Event Comment: The United Company. This performance is on the L. C. list, 5@149, p. 368: The Queene a Box & a Box for the Maids of Honor at ye Massacre of Paris. See also Nicoll, Restoration Drama, p. 352. The date of the first performance is not knwon, but as it was entered in the Term Catalogues, November 1689, it was probably first acted in early November or in October 1689. A song, Thy Genius lo!, composed by Henry Purcell, is in Orpheus Britannicus, 1698. Possibly it was sung by Bowman. See also The Works of Henry Purcell, Purcell Society, XX (1916), xviii-xix

Event Comment: By Subscription. The Music for The Judgment of Paris set by Mr Weldon

Event Comment: By Subscription. The music for The Judgment of Paris composed by Weldon. [Note that both duRuel and Mrs Mayers are advertised to appear at both theaters this day.

Event Comment: Benefit Mrs Bracegirdle. The music of The Judgment of Paris set by Eccles

Event Comment: Benefit for Arthur and Mrs Vincent. Charges #60. Deficit to the actors #6 12s. 6d. apiece, covered by income from tickets: Arthur #31 9s.; Mrs Vincent #43 4s. [Afterpiece a farce taken from Beaumont & Fletcher. Not Printed. In which was introduced the Judgment of Paris, a musical piece.] Mainpiece: Not acted these 7 years. Tickets to be had of Arthur in Duke's Court, and of Mrs Vincent at the Cock and Turk's Head in Bedford St., Covent Garden. Receipts: #46 15s

Event Comment: Benefit for Macklin. Afterpiece: A Comedy in 2 acts written by Foote, with Prologue and Epilogue by him. Miss Macklin did Calista and a part in the farce,-all went well (Cross). A Comedy in answer to the French Farce A Frenchman in London, with a Dialogue Prologue, spoken by Macklin & his wife. Epilogue spoken by Miss Macklin. All by Foote. Part of Pit laid into the boxes, with an amphitheatre on stage, all at 5s. Full Prices (Winston MS 8). The Englishman at Paris has been better recev'd that I expected. Garrick, &c., &c....say kinder things of it than modesty will permit me to repeat. Upon the whole it was damnably acted, Macklin miserably imperfect in the words and in the character (a stain to Comedy). You might have seen what I meant,--an English Buck, by the power of dulness instantaneously transformed into an Irish chairman. Miss Roach, accompany'd by some frippery French woman occupy'd, to the no small scandal of the whole house, the Prince's box, whilst the duchess of Bedford &c., &c. were oblig'd to take up with seats upon the stage. The piece will be printed the 25th instant, which I will enclose to you (Samuel Foote to Mr Delaval, MS in Folger Shakespeare Library, written either 24 March, or, perhaps more likely, 24 April, since Foote states later in the letter he is leaving for foreign parts the first of May)

Event Comment: Afterpiece: A New Farce Sequel to The Englishman in Paris, by the same Author [Foote]

