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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

Performances

Mainpiece Title: The Prophetess; Or, The History Of Dioclesian

Event Comment: The United Company. The date of the first performance is not known, but the Gentleman's Journal, June 1694 (apparently appearing in late June) indicated that both parts of Don Quixote had by then appeared, and the Songs to Part I were announced in the London Gazette, No. 2983, 11-14 June 1694, to be published on 16 June 1694. Very likely Part I appeared in May 1694. The publication of The Songs in the New Play of Don Quixote, Part the First lists the following pieces. Sing, sing, all ye muses, the first song in Act II, composed by Henry Purcell. Young Chrysostome had vertue, sense, the second song in Act II, was composed by John Eccles. The third song in Act II, Sleep, poor youth, was composedy John Eccles. When the world first knew creation, sung in Act III, was composed by Henry Purcell. Let the dreadful engines, sung for Cardenio in Act IV, was set by Henry Purcell. 'Twas early one morning, in Act IV, for Sancho, was set by John Eccles. With this, this sacred charming wand, in Act V for Montesmo, Mellissa and Urganda, was set by Henry Purcell

Performances

Mainpiece Title: The Comical History Of Don Quixote, Part I

Performances

Mainpiece Title: The Beggar's Opera

Performance Comment: All the Parts to be perform'd by Lilliputians, but edition of 1728 lists: Peachum-Mary Shaftoe; Lockit-James Bencraft; Nimming Ned-James Bencraft; Macheath-Elizabeth Binks; Filch-Henry Woodward; Ben Budge-Henry Woodward; Beggar-Henry Woodward; Crookfinger'd Jack-James Weeks; Wat Dreary-James Weeks; Robin-John Wilson; Harry Paddington-Fisher Tench Charke; Player-Fisher Tench Charke; Mat-John Verhuyck; Mrs Peachum-Esther Wherrit; Diana Trapes-Esther Wherrit; Mrs Slammekin-Esther Wherrit; Polly-Elizabeth Rogers; Lucy-Susanna Rogers; Mrs Coaxer-Margaret Lowe; Dolly Trull-Sarah Foxwell; Mrs Vixen-Mary Vincent; Betty Doxy-Mary Weyman; Jenny Diver-Margaret Gold; Sukey Tawdry-Beatrice Boitar; Molly-Susanna Caun.
Cast
Role: Filch Actor: Henry Woodward
Role: Ben Budge Actor: Henry Woodward
Role: Beggar Actor: Henry Woodward
Event Comment: Full Prices. [N.B. Winston MS 9, indicates from Rich's Register that Henry V was played this night by Royal Command. Playbill for 4 Dec. lends credence to this as it states Not Acted this season." For cast of Henry V see 18 Nov. TheAccount Book clinches the matter by listing Henry V with Dancing, and an indication that the Boxes this night held #70 5s., or some 281 people.] Present His Majesty and Attendance. House gave Yeomen of the Guards the usual gratuity of #1 1s. [Rich also paid that night #1 1s. for an Occasional Prologue for Henry V for 18 Nov. last, and #2 2s. for an occasional prologue to Thomas and Sally for 28 Nov. (Account Book).] Receipts: #210 (Account Book)

Performances

Mainpiece Title: Tancred And Sigismunda

Afterpiece Title: Thomasand Sally

Performances

Mainpiece Title: Demofoonte

Dance: End of Act II a Grand Heroic Pantomime Ballet (1st time; composed by Lepicq), Semiramis (the subject taken from the well-known tragedy of that name). Assures-Pitrot (some years ago Ballet-Master and 1st Dancer at this Theatre); Arsaces or Ninias-Lepicq; Semiramis-Mme Rossi; Azema-Mme Simonet; other Principal Dancers-Henry, Vestris [Jun.], Mme Theodore; End of Opera Le Deserteur, as17840513, but omitted: Henry, Zuchelli

Performance Comment: Assures-Pitrot (some years ago Ballet-Master and 1st Dancer at this Theatre); Arsaces or Ninias-Lepicq; Semiramis-Mme Rossi; Azema-Mme Simonet; other Principal Dancers-Henry, Vestris [Jun.], Mme Theodore; End of Opera Le Deserteur, as17840513, but omitted: Henry, Zuchelli .Jun.], Mme Theodore; End of Opera Le Deserteur, as17840513, but omitted: Henry, Zuchelli .

