Event Comment: Mainpiece:In I A Grand Masqueradev. Afterpiece [1st time; M. INT 1, by Thomas John Dibdin]: To conclude with a new Scenic Representation of Britannia Triumphantv. Interspersed With a Variety of favorite old Airs, popular Songs, Parodies, &c. The Overture and new Songs composed and the Music in general arranged by Moorehead. The Machinery invented and executed by Cresswell. Books of the Songs to be had in the Theatre, price Six-pence. Morning Chronicle, 16 Oct. 1799: This day is published The Naval Pillar (price not listed). The afterpiece had reference to the contemplated erection of a "Naval Pillar" on Portsdown Hill, near Portsmouth, in commemoration of the recent victbries of the English navy. A plain pillar is at the last introduced, with the names of the most celebrated admirals on a scroll, round which the sailors and their sweethearts dance with peculiar festivity. The pillar now flies open, and displays a most magnificent and appropriate spectacle--consisting of Britannia, personated by Mrs Chapman, under a rich canopy, with the figures of a sailor and a soldier for supporters, pointing to the letters G. R. over a brilliant sun, which turns on the center; shrouded in clouds above, and surrounded by angels, is a medallion of Lord Howe, and on columns on each side of the canopy are medallions of your great living naval commanders" (Monthly Visitor, Oct. 1799, p. 180). Receipts: #284 10s. 6d. (277.18.6; 6.12.0)

Event Comment: By Authority of the Lord Chamberlain. Benefit for Mrs Hunter, late of Covent-Garden Theatre. [Epilogue by Miles Peter Andrews.] Tickets to be had of Mrs Hunter, No. 12, Leicester-street, Leicester-square; and of Rice at the Theatre, where Places for the Boxes may be taken. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s

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: [Extra night] By Authority of the Marquess of Salisbury [the Lord Chamberlain]. Benefit for Waldron, prompter

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: 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 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

Event Comment: John Dryden to Sir George Etherege, 16 Feb. 1686@7: The Coffee-house stands certainly where it did, & angry men meet in the square sometimes, as Abercomy, & Goodman lately did, where they say Alexander the Great was wounded in the arme (The Letters of John Dryden, ed. Ward, p. 27). See 27 Oct. 1686

Event Comment: In The Theatre of Compliment, 1688, are verses similar to those apparently referring to August 1686: @Here is the Rarity of the whole Fair,@Pimper-la-Pimp, and the Wise Dancing Mare;@Here's valiant St George and the Dragon, a farce;@Here's Vienna Besieged, a most delicate thing;@And here's Punchinello, shown thrice to the King.@ John Verney entertained some of his wife's family who were in town to see Bartholomew Fair. See Memoirs of the Verney Family, ed. Margaret M. Verney (London, 1699), IV, 435

Event Comment: Post Man, 5-8 Sept. 1696: At Mr Barns's Booth in Southwark Fair, near St Georges Church, will be seen the only English, Dutch, Spanish, High German and Indian Companies of Rope-Dancers, who are all five joined together, and will perform such variety of Dancing, Walking, Vaulting and Tumbling; the like was never seen in England before. 1st, You will see the famous Indian Woman and her Company. 2. You will see the High German Company. 3. You will see the Spanish Company dance excellently well on the Low Rope. 4. You will see the two famous Dutch Children, who are the wonder and admiration of all the Rope Dancers in the World of their Sex and Age. 5. You will see the two famous Englishmen, Mr Edward Barns of Rederiff, and Mr Appleby, who are the only two Master Ropedancers and Tumblers in the old world; also you may see Mr Edward Barnes dance with a Child standing on his shoulders, and with 2 children at his Feet, in Jack-boots and Spurs, and cuts Capers a yard and a half high, and dances a Jig on the Rope with that variety of steps, that few, or no Dancing Masters can do the like on the ground: He likewise walks on a slack Rope no bigger than a penny Cord, and swings himself 6 or 7 yards distance. Afterwards you will see the famous Indian Woman Vault the High Rope with great dexterity. Likewise you will see the famous Mr Appleby, who is the only Tumbler in all Europe, fling himself over 16 mens heads, through 12 Hoops, over 14 Halbards, over a Man on Horseback, and a Boy standing upright on his Shoulders. You will likewise the entertained with good Musick. The merry Conceits of Harlequin and his Son Punch. You will see the English and Dutch Flag on the top of the Booth. Vivat Rex. We shall play in this place 12 days

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 3-5 March 1697@8, suggests that the first performance occurred probably not later than early February 1697@8. The Preface is signed by George Powell, who refers to the author of the play as unknown. In addition, Powell mentions that his company has recently revived some of Dryden's plays: Don Sebastian, Secret Love; or, The Maiden Queen, Marriage a la Mode, King Arthur, and adds: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun...could not prop

