Event Comment: The United Company. The date of the first performance is not known, but Luttrell's date of acquistion of the separately-printed Prologue and Epilogue is 6 Feb. 1687@8 (see A. S. Borgman, The Life and Death of William Mountford [Cambridge, Mass., 1935], p. 26n). Very probably the play had its premiere early in February. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 256-58. A song, Lucinda close or veil those eyes, with music by J. B. Draghi, is in The Banquet of Musick, The Second Book, 1688. Charles Gildon, The Lives and Characters of the English Dramatick Poets (London, 1698 (?), p. 102: [It] did not succeed as the Author wish'd

Event Comment: In The Theatre of Compliment, 1688, are verses similar to those apparently referring to August 1686: @Here is the Rarity of the whole Fair,@Pimper-la-Pimp, and the Wise Dancing Mare;@Here's valiant St George and the Dragon, a farce;@Here's Vienna Besieged, a most delicate thing;@And here's Punchinello, shown thrice to the King.@ John Verney entertained some of his wife's family who were in town to see Bartholomew Fair. See Memoirs of the Verney Family, ed. Margaret M. Verney (London, 1699), IV, 435

Event Comment: The United Company. The date of the first production is not known. The play was entered in the Term Catalogues, June 1689, and announced in the London Gazette, 24-27 June 1689. In the extreme scarcity of information concerning the theatres during the disturbed winter of 1688-89, it is difficult to know when this play may have been first presented. It was probably acted not later than April, possibly in March

Event Comment: The United Company. The date of the first performance is not known, but the fact that the play was announced in the London Gazette, 23-27 May 1689, and entered in the Term Catalogues, June 1689, suggests that the premiere probably occurred not later than April 1689, possibly very early in May 1689

Event Comment: The United Company. This performance is on the L. C. list, 5@149, p. 368: The Queene a Box, and a Box for the Maids of Honor at the Spanish Fryer. See also Nicoll, Restoration Drama, p. 352. A warrant, dated 8 June 1689, L. C. 5@149, p. 154 (see Nicoll, Restoration Drama, p. 356), calls for a payment of #25 to Mrs Barry and presumably represents payment for this performance. Daniel Finch, ca. June 1689: The only day Her Majesty gave herself the diversion of a play, and that on which she designed to see another, has furnished the town with discourse for a month. The choice of the play was the Spanish Fryar, the only play forbid by the late K@@. Some unhappy expressions, among which those that follow, put her in some disorder, and forc'd her to hold up her fan, and often look behind her and call for her palatine and hood, and any thing she could next think of, while those who were said. (Sir John Dalrymple, Memoirs of Great Britain [London, 1771-88], in the pit before her, whenever their fancy led them to make any application of what was Volume II, Appendix, Part II, pp. 78-80.) Henry Purcell's new setting for whilst I with grief did on you look may have been made by this date. It is in Deliciae Musicae, 1695

Event Comment: The data in Langhans, New Restoration Theatre Accounts, pp. 130-31, leave the acting days uncertain. Between 13 May 1689 and 7 Dec. 1689 the company acted on 91 days. It then played regularly through 8 Feb. 1689@90, and acted on 83 days (out of a possible 84) between 10 Feb. and 7 June, on 8 days from 13 June through 4 July 1690. In Poems on Affairs of State= (Fifth Edition, 1703), I, ii, 238, is A Prologue spoken by Mr Mountfort, after he came from the Army, and Acted on the Stage (see also A. S. Borgman, The Life and Death of William Mountfort [Cambridge, Mass., 1935], p. 55). The date at which Mountfort spoke this Prologue is not certain, but he was certainly in London ca. Tuesday 15 Oct. 1689 when he was involved in a disagreement within the United Company. See L. C. 5@192, in Nicoll, Restoration Drama, p. 334n

Event Comment: The date of the first performance of this play is not known. The play was licensed for publication on 27 Jan. 1689-90 and advertised in the London Gazette, 10 Feb. 1689@90; hence, it was probably given not later than early January, possibly first given in December 1689

Event Comment: The United Company. The date of the first performance is not known. The play was entered in the Stationers' Register, 13 Feb. 1689@90, and advertised in the London Gazette, 20-24 Feb. 1689@90; hence, it was probably first given in January 1690, certainly no later than early February 1690. Preface, Edition of 1690: The time was, upon the uniting of the two Theatres, that the reviveing of the old stock of Plays, so ingrost the study of the House, that the Poets lay dorment; and a New Play cou'd hardly get admittance, amongst the more precious pieces of Antiquity, that then waited to walk the Stage; and since the World runs all upon Extremes, as you had such a Scarcity of new ones then; 'tis justice you shou'd have as great a glut of them now; for this reason, this little Prig makes bold to thrust in with the Crowd

Event Comment: According to a notice in the London Gazette, No 2529, 3-6 Feb. 1689@90, there was a concert at York Buildings on Monday 3 Feb. 1689@90