Performances

Mainpiece Title: The Busy Body

Afterpiece Title: Joan of Arc; or, The Maid of Orleans

Performance Comment: Ballet Characters. English: Young Talbot-Bologna Jun.; General Talbot-Bologna; Herald-Helme; Officers-Blurton, Wilde, Abbot, L? Bologna; [French: Alenson-Farley; Charles (King of France)-Simpson [in Airs: Claremont (see17980214)]; Cardinal-Powel; Abbot-Thompson; Nobles and Officers-Dyke, Lee, Curties; Joan of Arc-Mrs Parker; [Infernals: Lucifer-Follett; Demons-Goostree, Parsloe, Letteney, Goodwin, Wilkins; [Vocal Characters. British Officer-Incledon; Edwin (the Page) [in Airs: Aerial Spirit, disguised as...(see17980226)]-Miss Sims; French and English Officers and Choristers-Linton, Street, Gray; Minstrel-Mrs Clendining; Female Choristers-Mrs Henley, Mrs Follett, Mrs Watts, Miss D'Evelyn, Mrs Gilbert, Mrs Norton, Mrs Masters, Mrs Castelle, Mrs Lloyd, Miss Walcup, Mrs Ward, Mrs Iliff, Mrs Bologna, Miss Leserve; Blanche-Mrs Mountain; Grand Historical Pageant-. [The Argument. Joan of Arc and her sister Blanche, being placed in the power of the English Troops besieging Orleans, become both enamoured of Young Talbot--he prefers Blanche, which urges Joan to revenge, and then by employing Magic, she is gifted by +Lucifer, for a stated time with supernatural Power, which she employs against the English with success--in the midst of her triumphs her power is crushed by the superior influence of Courage of and Virtue, and she is consigned a Victim to the Fiend whose agency she solicited--Then Britannia seated in the Clouds, attended by Commerce, Plenty and Neptune, beholds A Grand Historical Pageant of the following Illustrations of British Heroism: Caractacus' Magnanimity before the Throne of Claudius. Alfred disguised in the Danish Camp as an Harper, and discovering himself to his desponding Countrymen. Richard Coeur de Lion imprisoned in Germany, & liberated by the Voluntary Contributions of his fair Countrywomen. King John uniting his Kingdom by signing Magna Charta. Henry the Third--The Effects of French Invasion--the +Dauphine subdued, and the magnanimous conduct of England towards him. Edward and Eleanora--The affectionate Wife sucks from her husband's arm the Venom of a poisoned Arrow, by which Edward was wounded in Palestine. +The Black Prince--His taking the French King prisoner at the Battle of Poictiers, and his gallantly serving him at a Banquet. +Henry V--The Triumphs of Agincourt, and his Marriage with +Catherine. Britannia then pays honour to her Heroes--and a Grand Chorus (wherein Englishmen are exhorted to emulate the Glories of their Ancestors) concludes the Piece. [For a more detailed synopsis of the action see17980216] .The Argument. Joan of Arc and her sister Blanche, being placed in the power of the English Troops besieging Orleans, become both enamoured of Young Talbot--he prefers Blanche, which urges Joan to revenge, and then by employing Magic, she is gifted by +Lucifer, for a stated time with supernatural Power, which she employs against the English with success--in the midst of her triumphs her power is crushed by the superior influence of Courage of and Virtue, and she is consigned a Victim to the Fiend whose agency she solicited--Then Britannia seated in the Clouds, attended by Commerce, Plenty and Neptune, beholds A Grand Historical Pageant of the following Illustrations of British Heroism: Caractacus' Magnanimity before the Throne of Claudius. Alfred disguised in the Danish Camp as an Harper, and discovering himself to his desponding Countrymen. Richard Coeur de Lion imprisoned in Germany, & liberated by the Voluntary Contributions of his fair Countrywomen. King John uniting his Kingdom by signing Magna Charta. Henry the Third--The Effects of French Invasion--the +Dauphine subdued, and the magnanimous conduct of England towards him. Edward and Eleanora--The affectionate Wife sucks from her husband's arm the Venom of a poisoned Arrow, by which Edward was wounded in Palestine. +The Black Prince--His taking the French King prisoner at the Battle of Poictiers, and his gallantly serving him at a Banquet. +Henry V--The Triumphs of Agincourt, and his Marriage with +Catherine. Britannia then pays honour to her Heroes--and a Grand Chorus (wherein Englishmen are exhorted to emulate the Glories of their Ancestors) concludes the Piece. [For a more detailed synopsis of the action see17980216] .
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

