Event Comment: Mainpiece: Not acted these 5 years [acted 2 Nov. 1781]. Paid Wardrobe #6 2s. 6d.; Guard [master carpenter] for Scenemen #17 15s. 11d. Receipts: #178 9s. (171/19; 6/10)

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: Benefit for Mrs Bannister. Afterpiece [1st time; MF 2, by Leonard Macnally, based on A Mad World, My Masters, by Thomas Middleton. MS: Larpent 729; not published. Introduction by the author (Town and Country Magazine, June 1786, p. 328]. Books of the Songs to be had at the Theatre [composer unknown]. Morning Herald, 11 Mar.: Tickets to be had of Mrs Bannister, No. 29, Bow-street, Covent Garden. Receipts: #273 4s. 6d. (180/6/0; 7/9/6; tickets: 85/9/0) (charge: #105)

Event Comment: Benefit for Palmer. Mainpiece [1st time; C 3, by George Colman, the elder, altered from The Mutual Deception, by Joseph Atkinson, which was based on Le Jeu de l'Amour et du Hasard, by Pierre Carlet de Chamblain de Marivaux, and 1st acted at the Smock Alley Theatre, Dublin, 2 Mar. 1785. Prologue by the author (.European Magazine, Sept. 1786, p. 166). Author of Epilogue unknown]. Afterpiece: Never acted at this Theatre. [Prologue and Epilogue by David Garrick.] "This play, originally French, was translated by an Officer (the plot of which may be found in The Man's the Master, as well as in many other English plays and farces) who, with some few additions, changed it into five acts, and called it The Mutual Deception (which is now in print), but was represented in Ireland with little or no success. This Comedy, however, has undergone many very masterly alterations, and received many additions by the able hand of the attentive Manager of this Theatre" (Public Advertiser, 30 Aug.). Public Advertiser, 6 May 1788: To be published May 7, Tit for Tat (1s.)

Event Comment: Mainpiece: Some Airs compiled from best Masters. Rest of Music, the Overture, Accompaniments, &c. by Linley? Sen. Afterpiece: With a Sea-Fightv and Processionv. [These were included in both subsequent performances.] Receipts: #201 16s. (154.15; 45.18; 1.3)

Event Comment: Mainpiece: Not acted these 4 years [acted 31 Dec. 1783. Pope had acted Beverley in Edinburgh in the summer of 1786 (Morning Post, 26 Sept.). The playbill assigns Stukeley to Aickin, but he "having had the misfortune to lose his wife, Stukeley was played by Inchbald" (Morning Chronicle, 26 Sept.), from the York theatre, 1st appearance on this stage (see 4 Oct.)]. Afterpiece: Never acted there. Paid Properties the 22nd Instant 6s. 8d.; Wardrobe #6 2s. 6d.; Guard [master carpenter] for Scenemen #10 18s. 6d.; Supernumeraries #4 7s. 6d. Receipts: #194 16s. (193.0.6; 1.15.6)

Event Comment: Mainpiece [1st time; CO 3, by Leonard Macnally, adapted from the same, by Michel Jean Sedaine. Not in Larpent MS; not published; synopsis of plot in Morning Chronicle, 17 Oct. For text of abridged version see 21 Oct.]: Taken from the celebrated French Opera of that Name. With the original Overture, Airs, Duetts, Trios, Chorusses and Finale, by the celebrated Gretry. To which are added Compositions by the following Masters; Anfossi, Bertoni, Duni, David, Rizzio, Carolan, Tenducci, and Shield. With new Dresses, Scenery and other Decorations. Books of the Songs to be had at the Theatre. [The printed score (Longman & Broderip, c. 1786) indicates that the music was adapted by Shield; it does not refer to Duni, Rizzio or Tenducci, but includes Philip Hayes and John Wilson. After the 1st 4 performances the mainpiece was reduced to an afterpiece of 3 short acts; see 21 Oct.] Account-Book, 28 Nov.: Paid Macnally in full for Coeur de Lion #121 18s. 6d. "Inchbald we thought [was] rather hardly dealt with. His voice happened to fail him in a particular turn of the tune he was singing, and some of the audience were ungenerous enough to disconcert him so far that he made a modest bow and retired [leaving his part unfinished. In consequence of this] a duet that was to have been sung by the King from the battlements of the castle, and Blondel without the walls, on which the turn of the fable hinged, was omitted; a circumstance that could not but materially affect the intrinterest, as it destroyed the connexion of the fable" (Morning Chronicle, 17 Oct.). [The following day Inchbald withdrew from his engagement at cg.] Receipts: #249 12s. 6d. (247.11.6; 2.1.0)

Event Comment: The Master of the Ballets, and some of the principal dancers, not having arrived till Monday, obliged the Manager to postpone the Opera intended for yesterday evening to Saturday next

Event Comment: Benefit for Hus, ballet-master. Tickets to be had of Hus, No. 80 Haymarket. Receipts not listed

Event Comment: Mainpiece: In Act I a Masquerade Scenev incident to the Play. Account-Book: Paid Music 21st Inst. #7 14s 8d.; Properties 9s. 6d.; Chorus Singers #3; Wardrobe #6 2s. 6d.; Supernumeraries #3 7s. 6d.; Guard [master carpenter] for Scenemen #12 16s. 3d. Receipts: #220 8s. 6d. (219.15.6; 0.13.0)

