Event Comment: By Permission of the Lord Chamberlain. Benefit for Mrs Yates, and her Infant Children. [Mr and Mrs Litchfield, with Mrs Litchfield as Little Pickle, are identified in Morning Chronicle, 10 Feb. Address by Thomas Roberts (European Magazine. Feb. 1797, p. 121).] Tickets to be had of Mrs Yates, No. 26, Great Pultney-street, Golden-square; and of Rice at the Theatre, where Places for the Boxes may be taken

Event Comment: Afterpiece: A masque in 3 parts with Music by Dibdin. New Scenes, Machines, Habits, and Decorations. This Entertainment is got up at vast Expence both in Scenery & Dresses very great applause (Hopkins Diary). But I wish it may answer the expence (Hopkins MS Notes). Book of Chorusses & Songs may be had at the Theatre. [The afterpiece thoroughly reviewed and excoriated by Theatrical Review for 28 Oct.] Paid Mr Dorman for coals #45 10s.; Mr Booth over stop'd last season 10s. 6d.; Supernumerary Soldiers #1 11s. (Treasurer's Book). Receipts: #259 12s. 6d. (Treasurer's Book)

Event Comment: Mr Lacy a Proprietor of this Theatre made his first appearance upon the Stage in the part of Alexander. He is very Tall, & Thin, a good Voice but His Fright took away from it's power--he was rec'ed with Applause. Mr Garrick wrote a New Occasional Prologue to introduce him, which was Spoken by Mr King & rec'ed with great Applause (Hopkins Diary). Paid 4 days list at #91 8s. 10d. per diem #365 15s. 4d.; Mr J. French on Acct #10 10s. (Treasurer's Book). [The Westminster Magazine commented on Willoughby Lacy's performance (Oct. 1774): "His performance was far from answering the expectations we had been taught to form from a friend and pupil of our English Roscius. Indeed Mr Lacy is a very young man: therefore we ought not to draw the line of our expectation. His figure is at present lank, awkward, and unengaging; his voice distinctly powerful, but inharmonious; his action outre, vulgar and forced: his attitudes unnatural, affected and disgustful; and his delivery a continued rant, without proper change, a pleasing variety, or a just discrimination of the necessary difference of tone demanded by the different passions. These...capital defects...are not unsurmountable...The play was prefaced by a new Prologue, evidently the production of Mr Garrick. It had some humor and was well received. The purport of it was to beg favor for the hero of the evening, whom it compared to a young swimmer, who had tried to float in two shallow streams, and was now about to venture himself in the great deep. This image is certainly an apt one, though, it is no great compliment to the audiences of Norwich and Birmingham."] Receipts: #248 19s. (Treasurer's Book)

Event Comment: By Permission of the Lord Chamberlain. Benefit for Mrs Lefevre. [Author ofPrologue unknown.] Afterpiece: Never performed here [acted 5 Apr. 1734]. Doors to be opened at 5:15. To begin at 6:15. Tickets and places to be had of Mrs Lefevre, No. 25, Frith Street, Soho, and of Rice at the Theatre. Tickets delivered by Holland will be taken

Event Comment: Benefit Berry. Tickets at Berry's, Theatre Coffee House, Bridges Street

Event Comment: NNew Theatre. Benefit Mrs Charke. 7 p.m. Prices 2s. 6d., 1s. 6d., 6d

Event Comment: Mainpiece: Not acted these 3 years. [See 1 May 1765.] Books of the opera to be had at the Theatre. Receipts: #213 (Account Book)

Event Comment: Mainpiece: With New Scenes, Dresses and Decorations. This New Comedy by Mr Bickerstaff much hiss'd (Hopkins Diary). [See comment on mainpiece in Town and Country Magazine (from Theatre No. XXII, p. 593.

