Hughes for his Horses #16 19s. 10d.; 23 Jan.: Paid Gough for his Greyhounds in Cymon #5 19s. 6d. Receipts: #420 6s. (385.0; 35.5; 0.1)

Event Comment: Benefit for Palmer. Afterpiece [1st time; P 3, author unknown. "Founded on the Tale of Inkle & Yarico" (Kemble Mem.), by Sir Richard Steele, in The Spectator, No. II, 13 March 1710-11. Not in Larpent MS; not published]: The Music by Gluck and Martini [i.e. Martin y Soler]. Morning Herald, 9 Mar.: Tickets to be had of Palmer, No. 3, London-road, St. George's Fields. Receipts: #452 16s. (169.17; 47.13; 2.11; tickets: 232.15) (charge: #169 5s. 8d.)

Event Comment: Benefit for Sedgwick. 2nd piece: Never performed here. True Briton, 2 June: Tickets to be had of Sedgwick, No. 22, corner of George-street, Adelphi. Receipts: #409 1s. (91.8.6; 67.5.6; 2.10.6; tickets: 247.16.6) (charge: #211 19s. 5d.)

Event Comment: Mainpiece [1st time; CO 3, by Joseph George Holman]: The Overture and the whold of the Musick by Davy. Books of the Songs to be had at the Theatre. [Miss Wheatley was from cg.] Morning Chronicle, 20 Aug. 1800: This day at twelve o'clock is published What a Blunder! (2s.)

Event Comment: [Afterpiece: Prologue by George Colman, the elder.]

Event Comment: Benefit for Mrs Inchbald. Mainpiece: By Permission of Colman [proprietor of the HAY, owner of the copyright of the play, and author of Epilogue]. Morning Chronicle, 22 Apr.: Tickets to be had of Mrs Inchbald, No. 10, Great Russel-street, Covent Garden. Receipts: #107 8s. (71/17/6; 5/1/6; tickets: 30/9/0) (charge: #105)

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Event Comment: At Lee and Yeates Sen and Jun great Theatrical Booth...will be reviv'd that celebrated Droll, call'd The Unnatural Parents; or, The Fair Maid of the West. Shewing the Manner of her being forced to wander from Home, by the Cruelty of her Parents and beg her Bread; and directs her to a Nobleman's House: How she was there taken in as a Servant; and, at length, for her Beauty and modest Behaviour, married to a Gentleman of great Fortune; with her Return to her Parents, and their happy Reconciliation. Also the Comical Humours and Adventures of Trusty her Father's Man, and the three Witches. The Scenes and Cloaths are entirely new; and the Droll the same that was perform'd by Mrs Lee 15 Years ago with great Applause. Boxes: 2s. 6d. Pit 1s. 6d. First Gallery 1s. Upper Gallery 6d. To begin each Day at Twelve o'Clock. [Notice repeated 25, 26, 27 Aug.

Event Comment: Benefit for Bannister Jun. Public Advertiser, 22 July: Tickets to be had of Bannister Jun., No. 29, Bow Street, Covent Garden. 1st piece: In 3 acts, altered from Shakespeare [by Frederick Pilon. Prologue by the alterer (European Magazine, Aug. 1785, p. 150)]. 2nd piece: Acted but once [on 27 Aug. 1783]; with Alterations

Event Comment: Afterpiece: A New Comedy in 2 Acts [by George Colman] never perform'd before. [Reviewed, not too favorably in Monitor No IV, (14 Nov. 1767).] Receipts: #192 7s. Account Book)

Event Comment: [C$Colman published in the Public Advertiser this day extracts from the Oxonian in Town showing what favorable things were said of the Irish in it. He apparently did so to forstall a predicted riot by Irishmen who feared their nation was slandered because the scoundrels in the play were Irish. See E. R. Page, George Colman, The Elder (New York, 1935), p. 168. Monitor No V (21 Nov. 1767) includes a letter from Timothy Calfskin requesting refund of 4 shillings since his wife was frightened by the noise of the "wild Irish" and ran from the playhouse.] Receipts: #191 4s. (Account Book)

Event Comment: Shortly will be publish'd Expostulations with George Colman, by Jane Lessingham. Gave Duke of Gloucester's Footmen by Malm #2 2s. (Account Book). Receipts: #200 13s. (Account Book)