Performances

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)

Performances

Mainpiece Title: The Maid's Last Prayer; Or, Any Rather Than Fail

Event Comment: The United Company. The date of the first production is not known, but Part II seems to have followed rather closely upon Part I. The Gentleman's Journal, June 1694 (which apparently appeared in mid-June) states: The first Part of Mr Durfey's Don Quixote was so well received, that we have had a second Part of that Comical History acted lately, which doubtless must be thought as entertaining as the first; since in this hot season it could bring such a numerous audience (p. 170). The Songs were advertised in the London Gazette, 5 July 1694, and Part II advertised in the same periodical 19-23 July 1694. The songs as listed in the separately printed Songs are as follows: Genius of England, the music by Henry Purcell, sung by Freeman and Mrs Cibber. I burn, I burn, the music by John Eccles, sung by Mrs Bracegirdle. Since times are so bad, the music by Henry Purcell, sung by Reading and Mrs Ayliff. Damon, let a friend, the music by Pack, sung by Mrs Hudson. Ye nymphs and sylvan gods, the music by John Eccles sung by Mrs Ayliff. If you will love me, composer and singer not named. In addition, Thesaurus Musicus, 1695, published Lads and lasses, blithe and gay, the music by Henry Purcell, sung by Mrs Hudson. Purcell also wrote the music for other songs for which the singer is not known. Preface, edition of 1694: The good success, which both the Parts of Don Quixote have had, either from their Natural Merit, or the Indulgence of my Friends, or both, ought sufficiently to satisfie me, that I have no reason to value tne little Malice of some weak Heads, that make it their business to be simply Criticizing....I think I have given some additional Diversion in the Continuance of the character of Marcella, which is wholly new in this Part, and my own Invention, the design finishing with more pleasure to the Audience by punishing that coy Creature by an extravagant Passion here, that was so inexorable and cruel in the first Part, and ending with a Song so incomparably well sung, and acted by Mrs Bracegirdle, that the most envious do allow, as well as the most ingenious affirm, that 'tis the best of that kind ever done before....I deserve some acknowledgment for drawing that Character of Mary the Buxom, which was intirely my own,...by making the Character humorous, and the extraordinary well acting of Mrs Verbruggen, it is by the best Judges allowed a Masterpiece of humour

Performances

Mainpiece Title: The Comical History Of Don Quixote, Part Ii

Event Comment: Rich's Company. The date of the first production is not known, but the fact that it was advertised in the London Gazette, No. 3122, 10-14 Oct. 1695, indicates that it was probably acted not later than September 1695. Three songs were published separately: O how you protest, possibly set by Henry Purcell and sung by Mrs Knight; 'Twas within a Furlong, the words by Thomas D'Urfey, set by Henry Purcell, and sung by the Girl [Miss Cross]; and Man is for the woman made, the words by Pierre Motteux and set by Henry Purcell, are in Deliciae Musicae, The Third Book, 1696. See also Purcell's Works, Purcell Society, XX (1916), xix-xx. Preface, Edition of 1696: Notwithstanding the many Accidents that concurr'd to the Ruin of this Play, it succeeded above my Expectations: And I must own my self infinitely oblig'd to the Town, in receiving so favourably, what I at first never design'd for the Stage. Gildon, English Dramatick Poets, p. 121: This particular Play met with pretty good Success, for the Season of the Year, considering it the first Essay by a Young Writer, unacquainted with the Town. A Comparison Between the Two Stages (1702), p. 18: Sullen: Mock-Marriage, a young Fellows of the Town, a Retainer, and kind of Pensioner to the Stage. Ramble: What was it's Fate? Sullen: Damn'd, Damn'd

