Event Comment: Benefit for Harley. Mainpiece: As altered from Beaumont and Fletcher by the Duke of Buckingham and D. Garrick, Esq. Not acted these 7 years. Morning Chronicle, 20 May: Tickets to be had of Harley, No. 22, Great Queen-street, Lincoln's-inn-fields. Receipts: #242 1s. 6d. (84.10.6; 7.5.0; tickets: 150.6.0)

Event Comment: [In 2nd piece the playbill assigns Orlando to Kemble, but "On account of indisposition, Barrymore last night performed Orlando for Kemble" (Oracle, 4 Oct.).] 3rd piece: To conclude with the Glorious Defeat of the Spanish Armada, and a Grand Procession. "Equal to any actor I ever saw, as far as his line extends, is Mr Parsons; his conception and expression of Sir Fretful Plagiary, in Mr Sheridan's Critic, are as strong and masterly as were Garrick's in Kitely [in Every Man in his Humour]; and his 'laughing without mirth' therein equally admirable" (Jonson, ed. Waldron, 171). Receipts: #251 4s. 6d. (213.6.6; 37.0.0; 0.18.0)

Event Comment: Afterpiece [1st time; C 3, author unknown. Not in Larpent MS; not published]: Taken from Amphitryon, as altered by Garrick from Plautus and Moliere [recte from John Hawkesworth's alteration of Amphitryon, by John Dryden]

Event Comment: Benefit for Lewis. 1st piece: As altered by Garrick. Not acted these 10 years [acted I June 1791]. 2nd piece: In one Act. Morning Herald, 11 Apr.: Tickets to be had of Lewis, Bow-street. Receipts: #469 13s. (294/3/6; 26/2/6; tickets: 149/7/0)

Event Comment: Benefit for Mrs Siddons. Mainpiece: Translated from Voltaire. Not acted these 20 years [acted l6 Nov. 1779]. Afterpiece: Not acted these 18 years [not acted since 19 Apr. 1774]. Morning Chronicle, 9 Apr.: Tickets to be had of Mrs Siddons, No. 49, Great Marlborough-street. [Mrs Siddons's 1st appearance as Palmyra was at Manchester, 1 Apr. 1778. Adress by Samuel Rogers (European Magazine, May 1795, p. 344). Epilogue by David Garrick.] Receipts: #569 8s. 6d. (293.14.6; 59.10.6; 8.0.0; tickets:208.3.6) (charge:#204 1s.)

Event Comment: Benefit for Miss Pope. 2nd piece: Written by David Garrick, Esq. Morning Herald, 23 Apr.: Tickets to be had of Miss Pope, No. 63, Great Queen-street, Lincoln's Inn Fields. Receipts: #367 8s. 6d. (127.15.0; 62.1.0; 9.17.6; tickets: 167.8.0; odd money: 0.7.0) (charge: #210 16s.)

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

Event Comment: See Nicoll (Restoration Drama, p. 277) and Hotson (Commonwealth and Restoration Stage, p. 114) for discussion of an order addressed to George Jolly forbidding him to act further until differences between him and Beeston are settled

Event Comment: W. S. Clark (Works of Orrery, 1, 40-41) believes that this is Thomas Middleton's play, not one by Orrery. Henry Savile to George Savile: I am come newly from my Lord of Orrery's new play called The Widow, whose character you will receive from better hands. I will only say that one part of it is the humour of a man that has great need to go to the close stool, where there are such indecent postures as would never be suffered upon any stage but ours, which has quite turn'd the stomach of so squeamish a man as I am, that am used to see nothing upon a theatre that might not appear in the ruelle of a fine lady (Savile Correspondence, ed. W. D. Cooper, Camden Society, LXXI [1858], 4)

Event Comment: Pepys, Diary: And took up my wife, and to Polichinelli at Charing Crosse, which is prettier and prettier, and so full of variety that it is extraordinary good entertainment. (See also George Speaight, The History of the English Puppet Theatre [London, 1955], p. 75.