Event Comment: Boxes 5s. Gallery 3s. Pit 2s. Upper Gallery 1s. Doors open at half past five. Play begin at half past six. [Repeated.] Before the Play a new Overture and New Occasional Prelude (Public Advertiser). The House has been quite alter'd since last Season and is now fitted up in the most elegant manner Possible by the Adam's etc. and is the most Compleat of any Theater in Europe. Great applause to the House before the Curtain. The Theatrical Candidates is wrote by D. G. Esq and was received with great Applause (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording. In Judging the popularity of a play in terms of box receipts for this season one must be aware of the fact that the treasurer's account books here differ from those of the five preceding years in not recording the income from the tickets delivered out for benefit nights. Hence on those nights the stated income reflects only the money taken at the door the night of the performance, and does not indicate the larger amounts which the actors received for their tickets. Deficits to various actors listed on the following pages were all paid up, presumably from the ticket receipts. Each actor doubtless at least broke even on his benefit.] Ceiling rais'd 12 feet. Old side Boxes top and bottom remov'd. New passages to Boxes. Entrance Bridges St. Light pillars to support Boxes inlaid with plate glass on green and crimson ground. Old chandeliers remov'd. Gilt branches with two candles each on pillars. Four new chandeliers in front. No slit i Curtain. Adam architects. 4,000 guineas. Persons not employed in the night's amusement ordered not to come behind the scenes--performers by that means go cross stage (Winston MS 11, from Dr Burney's News Cuttings). Paid Renters #8; Supernumeraries and Drum #1 16s.; taylor's Bill #10 11s. 6d. (Treasurer's Book). [For the 188 acting nights of the season and for 11 Oratorio nights the Renters were paid a total of #1,692. The Supernumeraries were paid an average of #5 per night or #940 for the season. No further account of these items will be made. Full account of the new look given to Drury Lane by the Adam's brothers in the Westminster Magazine for Sept. along with an approving review of the Meeting of the Company.] From Lloyd's Evening Post, 25 Sept., "On the New Front of Drury Lane Theatre": @Garrick asham'd to poke his nose@Too sheepishly beneath the Rose:@And fearing, poor man, what were Worse,@His bashfulness might hurt his purse;@Resolves this year to push a front,@And put a better face upon't.@Not surely meaning to give o'er@His Art, and make no faces more.@Yet, fair as tis, I'd have him know@If tis the last he means to show.@This face will never make amends,@For turning tail upon his friends;@Who own, by general consent,@His face the best Stage ornament.@ (In Folger Library, David Garrick Verses, Prologues and Epilogues, MS, p. 86.) Receipts: #208 11s. (Treasurer's Book)

Event Comment: 2nd piece: The Characters will be dressed in the Habits of the Times. Books of the Songs to be had at the Theatre. "The Eustache de St. Pierre of Bensley was his Chef d'oeuvre: it suited the sourness of his aspect, his nasal intonation, and the general bluntness of his manner" (Monthly Mirror, 1796, p. 185)

Event Comment: Mainpiece: For this Night only. By permission of the Proprietor of the Theatre Royal, Hay Market. [In mainpiece the playbill assigns Julia to Mrs Jordan, and as afterpiece announces The Wedding Day, but "Mrs Jordan being suddenly taken ill, the Pubick are respectfully informed that Mrs Powell will, with their permission, attempt the Character of Julia in the Surrender of Calais; to which will be added The Adopted Child [with cast listed as above]" (printed slip attached to Kemble playbill).] Receipts: #238 7s. (166.0.6; 66.19.0; 5.7.6)

Event Comment: [In 2nd piece the playbill assigns Madelon to Mrs Bland, but she, "piqued at the levy of the customary, and very proper fines on account of her non-attendance at rehearsals, stayed away from the theatre on this evening, and Mrs Edwards [sic] was obliged to undertake the part of Madelon" (Monthly Mirror, July 1798, p. 52).

