Event Comment: [This was Vernon's last appearance on the stage.] The Doors to be opened at 5:15. To begin at 6:15 [same for rest of season]. Receipts: #220 3s. 6d. (172/12/0; 47/4/6; 0/7/0)

Event Comment: Evelyn, Diary: I saw in Southwark at St Margarites faire...we saw also Monkyes & Apes daunce, & do other feates of activity on the high-rope, to admiration: They were galantly clad alamode, went upright, saluted the Company, bowing & pulling-off their hatts: They saluted one another with as good grace as if instructed by a Dauncing Master. They turned heales over head, with a bucket of Eggs in it, without breaking any: also with Candles (lighted) their their hands, & on their head, without extinguishing them, & with vessells of water, without spilling a drop; I also saw an Italian Wench daunce to admiration, & performe all the Tricks of agility on the high rope, all the Court went to see her: (likewise here was her Father) who tooke up a piece of Yron Canon of above 400 pounds weight, with the haires of his head onely

Event Comment: Pepys, Diary: And then out to the red bull (where I had not been since plays come up again)...where I was led by a seaman that knew me, but is here as a servant, up to the tireing-room, where strange the confusion and disorder that there is among them in fitting themselves, especially here, where the clothes are very poor, and the actors but common fellows. At last into the pitt, where I think there was not above ten more than myself, and not one hundred in the whole house. And the play, which is called All's lost by Lust, poorly done; and with so much disorder, among others, that in the musique-room the boy that was to sing a song, not singing it right, his master fell about his ears and beat him so, that it put the whole house in an uprore. Nicoll (Restoration Drama, p. 309) argues that George Jolly probably occupied the red bull in St John's Street, Clerkenwell. When Richard Walden saw the red bull players at Oxford in July 1661, Anne Gibbs acted Dionysia in All's Lost by Lust. It is possible that she played that role on this day. See Walden's Io Ruminans, 1662

Event Comment: At Oxford in the morning A Mad World My Masters was played; in the afternoon, The Merry Milkmaids of Islington. According to Richard Walden (Io Ruminans, 1662) Anne Gibbs played Harebrain's Wife in the former, A Lady in the latter

Event Comment: The King's Company. It is difficult to determine the run of the play, as all the known performances fall on Mondays, Wednesdays, and Fridays, but, except for 30 January, a Fast Day, it may well have been performed daily. L. C. 5@138, f. 15: A Warrant to the Master of the Great Wardrobe to prouide and deliuer to Thomas Killigrew Esq. to the value of forty pounds in silkes for to cloath the Musick for the play called the Indian Queen to be acted before their Maties Jan. 25th 1663 (Nicoll, Restoration Drama, p. 354)

Event Comment: For performances in Sept. 1667 preceding this date, see the season of Pepys, Diary: I fell in talk with Tom Killigrew about musick, and he tells me that he will bring me to the best musick in England (of which, indeed, he is master), and that is two Italians and Mrs Yates, who, he says, is come to sing the Italian manner as well as ever as he heard any: says that Knepp won't take pains enough, but that she understands her part so well upon the stage, that no man or woman in the House do the like!

Event Comment: Pepys, Diary: To White Hall, and there in the Boarded-gallery did hear the musick with which the King is presented this night by Monsieur Grebus [Grabut], the master of his musick; both instrumentall--I think twenty-four violins--and vocall; an English song upon Peace. But, God forgive me! I never was so little pleased with a concert of musick in my life. The manner of setting of words and repeating them out of order, and that with a number of voices, makes me sick, the whole design of vocall musick being lost by it. Here was a great press of people; but I did not see many pleased with it, only the instrumental musick he had brought by pratice to play very just

Event Comment: The King's Company. Pepys, Diary: To the King's house, and there did see Love in a Maze, wherein very good mirth of Lacy, the clown, and Wintersell, the country-knight, his master