Event Comment: On this day a quarrel occurred at lif between Henry Killigrew and George Villiers, Duke of Buckingham, but the play is not named in the various accounts of the affair. For details, see HMC, 12th Report, Part VII, p. 51; and Carl Niemeyer, "Henry Killigrew and the Duke of Buckingham", Review of English Studies, XII (1936), 326-28. Pepys, Diary: 22 July: Creed tells me of the fray between the Duke of Buckingham at the Duke's playhouse the last Saturday (and it is the first day I have heard that they have acted at either the King's or Duke's house this month or six weeks) and Henry Killigrew, whom the Duke of Buckingham did soundly beat and take away his sword, and make a fool of, till the fellow prayed him to spare his life; and I am glad of it; for it seems in this business the Duke of Buckingham did carry nimself very innocently and well

Event Comment: [The King's Company. The date of the first performance is not known, but a letter--see 2 Jan. 1670@1--indicates that the first part had been acted before that date and that Part II was to be shortly staged. The point of the Prologue spoken by Ellen Gwyn seems to have derived from an incident at Dover (see Downes, Roscius Anglicanus, p. 20) in May 1670, when James Nokes attired himself in a ridiculous fashion, including "Broad wast Belts." The speakers of the Epilogue and the Prologue to the Second Part are mentioned in Sir William Haward's MS (Bodl. MS Don. b., pp. 248-49); see The Poems of John Dryden, ed. James Kinsley (Oxford, 1958), IV, 1848-49. In Part I a song Beneath a myrtle shade, with music by John Bannister, is in Choice Songs and Ayres, First Book, 1673. Another, Wherever I am, with music by Alphonso Marsh, is in the same collection, as is also How unhappy a lover am I, the music by Nicholas Staggins. Mrs John Evelyn to Mr Bohun, ca. Jan. 1670@1: Since my last to you I have seen The Siege of Grenada, a play so full of ideas that the most refined romance I ever read is not to compare with it; love is made so pure, and valour so nice, that one would image it designed for an Utopia rather than our stage. I do not quarrel with the poet, but admire one born in the decline of morality should be able to feign such exact virtue; and as poetic fiction has been instructive in former ages, I wish this the same event in ours. As to the strict law of comedy I dare not pretend to judge: some think the division of the story is not so well if it could all have been comprehended in the day's actions (The Diary and Correspondence of John Evelyn, ed. William Bray, IV, 25). According to John Evelyn--see 9 Feb. 1670@1--Robert Streeter did some of the scenes for this play. In the Preface to The Fatal Discovery, ca. February 1697@8, George Powell, in discussing revivals of Dryden's plays, stated: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun could not prop

Event Comment: London Gazette, No 742, 26-30 Dec. 1672: These are to give Notice, that at Mr John Banister's House, now called the Musick School, over against the George Tavern in White Fryers this present Monday, will be Musick performed by Excellent Masters, beginning precisely at four of the Clock in the afternoon, and every afternoon for the future, precisely at the same hour. Roger North on Music: But how and by what stepps Musick shot up in to such request, as to croud out from the stage even comedy itself, and to sit downe in her place and become of such mighty value and price as wee now know it to be, is worth inquiring after. The first attempt was low: a project of old Banister, who was a good violin, and a theatricall composer. He opened an obscure room in a publik house in White fryars; filled it with tables and seats, and made a side box with curtaines for the musick. 1s. a peice, call for what you please, pay the reckoning, and Welcome gentlemen. Here came most of the shack [vagabond] performers to towne, and much company to hear; and divers musicall curiositys were presented, as, for instance, Banister himself, upon a flageolett in consort, which was never heard before nor since, unless imitated by the high manner upon the violin. But this lasted not long, nor another meeting of like kind neer Paul's (headed by one Ben. Wallington) for voices to an organ, where who would, that was gifted, might performe, and no payment, but the reckoning (ed. John Wilson [London, 1959], pp. 302-3)

Event Comment: A quarrel occurred at the King's Theatre on this day (apparently) between Ravenscroft and Sir George Hewitt. See Letters Adressed from London to Sir Joseph Williamson, Camden Society, VIII (1874), 87

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216: K: & Q:. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 406. BM Add. Mss. 27, 962v, f. 312 (a transcript of a newsletter by Salvetti), 14 Dec. 1674 (translation): On last Wednesday all the royal family were present at the theatre to hear the tragedy of Hamlet, which, for their greater entertainment, was adorned and embellished with very curious dances between the acts. [I am indebted to Professor George Hilton Jones, Kansas State University, for this item.

