Event Comment: The farce never acted before [by James Ralph]. Two acts taken from The Spanish Curate, by Beaumont and Fletcher. Macklin's Reply to Garrick's Answer published

Event Comment: Never acted before. After the manner of Ben Johnson [by James Ralph]. The Receipts...upon the First Night were but Twenty-One Pounds...and...when the Manager had the Generosity to Risque a Second...he was oblig'd to shut up his Doors for want of an Audience [from Preface to printed edition]

Event Comment: Afterpiece an Operetta never perform'd before. The Words by Mr Ayre [James Ayres], and the Musick by Mr Lampe. Benefit Sullivan

Event Comment: Never acted before...From the French of Voltaire [By James Miller]

Event Comment: Afterpiece by James Miller

Event Comment: Tragedy never acted. By James Thomson. Characters New Dress'd. But as it is rather more fashionable to run mad about Mr Thomsons's play, I will change my theme and talk to you of Tancred. I want much to know how you like it, at this distance I would lay any wager you do not like it so well as your sister does, who certainly cannot be your sister and not have been to see it long ago. Everybody agrees that no play was ever so much improved in acting, at least since the Booths and Bettertons. That first scene expecially, where Siffredi discovers to Tancred who he is, pleased me almost beyond anything I ever saw, indeed even before I saw it, that scene was my favourite. But what do you think of the story, and what of the style?-A Series of Letters between Mrs Elizabeth Carter and Miss Catherine Talbot, I, 60 (dated strangely 2 March). [On 26 April, the Daily Post published a letter by Bellario on Tancred and Sigismunda, discussing the kind of support it received]: A very remarkable new Lord of the Treasury was proud of appearing its Foster Father, and attended at the public rehearsals; the first night of the performance this celebrated person and his friends in the Box with him (all very lately most flaming Patriots) were seen clapping their hands at the following remarkable speech: First of You All...To Quit Mistakes. [The letter also discussed political aspects of the play, then the poetry of the lines. The author heard that three hundred lines were cut out after the first performance, and was of opinion that double that amount would have been beneficial.

Event Comment: Mainpece: By Desire. [An article appeared in the St James Chronicle; or, British Evening Post proposing reserved seats for the theatre, and suggesting a method by which to operate the system.

Event Comment: letter in the St James Chronicle; or, British Evening Post suggests a one@way street for entrance to Drury Lane Theatre, because of the great confusion caused by carriages approaching from both directions.

Event Comment: MMrs Clive taken extremely ill, The Clandestine Marriage deferred (Winston MS 9). [The St James Chronicle; or, British Evening Post, this day contained four epigrams on Foote's accident.

Event Comment: Benefit for Mrs Pitt, Booth & L'Estrange. Morning Chronicle, 7 May: Tickets to be had of Mrs Pitt, James-street; of Booth, No. 35, Brownlow-street, Long-acre; of L'Estrange, Bolton-street, Long-acre. Tickets delivered for Elfrida will be taken. Receipts: #161 15s. 6d. (45.8.6; tickets: 116.7.0) (charge: #91 10s.)

Event Comment: Afterpiece [1st time; P 2(?), by James Messink and Carlo Antonio Delpini. Not in Larpent MS; synopsis of action in London Chronicle, 26 Nov.]: The Scenery, Machinery, &c. painted new by Carver, Greenwood and Garvey. The Overture and the rest of the Music composed new by Fisher. Nothing under Full Price will be taken. Books of the Songs to be had at the Theatre. Account-Book, 3 Feb. 1778: Paid Fisher for composing songs, &c. in The Tempest [see 27 Dec. 1776], and other pieces, as per bill, #131 11s. Receipts: #190 16s. (182.18; 7.18)

Event Comment: [Mainpiece in place of The Recruiting Officer, announced on playbill of 12 Oct.] Afterpiece [1st time; P 2(?), by James Messink. Not in Larpent MS; synopsis of action in London Chronicle, 15 Oct.]: The Scenes partly new and partly compiled from Rich's Pantomimes [i.e. The Rape of Proserpine, Perseus and Andromeda, Apollo and Daphne, all three written by Lewis Theobald (Morning Chronicle, 15 Oct.)]. The new Music by Dibdin. The new Scenes painted by Carver

Event Comment: Benefit for Miss Pope. Afterpiece [1st time; F 2, by James Cobb, based on La Fausse Suivante; ou, Le Fourbe Puni, by Pierre Carlet de Chamblain de Marivaux. Prologue by the author (Knapp, 117). Larpent MS 476; not published. In 1780 this was acted at the hay as The Female Captain]. Part of the Pit will be laid into the Boxes. Public Advertiser, 15 Mar.: Tickets to be had of Miss Pope, Little Russel-street, Covent Garden. Receipts: #202 10s. (54.14; 17.6; 1.12; tickets: 128.18) (charge: #65 17s. 2d.)

Event Comment: Benefit for Mrs Jackson. 3rd piece [1st time in London; F 2, by James Solas Dodd, based on Le Naufrage, by Joseph de laFont, and 1st acted at Smock Alley Theatre, Dublin, 1772, as The Funeral Pile. "The performers were exceedingly correct, which is unusual in benefit piece" Oulton, 1796,1,81). Prologue by the author (Town and Country Magazine, May 1779, p.270)]: With an Indian Processionv. Public Advertiser, 24 Apr.: Tickets to be had of Mrs Jackson in the Great Piazza, Covent Garden