Event Comment: Mainpiece: By Permission of the Proprietor of the Theatre Royal, Hay-Market. Receipts: #168 13s. (97.0.6; 69.9.6; 2.3.0)

Event Comment: "It is apprehended that...on Account of the Fire...in Bridge's-street [see 2 Feb.], the Avenues to the Theatre will be...impassable, for which Reason there will not be any Performance" (Public Advertiser, 3 Feb.). [Cymbeline and The First Floor were announced on playbill of 2 Jan.

Event Comment: [This is the only occasion in the 18th century when a play was acted in London on this date. "The performance at the Haymarket on the 30th of January has been noticed by his Majesty in a manner which is still a topic of conversation in the higher circles...There will be no more theatrical performances on the 30th of January" (London Chronicle, 28 Feb.). On 3 Feb. the Lord Chamberlain wrote to Sheridan as follows: "Sir--Information has been received at this Office that Theatrical Entertainments were exhibited at the Theatre, under your direction, in St. James's Haymarket on the 30th of Last Month, contrary to all precedent, and repugnant to Decency, being the Anniversary of the Martyrdom of King Charles the First. I do not know by what Authority such a Step was taken but, as Chamberlain of His Majesty's Household, think it my Duty to desire that you will be pleased to Cause the Practice to be discontinued in future. I am, Sir, Your Obedient, Humble Servant, Salisbury" (MS Letters to Sheridan from Various Correspondents,II, 64, in Harvard Theatre Collection). The Morning Chronicle on 31 Jan. offered another opinion: "It gave us infinite pleasure that last night we happily broke through one of the most absurd fasts in the calendar. The Managers of Drury Lane, with proper regard to the public, rescued them from the common dullness of a 30th of January." But the absurd fast remained in force until 1843.] Receipts: #339 18s. (291.4; 40.0; 8.11; ticket not come in: 0.3)

Event Comment: By Command of Their Majesties. Tickets and places to be taken of Mr Johnston at the Stage Door of the Theatre at Half a Guinea. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. Doors to be opened at Five o'clock. To begin at Half past Six. Theatrical Review (London, 1772), appendix, pp. 207-8: The Oratorios performed at this House were conducted by Messrs. Stanley and Smith, for their own emolument; the Managers of the theatre having had no Share of the profit arising from these performances, nor any advantage, except a premium for the use of the house. Mr Stanley's musical abilities are well known. Mr Smith, was, if we are not mistaken, a pupil of the celebrated Mr Handel's; and, we believe, that Gentleman left Mr Smith the greatest part of his music, if not his whole library; so that Mr Smith may with great propriety claim the right of succeeding Mr Handel in the exhibition and conduct of his Oratorios, which he has undertaken (in conjunction with Mr Stanley) every since Mr Handel's death. Their band was composed of some of the most capital performers in this kingdom, and was led by Mr Ximenes. The vocal performers (exclusive of Chorus singers) were Mr Norris, well known to all lovers of Music, for his taste and delicacy of execution. Mr Parry (a Bass voice) from the Cathedral Church of Salisbury. This gentleman, though very young, has an extensive compass, and a great power of voice, and acquits himself with considerable reputation. Mrs Weichsel and Mrs Scott, of whom it would be superfluous and unnecessary to say anything, since their abilities are generally known. And lastly Signora Grassi, a performer of great merit. Theatrical Review, 6 March: This is Mr Dryden's celebrated Ode on St Cecelia's Day, and not an Oratorio, but performed as such...It contains many beauties and such as are worthy of Mr Handel's genius...Being much shorter than the usual length of oratorios, Mr Handel's celebrated Coronation Anthems were added in order to make the evening's entertainment of a proper length. Also a Solo on the Violincello by Mr Janson...lately arrived from Paris, said to have been a pupil of Mr Duport's but, though his taste and excution is very astonishing, we cannot give him the preference of his master. [See 13 April 1773.Charge seems to have been #28 per night plus expenses for oil, candles &c.

