Event Comment: Benefit for the Unhappy Sufferers by the late Dreadful Fire that happened in King Street, Covent Garden. Places for boxes to be taken, and tickets to be had of Mr Sarjant, at the Stage Door of the Theatre; where, if any persons are so charitably disposed as to send more than the price of the ticket, a receipt will be given him to the person who brings it. And the profits arising from such Benefit Play, will be paid into the hands of the Church Wardens of St Paul's, cg, and St Martins in the Fields, to be distributed by them for the purposes intended. And as there has been no interest made for this benefit, more than arose from the Advertisements in the public Play-Bills, it is hop'd the Inhabitants of the above parishes will favour this charity with their personal appearances at the said Theatre this Night. Receipts: #128 13s. in cash plus #42 5s. (169 Box tickets). Total Income #170 18s. Charges #64

Event Comment: A Burletta, Benefit for Sg & Sga Paganini, [Who] being desirous of returning to Italy...take this Opportunity to express their most grateful Sense of the many Favours with which they have been honoured in this Kingdom; and being willing that the Necessitous should share in that Bounty which they owe more to the Generosity of the English Nation than to their own Merits, they have allotted a fourth part of the Profits which may arise from the above Burletta (free from all Expense whatever) towards the carrying on and extending the Utility of the Asylum or House of Refuge for Female Orphans...and another Part of the aforesaid Profits will be given towards relieving old Signor Cataneo, who, during forty Years was useful to the Operas, but is now in extreme Distress; and the Manager, who is at the Expence of this Benefit, has chearfully consented to the Disposition here mentioned. As it is intended to apply the whole Profits which may arise from letting out the Servants Gallery [at 2s. 6d. each person] for the Benefit of the Asylum, over and above what was before alloted to it, 'tis humbly hoped that the Nobility, Gentry, etc. will not take it amiss if their Servants are not admitted that Night, as has been the Practice at this Theatre on Occasions of Charity. Tickets will delivered out for this Benefit, this day at the Opera Office, and signed by Mr Crawford, and all Monies given for Tickets above their usual Price, is to be shared in the Charity abovementioned. Tickets delivered for 23 March will be taken

Event Comment: Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. No Admittance behind Scenes. No Money to be returned after Curtain is drawn up. Places to be had of Mr Johnston at the Stage Door. To Begin precisely at half an hour after Six. [Customary information at foot of each bill, will not be further noted.] [Announcement of improvements in the physical plant appeared in the newspapers in August 1762. Aug. 2. "A great number of workmen are now employed in getting ready Drury Lane Theatre for the ensuing season. The stage has been greatly lengthened, and the Pit and Boxes considerably enlarged, having taken in one of the lobbies for that purpose; the two galleries are also entirely rebuilt, and rendered much larger and more commodious, and the slips on each side are formed into green boxes. It is computed from the several alterations made that the house will contain #90 more than heretofore." Aug. 11: "We hear that the greatest improvements are making in Drury Lane Theatre against the ensuing season ever known, particularly a fine artificial cascade which will be exhibited in an entertainment the grandest and most beautiful ever seen in this or in any Kingdom."-Theatrical Miscellanies, Boston Public Library, Cuttings, G 60.23.

Event Comment: By Command of their Majesties. [This seems to be the night referred to by The Volunteer Manager in Theatrical Review of 1 January 1763 who condemns Miss Poitier's scandalous costume and indelicate actions: "Would any person suppose she could have the confidence to appear with her bosom so scandalously bare, that to use the expression of a public writer, who took some moderate notice of the circumstance, the breast hung flabbing over a pair of stays cut remarkably low, like a couple of empty bladders in an oil-shop. One thing the author of that letter has omitted, which, if possible is still more gross; and that is, in the course of Miss Poitier's hornpipe, one of her shoes happening to slipt down at the heel, she lifted up her leg, and danced upon the other till she had drawn it up. This had she worn drawers, would have been the more excusable; but unhappily, there was little occasion for standing in the pit to see that she was not provided with so much as a fig-leaf. The Court turned instantly from the stage-The Pit was astonished! and scarcely anything, but a disapproving murmur, was heard, from the most unthinking spectator in the twelvepenny gallery." Miss Poitier subsequently denied any impropriety in action, and sought hearing in the Theatrical Review. In the Volunteer Manager" section of the number for 1 March 1763 the editiors reaffirmed their stand on her indecency and refused to join further in a personal altercation.

