Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 359. See also Nicoll, Restoration Drama, p. 346. There is no certainty that this performance is the premiere, but as the play was licensed for printing on 9 Jan. 1676@7, this performance may well be the first one. Downes (Roscius Anglicanus, pp.9-10) lists the same cast except for the ommission of Letice. It is not certain which Mrs Knight played Letice. Possibly it was Frances Maria Knight (see Wilson, All the King's Ladies, where she is tentatively listed for that role), but the presence of Mrs Ursula Knight on an undated L. C. list, 3@24, with the date of her swearing into the company given as 12 March 1676@7, it is quite likely that she played this role. (I owe this reference to Ursula Knight to Professor John Harold Wilson.) John Dennis: And when upon the first representations of the Plain Dealer, the Town, as The Authour has often told me, appeard Doubtful what Judgment to Form of it; the foremention'd gentlemen [The Duke of Buckingham, Earl of Rochester, Earl of Dorset, Earl of Mulgrave, Savil, Buckly, Sir John Denham, Waller] by their loud aprobation of it, gave it both a sudden and a lasting reputation (Defense and Defects of Dramatick Poetry, 1725, in The Works of John Dennis, ed. Hooker, II, 277)

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@142, p. 81, a last, undated entry in a series of plays acted from 28 May 1675 to 12 May 1677. See also Nicoll, Restoration Drama, p. 348. A performance, dated 12 May 1677, is on the L. C. lists at Harvard; see VanLennep, Plays on the English Stage, 1669-1672, p. 12. Downes (pp. 36-37): All the Musick was set by Mr Banister, and being well Perform'd, it answer'd the Expectation of the Company. Two of the songs, with the music by Bannister, are in Choice Ayres and Songs, The Second Book, 1679. The Songs in Circe, published separately in 1677, bears a licensing date of 7 May 1677. The play was licensed 18 June 1677, and entered in the Stationers' Register, 19 June 1677

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@143, p. 162: At the Fond Husband. See also Nicoll, Restoration Drama, p. 349. Downes (Roscius Anglicanus, p. 36): [This comedy and Otway's The Soldier's Fortune] took extraordinary well, and being perfectly Acted; got the Company great Reputation and Profit. One song, Under the branches of a spreading tree, set by William? Turner, is in Choice Ayres and Songs, The Second Book, 1679. For Nokes and Leigh in this play, see Cibber, Apology, ed. Lowe, I, 149. According to The Guardian, 15 June 1713, Charles II attended three of the first five nights of this play

Event Comment: The Duke's Company. The date of the first production is not known, but the licensing of the play on 13 Aug. 1677 suggests a production not later than July 1677. Dedication to edition of 1678: But having...suffer'd so much through the defects of setting off, when it came on the Stage, it dares not now reject any Accomdation the Press cane give it. For (with the Theatres good leave to speak Truth,) it cannot receive greater Disadvantage in the Reading, than it met in the Presenting, The chief Parts Acted by Women; and, for their Ease, and somewhat of decorum, as was pretended, whole scenes left out, and scarcely any one Speech unmangled and entire. As for Adornments, in Habit, Musick, and Scene-Work it was Vacation-time, and the Company would not venture the Charge

Event Comment: The Duke's Company. The date of the first production is not known. It was not entered in the Term Catalogues until May 1678, but the very large number of new plays acted by the Duke's Company in the spring of 1678, many of them more precisely dated, makes it probable that this was an early spring production which had title success. The title page states: Written by a Person of Quality. Langbaine (English Dramatick Poets, 1691, p. 554) ascribes it to "Mr Rawlins." A Library of Congress copy has on the title page: "by L. Baker.