Event Comment: Mainpiece: Never performed there. Afterpiece: Not acted these 3 years. To conclude with a Representation of the Repulse of the Spaniardsv before the Rock of Gibraltarv [on 13 Sept. 1782; this was included in all subsequent performances.] The Music partly new and partly compiled from thethe best Masters. The Scenes designed and executed by Greenwood. The Overture by Baumgarten. The new Music and Accompaniments to the adapted Airs by Shield. Receipts: #160 10s. 6d. (136.6.0; 23.5.0; 0.19.6)

Event Comment: "The orchestra, during the whole time of representations [of the opera] has by no means been conducted with that exactness that should be expected from that band...It must be supposed that neither the master of music at the harpsichord, nor Mr Cramer, the leader, have influence or power enough to prevail on the band to play, or rather, to accompany, more correctly...The arias of the tenor and base [sic] have been played, or rather accompanied, too fast, and without harmony with the voices of Morelli and Fineschi, which being good, and they seeming to wish to sing with all possible expression, the orchestra should have accompanied accordingly. Mme Storace, howefer, has baffled the efforts of the musicians to make her sing out of tune, quick or slow. As they fiddled, she modulated" (Public Advertiser, 17 Jan.). Receipts: #147 12s. 6d. [non-subscription]

Event Comment: Benefit for Mrs Billington. Mainpiece: Not acted these 10 years [acted 5 Nov. 1779]. The Music chiefly composed by Hook, the rest compiled from the most eminent Masters. With new Songs and other Alterations [and restorations; the names of almost all the characters have been changed (see 23 Nov. 1778)]. Public Advertiser, 12 Jan.: Tickets to be had of Mrs Billington, No. 53, Poland-street. Receipts: #365 3s. 6d. (244.0.6; 2.12.0; tickets: 118.11.0) [charge: free)

Event Comment: The Manager of the Opera, in conjunction with Noverre, the Ballet Master, esteem it their duty to request all persons who are not immediately interested in the performance of the new ballet of L'Amour et Psiche, to keep clear from the stage during the time of its representation, lest any accident should arise from the moving of the Machinery, from the flambeaux to be used therein, and from the opening of the Trap Doors, circumstances which must necessarily take place on the Practices and Representation of that ballet, and which they therefore think it incumbent on themselves to forewarn and caution the Public. "Noverre was unanimously called for on the stage to receive the applause and acclamations due to his merit...This, though common in France, was a new mark of approbation in England" (Burney,II, 901). Receipts: #146 1s. 6d. [non-subscription]

Event Comment: Mainpiece [1st time; CO 3, by James Cobb]: Some of the Airs compiled from the best Masters; the rest of the Music, the Overture, Accompaniments, &c. by Linley? Sen. With variety of new Scenery ["A view of Calcuttav, from a painting done on the spot by Hodges, opens the piece" (Public Advertiser, 26 Feb.)], Dresses and Decorations. Public Advertiser, 6 Mar. 1788: This Day is published Love in the East (1s. 6d.). Receipts: #207 8s. 6d. (172.8.0; 33.9.6; 1.11.0)

Event Comment: Account-Book: Tickets delivered by Wm. Ansell, Mrs Ansell, Bonville, Miss Blower, Miss Clarke, Doe, Mrs Lampe, Mrs Linton, Mrs Masters, Shuter, Turtle will be admitted. Receipts: #162 10s. 6d. (46.5.0; 6.1.6; tickets: 110.4.0)

Event Comment: Mainpiece: Not acted these 2 years. Some of the Airs compiled from the best Masters. The rest of the Music, the Overture, Accompanimedts, &c. by Linley? Sen. [Mrs Edwards was from the hay.] Receipts: #197 16s. 6d. (169.19.0; 26.14.6; 1.3.0)

Event Comment: Benefit for Johnstone. 1st piece: The Music by Hook; the rest compiled from the most eminent Masters. Public Advertiser, 30 Apr.: Tickets to be had of Johnstone, No. 12, Norton-street, Portland Chapel. Receipts: #313 17s. (166.16.6; 12.2.6; tickets: 134.18.0)

Event Comment: Benefit for the Seven Orphan Children of Peter? Harris, late Ballet-Master of this Theatre, who a short time since [on 23 Mar.] was unfortunately killed. Receipts: #311 1s. (73.12; 11.5; tickets: 226.4)

Event Comment: Account-Book: Tickets delivered by Atkins, Masters, Roberts, Young, Painter, Curteen, Bourrelier, Longley, Dalby, Mrs Doyle, Jackson, Mrs Clark will be admitted. Receipts: #378 17s. (56.16.6; 5.14.6; tickets: 316.6.0)

Event Comment: Benefit for Coinde, Ballet-Master. Tickets to be had of Coinde, No. 37, Silver-street, Golden-square. [The above is the playbill in World, 1 July. On 2 July no newspaper carries a playbill for this night. The theatre, therefore, was perhaps dark.