Event Comment: After the play on Saturday Night Mr Yates sent me the part of Bottom in the Fairy Tale & Said he would play it no more the part was given to Mr Baddeley & he play'd it to Night (Hopkins). Mr Yates sent me the part of Bottom, and said I must give it to somebody else, for he would do it no more.-Mr Baddeley Played it tonight, and very well (Hopkins Diary-MacMillan). Songs in the Entertainment given at the theatre. Receipts: #124 6d. (MacMillan)

Event Comment: Afterpiece: A New Pantomime, the Overture and Comic Tunes compos'd by Potter, the Airs and Chorusses by Batishall. Nothing under Full Prices will be taken. The Words of the Airs and Chorusses in the Entertainment will be given away at the theatre (playbill). At the end of the Play a great Noise & many cry'd out, the whole! the whole, &c. Mr Holland told 'em there never was any more play'd, which a little appeas'd em; but some noise continued till the Curtain was drawn up for the Pantomime & then all was quiet. The Pantomime got great applause; the Tunes were very bad, & a great want of Business & Incidents thro' the whole. The Scenery is very Pretty & well Executed. The Elephant is excellent & has a Fine Effect (Hopkins). Machinery Pleas'd. Business so, so (Cross Diary). [Wording in comment from Hopkins Diary-MacMillan, differs only slightly.] Receipts: #269 13s

Event Comment: [Writer of letter to Public Advertiser states that it is not fashionable to attend on Tuesdays. On Tuesday, he continues, there were probably not more than twenty subscribers or a hundred who had paid. But the Upper Gallery never fails to do Honour to Opera. If not more than 20 people of Fashion in the House there are at least 300 in Upper Gallery." His suggestion is that reduction of cost to 2s. 6d. would induce whole musical families to attend and ultimately be beneficial for this form of entertainment.

Event Comment: Benefit for Havard. Fairy Tale deferr'd, Miss Wright ill. This morning Mr Obrien was married to Lady Susan Strangeways. Mr Powell made an Apology & Mr King play'd his part in the Farce. N.B. This Night Mrs Yates sent me word She could play no more this Season (Hopkins). Mr Obrien married, cou'd not come. Mr King play'd his Part Mr I. Palmer King's (Cross Diary). Mr O'Brien being married this morning to Lady Susan Strangeways [sic] after the Play Mr Powell made apology that Mr O'Brien had sent word he was not able to do his part [Lovel], and that Mr King had undertaken it at every short warning, and hoped for their indulgence.-Mr J. Palmer did Mr King's part [Sir Harry's Servant]. This Night Mrs Yates gave notice she could play no more this season (Hopkins Diary-MacMillan). Receipts: #214 2s. (MacMillan); charges: #64 4s. [Profit to Havard: #149 18s.

Event Comment: [This year was published The Companion to the Playhouse; or, An historical account of all the Dramatic Writers, and their works that have appeared in Great Britain and Ireland to the year 1764. Composed in the form of a Dictionary. for the more readily turning to any particular author or performance. Two vols. Dedicated to Garrick. (Who receives eleven and one-half columns of comment, more than any other dramatist.) This is the beginning of the Biographia Dramatica. This year was published Essays on Important Subjects intended to establish the Doctrine of Salvation by Grace, by John Witherspoon (President of Princeton). Vol. II, contained a Serious Enquiry into the nature and effects of the Stage," being an attempt to show that contributing to the support of a Public Theatre is inconsistent with the character of a Christian (112 pp).

Event Comment: Full Prices. Afterpiece: A Pantomimic dance by Love (Biographia Dramatica). Much followed and brought several crowded houses, and the success chiefly owing to the reports our newspapers were, at that time, daily filled with, of the French wild Beast that was devouring (and yet pursued by) children. This wild beast was happily introduced in this pantomime, pursued by boys led on by a Frenchman. At last the Beast made his Re-entry, and ran across the stage with the poor Frenchman in his mouth, to the great joy of the Pit, Box and Galleries (Victor, History of Theatres, III, 72). Dorilas for the first time by Mr Cautherly--very decent, but wanted spirit. This pantomime is fathered by Mr Lowe [?]--went off with applause, --Mr Garrick made most of the Business to it, which is very good (Hopkins Diary). [Letter from C. V. Theatricus on ladies' removing their hats in the theatre. A Gentleman had requested it and a debate ensued in the Public Advertiser, as to whether he wished to see the play better or to gaze more audaciously on many pretty faces. Long letter also from G. F. Theatricus to the Public Advertiser, commenting on the excellence of Powell, Mrs Yates, Holland, the Palmers, Cautherly and Bensley for their performance in Venice Preserved, Romeo and Juliet, and Mahomet respectively.