Event Comment: The Duke's Company. The date of the first performance is not known; an entry in L. C. 5@145, p. 120, lists it for 1 March, but leaves the year in question. See also Nicoll, Restoration Drama, p. 349. Because the Prologue upbraids the audience for deserting Dorset Garden to see The Female Prelate at Drury Lane (beginning 31 May 1680) and because the Epilogue refers to railing at the Penny Post, a service inaugurated on 1 April 1680, a performance in mid-June 1680 seems the likely first production. If so, the L. C. entry for 1 March probably represents a revival for 1 March 1680@1. A song, Bonny lass gin thou wert mine, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681. For Leigh as Sir Jolly and Nokes as Sir Davy, see Cibber, Apology, ed. Lowe, I, 147-48. Downes (Roscius Anglicanus, p. 36): These two Comedies [The Soulder's Fortune and D'Urfey's The Fond Husband] took extraordinary well, and being perfectly Acted; got the Company great Reputation and Profit

Event Comment: The Duke's Company. The date of the first production is not known, but the entry of this play in the Term Catalogues for November 1680 suggests a first offering in September or October 1680. The music for the play was composed by Henry Purcell, his first (according to Downes composing for the stage. Downes (Roscius Anglicanus, p. 38) gives a shortened cast and adds: All the Parts in't being perfectly perform'd, with several Entertainments of Singing; Compos'd by the Famous Master Mr Henry Purcell, (being the first he e'er Compos'd for the Stage) made it a living and Gainful Play to the Company: The Court; especially the Ladies, by their daily charming presence, gave it great Encouragement. Dedication, Edition of 1680: The Reputation that this Play received on the Stage, some few Errors excepted, was more than I could well hope from so Censorious an Age....You [the Duchess of Richmond] brought her Royal Highness just at the exigent Time, whose single Presence on the Poet's day is a Subsistence for him all the Years after. A song, Hail to the myrtle shade, is in Choice Ayres and Songs, The Third Book (dated 2 Nov. 1680)

Event Comment: The Duke's Company. The date of the first production is not certain, particularly since an entry in L. C. 5@145, p. 120 (see also Nicoll, Restoration Drama, p. 349) lists this play for 8 March, the year uncertain. Since the entry follows one for The Souldier's Fortune which followed the premiere of The Female Prelate, 31 May 1680, the L. C. entry probably is one for 8 March 1680@1. That the premiere occurred near 1 Nov. 1680 is suggested by a letter of Anne Montague to Lady Hatton, 1 Nov. 1680: For I never see the towne fuller, for I was to see the new play, The Spanish Frier, and there was all the world, but the Court is a letell dull yet; the Queen being sick, there is noe drawing room (Hatton Correspondence, Camden Society, XXII [1878], 240). A song, Farewell ungratefull Traytor, with music by Captain Pack and sung by Mrs Crofts, is in Act V. For Leigh's and Nokes' acting, see Cibber, Apology, ed. Lowe, I, 143, 145-46. Downes (Roscius Anglicanus, p. 37): 'Twas Admirably Acted, and produc'd vast Profit to the Company

Event Comment: The finances of the King's Company continued to deteriorate and to be a source of dissension and confusion. For some months, beginning with February 1681, the receipts were often under #10 nightly, and sometimes the company apparently ceased acting. For a full account, see Hotson, Commonwealth and Restoration Stage, pp. 266-67

Event Comment: The King's Company. This play was acted at Oxford on 19 March 1680@1 before Charles II (see True Protestant Mercury, 19-23 March 1680@1; Wilson, Theatre Notes from the Newdigate Newsletters, p. 80; and Smith's Protestant Intelligence, 24-28 March 1681). The play may have been given first in London; if not, it probably was not acted there until after Easter, 3 April 1681. The company also performed The Plain Dealer in Oxford on 21 March 1680@1 (Smith's Protestant Intelligence, 24-28 March 1681)

Event Comment: The King's Company. The date of the first performance is not known, but its listing in the Term Catalogues, November 1681, suggests late October as a likely latest date for its premiere. If Mithridates was acted in mid-October at the opening of Drury Lane, Sir Barnaby Whigg may well be the first new play offered by the King's Company in the autumn. A Song in Act I, Blow Boreas Blow, with music apparently by Henry Purcell, is in A Third Collection of New Songs...Words by Mr D'Urfey, 1685, and in Dramatic Works of Henry Purcell, Purcell Society, III (1917), xiv-xv

Event Comment: The Duke's Company. This play was also reprintdd in 1683. This performance is on the L. C. list, 5@145, p. 120: Wth ye Q: & a box for ye Maides of honor. See also Nicoll, Restoration Drama, p. 349. On this day Drury Lane was leased for nineteen years to Charles Davenant and his associates in furthering the union of the two companies. See Hotson, Commonwealth and Restoration Stage, p. 277