Event Comment: Pepys, Diary: I with Lord Brouncker (who was this day in an unusual manner merry, I believe with drink), J. Minnes, and W. Pen to Bartholomew-Fair; and there saw the dancing mare again, which, to-day, I find to act much worse than the other day, she forgetting many things, which her master beat her for, and was mightily vexed; and then the dancing of the ropes, and also the little stage-play, which is very ridiculous

Event Comment: See 27 Feb. and 4 March. Pepys, Diary: [Sir W. Coventry] told me the matter of the play [The Rehearsal] that was intended for his abuse, wherein they foolishly and sillily bring in two tables like that which he hath made, with a round hole in the middle, in his closet, to turn himself in; and he is to be in one of them as master, and Sir J. Duncomb in the other, as his man or imitator: and their discourse in those tables, about the disposing of their books and papers, very foolish. But that, that he is offended with, is his being made so contemptible, so that any should dare to make a gentleman a subject for the mirth of the world; and that therefore he had told Tom Killigrew that he should tell his actors, whoever they were, that did offer any thing like representing him, that he would not complain to my Lord Chamberlain, which was too weak, nor get him beaten, as Sir Charles Sidly is said to do, but that he would cause his nose to be cut

Event Comment: The Duke's Company. Although this performance is not certainly the premiere, it is the earliest known acting of the play. This performance is on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage", p. 14. John Boyle, Fifth Earl of Orrery: Master Anthony too the sequel of Guzman was after Lord Orrery's Death brought upon the Stage, but being disrelish'd by the Audience appear'd only one Night. It is probable The Author had not supervis'd and corrected It sufficiently before he died (The Dramatic Works of Roger Boyle, ed. W. S. Clark II, II, 950). If these private notes, written some fifty years after the premiere, are correct, this performance may have been the premiere and the only day of acting it

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 2. See also Nicoll, Restoration Drama, p. 347. There is no certainty that this is the premiere. A song, A heart in love's empire, with music by Robert Smith, and another, Let's drink dear friends, set by Thomas? Farmer, are in Choice Songs and Ayres, The First Book, 1673. The Dedication in the edition of 1672 is to Prince Rupert and states: tho' of thirty times it has been acted, you seldom fail'd to honour it with your presence. Downes (Roscius Anglicanus, p. 32): The next new Comedy [at dg] was the Mamamouchi, or the Citizen turn'd Gentleman, Wrote by Mr Ravenscroft [cast as in edition of 1672 except French Tutor and Singing Master, by Mr Haines: (He having Affronted Mr Hart, he gave him a Discharge and then came into our House)]; This Comedy was look[ed] upon by the Criticks for a Foolish Play; yet it continu'd Acting 9 Days with a full House; upon the Sixth the House being very full: The Poet added 2 more Lines to his Epilogue, viz. @The Criticks came to Hiss, and Dam this Play,@Yet spite of themselves they can't keep away.@ However, Mr Nokes in performing the Mamomouchi pleas'd the King and Court, next Sir Martin, above all Plays

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: The Duke's Company. This date of the premiere is not known, but the presence of Cademan (who was injured in August 1673) in the cast suggests a late spring or early summer production. In addition, two songs, in the play, Beauty no more shall suffer eclipse, and Full round the health good natured and free, both set by Robert Smith, are in Choice Ayres and Songs, 1673 (which was entered in the Stationers' Register, June 1673). It is possible, then, that the play was first given early as May 1673. Downes, Roscius Anglicanus, p. 33: A Comedy call'd The Reformation, Written by a Master of Arts in Cambridge; the Reformation in the Play, being the Reverse to the Laws of Morality and Virtue; it quickly made its Exit, to make way for a Moral one

Event Comment: The King's Company. This performance (entitled The French Opera) is on the L. C. list, 5@141, p. 73. See also Nicoll, Restoration Drama, p. 345. The edition of 1674 (appearing in both an English and a French version) states: An Opera, or, a Vocal Representation. First Compos'd by Monsieur P. P. Now put into Musick by Monsieur Grabut, Master of His Majesties Musick. And Acted by the Royall Academy of Musick, At the Theatre-Royal in Covent-Garden. The names of the singers for this production are not known, but it is possible that some of the French singers who appeared in Calisto in the following season, 1674-75, were in London for this production. See Boswell, Restoration Court Stage, pp. 201, 222, and W. J. Lawrence, Early French Players in England, The Elizabethan Playhouse and Other Studies, p. 145. French dancers in the opera were Pecurr [Preux], LeTemps, Shenan, D'muraile. See L. C. 5@140, p. 472, in Nicoll, Restoration Drama, p. 355