Performances

Mainpiece Title: The Mock-marriage

Event Comment: A Comparison Between the Two Stages (1702), commenting upon Betterton's success with I Henry IV (see 9 Jan. 1699@1700) pictures Betterton entering his Closet and praying to Shakespeare for further assistance (p. 25), with the result that "tho' some of those Plays that Batterton Acted were Historical, and consequently highly irregular, yet they never fail'd to please" (p. 26). Sullen adds: Well, this lucky hit of Batterton's put D. Lane in a non-plus! Shakespear's Ghost was rais'd at the New-house, and he seem'd to inhabit it for ever: What's to be done then? Oh, says Rich I'll pray as well as he-What? Shall a Heathen Player have more Religion than a Lawyer? No, it shall never be said--with that Mr R@@ goes up to the Garret (a pair of Stairs higher than his own Apartment) and taking Ben Johnson's Picture with him, he implores. This work implies that Betterton presented Henry VIII in addition to I Henry IV and that Rich revived Volpone, The Alchymist, and The Silent Woman, which had, according to the author of this work, lain unacted for twenty years (p. 26)

Performances

Performances

Mainpiece Title: Measure For Measure

Afterpiece Title: The Coffee House

Performance Comment: Harpie-Griffin; Bays-Macklin; Booswell-Harper; Hartly-Havard; Gaylove-Winstone; Puzzle-Ray; Bawble-Beard; Butterfly-Green; Gamesters-Turbutt, Raftor; Coffee Boy-Leigh; Mrs Notable-Mrs Grace; Cibber a Comedian-Cibber; Miss Kitty-Mrs Clive; edition of 1738 adds: Prologue-Cibber; two songs by Henry Burgess Jr-; three songs by Henry Carey-.
Cast
Role: Henry Burgess Jr Actor:
Role: Henry Carey Actor: .
Related Works
Related Work: The Coffee House Politician Author(s): Henry Fielding

Dance: V: Ballet, as17380120

Event Comment: Afterpiece: By Desire. [Gentleman who played Axalla tentatively suggested as a son of Henry Carey who played Henry IV in 2 Henry IV 27 April 1773 (Winston MS 10). He had been on the playroll since the first of this season at 5s. per night.] Receipts: #160 9s. (Account Book)

Performances

Mainpiece Title: Tamerlane

Afterpiece Title: Comus

Performances

Mainpiece Title: Mitridate

Dance: End I: The Pert Country Maid, as17810113; End II: a new serious Ballet (composed by Simonet) The Nymphs of Diana-Vestris? Jun., Mlle Baccelli, Sg and Sga Zuchelli, Henry, Sga Crespi, Miss Simonet, Mme Simonet; End Opera: a new grand Ballet half-character (composed by Simonet) The Rural Sports-Vestris? Jun., Mlle Baccelli, Henry, Sga Crespi, Traffieri, Slingsby, Sga Tantini

Performance Comment: Jun., Mlle Baccelli, Sg and Sga Zuchelli, Henry, Sga Crespi, Miss Simonet, Mme Simonet; End Opera: a new grand Ballet half-character (composed by Simonet) The Rural Sports-Vestris? Jun., Mlle Baccelli, Henry, Sga Crespi, Traffieri, Slingsby, Sga Tantini.

Performances

Mainpiece Title: Piramo E Tisbe

Dance: End I: a new Ballet Anacreontique (composed by Vestris Sen.) Les Caprices de Galatee-Vestris Jun., Mlle Baccelli, Traffieri, Sga Tantini [Galatee-Mlle Baccelli ($Lynham, 166)]

Ballet: End Opera: a new Ballet Tragique (composed by Vestris Sen.) Medee et Jason. -Mme Simonet, Vestris Sen., Mlle Baccelli, Vestris Jun., Simonet, Traffieri, Slingsby, Sg and Sga Zuchelli, Henry, Sga Jason Cast from libretto of Piramo e Tisbe: Medea-Mme Simonet; Jason-Vestris Sen.; Creusa-Mlle Baccelli; A young Prince-Vestris Jun.; Creon-Simonet; Furies-Traffieri, Slingsby, Sg and Sga Zuchelli, Henry, Sga Tantini; 2 children of Medea-

Performance Comment: =) Medee et Jason. -Mme Simonet, Vestris Sen., Mlle Baccelli, Vestris Jun., Simonet, Traffieri, Slingsby, Sg and Sga Zuchelli, Henry, Sga Jason Cast from libretto of Piramo e Tisbe: Medea-Mme Simonet; Jason-Vestris Sen.; Creusa-Mlle Baccelli; A young Prince-Vestris Jun.; Creon-Simonet; Furies-Traffieri, Slingsby, Sg and Sga Zuchelli, Henry, Sga Tantini; 2 children of Medea-.

