Event Comment: Mr Colman's Night for the Fairy Prince. Charges #84. Profit to Colman #125 15s. 6d. Paid Messrs Schneider & Otto (furriers) #7 3s.; Paid Dr Arne for composing additional Music for the Fairy Prince #1 11s. 6d. (Account Book). Receipts: #209 15s. 6d. (Account Book)

Event Comment: [Before the performance this evening Macklin came to the audience in person with a sheaf of newsclippings in his hand and belabored his detractors, falsely accusing Reddish and Sparks from Drury Lane as leading a planned coalition against him. The play went on with applause, but affidavits sworn under oath by both Sparks and Reddish the following day, brought the dispute to such a head in the newspaper that a riot occured the night of 18 Nov., when Macklin did Shylock (since Colman would not risk Macbeth after 13 Nov.) and announcement was made by Colman that Macklin had been dismissed. See 23 Oct.] Receipts: #152 11s. 6d. (Account Book)

Event Comment: In L. C. 5@139, p. 373, is a list of plays allowed to the Duke's Company: The Poetaster [by Ben Jonson]. Cupids Reuenge [by Francis Beaumont and John Fletcher. See 17 Aug. 1668]. Timon of Athens [by William Shakespeare]. Troyolus and Grisseida [by William Shakespeare]. Three parts of H. ye 6 [by William Shakespeare]. The honest mans fortune [by John Fletcher and others]. Woemen pleas'd [by John Fletcher]. Witt at Seuerall Weapons [by Francis Beaumont and John Fletcher]. The Woemen Hater or The hungry Courtier [by Francis Beaumont]. All fooles [by George Chapman]. Birons Conspiracy [by George Chapman]. Broken heart [by John Ford]. Bird in a Cage [by James Shirley]. Chabot Admirall of ffranse [by James Shirley, with George Chapman]. ffaithful Shepherd [possibly Guarini's Il Pastor Fido]. Herod and Antipater [by Gervase Markham with William Sampson]. Humor out of breath [by John Day]. Jealous Louers [by Thomas Randolph]. Loues Melancholy [Lover's Melancholy, by John Ford]. Muliasses the Turke [by John Mason]. Queene of Arragon [by William Habington]. Revenge of Bussy D'Ambois [by George Chapman]. Revenge for Honor [or The Parricide, by Henry Glapthorne]

Event Comment: In Herbert, Dramatic Records, p. 82, is a list of the plays acted by the Red Bull actors: The Humorous Lieutenant. Beggars Bushe. Tamer Tamed. The Traytor. Loves Cruelty. Wit without Money. Maydes Tragedy. Philaster. Rollo Duke of Normandy. Claricilla. Elder Brother. The Silent Woman. The Weddinge. Henry the Fourthe. Merry Wives of Windsor. Kinge and no Kinge. Othello. Damboys [Bussy D'Ambois]. The Unfortunate Lovers. The Widow. This list (see Hotson, Commonwealth and Restoration Stage, p. 203) apparently concerns plays revived by this company, some before 10 Sept. 1660, some afterward. (See also the list of plays at the opening of the season and also 6 and 23 June 1660.

Event Comment: [The King's Company. Settings by Alphonso Marsh the Elder of two of the songs are in Choice Songs and Ayres, 1673. This performance, which may have been the first one, is one the L. C. list 5@139, p. 129: An Evening Love his Mate and the Queene at the Theatre. See also Nicoll, Restoration Drama, p. 344

Event Comment: In L. C. 5@12, p. 212, is a list of plays formerly acted at Blackfriars and now allowed (ca. 12 Jan. 1668@9) to the King's Company: Everyman in his Humour. Everyman out of his Humour. Cyntheas Revells. Sejanus. The ffox. The Silent Weoman. The Alchymist. Catilin. Bartholomew ffayre. Staple of Newes. The Devills an Asse. Magnitick Lady [The Humours Reconciled]. Tale of a Tubb. New Inn [or The Light of Heart]. Beggers Bush [by John Fletcher, with Philip Massinger?]. Bonduca. Custome of ye Country. The Captaine. The Chances. The Coxcombe. The Double Marriage. The ffrench Lawyer. The ffalse One. The fayre Mayd of ye Inn. The Humorous Leivt. The Island Princes. The Knights of Malta. Nathan Field. The Loyall Subject. The Lawes of Candye. Loves Progresse [The Lover's Progress; or, The Wandering Lovers. The Winters Tale. King John. Richard the Second. Loues Cure [or The Martial Maid]. Loues Pilgrimage. The Noble Gentlemen. The Nice Valour [or, The Passionate Madman]. The Prophetesse. The Marshall Mayd [see Love's Cure]. The Pilgrim. The Queene of Corinth. The Spanish Curate. The Sea Voyage. Valentinian. The Weomans Prize [or, The Tamer Tamed]. A Wife for a Moneth. The Wyd Goose-Chase. The Elder Brother. The ffaythfull Shepherdesse. A King & noe King. The Maydes Tragedie. Phylaster. Rollo Duke of Normandy [or, The Bloody Brother]. The Scornefull Lady. Thiery & Theodorat. Rule a Wife. The Gentlemen of Verona. The Merry Wives of Windsor. The Comoedy of Errors. Loves Labour Lost. Midsomer Nights Dreame. The Merchant of Venice. As you like it. The Tameing of ye Shrew. Alls well yt ends well. Henry ye fourth. The Second part Henry IV. The Royall Slaue