Event Comment: Afterpiece [1st time; P 2 (?), by Charles Dibdin and James Messink; synopsis of plot in London Chronicle, 30 Dec.]: To conclude with a Procession of the principal Grand Masters, from the Creation to the present Century, dressed in the Habits of their respective Ages and Countries. With new Music [by Charles Dibdin], Scenes, Dresses, Pageants, and Decorations. The paintings executed by Richards, Carver, Hodgins, and assistants. Books of the Songs, with an Explanation of the Pageants, to be had at the Theatre. Nothing under full Price will be taken. "To give magnificence a meaning, and unite antiquarian knowledge with polite entertainment, was a task hitherto unattempted by the contrivers of our Pantomime exhibitions. Such praise, however, the acting manager of Covent Garden theatre may justly claim, on the score of Harlequin Free-Mason, which is now representing before greater crowds than perhaps were ever attracted by Perseus and Andromeda [in 1730], the Rape of Proserpine [in 1727], or the celebrated Sorcerer [i.e. The Magician, in 1721]. The beauty of the first scene, in which a setting sun is admirably contrived, the Dutch winter piece, with numberless skate[r]s moving in the most natural attitudes, and, above all, the imperfect building, finished in a moment at the command of Harlequin, can be exceeded only by the pomp of the historic procession which closes the whole, and offers the richest and most intelligent spectacle that ever yet appeared on an English stage" (Gentleman's Magazine, Feb. 1781, pp. 58-59, which also prints a detailed description of the pageant). Account-Book, 1 Feb.: Paid Dibdin for music of Harlequin Free-Mason #70. Receipts: #236 2s. (230.3; 5.19)

Event Comment: [Miss Cleland, who was from the Edinburgh theatre, is identified in Lysons, Collectanea. Cleland was a stage name; her real name was Buttery.] Afterpiece [1st time; P 2, by James Messink]: To conclude with an exact Representation of the Procession at an Eastern Marriage [based on sketches made in India by Tilly Kettle, the portrait painter (Theatre Notebook, VIII, 6)]. The Scenery by Richards, Carver, Hodgins, Cipriani, Catton and others. The Music composed by [Michael] Arne. The Pantomime by Messink. Books of the Songs to be had at the Theatre. Nothing under Full Price will be taken. Public Advertiser, 12 Jan. 1782: The Openings between every Scene and all internal parts of the Theatre are now so crouded by people absolutely necessary in one character or another that were they not judiciously arranged and marshalled, they would stand in each other's way, and create inextricable confusion. All that appears before an Audience as moving with the ease, regularity and promptitude of clock-work is the result of much Contrivance and many exertions of bodily Labour. Ibid, 16 Feb. 1782: This Day is published The Choice of Harlequin (1s.). Receipts: #270 19s. (265/15; 5/4)

Event Comment: By Authority of the Lord Chamberlain. Benefit for Stewart. Mainpiece: In its original state, as it was written by Allen Ramsay, in 1724 [recte 1725]. Afterpiece [1st time; F 2 (?)]: Taken [probably by the author] from The Students [by James Stewart. MS not in Larpent; not published]. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. 'Tis hoped that none of Stewart's friends will expect to be admitted behind the scenes, as the audience will, and not without great reason, be much displeased at any such proceedings, nor will it upon any pretence whatever be complied with. No money returned after the curtain is drawn up. Ladies are requested to send their servants by Five to keep places. Tickets to be had at Walker's, the Globe, Pall-mall; the Edinburgh and Jamaica Coffee-houses, Cornhill; the St. Andrew, Wapping; of Denham, bookseller, No. 366, Hermitage Bridge, Wapping; at the Bouncing B Printing Office, Ratcliff Highway; at Stewart's china shop, No. 201, Ratcliff Highway, and at the Theatre, where places for the boxes may be taken

Event Comment: Benefit for Mrs Bulkley. 2nd piece [1st time; c 2, by James Brown Williamson. MS: Larpent 630; not published. Prologue probably by the author; Epilogue by the author; speakers' names (Public Advertiser, 3 Sept.)]

Event Comment: Mainpiece [1st time; CO 3, by James Cobb]: Some of the Airs compiled from the best Masters [Purcell, Sacchini, et al.]; the rest of the Music, the Overture, Accompaniments, &c. by Linley [Sen.]. [The scenery by Greenwood {Public Advertiser, 15 Dec). In 1792 this opera was altered by the author as The Algerine Slave.] Public Advertiser, 11 Jan. 1786: This Day is published The Strangers at Home (1s. 6d.). Receipts: #200 1s. (183/6/0; 16/10/0; 0/5/0)

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: Mainpiece [1st time; c 5, by James Johnstone, based on Minna von Barnhelm, by Gotthold Ephraim Lessing. Prologue by George Colman, the elder (see text). Epilogue by the author (Morning Chronicle, 25 July).] Morning Herald, 10 Aug. 1786: This Day is published The Disbanded Officer 1s. 6d.)

Event Comment: Afterpiece [1st time; F 2, by James Cobb. Prologue by the author (see text)]. Public Advertiser, 22 Jan. 1787: This Evening be published The First Floor (1s.). Receipts: #227 (187.0; 39.4; 0.16)

Event Comment: Benefit for Bannister Jun. [Author of 1st Prologue unknown. 2nd Prologue by James Cobb.] Public Advertiser, 31 Mar.: Tickets to be had of Bannister Jun., Frith-street, Soho. Receipts: #297 1s. 6d. (162.4.0; 13.13.6; 0.6.0; tickets: 120.18.0) (charge: #109 3s. 4d.)

Event Comment: Benefit for Bannister Jun. Public Advertiser, 31 July: Tickets to be had of Bannister Jun., Frith-street, Soho. [Author of Prologue unknown.] 3rd piece [1st time; F 1, by James Cobb]. Public Advertiser, 24 Aug. 1787: This Day is published English Readings (1s.)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill. Afterpiece: Prologue by James Cobb]. Receipts: #149 13s. (128.18.0; 19.11.6; 1.3.6; tickets: none listed) (charge: #105)