Event Comment: The Memoirs of Sir John Reresby, 18 Jan. 1685@6: After dinner the Lord? Chancellor, having drunke smartly at table (which was his custome) called for one Monfort, a gentleman of his that had been a comedian, an excellent mimick, and to divert the company, as he called it, made him give us a caus, that is, plead before him in a feigned action, wher he acted all the principal lawyers of the age, in their tone of voice, and action or gesture of body; and thus ridiculed not only the lawyers, but the law itselfe. This, I confess, was very diverting, but not soe prudent as I thought for soe eminent a man in soe great a station of the lawe; since nothing could get a man more enemies than to deride thos whom they ought most to sopport (ed. Browning, pp. 408-9)

Event Comment: An L. C. order, 5@147, p. 239, states: that ye play called ye Spanish Friar should bee noe more Acted (Nicoll, Restoration Drama, p. 10n)

Event Comment: On this date William Hemmings' The Eunuch was licensed. The play was published in 1687, but there is no certainty that it was acted. The problem is made more complicated by the production of Sedley's Bellamira--see 12 May 1687-which was derived from Terence's The Eunuch. See the introductory note for the 1676-77 season for the possibility that The Eunuch was acted then

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)

Event Comment: The United Company--Peregrine Bertie to the Countess of Rutland, 12 May 1688: We have had since my last another new play, a comedy writ by Shadwell, called the Esquire of Alsatia. It has been acted nine days successively, and on the third day the poet got 16l. more than any other poet ever did. When all this is granted, there is nothing in it extraordinary--except it is a Latin song--but the thing reason why it takes soe well is, because it brings severall of the cant words upon the stage which some in town have invented, and turns them into ridicule (HMC, 12th Report, Appendix, Rutland MSS., Part V, Vol. II, p. 119)

Event Comment: The United Company. The date of the first performance is not known. The play was entered in the Stationers' Register, 13 Feb. 1689@90, and advertised in the London Gazette, 20-24 Feb. 1689@90; hence, it was probably first given in January 1690, certainly no later than early February 1690. Preface, Edition of 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; and since the World runs all upon Extremes, as you had such a Scarcity of new ones then; 'tis justice you shou'd have as great a glut of them now; for this reason, this little Prig makes bold to thrust in with the Crowd

Event Comment: Thomas Shadwell to Earl of Dorset, 19 Jan. 1691@2 (summary): Asks that he will order The Innocent Impostors to be the next new play to be acted. He would have had it acted in Roman Habits and then, with a mantle to have covered her hips, [if] Mrs Barry would have acted the part; but Thomas Davenant has with a great slight turned him off, and says he will trouble himself no more about the Play. Asks Dorset to favour the author and him. Complains of priority being given to Durfey's play and a play by Dryden (HMC, 4th Report, Appendix [1874], pp. 280-81)

Event Comment: Gentleman's Journal, February 1691@2 (licensed 12 Feb. 1691@2): Mr Dryden has compleated a new Tragedy, intended shortly for the Stage, wherein he hath done a great unfortunate Spartan no less justice than Roman Anthony met with in his All for Love. You who give Plutarch a daily reading, can never forget with what magninimity (under all his tedious misfortunes) Cleomenes behaved himself, in the Aegyptian Court. This Hero, and the last Scene of his Life, has our best Tragic Poet chose for his fruitful Subject....Mr Dryden makes his Spartans, in this, speak as manly heroic Lacedaemonians, those more than Romans ought to speak, and since I am certain of your assent, at least, to my faith, I shall be bold to add, That tho I cannot but grant that Cleomenes alone could be author of his own glorious performances, yet I am most confident that their intire lustre will be fully maintained by Dryden's lively description, and Mr Betterton's natural imitation

Event Comment: The United Company. Newdigate newsletters, 11 June 1692: And on Monday [the Princess Anne] comes to see the new opera (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59)

Event Comment: London Gazette, No. 2834, 3-5 Jan. 1692@3: The Italian lady (that is lately come over that is so famous for her singing) [though it] has been reported that she will sing no more in the consort at York-buildings; this is to give notice, that next Tuesday, being the 10th instant, she will sing at the Consort in York Buildings, and so continue during this season

Event Comment: The United Company. The date of the first performance is not known, but it had been acted by the time the January 1692@3 issue of the Gentleman's Journal appeared in March (on page 1 of that issue, the editor states that We are now in March): Mr Southerne's New Comedy, call'd, The Maid's last Prayer, or Any rather than fail, was acted the 3d time this evening, and is to be acted again to morrow. It discovers much knowledge of the Town in its Author; and its Wit and purity of Diction are particularly commended (p. 28). The first song in the play, Tho you make no return to my passion, composed by Henry Purcell, was sung, according to the printed play, by Mrs Hodgson; by Mrs Dyer, according to Thesaurus Musicus, First Book, 1693. The second song, composed by Samuel? Akeroyd, was sung by Mrs Ayliff (Thesaurus Musicus, The First Book, 1693). Another song, No, no, no, no, resistance is but vain, written by Anthony Henley, composed by Henry Purcell, and sung by Mrs Ayliff and Mrs Hodgson, Act IV, is in Purcell's Works, Purcell Society, XX (1916), xiv-xv. A song, Tell me no more I am deceiv'd, written by William Congreve, set by Henry Purcell, and sung by Mrs Ayliff, is in Works, XX (1916), xv-xvi. According to the London Gazette, No. 2852, 9-13 March 1692@3, the play was published "this day" (13 March 1692@3)

Event Comment: London Gazette, No 2901, 28-31 Aug. 1693: These are to give Notice, That the Fair annually held in the Borough of Southwark in the Month of September, called Lady Fair, will be from henceforth held three days only (viz.) the 7th 8th, and 9th days of the said Month, and no more, pursuant to the Grant made thereof

Event Comment: The United Company. This performance is indicated in the Newdigate newsletters, 11 Jan. 1693@4: On Tuesday the Prince of Baden dyned with ye D of Linster and yesterday his Highness saw the new Opera called Diaclessia acted at the Ks play house (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59). There is, however, some uncertainty about this performance. In the first place, Dioclesian was not a new play, although new songs frequently appeared in it. In the second place, Dryden's new play, Love Triumphant, was ready for its premiere about this time, and the compiler of the Newdigate newsletters might have been mistaken in identifying the play. Yet the certain performance of The Double Dealer on 13 Jan. 1693@4 would be an awkward interruption of the initial run of Love Triumphant if it were the new play the Newdigate newsletters refer to. It seems likely, then, that Love Triumphant did not make its first appearance until mid-January. In Thesaurus Musicus, 1694, is a new song in The Prophetess, Act III, When first I saw the bright Aurelia's eyes, set by Henry Purcell and sung by Mrs Ayliff. It is also in Joyful Cuckoldom 1695. In the latter compilation are three other songs for this play: Since from my dear, sung by Mrs Hudson "in the Prophetess, as it is newly reviv'd," set by Henry Purcell; Let monarchs fight, the words by Thomas Betterton, the music by Henry Purcell, and sung by Freeman; Let ye soldiers, the words by Thomas Betterton, set by Henry Purcell, and sung by Freeman

Event Comment: Evelyn, Diary, 11 Jan. 1693@4: Sup'd at Mr Ed Sheldons where was Mr Dryden the Poet, who now intending to Write no more Plays (intent upon the Translation of Virgil) read to us his Prologue & Epilogue to his last Valedictory Play, now shortly to be Acted