Event Comment: The date of the premiere is not known, but Robert Hooke, attended play on 27 Aug. 1675 which might well refer not to Psyche but to Duffett's travesty of it. In addition, John Harold Wilson has argued that the reference in the Prologue to "The new-come Elephant" probably concerns the elephant imported by Lord George Berkeley and sold by 12 Aug. 1675 (see The Diary of Robert Hooke, p. 174). The cast also contains a number of "young actors" who might well have had an opportunity to act in a play in the summer vacation

Event Comment: The United Company. There is uncertainty concerning this date; it appears on Luttrell's copy (Huntington Library) of the separately printed Prologue and Epilogue, and the date may represent the time of his purchase rather than a date of performance. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 141-45. Downes (Roscius Anglicanus, pp. 39-40): All the preceding Plays, being the chief that were Acted in Dorset-Garden, from November 1671, to the Year 1682; at which time the Patentees of each Company United Patents; and by so Incorporating the Duke's Company were made the King's Company, and immediately remov'd to the Theatre Royal in Drury-Lane. Upon this Union, Mr Hart being the Heart of the Company under Mr Killigrew's Patent never Acted more, by reason of his Malady; being Afflicted with the Stone and Gravel, of which he Dy'd some time after: Having a Sallary of 40 Shillings a Week to the Day of his Death. But the Remnant of that Company; as, Major Mohun, Mr Cartwright, Mr Kynaston, Mr Griffin, Mr Goodman, Mr Duke Watson, Mr Powel, Sr, Mr Wiltshire, Mrs Corey, Mrs Bowtell, Mrs Cook, Mrs Montfort. [Joined the new company]. Note, now Mr Monfort and Mr Carlile, were grown to the Maturity of good Actors. The mixt Company then Reviv'd the several old and Modern Plays, that were the Propriety of Mr Killigrew, as Rule a Wife, and have a Wife: Mr Betterton Acting Michael Perez; Don Leon, Mr Smith, Cacofogo, Mr Cartwright: Margaretta, Mrs Barry: Estiphania, Mrs Cook. Next, @The Scornful Lady.@The Plain Dealer.@The Mock Astrologer.@The Jovial Crew.@The Beggars Bush.@Bartholomew-Fair.@The Moor of Venice.@Rollo.@The Humorous Lieutenant.@The Double Marriage.@ With divers others. George Powell, Preface to The Treacherous Brothers (1690): The Time was, upon the uniting of the Two Theatres, that the Reviveing of the old stock of Plays, so ingrost the study of the House, that the Poets lay dorment; and a new Play cou'd hardly get admittance, amongst the more precious pieces of Antiquity, that then waited to walk the Stage. Cibber, Apology, ed. Lowe, I, 95-96): I shall content myself with telling you that Mohun and Hart now growing old [for, above thirty Years before this Time, they had severally born the King's Commission of Major and Captain in the Civil Wars), and the younger Actors, as Goodman, Clark, and others, being impatient to get into their Parts, and growing intractable, the Audiences too of both Houses then falling off, the Patentees of each, by the King's Advice, which perhaps amounted to a Command, united their Interests and both Companies into one, exclusive of all others in the Year 1682. This Union was, however, so much in favour of the Duke's Company, that Hart left the Stage upon it, and Mohun survived not long after

Event Comment: The United Company. The date of the first performance is not certain, but Luttrell acquired his copy of the separately-printed Prologue and Epilogue on 18 Aug. 1684. (Bindley Collection, William Andrews Clark@Jr@Library), and the play was probably first performed on that day or in the preceding week. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 221-23. In the broadside the speaker of the Prologue is identified as Jevon. A sofg, Ah poor Oliver never boast, the verse by a Lady, and the music by R. King, is in A Collection of Twenty-Four Songs, 1685. Another, Damon if you wilt believe me, the verse by a Person of Quality and the music by Alexander Damascene, is in The Banquet of Musick, The Fifth Book, 1691. Two songs, Tell me no more I am deceived, the verse by Sir George Etherege and the music by J. B. Draghi, and Who can resist my Celia's charms, the music by J. B. Drahgi, and the verse by A Person of Quality, are in the printed play. This cast contains the last new role certainly assigned to John Wiltshire, who, according to (Cibber, Apology, ed. Lowe, I, 84-85), entered the army and was killed in action