Event Comment: Genest, VII, 88: On this evening there was not any play performed, from respect to the memory of the unfortunate monarch, Louis 16th, who was murdered in Paris on that day [sic] -Kemble, without consulting Sheridan, closed the theatre -Sheridan, who was out of town, arrived late that evening, and finding there was no play, was highly incensed at the shutting up of the theatre upon such an occasion; for, he said, it was an invariable maxim with him, that neither politics nor religion should be taken notice of in his playhouse, yet no man deplored the tragical event more sincerely than he did. (Kelly, Reminiscences, II, 37). [The playbill of 23 Jan. advertises Cymon and The Ghost for this present evening.

Event Comment: By Their Royal Highnesses' Command. At Penkethman's Theatre. Mainpiece: Written by Shakespear. Afterpiece: a diverting Droll. Box Tickets at Penkethman's House in Richmond. Daily Post, 5 Sept.: Mr Penkethman...had the Honour to divert their Royal Highnesses the Prince and Princess of Wales, with Entertainments of Acting and Tumbling perform'd to Admiration; Likewise with his Picture of the Royal Family, down from the King of Bohemia to the young Princesses, in which is seen the Nine Muses playing on their several Instruments, in Honour of that August Family. There were present Nobility, Gentry and Ladies upwards of 200

Event Comment: At Yates's Booth in the George Inn, Smithfield. A new, pleasant and Diverting Droll...interspers'd with several Scenes both Satyrical and Comical, particularly the surprizing Metamorphosis of Jupiter and Mercury; the very remarkable Tryal before Judge Puzzlecause, with many learned arguments on both sides to prove that One can't be Two. Likewise the Humourous Adventures and whimsical Perplexities of Gormandize Simple, the Hungarian Footman; with the wonderful Conversations he had with and the dreadful Drubbings he received from his own Apparition; together with the Intrigues of Dorothy Squeezepurse, the wanton Chambermaid. Concluding with the Distresses of the Jealous Husband or the Innocent Adultress. Yates from Theatre Royal in Drury Lane. Clothes, scenes, machines, flyings, Transparencies and all other Decorations entirely new

Event Comment: [Fennell had acted Douglas at Edinburgh on 5 July 1788, and perhaps Previously.] Afterpiece [1st time: P 2, by Charles Bonnor and Robert Merry. Larpent MS 886; not published. Synopsis of action in Universal Magazine, Dec. 1790, pp. 321-23. Author of Prologue unknown]: Interspersed with Dialogue, Airs, Duettos, Chorusses, Dances, &c. &c. &c. The Scenery, Machinery, and Decorations entirely new, and painted by Richards, Carver, Hodgins, Pugh, Malton, with many Assistants [including W. Hamilton (European Magazine, Dec. 1790, p. 468]. Among others will be exhibited the following Scenes taken from accurate Drawings made on the Spot: The Jacobines Convent, Rue St. Honorie; Places de Greve; Inside of the Hotel de Ville; View of the New Bridge called Pont Louis Seize; Fountain des Innocens; Palais Bourbon; View of the Champ de Mars, with the Grand Pavillion preparatory to the Festival; A Grand Assembly; View of the Triumphal Arch, prepared for the Procession to the Champ de Mars; Perspective View of the Champ de Mars, with the Bridge of Boats. With an exact Representation of the Banners, Oriflammes, &c. &c. in the Grand Procession to the Champ de Mars. The Whole to conclude with a Representation of the Grand Illuminated Platform, as prepared by the City of Paris, on the Ruins of the Bastille, for the Entertainment of the Provincial Deputies, and the Public. [The above has reference to the "Grand National Fete" held in Paris, 14 July 1790, in commemoration of the first anniversary of the fall of the Bastille. It is included in all subsequent playbills.] The Dances [composed] by Byrn. The Music composed and compiled [from Reeve and Naumann] by Shield. The Dresses all Characteristically French and New. Books of the Songs, &c. with a short Description of the Performance [T. Cadell, 1790] to be had at the Theatre. Nothing under Full Price will be taken. Account-Book, 11 Jan. 1791: Paid Bonnor #200. Receipts: #316 16s. (296.14; 20.2)