Event Comment: London Gazette, No. 923, 21-24 Sept. 1674: At Mr John Banisters house in White-Fryers, called the Musick School, will be several Masters performing Vocal and Instrumental Musick, on Tuesday next, and every evening for the future. Beginning exactly at five of the clock

Event Comment: London Gazette, No. 1154, 7-11 Dec. 1676: On Thursday next the 14th instant, at the Academy in Little Lincolns-Inn Fields, will begin the first part of the Parley of Instruments composed by Mr John Banister, and perform'd by eminent Masters, at six a clock, and to continue nightly, as shall by Bill or otherwise be notifi'd. The Tickets are to be delivered out from one of the clock till five every day, and not after. An edition of Musick; or, A Parley of Instruments appeared in 1676, with a licensing date of 30 Oct. 1676. The text consists of lyric dialogues, a chorus, and solos, and is divided into three entertainments. Possibly this work was given earlier in the year, but this announcement is the first public one which has been noted

Event Comment: L. C. 5@142, p. 38 (see also Nicoll, Restoration Drama, p. 355): Order to Mr Staggins, Master of his Majesty's Musick, and in his absence to Mr Lock, who officiates for him:--That all His Majesty's musitians doe attend to practise in the theatre at Whitehall at such tymes as Madam Le Roch and Mr Paisible shall appoint for ye practiceing of such musick as is to be in ye French comedy to be acted before His Matie [the 29 May]

Event Comment: The Duke's Company. The date of the first production is not known, but the entry of this play in the Term Catalogues for November 1680 suggests a first offering in September or October 1680. The music for the play was composed by Henry Purcell, his first (according to Downes composing for the stage. Downes (Roscius Anglicanus, p. 38) gives a shortened cast and adds: All the Parts in't being perfectly perform'd, with several Entertainments of Singing; Compos'd by the Famous Master Mr Henry Purcell, (being the first he e'er Compos'd for the Stage) made it a living and Gainful Play to the Company: The Court; especially the Ladies, by their daily charming presence, gave it great Encouragement. Dedication, Edition of 1680: The Reputation that this Play received on the Stage, some few Errors excepted, was more than I could well hope from so Censorious an Age....You [the Duchess of Richmond] brought her Royal Highness just at the exigent Time, whose single Presence on the Poet's day is a Subsistence for him all the Years after. A song, Hail to the myrtle shade, is in Choice Ayres and Songs, The Third Book (dated 2 Nov. 1680)

Event Comment: The Duke's Company. The date of the first performance is not known, but as the play was entered in the Term Catalogues, November 1681, it was probably first given in September, certainly not later than October. Downes (Roscius Anglicanus, pp. 38-39): Being a kind of Opera, having several Machines of Flyings for the Witches, and other Diverting Contrivances in't: All being well perform'd, it prov'd beyond Expectation; very Beneficial to the Poet and Actors. Edition of 1682, To the Reader: I heard that great opposition was design'd against the Play (a month before it was acted)...The Master of the Revels (who I must confess used me civilly enough) Licenc'd it at first with little alteration: But there came such an Alarm to him...that upon a Review, he expunged all that you see differently Printed, except about a dozen lines which he struck out at the first reading....I had so numerous an assembly of the best sort of men, who stood so generously in my defence, for the first three days, that they quash'd all the vain attempts of my Enemies, the Inconsiderable Party of Hissers yielded, and the Play lived in spight of them