Event Comment: Benefit for Mme LeBrun. Tickets to be had of Mme LeBrun, No. 36, Great Suffolk-street. "In the year 1781, Pacchierotti had been heard so frequently, that his singing was no impediment to conversation, or even to animated narrative and debate; but while the elder Vestris was on the stage, if during a pas seul, any of his admirers forgot themselves so much as to applaud him with their hands, there was an instant check put to his rapture by a choral hu-sh! For those lovers of music who talked the loudest when Pacchierotti was singing a pathetic air, or making an exquisite close, were now thrown into agonies of displeasure, lest the graceful movements du dieu de la dance, or the attention of his votaries, should be disturbed by audible approbation" (Burney, II, 893)

Event Comment: "[In Pizarro] the effeminacy of Alonzo's dress, better adopted for a ball-room than for scenes of warfare; the magnificence of the Spanish dungeon, in a country where the Spanish invaders were fain to put up with tents for their own accomodation; the vile manner in which the scene is bungled together, where Cora leaves her infant child to the fury of the pitiless storm, whilst a hut stands most invitingly in sight; the absurd introduction of Cora's song to the accompaniment of thunder and lightning--but, above all, the disgraceful additions made by Mr Sheridan himself, with the farcical termination of this sublime tragedy, by an Irish howl over the dead body of Rolla;--all these glaring defects, sufficient to damn any writer of less notoriety than Sheridan, still continue to outrage good-sense, and the feelings of every spectator of taste and discernment...We are firmly of opinion that the crowded houses this play still continues to draw are principally to be attributed to the masterly acting of the elder Kemble" (Dramatic Censor, I, 23-24). Receipts: #429 9s. (388.1; 40.1; 1.7)

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 361: The King at ye Mistress. See also Nicoll, Restoration Drama, p. 351. There is no indication as to whether this performance was the premiere. As the play was licensed on 24 May 1687, the premiere may have been as late as 12 May, but possibly was earlier. Sir George Etherege to Will Richards, 19 May 1687: I have heard of the success of The Eunuch, and am very glad the town has so good a taste to give the same just applause to Sir Charles Sedley's writing, which his friends have always done to his conversation (Letterbook, ed. Rosenfeld, p. 212). Sir George Etherege to Middleton, 2O June 1687: I saw a play about ten years ago Called the Eunuch, so heavy a lump the players durst not charge themselves with the dead weight, but it seems Sir Charles Sedley has animated the mighty mass and now it treads the stage lightly (ibid., p. 227). [See also 26 March 1687 and season of 1676-77.] Thomas Shadwell, The Tenth Satyr of Juvenal (licensed, 25 May 1687.) Dedication to Sir Charles Sedley: Your late great obligation in giving me the advantage [presumably the third day's gain] of your comedy, call'd Bellamira, or the Mistress, has given me a fresh subject for my Thanks; and my Publishing this Translation affords me a new opportunity of owning to the world my grateful resentments to you. I am heartily glad that your Comedy (as I never doubted) found such success, that I never met with any Man of Sence but applauded it: And that there is abundance of Wit in it, your Enemies have been forced to confess....For the Judgment of some Ladies upon it that it is obscene, I must needs say they are Ladies of a very quick apprehension, and did not find their thoughts lye very much that way, they could not find more obscenity in that than there is in every other Comedy. A song, Thyrsis unjustly you complain, headed A Song in Bellamira, or, the Mistress. Set by Mr Tho. Shadwell, is in Vinculum Societatis, 1687 (licensed 8 June 1687)