Event Comment: [Kemble's 1st appearance as Osman was in Dublin (Genest, VI, 295).] Afterpiece [1st time; P 2 (?), by James Cobb and Thomas King]: Partly formed on the Plan of the Italian Comedy, and embellished with Music and Machinery. The paintings by Greenwood. The Music compiled and composed by Linley [Sen.]. Nothing under Full Price will be taken. Books of the Songs [which assign no parts], Introduction, &c. to be had at the Theatre. [Synopsis of action in Universal Magazine, Dec. 1785, p. 335.] Account-Book, 31 Jan. 1786: Paid King for Hurly-Burly #165. Receipts: #181 2s. (174/17; 6/5)

Event Comment: A Serious Opera in 2 acts; the music entirely by Handel, and selected from the various Operas set by that admirable composer, under the direction of [i.e. arranged and added to by] Dr Arnold. Benefit for Carnevale, deputy manager. No receipts listed. "In order to induce the king to visit the theatre called his own [see 17 Mar.], but which he seldom frequented, the Giulio Cesare of Handel was revived, or rather a medley from his Italian works, for little of the original music was retained, and many of his most favorite songs from other operas were introduced, Verdi prati [from Alcina], Dove sei [from Rodelinda], Rendi sereno il ciglio [from Sosarme], and others. This ancient music was particularly suited to Rubinelli, and was familiar to Mara, both of whom sung it incomparably well" (Mount-Edgcumbe, 61)

Event Comment: A new Comic Opera; the music by Paisiello. Under the direction of Storace. [Sga Storace was from the Opera, Vienna.] Morelli "was an actor such as the Italian stage has seldom witnessed. He was, I used to think, in his prime, quite upon a par with King of Drury Lane Theatre. Like him, he was distinguished for neat articulation, and an unremitting attention to the business of the whole stage" (Boaden, Kemble, I, 449). Receipts: #165 19s. 6d. [non-subscription]

Event Comment: A new Comic Opera [1st time; COM 2, librettist unknown]; the Music composed by Storace. "Signor Storace does not appear to have studied that art [of music] much in Italy; for he has entirely deviated from the usual plan of Italian authors...The overture anneunces entirely a French author, and the finales are in the German style of Gluck, loaded with harsh, terrifying music of trumpeting and drumming" (Public Advertiser, 6 Mar.). Receipts: !162 [non-subscription]

Event Comment: The Nobility and Gentry are most respectfully informed that, in consequence of the calamity that has befallen the Pantheon [see 14 Jan.], the Italian Operas are necessarily removed for the remainder of the present season to this Theatre, where preparations are now making to accomodate the Subscribers; and of the first Representation notice will be given in a few days [see 14 Feb.]

Event Comment: The King's Theatre having been rented to the Proprietors of Drury-Lane House, with a reserve of the Nights for the Italian Opera to be carried on there for the Opera Trust, the Drury-Land Patent will in future be moved on Tuesdays and Saturdays to the Theatre Royal, Hay-Market, where all old and new Renters, claiming under the Drury-Lane Patent, will be entitled to Free Admission, and to their Rights for each Night of Performance. Half Price not being taken at this Theatre, the Performances will be reduced to the old established Prices. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places for the Boxes in the Theatre Royal, Hay-Market, to be taken at Fosbrook's Office at the King's Theatre as usual. [Mainpiece in place of Cymon; afterpiece of The Patron, both advertised on playbill of 25 Jan.] Receipts: #140 11s. (139.0; 1.11)

Event Comment: Benefit for Johnstone. Afterpiece [1st time; MF 2. Larpent MS 980; not published]: By a Gentleman of the Bar [Horatio Edgar Robson]. The Story partly founded on the celebrated old Scotch Ballad of the Heir of Lynne. The Irish, Scotch, Italian and French Airs selected, and the new Music and Medley Overture composed by Reeve. Books of the Songs to be had at the Theatre. Morning Herald, 24 Apr.: Tickets to be had of Johnstone, No. 19, Piazza, Covent-Garden. Receipts: #488 9s. 6d

Event Comment: A new Comic Opera; the music by Cimarosa, under the direction of Federici. The music of both dances by Miller. With entirely new Dresses, Scenes and Decorations, both in the Theatre itself, and in the Representations. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. No Money to be returned. The Subscribers are respectfully entreated to observe that they are to produce their Tickets at the doors. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season, except on 15 May). The Ladies at the Head of the Boxes arc respectfully reminded that such Boxes as shall not be paid for at the opening of the Theatre become then vacant, and may be claimed by any of the old Subscribers. No one to be admitted behind the scenes. For the greater Safety of the Company in coming and going out of the Theatre Mr Townsend has taken charge of the Peace Officers, and will himself attend every night of Performance. [Morning Herald, 12 Jan., notes than the original gallery is now divided into two, a lower and an upper, and that the chief colors used in the repainting of the auditorium are blue, white and gold. Ibid, 13 Jan.: The scenes [in the opera], which were entirely new, have never been exceeded in splendour of general effect...One, representing the hall of an Italian villa, shews a ceiling designed like that of the theatre itself [which the same newspaper, 4 Jan., describes as being Apollo and the Muses, in a cove enriched with allegorical figures, flowers, and medals, in chiaroscuro].]

Event Comment: Powell: Kemble being indisposed from a violent Bruise in his Arm (during the several times of his playing the Part of Macbeth) so as to render him incapable of attending the Theatre this evening, an Apology was made by Wroughton, and the Prologue was omitted. [The playbill retains Miss Menage in afterpiece, but she] being at the Italian Opera this Evening, Master Chatterley play'd her part in the Children in the Wood. Henry VIII rehearsed at 10 (for Banks and Dignum; Packer ill); The Jew at 12 (for Miss Farren and Miss Tidswell). Receipts: #322 5s. 6d. (248/0/0; 67/15/0; 6/14/6; tickets not come in: 0/6/0)

Event Comment: [In afterpiece the playbill retains Miss Menage, but she "being at the Italian Opera this Evening, Master Chatterley play'd her part" (Powell).] Receipts: #361 1s. 6d. (298/8/6; 55/12/0; 7/1/0)

Event Comment: A Serious Opera, the music by Bianchi, under whose direction this Opera is now revived, and the Chorusses under Dr Arnold. ["A little miscreant Italian cabal, who have endeavoured to derange the performances at this Theatre, attempted to hiss Kelly, who had generously come from Drury Lane Theatre that the serious Opera might not be interrupted. The liberal feelings of the English subscribers overpowered the noise, and Kelly received the applause which his spirit deserved" (Morning Chronicle, 9 Feb.).

Event Comment: A New Opera; the music by Paisiello. [On 8 Dec. 1787 this was performed under its original title of Il re Teodoro in Venezia.] "Whatever we may pretend, we are too ignorant of musical science as a nation to find pleasure in what produces rapture on an Italian stage. The operas that have been successively produced this season would each have been more popular if much shorter" (Morning Chronicle, 15 Apr.)

Event Comment: A New Grand Serious Opera (1st time in this Country [1st performed at Parma, 1782]); the Music by Sarti [with additions by Federici]. With entirely new Scenes, Machinery and Decorations, designed by Marinari, and executed under his direction; and new Dresses, invented by Sestini. "The Opera...is founded upon the story of Dryden's Alexander's Feast, of which, indeed, it is merely a literal, and, of course, an elegant and tasteful translation into Italian by Count Gaston di Brizzonie [recte Rezzonico]