Event Comment: Christopher Rich's Company. The date of this revival is not certain. Apparently the revival was in preparation before the division of the company, but the publication of the Songs in 1695 confines the production to the period between mid-April and the late autumn. For the opera, see The Works of John Dryden, Vol. VIII: The Plays, edited by John Harrington Smith and Dougald MacMillan (Berkeley and Los Angeles, 1692), pp. 325-30; Moore, Henry Purcell and the Restoration Theatre, Chapter VI;and Purcell's Works, Purcell Society, Vol. XIX. The Songs (1695), the music by Henry Purcell, lists the following pieces and singers: I, Wake, wake, Quivera, sung by Freeman. I, Why shou'd men quarrel, sung by The Boy, with Flutes. Their looks are such that mercy flows, sung by Freeman. II, I come to sing, sung by Freeman. Scorn'd Envy here's nothing, sung by Freeman. Begone, curst Feinds of Hell, sung by Freeman. III, Ah, how happy we are, sung by Freeman and Church. I attempt from Love's sickness to fly, sung by Mrs Cross. IV, They tell us that you mighty powers above, sung by Mrs Cross. In addition, other parts of the opera appeared elsewhere: Act V, a Masque, set by Daniel Purcell, O Bless the Genial Bed with chast delights, in Deliciae Musicae, First Book of the Second Volume, 1696. [The others, since they do not name the performers, are omitted here.

Event Comment: Cibber, Apology, I, 203-9, refers to an incident which occurred after the division of the companies, perhaps early in their competition. Essentially, Drury Lane, learning that Lincoln's Inn Fields was to act Hamlet on a Tuesday, posted it for Monday at Drury Lane, whereupon Betterton's Company, having announced The Old Batchelor for Monday, cancelled it in favor of Hamlet. As a countermove, Drury Lane altered its program to The Old Batchelor on Monday, Powell to mimic Betterton. A last-minute discovery that no one had been assigned to Fondlewife, originally played by Dogget, gave Cibber an opportunity to play the role, which he learned on short notice and which he acted with applause; he was pleased to see Dogget in the pit watching his performance

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Boy, 12-16 Dec. 1695, suggests that it was probably first acted not later than November 1695. The edition of 1696 mentions two songs and their performers: A lass there lives upon the green, the words by an unknown hand, set by Courteville, and sung by the Boy to Miss Cross; and Bright Cynthia's pow'r divinely great, words by Mr Cheek, set by Courtevill, sung by Leveridge. These two songs are also in Deliciae Musicae, The Fourth Book, 1696, as is a third, Celemene, pray tell me, set by Henry Purcell and sung by the Boy and Girl. The words were written by D'Urfey; and the Boy presumably was Bowen, and the Girl, Miss Cross. See Purcell's Works, Purcell Society, XXI (1917), v-vi. A Comparison Between the Two Stages (1702), p. 19: Sullen: Oronooko. Ramble: Oh! the Favourite of the Ladies. Sullen: It had indeed uncommon Success, and the Quality of both Sexes were very kind to the Play, and to the Poet: No doubt it has Merit, particularly the last Scene; but 'tis as certain, that the Comick Part is below that Author's usual Genius. Ramble: I have a particular regard for Mr Southern's Stile and agreeable Manner; there's a Spirit of Conversation in every thing he writes. Sullen: I think very few exceed him in the Dialogue; his Gallantry is natural, and after the real manner of the Town; his acquaintance with the best Company entered him into the secrets of their Intrigues, and no Man knew better the Way and Disposition of Mankind. But yet I must say, his Diction is commonly the best part of him, especially in Comedy; but in Tragedy he has once in this, and in one other, Drawn the Passions very well

