Event Comment: Afterpiece: 1st Time at this Theatre. [Prologue by George Colman, elder.] Receipts: #241 19s. 6d. (237.5.0; 4.14.6)

Event Comment: Afterpiece [1st time; P 2 (?), by James Wild. MS: Larpent 1000]: The greatest part entirely new, with a few Select Scenes from the most approv'd Compositions. With new Scenery, Machinery, Dresses and Decorations. The Dresses entirely new. The new Music composed by Shield, the rest selected from Harington, Dr Arne, Eley, Reeve, Pepusch, Galliard, George Ware, Hook, &c. The Scenery and Machinery entirely new painted by Richards, Hodgins, Walmsley, Lupino, Pugh, Phillips and Malton. The Dances entirely new, composed by Byrn. Account-Book, 23 Apr. 1795: Paid James Wild in full for Dr Faustus #40. European Magazine, Jan. 1794, p. 49: Dr Faustus has afforded entertainment to three if not four generations. It was first produced at Drury-lane in 1723, by Mr Thurmond, a dancing-master, and was afterwards succeeded at Lincoln's inn-fields, in the same year, by Mr Rich's more splendid performance [entitled The Necromancer; or, Harlequin Doctor Faustus], which received improvement at different revivals of it. At the latter end of 1766 [at Covent Garden] Mr Woodward made some alterations, and it was revived with great success. It is again brought forward with applause, and recalls to the remembrance of those who formerly saw it with delight, the recollection of the most enchanting period of life. The opening scene of Tartarus . . . was first introduced in the speaking pantomime of The Mirror [at Covent Garden, 30 Nov. 1779). Receipts: #352 13s. 6d. (324/13/6; 28/0/0)

Event Comment: Mainpiece [1st time; C 5, by Richard Brinsley Sheridan. Prologue by David Garrick. Epilogue by George Colman elder (London Chronicle, 9 May). Text 1st published (unauthorized), Dublin, 1780]: With New Scenes and Dresses. "No modern theatrical piece ever met with a fuller success, nor deserved it more... The performers deserve every sort of commendation for their spirited exertion in supporting the respective characters, especially Smith, King and the incomparable Mrs Abington" (Gazetteer, 9 May). "To my great astonishment there were more parts performed admirably in The School for Scandal than I almost ever saw in any play. Mrs Abington was equal to the first of her profession, Yates (the husband), Parsons, Miss Pope, and Palmer, all shone. It seemed a marvellous resurrection of the stage. Indeed, the play had as much merit as the actors. I have seen no comedy that comes near it since The Provoked Husband" (Walpole [13 July 1777], X, 82). Receipts: #224 10s. (215.12.0; 8.14.6; 0.3.6)

Event Comment: Benefit for Holman. 1st piece [1st time; C 5, by Benjamin Hoadly, based partly on L'Ecole des Femmes, by Moliere. Larpent MS 1160; not published. Prologue by John Taylor; Epilogue by Edward Jerningham (European Magazine, May 1797, p. 342)]: Mr Holman having been favored by the Family of Doctor Hoadly, Author of the Suspicious Husband, with a Manuscript Comedy in Five Acts, the production of that celebrated Writer, he most respectfully informs the Public that it will be presented under the Title of The Tatlers. True Briton, 1 May: The Play was given to Holman by Dr Hoadly Ashe, Hoadly's nephew. Ibid, 10 Apr.: Tickets to be had of Holman, No. 14, John-street, Adelphi. Account-Book: Paid Insurance and Duty on #10,000 for one year from 16th Inst. at the Royal Exchange Fire Office #136 17s; ditto on #10,000 for one year from Lady Day at the Phoenix Fire Office #112 10s. Receipts: #290 11s. 6d. (143.16.0; 10.11.6; tickets: 136.4.0)

Event Comment: [The new piano appears to be the Instrument patented in 1799 by Joseph Smith; it contained "the first real use of metal longitudinal bracing, [which] was to be under the sound-board and to replace the wooden braces, and thus provide space for the introduction of a mechanically-played tambourine" (Grove, under Pianoforte).

Event Comment: Benefit for Holman. Mainpiece: Not acted these 3 years. In IV a Grand Banquet. Morning Herald, 28 Mar.: Tickets to be had of Holman at his chambers, No. 14 John-street, Adelphi. "There is a deficiency in the length of [Holman's] upper lip that continually exposes his teeth to the audience...He has a method of hurrying over the latter part of a sentence, as if to give it more effect, but in reality destroys the intention and solemnity of the scene" (Candid Strictures,45-46). Receipts: #280 11s. 6d. (188.10.6; 3.16.0; tickets: 88.5.0) (charge: #105)

Event Comment: Benefit for Holman. Morning Herald, 29 Mar.: Tickets to be had of Holman, No. 24, Bedford-street, Covent Garden. Receipts: #282 2s. 6d. (153/2/0; 5/0/6; tickets: 124/0/0) (charge: #105)