Event Comment: Mainpiece: A New Comedy of 3 Acts [by George Colman] never performed. [In the Shakespearean Pageant, with figures from seventeen of his plays, the chief effectiveness lay with the Musicians who ushered in each group with appropriate music: Martial Music-The Roman Characters of Coriolanus and Julius Caesar; Soft Music-Antony and Cleopatra; Grand Music, Old English Characters-King John, Richard III, Henry VIII: Magical Music, "above, about, underneath" for Prospero; Macbeth's Music; Fairy Music-Oberon and Titania; Solemn Music for Tragic Muse accompanied by Othello, Hamlet, the Ghost, Mad Ophelia and Lear with Cordelia; Dead March in Saul-Juliet's Bier with attendants; Allegro for the Comic Muse-Falstaff, Touchstone, Launcelot, Malvolio; Andante-Florizel and Perdita, Portia Antonio and Bassanio; Flourish-for Car drawn by the muses carrying Shakespeare's Bust; Final Song by Mrs Mattocks, "Sweetest Bard that Ever Sung, Nature's glory, Fancy's Child--." The Prelude is, in print, entirely favorable to Garrick's effort at Stratford. But it could be rendered in a mercilessly ironical manner if the three participating actors so chose. Mainpiece reviewed in the Freeholder's Magazine, Oct.] Receipts: #224 10s

Event Comment: [Macklin dismissed after this night. See the account in The Genuine Arguments of the Council, with the Opinion of the Court of the King's Bench, &c., By a Citizen of the World, (London, 1774). Extracts in E. R. Page, George Colman, the Elder (New York, 1935). See notes for 23 and 30 Oct. and the subsequent action in note for 20 Nov. He did not return until 18 May 1775. This night was aparently, except for #4 5s. which was not recorded on the books of the theatre until 18 June well after the season closed. Macklin's suit in court against the rioters was judged 24 Feb. 1775. A column and a half account of the trial appeared in the Public Advertiser, Saturday 13 May 1775, giving the testimony of the witnesses accused of starting the riot, the lawyers, and the judge. The accused were Leigh, Miles, James, Aldus, and Clarke. The first four were convicted of a conspiracy and a riot, the last of a riot only. During the Course of the Business Lord Mansfield took Occasion to observe, that the Right of Hissing, and Applauding in a theatre was an unalterable Right, but there was a wide Distinction between expressing the natural Sensations of the Mind as they arose on what was seen and heard, and executing a pre-concerted Desagn, not only to hiss an Actor when he was playing a Part in which he was universally allowed to be excellent, but also to drive him from the theatre, and effect his utter ruin." See also William W. Appleton, Charles Macklin, An Actors Life (Cambridge, Mass., 1960), Chapter X.

Event Comment: The Prologue to the Capuchin, written by George Colman, Esq printed this day in the Public Advertiser: @"Critics, whatsoe'er I write, in every scene,@Discover meanings that I never mean, etc."

Event Comment: [Afterpiece: Prologue by George Colman elder.] The Doors to be opened at 5:15. To begin at 6:15 [see 30 Apr. 1777]. Receipts: #194 18s

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: Mainpiece: Never acted here. [Mrs Armstead is identified in Morning Chronicle, 16 May. Prologue by George Colman elder (Collection...of English Prologues and Epilogues, II, 207).] Afterpiece: Not acted these 20 years. With a new Overture, the Original Prologue [by David Garrick], and a New Scene, in which will be introduced an air. With a Grand Jubilee-Pageant, in Honour of Gulliver. The Music, Dresses, Scenes, Trophies and Decorations entirely new. The Music composed by Dr Arnold. ["Lilliput was altered by Garrick (its author), and a procession of cards introduced in it, Gulliver walking as the Knave of Clubs" (Gilliland, I, 121-22). London Chronicle, 16 May, gives a synopsis of this pageant.] The Doors to be opened at 6:00. To begin at 7:00 [same throughout season]. Places for the Boxes to be taken at the Theatre. After this Evening the Entertainments of this Theatre will be discontinued till further Notice, on account of the Performers employed at Drury Lane Theatre [see 28 May]

Event Comment: [Afterpiece: Prologue by George Colman elder.] Paid DeLoutherbourg #41 13s. 4d. [this paid monthly throughout season]. Receipts: #104 3s. 6d. (75.9.0; 27.16.0; 0.18.6)

Event Comment: Afterpiece [1st time in London; F 2, by John O'Keeffe, 1st acted at the Smock Alley Theatre, Dublin, 13 Apr. 1774. Prologue by George Colman elder (Prose on Several Occasions, III, 222)]. Public Advertiser, 16 Aug. 1780: This Day is published Tony Lumpkin in Town (1s.)

Event Comment: [Afterpiece: Prologue by George Colman elder.] Receipts: #139 15s. 6d. (108.13.0; 30.15.6; 0.7.0)