Event Comment: In spite of decrees concerning the transfer of a player from one house to another, Dogget entered into an agreement with Rich's Company. See Nicoll, Restoration Drama, pp. 338-39. Cibber, Apology, I, 229: And the late Reputation which Dogget had acquired from acting his Ben in Love for Love, made him a more declared Male-content on such Occasions; he over-valued Comedy for its being nearer to Nature than Tragedy, which is allow'd to say many fine things that Nature never spoke in the same Words; and supposing his Opinion were just, yet he should have consider'd that the Publick had a Taste as well as himself, which in Policy he ought to have complied with. Dogget, however, could not with Patience look upon the costly Trains and Plumes of Tragedy, in which knowing himself to be useless, he thought were all a vain Extravagance: And when he found his Singularity could no longer oppose that Expence, he so obstinately adhered to his own Opinion, that he left the Society of his old Friends, and came over to us at the Theatre-Royal: This happened in the Winter following the first Division of the (only) Company

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 7-9 July 1696, suggests that it was first presented not later than June 1696. The cast also has a large number of relatively new players, suggesting a performance in the early summer, when the young actors had more opportunities to act. Several Songs, with the names of the singers, were published separately: Hark you, madam, can't I move you, set by John Eccles, and sung by Bowman and Mrs Bracegirdle; Shou'd I not lead a happy life, set by John Eccles and sung by Reading and M. Lee; From Aberdeen to Edinburgh, set by Ackeroyd and sung by Mrs Hudson; all in Deliciae Musicae, The Second Book of the Second Volume, 1696. Preface, Edition of 1696: I am almost asham'd to mention the extraordinary Success of a Play which I myself must condemn....Let me leave this ungrateful Subject to acknowledge my obligations to Mr John Eccles, who not only set my three Dialogues to most charming Notes, but honour'd the Words to Admiration. Downes, Roscius Anglicanus, p. 44: Love's a Jest, a Comedy, done by Mr Mateox; succeeded well, being well Acted, and got the Company Reputation and Money

Event Comment: Rich's Company. The date of the first performance is not known, for the play was apparently not printed until 1704. Nevertheless, some details indicate a performance early in the early in the season of 1696-97. In the first place, the presence of Verbruggen in the cast indicates that it must have been acted before 1 Jan. 1696@7, when Verbruggen was permitted to act at Lincoln's Inn Fields. The play also parodies the works of Mrs Manley, whose The Royal Mischief had been staged (probably) in April 1696, and it is likely that the company would emphasize the pertinence of the parody by presenting it soon after the appearance of the original. Although The Female Wits may not have been acted until later in the autumn, it seems likely that it was acted first in the late summer or early autumn. Preface, Edition of 1704: [The] Success of this Play has been such...having been Acted six Days running without intermission....Among the rest, Mr Powel and his Wife excell'd in the Characters they represented, as did Mrs Verbruggen, who play'd the Chief Character....The Lady whose Play is rehears'd, personated one Mrs M-ly [Manley]

Event Comment: Betterton's Company. The date of this revival is not certain, but Luttrell's copy (Huntington Library) bears his date of 27 Oct. 1696 for his acquisition of a copy; hence, the revival must have occurred not later than October 1696. When this play was revived at the Queen's Theatre in the Haymarket, 8 June 1705, the bill bore the heading: Not Acted by that Company these Nine Years

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and one in the Box at Plott and noe Plott 8s. [There is no certainty that this performance is the premiere; since the play was advertised in the Post Man, 25-27 May 1697, the first performance may have been late April or very early May.] Preface, Edition of 1697: As for the Spectators, tho, by reason of the advanc'd Season, and the extremity of the heat, which when the Play was first acted was intolerable, we have not had such numerous assemblies as might have been expected in Winter; yet as long as I have known the Play-house I never saw the Company there in better humour. A Comparison Between the Two Stages (1702), pp. 18-19: Ramble: Oh, that's Dennis's; and a very regular Farce, tho' he calls it a Comedy. Sullen: I think it did pretty well; 'tis laboriously Writ, as everything of his is: There's an Air of Formality in the Play agreeable to the slovenly Air in his Behaviour

Event Comment: Betterton's Company. The date of the first performance is not known. For a discussion of the dating, see Baldwin Maxwell, Notes on Charles Hopkins' Boadicea, Review of English Studies, IV (1928), 79-83. Downes, Roscius Anglicanus, p. 44: Boadicea, the Brittish Queen, wrote by Mr Hopkins: 'twas a well Writ Play in an Ovidean Stile in Verse; it was lik'd and got the Company Money. A Comparison Between the Two Stages (1702), p. 20: This is Cha. Hopkins's and did very well