Event Comment: By Command of Their Majesties. Tickets and places to be taken of Mr Johnston at the Stage Door of the Theatre at Half a Guinea. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. Doors to be opened at Five o'clock. To begin at Half past Six. Theatrical Review (London, 1772), appendix, pp. 207-8: The Oratorios performed at this House were conducted by Messrs. Stanley and Smith, for their own emolument; the Managers of the theatre having had no Share of the profit arising from these performances, nor any advantage, except a premium for the use of the house. Mr Stanley's musical abilities are well known. Mr Smith, was, if we are not mistaken, a pupil of the celebrated Mr Handel's; and, we believe, that Gentleman left Mr Smith the greatest part of his music, if not his whole library; so that Mr Smith may with great propriety claim the right of succeeding Mr Handel in the exhibition and conduct of his Oratorios, which he has undertaken (in conjunction with Mr Stanley) every since Mr Handel's death. Their band was composed of some of the most capital performers in this kingdom, and was led by Mr Ximenes. The vocal performers (exclusive of Chorus singers) were Mr Norris, well known to all lovers of Music, for his taste and delicacy of execution. Mr Parry (a Bass voice) from the Cathedral Church of Salisbury. This gentleman, though very young, has an extensive compass, and a great power of voice, and acquits himself with considerable reputation. Mrs Weichsel and Mrs Scott, of whom it would be superfluous and unnecessary to say anything, since their abilities are generally known. And lastly Signora Grassi, a performer of great merit. Theatrical Review, 6 March: This is Mr Dryden's celebrated Ode on St Cecelia's Day, and not an Oratorio, but performed as such...It contains many beauties and such as are worthy of Mr Handel's genius...Being much shorter than the usual length of oratorios, Mr Handel's celebrated Coronation Anthems were added in order to make the evening's entertainment of a proper length. Also a Solo on the Violincello by Mr Janson...lately arrived from Paris, said to have been a pupil of Mr Duport's but, though his taste and excution is very astonishing, we cannot give him the preference of his master. [See 13 April 1773.Charge seems to have been #28 per night plus expenses for oil, candles &c.

Event Comment: [As afterpiece the playbill announces The Best Bidder, but in the Account-Book it is deleted, with the note, "Chang'd to Englishman in Paris."] Receipts: #275 5s.(262/13/0; 12/4/6; 0/7/6)

Event Comment: Mainpiece: The Music composed principally by Storace, with a few pieces selected from Anfossi, Bianchi, and Guglielmi. "But for the excellent acting of Falmer, [THE ENGLISHMAN IN PARIS] would now scarcely be tolerated" (Thespian Magazine, June 1794, p. 225). Powell: Pirates rehearsed at 11 (Sedgwick one scene; Bardeauleau, Boyce, Horsfall). Receipts: #337 3s. (277/3/6; 57/3/0; 2/16/6)

Event Comment: The Public are respectfully informed that the War-Whoop Chorus, which was so much honoured with their Approbation, is now removed to the End of the First Act (printed slip attached to Kemble playbill). Powell: Englishman in Paris rehearsed at 10; Cherokee at 11. Receipts: #276 3s. (203.6.0; 69.7.6; 3.9.6),

Event Comment: Epilogue by David Garrick. Second Ballet: with New Scenes [by deLoutherbourg] and Dresses [by Lupini]. Two new Grand Ballets, composed by Gallet, were introduced in this Piece (The Maid of the Oaks) in which Gallet and Mlle Dupre made their first Appearance upon the Eng. Stage--the first Dance, which was to be in the 2nd Act, was obliged to be deferred till the end of the 3rd Act, as Lupini, who made the Dancers Dresses, had not brought them to the House--this put us all into great Confusion, and Dodd made an Apology to the Audience, that an unforseen Accident had prevented the Dance being done in the proper Place. At the beginning of the 3rd Act most of the Dresses were brought, but not all, and some of the Dancers were obliged to put on what Dresses could be got for them--They were all very much confused--the Music also was not perfect. Gallet went on, and spoke in French to the Audience, and told the Band that he wished they had any Heads. In the first Dance Mlle Dupre fell down, and a little after Gallet fell down, but (they) did not hurt themselves, and the Dance went on--and even with all these Disadvantages was much applauded (Hopkins Diary). Receipts: #181 19s. 6d

Event Comment: Mainpiece: The music composed by Michael Arne. With a Grand Procession of the different Orders of the Knights of Chivalryv. Receipts: #159 19s. (134.8; 25.11; 0.0)

Event Comment: Benefit Mills. For the Entertainment of the Grand Master, and the rest of the Fraternity of the Antient and Honourable Society of Free and Accepted Masons. Three rows of the Pit will be rail'd in for Masons only. Those brethren who intend to accompany the Grand Master to the play, are desir'd to meet his Lordship cloath'd at the Rose Tavern the corner of Bridges street, Covent Garden