Event Comment: Benefit for Holman. Ode: The music by Dr Arne. Afterpiece: Not acted these 3 years. [acted 16 June 1790]. Public Advertiser, 28 Apr.: Tickets to be had of Holman, No. 2, Tavistock-row, Covent Garden. Receipts: #217 2s. 6d. (121.11.0; 6.15.6; tickets: 88.16.0)

Event Comment: Benefit for Holman. Mainpiece: Not acted these 2 years. In Act IV a Grand Banquet. Morning Chronicle, 14 Apr.: Tickets to be had of Holman, No. 14, John-street, Adelphi. Receipts: #316 11s. 6d. (202/15/0; 8/3/0; tickets: 105/13/6)

Event Comment: Benefit for Holman. Mainpiece: Never [previously] acted here. In Act V the Funeral Procession of a Roman Commanderv. Morning Chronicle, 11 Apr.: Tickets to be had of Holman, No. 14, John-street, Adelphi. Receipts: #263 3s. (130.16; 22.17; tickets: 109.10)

Event Comment: Benefit for Holman. Afterpiece : Not acted these 8 years [not acted since 16 sar. 1786]. Oracle, 16 Mar.: Tickets to be had of Holman, No. 14, John-street, Adelphi. Receipts: #318 19s. (205.3.6; 5.11.0; tickets: 108.4.6)

Event Comment: [The playbill assigns Joseph Surface to Palmer, but "Palmer at a late hour sent word that he was unable to attend to his Business this Evening, in consequence of which a messenger was dispatch'd after Mr Barrymore to play Joseph Surface, but he could not be found, Mr Benson was therefore sent for, who, after having an apology made for him, play'd the Part. Banks play'd Surface's Servant " (Powell: Trip to Scarborough rehearsed at 10; Measure at 12. Receipts: #252 16s. (172.13.0; 77.9.6; 2.13.6)

Event Comment: Benefit for Mrs Wells. Afterpiece [1st time; F 2, by Edward Topham, with incidental music by Shield. MS not in Larpent; not published. Prologue by George Colman, the younger (European Magazine, May 1786, p. 370)]. "An old and established rule among the youth of Westminster [School will] not permit any exhibition on the stage reflecting upon their body ... In the second act Mrs Wells made her appearance in the dress of a Westminster scholar, when a general uproar [instigated by the scholars] took place, and the [rest of the] piece was prevented from being heard" (Town and Country Magazine, May 1786, p. 235). Public Advertiser, 8 May: Tickets to be had of Mrs Wells, No. 188, Oxford-street. Receipts: #282 17s. (166/0/6; 21/19/6; tickets: 94/17/0) (charge: #105)

Event Comment: Benefit for Holman

Event Comment: Afterpiece: Not acted these 4 years [acted 28 May 1784]. "We see the present rising theatrical generation swinging back with a vengeance to rant and mouthing. The natural and just medium introduced by Garrick seems already forgotten, and speaking no longer deemed a requisite for the stage . . . But last night in Richard Holman was not more violent than the character required him to be" (Public Advertiser, 6 Dec). Receipts: #147 1s. 6d. (143/14/6; 3/7/0)

Event Comment: [In mainpiece the playbill assigns Polonius to Wilson, but "Previous to the play an apology was made by Farren, for the absence of Wilson [see 2 Nov.], and requesting the Audience to accept of Munden in Polonius, which they chearfully assented to, and his performance justified their opinion" (Thespian Magazine, Dec. 1792, p. 153). "Hamlet is perfectly within the scope of [Holman's] powers; but his performance last night did not exhibit one discriminate feature of the character. He 'out Heroded Herod' throughout, with more than his usual perseverance. The praise of the evening rests with Munden, who laudably endeavoured to rescue Polonius from the buffoonery which has hitherto disgraced him" (Morning Herald, 6 Nov.). Afterpiece in place of Oscar and Malvina, advertised on playbill of 3 Nov.] Receipts: #319 2s

Event Comment: The Duke's Company. Pepys, Diary: Against my judgment and conscience (which God forgive, for my very heart knows that I offend God in breaking my vows therein) to the Opera, which is now newly begun to act again, after some alteracion of their scene, which do make it very much worse; but the play, Love and Honour, being the first time of their acting it, is a very good plot, and well done. Downes (pp. 21-22): This Play was Richly Cloath'd; The King giving Mr Betterton his Coronation Suit;...The Duke of York giving Mr Harris his...and my Lord of Oxford gave Mr Joseph Price his...and all the other Parts being very well done: The Play having a great run, Produc'd to the Company great Gain and Estimation from the Town

Event Comment: [This was Baddeley's last appearance on the stage (see 19 Nov.).] Powell: R. Palmer Ill, Benson Trip [as in playbill]; Banks Servt to Joseph Surface for Benson. School for Lovers rehearsed at 10; Mithridates at 12 [but this play not acted at this or any other London theatre between 1738 and 1800], Receipts: #329 1s. (259.0.6; 68.9.0; 1.11.6)