Event Comment: Post Man, No 515, 15-17 Sept. 1698: At Mr Barnes's and Mr Appleby's Booth in the Coachyard near St Georges Church, Southwark, during the space of 14 days, is to be seen the most famous Rope Dancers of Europe, viz. the English, High German, Dutch, and Morocco Companies, who perform strange and wonderful things on the Rope, the German Maiden outdoing all Men and Women, that ever danc'd before her, both for high leaping and fine Dancing, and whatever has been done by any person on the Ground, as side, upright, cross or back Capers, is performed by her on the Dancing Rope, and rises to that prodigious height, as will startle all that see her

Event Comment: Thomas Brown to George Moult, 12 Sept. 1699: But tho' Bartholomew-Fair is dead and buried for a twelvemonth, yet it is some consolation to us, that it revives in both the play-houses. Poetry is so little regarded there, and the audience is so taken up with show and sight, that an author will not much trouble himself about his thoughts and language, so he is but in fee with the dancing-masters, and has a few luscious songs to lard his dry composition. One would almost swear, that Smithfield had removed into Drury-lane and Lincolns-Inn-Fields, since they set so small a value on good sense, and so great a one on trifles that have no relation to the play. By the by, I am to tell you, that some of their late bills are so very monstrous, that neither we, nor our forefathers, ever knew anything like them: They are as long as the title-pages to some of Mr Prynn's works; nay, you may much sooner dispatch the Gazette, even when it is most crowded with advertisements. And as their bills are so prodigious, so are the entertainments they present us with: For, not to mention the Bohemian women, that first taught us how to dance and swim together; not the famous Mr Clinch of Barnet, with his kit and organ; nor the worthy gentlemen that condescended to dance a Cheshirerounds, at the instance of several persons of quality; nor t'other gentleman that sung like a turky-cock; nor, lastly, that prodigy of a man that mimick'd the harmony of the Essex lions; not to mention these and a hundred other notable curiosities, we have been so unmercifully over-run with an inundation of Monsieurs from Paris, that one would be almost tempted to wish that the war had still continued, if it were for no other reason but because it would have prevented the coming over of these light-heel'd gentlemen, who have been a greater plague to our theatres, than their privateers were to our merchantmen. Shortly, I suppose, we shall be entertain'd here with all sorts of sights and shows, as, jumping thro' a hoop; (for why should not that be as proper as Mr Sympson's vaulting upon the wooden-horses?) dancing upon the high ropes, leaping over eight men's heads, wrestling, boxing, cudgelling, fighting at back-sword, quarter-staff, bear-baiting, and all the other noble exercises that divert the good folk at Hockley; for when once such an infection as this has gain'd ground upon us, who can tell where it will stop? What a wretched pass is this wicked age come to, when Ben. Johnson and Shakespear won't relish without these bagatelles to recommend them, and nothing but farce and grimace will go down? For my part, I wonder they have not incorporated parson Burgess into their society; for after the auditors are stupify'd with a dull scene or so, he would make a shift to relieve them. In short, Mr Collier may save himself the trouble of writing against the theatre; for, if these lewd practices are not laid aside, and sense and wit don't come into play again, a man may easily foretell, without pretending to the gift of prophecy, that the stage will be shortliv'd, and the strong Kentish man will take possession of the two play-houses, as he has already done of that in Dorset-Garden (The Works of Thomas Brown, 4th ed. [London, 1715], I, 216-18)

Event Comment: Post Man, No. 747, 4-7 May 1700: At the desire of several Ladies of Quality, To-morrow being Wednesday, (in the great Room in York Buildings) will be performed a new Mask set to Musick, with an extraordinary entertainment of other Vocal and Instrumental Musick for the Benefit of Mr Gouge [Mr George in Flying Post] and Miss Bradshaw. Prices 2s. 6d

Event Comment: Betterton's Company. Flying Post, 2-4 July 1700: At the Request, and for the Entertainment of several Persons of Quality, at the New Theatre in Lincolns-Inn-Fields, to Morrow, being Friday, the 5th of this instant July, will be acted, The Comical History of Don Quixote, both Parts being made into one by the Author. With a new Entry by the little Boy, being his last time of Dancing before he goes to France: Also Mrs Elford's new Entry, never performed but once; and Miss Evan's Jigg and Irish Dance: With several new Comical Dances, compos'd and perform'd by Monsieur L'Sac and others. Together with a new Pastoral Dialogue, by Mr George and Mrs Haynes; and variety of other Singing. It being for the Benefit of a Gentleman in great distress; and for the Relief of his Wife and Three Children. Downes, Roscius Anglicanus, p. 45: Don Quixote, both Parts made into one, by Mr Durfey, Mrs Bracegirdle Acting, and her excellent Singing in't; the Play in general being well Perform'd tis little Inferior to any of the preceding Comedies