Event Comment: In the Gazetteer 25 Feb. appeared a long editorial by "Rectus": "Though the performing oratorios in the time of Lent,is highly censured by many, yet I must own that I think the far greater part of them become enemies to those solemn performances, rather because their ears are more unfit for music than their minds are for the pretended immorality that attends such exhibitions." [The writer wishes not to cry down every entertainment he cannot relish himself and adds], "I have long endeavoured to find out the reason why plays should not be performed on Wednesdays and Fridays in Lent as well as on those days all through the rest of the season. I have never yet been able to find out that Lent makes the least difference in people's way of living." [He wonders, however, why the non-sacred oratorios such as Acis and Galatea and Alexander's Feast have been allowed performance. He then registers a mild complaint about the management of the Oratorios because they do not include sufficient solo instrumental entertainment between the parts.] "This custom was wholly dropped last year, and I complained greatly of it in a letter which you did me the favour to insert. I was greatly surprised to find Mr Pinto, who then led the band, was either not permitted or not paid to play a solo, as well as Mr Hay, who played one every night the preceding season. Mr Stanley's illness not permitting him then to play, that omission was overlooked, though it might have been supplied by a performer on some other instrument. This season the managers have thought proper to treat their audience with one solo or concerto every night, but why not have two?" [He liked Barthelemon's solos, but lamented that Stanley sat idle, and he offered final advice that the managers should alternate the solo instruments for "pleasing variety." The admission price demands it.

Event Comment: Paid salary list 3 days at #72 4s. 1d. per diem #216 12s. 3d.; Mr Weston on his note #5 5s.; Mrs Abington 3 first days not on list #2 10s. (Treasurer's Book). [From a long review in the Public Advertiser 3 Oct.: Two new performers in parts very difficult to execute-Mr Cautherly a pupil of the greatest master of the art of acting that ever graced the English stage (if not European)...has this summer convinced us that he is susceptible of the most refined instructions of his great patron and tutor. Of the Lady, I can say nothing prior to her appearance 30 Sept. as I am noways acquainted with her history any more than that by declaration of common report; she is the spouse of the brother of that Mr Barry who has so greatly pleas'd the town this summer at the Opera House." [Comments on her figure, voice and countenance well adapted to express the stronger passions.] She seemed to be so much in love with Romeo as to forget she represented a young and inexperienced virgin unused to men...The first scene of consequence is the Masquerade scene, which was as to business very badly conducted; but this, I doubt not will be rectified another night, they were discovered in disorder and they went off in confusion. It appeared a tumultous assembly rather than a Masquerade of nobility in an Italian Palace. Romeo stayed so long behind the crow that he was oblig'd to run to his station opposite Juliet to be in time for "Cousin Benvolio, do you mark that lady." [A long and detailed review of the stage action act by act.] In the Garden scene an unlucky accident happened to Cautherly...his nose ran with blood and he was oblig'd to keep his handkerchief to his nose all through, which was a great loss to the audience...The Apothecary is the best figure I ever saw, and spoke more sensibly than I ever heard an apothecary speak in my life. Mr Castle has rescued that character from ridicule, and worked by pity what buffoonery used to run off with-applause." Receipts: #145 11s. 6d. (Treasurer's Book.

Event Comment: VViscomica to the Printer of the Public Advertiser: As burlettas have been laid aside some years, and they are a species of entertainment I am particularly fond of, as there is vivacity in the music, and great humour and satire in the performance, I was much pleased with the thoughts of being as well entertained as I had heretofore been; and more so when I found I could gain admittance to so good a place for hearing, for the trifling sum of three shillings; a place in which I never dared to shew my face before, not being on a footing with the riotous company that used to be admitted there, to attend their several masters' call; a nuisance, from which I rejoice the managers have at length, after so many hints and solcitations, found out a method to deliver their audience. I remember to have seen a darkish way down a flight of steps to a dismal winding staircase, which I was told led to the footman's gallery, and, supposing that the road I was to take on this occasion, was very agreeably undeceived by being shewn up about halfway to the five shilling gallery, and by a turn through an arch introduced to a new and convenient staircase leading to this region of the gods, where I was surprised to find myself arrived before I thought I was half-way up. The managers have indeed made this place very neat and commodious, by rendering the descent much less steep, lowering and matting the benches, painting and lighting the whole place; so that I found myself as much at my ease there, as in any other part of the house, and much better situated than I had expected; likewise, by their following Mr Garrick's example, in removing the pendant lustres, and lighting after the foreign manner, you have a full view of the whole stage; by which the magnificance appears greatly increased. The performance was beyond my expectations, as I think the performers excel any in their way which have appeared in this country; but I need not expatiates upon a subject the town in general have been, or I dare say will be, as good judges of as yours, &c