Event Comment: Lord Preston (in Paris) to the Duke of York, 22 Sept. 1683, N.S.: I should not have presumed to give your Highness the trouble of this if something of charity had not induced me to it. I do it at the instance of a poor servant of his Majesty's who some time since was obliged by a misfortune to leave England. It is Mr Grahme [Grabut?], sir, whom perhaps your Highness may remember. Mr Betterton coming hither some weeks since by his Majesty's command, to endeavour to carry over the Opera, and finding that impracticable, did treat with Monsr Grahme to go over with him to endeavour to represent something at least like an Opera in England for his Majesty's diversion. He hath also assured him of a pension from the House, and finds him very willing and ready to go over. He only desireth his Majesty's protection when he is there, and what encouragement his Majesty shall be pleased to give him if he finds that he deserves it (HMC, 7th Report, Part I, p. 290). W. J. Lawrence (Early French Players in England, p. 149) argued that Grahme should be Grabut, who had once been Master of the King's Music (to 1674) and who had settled in Paris. Grabut was certainly back in London in the spring of 1684

Event Comment: The program was published in 1684: A Musical Entertainment Perform'd on November XXII. 1683, It Being the Festival of St Cecilia, a great Patroness of Music; Whose Memory is Annually Honour'd by a public Feast made on that Day by the Masters and Lovers of Music, as well in England as in Foreign Parts. [Henry Purcell signed the Preface: To the Gentlemen of the Musical Society, and particularly the Stewards.] An advertisement in Vinculum Societatis, 1691, states that Christopher Fishburn composed the verse

Event Comment: A Second Musical Entertainment Perform'd on St. Cecilia's day, November XXII. 1684. The Words by the late ingenious Mr John Oldham, Author of the Satyrs Against the Jesuits. Set to Music in two, three, four, and five Parts, by Dr John Blow, Master of the Children, and Organist of His Majesty's Chappel-Royal. [This work was published in 1685.

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The King and Queene & a Box for ye Maydes of Honor at the Opera. See also Nicoll, Restoration Drama, p. 350, and 1 Jan. 1684@5. The opera was certainly given on 3 June, probably on 10 June, and probably on 13 June, the day that the news of the Duke of Monmouth's landing reached London; as Downes states that it was acted six times, there were three additional performances between 3 and 13 June 1685. Downes (Roscius Anglicanus, p. 40): In Anno 1685. The Opera of Albion and Albanius was perform'd; wrote by Mr Dryden, and Compos'd by Monsieur Grabue: This being perform'd on a very Unlucky Day, being the Day the Duke of Monmouth, Landed in the West: The Nation being in a great Consternation, it was perform'd but Six times, which not Answering half the Charge they were at, Involv'd the Company very much in Debt. Roger North: The first full opera that was made and prepared for the stage, was the Albanio of Mr Grabue, in English, but of a French genius. It is printed in full score, but proved the ruin of the poor man, for the King's death supplanted all his hopes, and so it dyed (Roger North on Music, ed. John Wilson [London, 1959], p. 311). The Prologue and Epilogue, published separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 244-46. The score and the libretto were published in 1687 (licensing date of 15 March 1686@7): Albion and Albanius; An Opera; Or, Representation in Musick. Set by Lewis Grabu, Esq; Master of His late Majesty's Musick

Event Comment: The Ode is in D'Urfey, Wit and Mirth, I, 70-71. Gentleman's Journal, January 1691-2, pp. 4-5: On that day [22 Nov.] or the next when it falls on a Sunday, as it did last time, most of the Lovers of Music, whereof many are persons of the first Rank, meet at Stationers-Hall in London, not thro' a Principle of Superstition, but to propagate the advancement of that divine Science. A splendid Entertainment is provided, and before it is always a performance of Music by the best Voices and Hands in Town; the Words, which are always in the Patronesses praise, are set by some of the greatest Masters in Town. This year Dr John Blow, that famous Musician, composed tne Music, and Mr Durfey, whose skill in things of that nature is well enough known, made the Words....Whilst the Company is at Table, the Hautboys and Trumpets play successively. Mr Showers hath taught the latter of late years to sound with all the softness imaginable, they plaid us some flat Tunes, made by Mr Finger, with a general applause, it being a thing formerly though impossible upon the Instrument design'd for a sharp Key