Performances

Mainpiece Title: Deception

Performance Comment: Principal Characters by Palmer, Dodd, Bensley, Brereton, Aickin, Parsons; Miss Pope, Mrs Wilson, Miss Farren. [Cast from European Magazine, Oct. 1784, p. 328: Wharton-Palmer; Vainlove-Dodd; Sir Henry Lofty-Bensley; Henry-Brereton; Lord Courtly-Aickin; Mr Salter-Parsons; Lady Betty Friendly-Miss Pope; Miss Salter-Mrs Wilson; Clarissa-Miss Farren.] Prologue spoken by Bannister Jun. Epilogue spoken by Miss Farren . Prologue spoken by Bannister Jun. Epilogue spoken by Miss Farren .
Cast
Role: Sir Henry Lofty Actor: Bensley
Role: Henry Actor: Brereton

Afterpiece Title: The Padlock

Dance: End of Act IV of mainpiece a New Dance incident to the Piece by Mr and Miss Hamoir

Performances

Mainpiece Title: La Locandiera

Dance: End I: Divertissement, as17871208

Ballet: End Opera: a new ballet (1st time), composed by Noverre, L'Amour et Psiche. By Mlle Hilligsberg, Didelot, Mlle Coulon, Chevalier, Vestris, Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. Cast from synopsis (H. Reynell, 1788): Psyche-Mlle Hilligsberg; Adonis-Didelot; Venus-Mlle Coulon; Hymen-Chevalier; Love, or Cupid-Vestris; Graces Furies and Fates-Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala; Mercury-Coulon. The music composed by Mazzinghi; with all new Scenery (by Marinari), Dresses (by Lupino)

Performance Comment: By Mlle Hilligsberg, Didelot, Mlle Coulon, Chevalier, Vestris, Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. Cast from synopsis (H. Reynell, 1788): Psyche-Mlle Hilligsberg; Adonis-Didelot; Venus-Mlle Coulon; Hymen-Chevalier; Love, or Cupid-Vestris; Graces Furies and Fates-Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala; Mercury-Coulon. The music composed by Mazzinghi; with all new Scenery (by Marinari), Dresses (by Lupino). with all new Scenery (by Marinari), Dresses (by Lupino).

Performances

Mainpiece Title: Gli Schiavi Per Amore

Dance: End I: Les Fetes de Tempe-[see17880228]; End Opera: a new grand Tragic Ballet, never performed, Euthyme et Eucharis[, composed by Noverre. Principal Characters-Mlle Hilligsberg, Didelot, Mlle Coulon, Vestris, Sga Bedini, the two Miss Simonets, Mme Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. [Partial cast from Lynham, 170: Eucharis-Mlle Hilligsberg; +Mars-Didelot; +Euthyme-Vestris; +L'Ombre-Henry; +Bellone-Coulon.

Performance Comment: Principal Characters-Mlle Hilligsberg, Didelot, Mlle Coulon, Vestris, Sga Bedini, the two Miss Simonets, Mme Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. [Partial cast from Lynham, 170: Eucharis-Mlle Hilligsberg; +Mars-Didelot; +Euthyme-Vestris; +L'Ombre-Henry; +Bellone-Coulon.]

Performances

Mainpiece Title: Marian

Performance Comment: Principal Characters by Johnstone, Bowden, Blanchard, Darley, Fearon, Thompson, Mrs Kennedy, Mrs Martyr, Mrs Billington. [Cast from Airs (T. Cadell, 1788): Edward-Johnstone; Sir Henry Truman [in subsequent seasons: Sir Henry Freeman]-Bowden; Robin-Blanchard; Thomas-Darley; Jamie-Fearon; Oliver-Thompson; Peggy-Mrs Kennedy; Patty-Mrs Martyr; Fanny-Miss Paye; Kitty-Mrs Byrne; Marian-Mrs Billington.
Cast
Role: Sir Henry Freeman] Actor: Bowden

Afterpiece Title: The Maid of the Oaks

Afterpiece Title: Animal Magnetism

Dance: In I 2nd piece: As17880204

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.

