Event Comment: [Mainpiece in place of A BOLD STROKE FOR A WIFE, advertised on playbill of 23 Dec.] Afterpiece [1st time; P 1, author unknown. MS: Larpent 1001; not published]: Partly new and partly compiled. The Music by Dr Arnold. Books of the Songs [T. Cadell, 1793) to be had at the Theatre

Event Comment: Mainpiece: With a New Scene and New Dresses. Afterpiece [1st time; CO 2, by Charles Dibdin and Edward Thompson. Thompson's name does not appear on the title-page of the text; it has been added by J. P. Kemble on the half-title of his copy now in the Huntington Library]: The Music chiefly composed by Dibdin [Public Advertiser, 15 Nov.: Three of the airs and the finale were composed by Samuel Arnold; one air by John Abraham Fisher]. With New Scenes [ibid: by Dall, Richards, and Carver], Dresses and Decorations. Books of the Songs to be had at the Theatre. Account-Book, 7 Feb. 1777: Paid Dibdin in full for copyright of the Seraglio #20; ibid, 2 June 1777: Received of Cooper for Songs & Books sold of The Seraglio #19 10s. 9d. [Mrs Ward was from the Birmingham theatre]. Receipts: #221 11s. 6d. (219.7.0; 2.4.6)

Event Comment: Benefit for Leoni. Public Advertiser, 31 Mar.: Tickets to be had of Leoni at Basire's No. 34, Great Queen-street, Lincoln's Inn Fields. Receipts: #231 6s. 6d. (118.8.6; tickets: 112.18.0) (charge: free)

Event Comment: London Gazette, No 742, 26-30 Dec. 1672: These are to give Notice, that at Mr John Banister's House, now called the Musick School, over against the George Tavern in White Fryers this present Monday, will be Musick performed by Excellent Masters, beginning precisely at four of the Clock in the afternoon, and every afternoon for the future, precisely at the same hour. Roger North on Music: But how and by what stepps Musick shot up in to such request, as to croud out from the stage even comedy itself, and to sit downe in her place and become of such mighty value and price as wee now know it to be, is worth inquiring after. The first attempt was low: a project of old Banister, who was a good violin, and a theatricall composer. He opened an obscure room in a publik house in White fryars; filled it with tables and seats, and made a side box with curtaines for the musick. 1s. a peice, call for what you please, pay the reckoning, and Welcome gentlemen. Here came most of the shack [vagabond] performers to towne, and much company to hear; and divers musicall curiositys were presented, as, for instance, Banister himself, upon a flageolett in consort, which was never heard before nor since, unless imitated by the high manner upon the violin. But this lasted not long, nor another meeting of like kind neer Paul's (headed by one Ben. Wallington) for voices to an organ, where who would, that was gifted, might performe, and no payment, but the reckoning (ed. John Wilson [London, 1959], pp. 302-3)

Event Comment: Notice is hereby given, that the Annual Feast of the Shakespeare Society will be held on Wed. 2nd of March next, at the Shakespeare's Head Tavern in Covent Garden; and that tickets are left with the Master of that House to be disposed of to the Gentlemen who subscribed for Tickets for the last Feast, and who are to call for them at any time within thirty days from the date thereof. Such tickets as are not in that time called for will be delivered to the Stewards to be otherwise disposed of. The person's name to whom a Ticket is deliver'd will be endors'd thereon, and no other person can be admitted thereby. E. B. Secretary (Public Advertiser)

Event Comment: Benefit for Mrs Pritchard (Cross). Mainpiece: Not acted these 30 years. This day publish'd. Price 1s. Reflections upon Theatrical Expression in Tragedy. [By Roger Pickering. This is a defense of the theatrical profession, "which in all countries is considered low and contemptible." Author's thesis: "A master of theatrical expression in all its extensive significancy must be possess'd of such accomplishments, as to set the profession above all contempt." Garrick is mentioned as best example. True tragic expression "requires Genius, Education, Reading, Experience...and a solidity of thought which never accompanies abject morals" (p. 11). Includes an interesting treatise on acting-sections on figure, voice, ear, memory, management of feet and legs. Comments on costume: "Taste in dress demands that an actor be conversant in the mode of dress ancient and modern, in other countries as well as in our own...Alexander and Cato were not masters of the snuff box, nor Greek women of French heels." The appendix asks why all our plays are not dressed in character in point of time and place, and why they do not contain at least one "scene" proper to the country. The author (p. 61) sees need for variety in acting same role, especially when a play has a continuous run of several nights. He calls (p. 77) for creation of appropriate mood for the play by selection of proper music between the acts. Wants a softening of the prompter's bell. Concludes by damning contemporary audience manners, especially those of the stage loungers (pp. 79-81).] Receipts: #314 (Cross)

Event Comment: Notice is hereby Given that the Annual Feast of the Shakespeare Society will be held on Wednesday the 10th of March next, at the Shakespeare's Head Tavern, Covent Garden, and that tickets are left with the Master of that House to be disposed of to the Gentlemen who subscrib'd for tickets for the last Feast, and who are to call for them on or before the 7th of February. Such Tickets as are not call'd for by that day will be delivered to the Steward to be otherwise disposed of; The person's name to whom a ticket is deliver'd, will be indorsed thereon, and no other person admitted thereby. E.B. Secreatary (Public Advertiser). Receitps: #170 (Cross)