Event Comment: With several curious and uncommon performances by the Venetian and his children. Neville MS Diary: At 6 got into the Pit at Sadler's Wells just as the entertainment began with concerts. The singing by Mrs Lampe, Master Herryman, &c. Dancing by Sg Grimaldi, Tassoni, Miss Reynolds from Drury Lane. Tumbling, but not equal to that by Plaida's company. Postures in which the Venetian and his children (a boy and a girl particularly) excel greatly. One stands on his hands, turns his feet backwards to his haunches, and walks in this position or forms an arch with his breast, while the other stands on his head upon it, the father carries one on his hand around his body, one stands on his head on his father's hand. These I mention as a specimen of many more, equally curious, tho' seeing these postures is disagreeable to a humane mind. The Father balances too the slack rope. The whole concluded with the pantomimic entertainment called Merlin

Event Comment: Mainpiece: By Desire. Music [to afterpiece] by Barthelemon. I often go to both theatres, have seen Garrick and Mrs Yates, who are the first in this theatrical sphere. The former has hitherto [i.e., this season] appeared only in comedy, --his manner, his humour, and his judgment are not to be equall'd. The adoration he meets with from the English is equal to his merit. His every motion they attend to, and every turn of his eye seems to transport them. Mrs Yates [at Covent Garden] has much tragic merit. Her low voice is very tuneful, her feeling great, her action peculiarly graceful and her figure uncommonly fine. She has more power than Mrs Dancer (at Drury Lane] and more variety than Mrs Fitz-Henry, tho' less strength and compass. On the whole she is superior to the former and inferior to the latter. Barry and Mrs Dancer are engag'd here (MS Letter from Henry Grattan to Cornet Broome giving his first impressions of living in London, 27 Oct. 1767, in Folger Library). Neville MS Diary: Went into the Pit to see As You Like It a second time. Reddish did Orlando for the 1st time. He is a pretty good player. End Act I, Hearts of Oak. The Entertainment was the new Farce called a Peep Behind the Curtain. Glib by King who is the author. The piece is not unentertaining, whatever other merit it may have. The Prologue and an Address to the Town by way of Epilogue, are spoken by Mr King, the music by Barthelemon

Event Comment: [Messrs Vincent and Gordon beg the Nobility and Gentry that intend honouring them with their protection the ensuing season of Opera will pay their subscriptions to Messrs Drummonds, Bankers, Charing Cross. The subscription is for 50 nights only. A letter from Timotheus in the Public Advertiser: "I repeatedly see in your paper an advertisement from the managers of the opera to solicit subscriptions from the Nobility and Gentry to enable them to carry it on. Surely, from the specimin they have already given us of their performance in the serious way, never had managers less claim to the countenance and favour of the public. In the whole company but one voice, and that just tolerable and no more; compared indeed to the rest a nightengale. Then, Sir, for their dancers, they seem so perfectly so well suited to the singers, that 't is difficult to pronounce to which of them the palm should be allotted. For the Figurers, one only excepted, they seem in that article to have paid a due attention to their want of every Talent requisite, by reducing them to so small a number that they look like so many mice scudding about an empty barn. In short, Singers, Dancers, Figurers, Cloaths, Decorations, etc., etc., are all so much of a piece, that if the directors either can't or won't engage better performers, the sooner an end is put to the exhibition of Operas the better it will be." See comment in reply, 8 Nov.

Event Comment: By Command of their Majesties. Theatrical Register, 1769: This is a very masterly performance, in general more pleasing (though less grand) than many of Handel's Oratorios, the subject of the drama not requiring that Solemnity of stile which some others demand. Charges: #35 (Account Book)

Event Comment: Benefit for Miss Macklin. Part of Pit will be laid into the Boxes. Come as early as possible to avoid confusion. Charges #64 10s. Balance to Miss Macklin #79 18s., plus #146 from Tickets (584 Box & Pit at one price of 5s. each); Paid Mr Monk #2 12s. 6d. for mending the Owl & a new Spring (Account Book). [The bonus value of the benefit to an actor or member of the company staff may be seen when one considers that Miss Macklin's regular salary was #7 per week, or about #28 per month. On this one benefit performance she made a profit in book value equal to her previous eight month's salary. Book value because the Account Book records, for the tickets which she delivered, only the face value of 5s. each. It is probable that many a wealthy theatre-goer gave her on this occasion, by way of appreciation for the pleasure of her performances, much more than the face value of the ticket.] Receipts: #144 8s