Performances

Mainpiece Title: Hamlet

Event Comment: The United Company. Newdigate newsletters, 20 Jan. 1682@3: Yesterday was acted at the Theatre Royall the first of a new play Entituled the City Politiques the novelty of wch drew a Confluence of Spectators under both Qualifications of Whigg and Tory to hear and behold a Ld Mayor Sheriffs & some Aldermen with their wives in yr usuall formalityes buffoond & Reviled a great Lawyer with his young Lady Jeared and Intreagued Dr Oates pfectly represented berogued & beslaved the papist plott Egregiously Rediculed the Irish Testemonyes Contradictiorily disproved & befoold the Whiggs totally vanquished & undon Law & property men oreruld & there wanted nothing of Artifice in behaviour and discourse to render all those obnoxious & dispised in fine such a medly of occurences intervened that twas a question whether more of Loyalty designe or Rhetorique prvailed but there were mighty clappings among the poeple of both partyes in Expressing either their sattisfaction or displeasure (Wilson, Theatre Notes from the Newdigate Newsletters, p. 81). The Prologue and Epilogue, separately Printed, have 20 Jan. 1682@3 as Luttrell's date of acquisition (Huntington Library) and are reprinted in Wiley's Rare Prologues and Epilogues, pp. 166-69. John Dennis, To Mr --- In which are some Passages of the Life of Mr John Crown, Author of Sir Courtly Nice, June 23, 1719: About that time he writ The City Politicks, on purpose to Satyrize and expose the Whigs; a Comedy so agreeable, that it deserv'd to be writ in a much better Cause: But after he had writ he met with very great Difficulties in the getting it acted. Bennet Lord Arlington, who was then Lord Chamberlain of the King's Houshold, and who had secretly espous'd the Whigs, who were at that time powerful in Parliament, in order to support himself against the Favour and Power of the Lord Treasurer Danby, who was his declared Enemy, us'd all his Authority to suppress it. One While it was prohibited on the account of its being Dangerous, another while it was laid aside on the pretence of its being Falt and Insipid; till Mr Crown at last was forc'd to have Recourse to the king himself, and to engage him to give his absolute Command to the Lord Chamberlain for the acting of it; which Command the King was Pleas'd to give in his own Person (I, 49-50). Morrice Entry Book, Vol.1 1682@3: Mr Crowne [was cudgled on Wednesday last in St Martin's Lane and] hee that beat him said hee did it at the suite of the Earle of Rochester some time since deceased who greatly abused in the play for his penetency &c. (p. 353. I owe this note to the courtesy of Professor David M. Vieth of the University of Kansas and Professor G. H. Jones of Kansas State University)

Performances

Mainpiece Title: The City Politiques

Event Comment: The United Company. Lord Ashburnham's Diary: I waited on my Mother home and afterwards I went into the play (the Maiden Queen) There was a great deale of company, I came home before 8 at night, I am now not charm'd with Playes &c. (Ashburnham MS 932, East Sussex County Record Office, County Hall, Lewes, Sussex; I owe this entry and the subsequent ones from this MS to the kindness of Professor George Hilton Jones, Kansas State University). This is an unusual example of the revival of a play at the public theatre the day before its presentation at court

Performances

Mainpiece Title: Secret Love; Or, The Maiden Queen

Related Works
Related Work: The Frenchified Lady Never in Paris Author(s): Henry Dell
Event Comment: Benefit Jones and Diggs

Performances

Mainpiece Title: The Rover

Song: As17170102; particularly Genius of England-Turner

Dance: As17161204

Event Comment: Benefit Jones

Performances

Mainpiece Title: The Recruiting Officer

Afterpiece Title: Hob

Dance: Shaw, Topham, Mrs Younger, Miss Lindar

Event Comment: Benefit Jones, Numberer

Performances

Mainpiece Title: Love For Love

Dance: Dancing, as17190521, but Mrs _Santlow, Mrs Bicknell