Event Comment: The United Company. The date of the first performance is not known, but the Dedication is dated 5 May 1690; the play was entered in the Term Catalogues, May 1690; and it was advertised in the London Gazette, No. 2557, 12-15 May 1690. Although the play may not have been first acted until mid-April, it may have been given in late March 1690. Dedication, Edition of 1690: I have no reason to complain of the reception of this Play. A song, The fire of love in youthful blood, the music composed by R. King, is in Apollo's Banquet, 1691

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's copy (Huntington Library) of the play bears the date of acquisition 3 June [1690, apparently], and the play was advertised in the London Gazette, No 2566, 12-16 June 1690. See Fredson Bowers, A Bibliographical History of the Fletcher-Betterton Play, The Prophetess, 1690, The Library, 5th Series, XVI (1961), 169-75. It seems likely that the opera was first given early in June 1690. An edition of The Vocal and Instrumental Musick of The Prophetess appeared in 1691. See Works of Henry Purcell, Purcell Society, IX. Downes (Roscius Anglicanus, p. 42): The Prophetess, or Dioclesian an Opera, Wrote by Mr Betterton; being set out with Coastly Scenes, Machines and Cloaths: The Vocal and Instrumental Musick, done by Mr Purcel; and Dances by Mr Priest; it gratify'd the Expectation of Court and City; and got the Author great Reputation. [See also R. E. Moore, Henry Purcell and the Restoration Theater (Cambridge, Mass., 1961), Chapter V; and E. W. White, Early Theatrical Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44.] The Muses' Mercury (January 1707, pp. 4-5): This prologue was forbidden to be spoken the second Night of the Representation of the Prophetess. Mrs Shadwell was the occasion of its being taken notice of by the Ministry in the last Reign: He happen'd to be at the House on the first Night, and taking the beginning of the Prologue to have a double meaning, and that Meaning to reflect on the Revolution, he told a Gentleman, He would immediately Put a stop to it. When that Gentleman ask'd, Why he wou'd do the Author such a Disservice? He said, Because while Mr Dryden was Poet Laureat, he wou'd never let any Play of his be Acted. Mr Shadwell informed the Secretary of State of it, and representing it in its worst Colours, the Prologue was never Spoken afterwards, and is not printed in Mr Dryden's Works, or his Miscellanies. Cibber, Apology (ed. Lowe, II, 13-14): A Prologue (by Dryden) to the Prophetess was forbid by the Lord Dorset after the first War in Ireland. It must be confess'd that this Prologue had some familiar, metaphorical Sneers at the Revolution itself; and as the Poetry of it was good, the Offence of it was less pardonable

Event Comment: The United Company. The date of the first performance is not known, and the play is one of a large group commonly assigned to September-December 1690. As the Prologue implies an autumn production, it has been placed at late September, although the premiere may have been October. It was advertised in the London Gazette, 18-22 Dec. 1690, and entered in the Term Catalogues, Feb. 1690@1. The music was composed by Henry Purcell. See Purcell, Works, Purcell Society, XXI (Dramatic Music, III, 1917), xii-xiv. Dedication: So visibly promoting my Interest on those days chiefly (the Third and the Sixth) when I had the tenderest relation to the welfare of my Play [i.e. Southerne had two benefits]. Langbaine (English Dramatick Poets, 1691, Appendix): This Play was acted with extraordinary Applause, the Part of Sir Anthony Love being most Masterly play'd by Mr Montfort: and certainly, who ever reads it, will find it fraught with true Wit and Humour. Gentleman's Journal, January 1691@2: [The Wives' Excuse, newly performed] was written by Mr Southern, who made that call'd Sir Anthony Love, which you and all the Town have lik'd so well

Event Comment: The United Company. There is no certainty as to when the first performance occurred, but it can hardly be later than 11 Nov. 1690, when it was entered in the Stationers' Register; it was then advertised in the London Gazette, No. 2618, 11-15 Dec. 1690. On the assumption that the performance of Amphitryon on 21 Oct. 1690 followed its premiere, Distress'd Innocence has been assigned to late October 1690. The Overture and seven Act Tunes were composed by Henry Purcell. See Purcell's Works, Purcell Society, XVI (1906), xix. Dedication, Edition of 1691: I must still own my self indebted on all Hands, not only to the kind Audience, but likewise to the kind Company, who amongst other Favours, were pleased to be at the Charge of dressing my Play to so much Advantage. But above all I must make my publick Acknowledgments to Mr Betterton for his several extraordinary Hints to the heightening of my best Characters, nor am I a little indebted to Mr Montfort, for the last Scene of my Play which he was so kind to write for me

Event Comment: The United Company. This play was apparently never published, but it was mentioned in the Prologue to King Edward the Third (ca. Nov. 1690) and again in tne Gentleman's Journal, Jan. 1691@2. Gentleman's Journal, Jan. 1691@2: You have often ask'd me, who was the author of that, call'd The Gordian Knot unty'd; and wondred, with many more, why it was never printed. I hear that Gentleman who writ lately a most ingenious Dialogue concerning Women, now translated into French, is the Author of that witty Play, and it is almost a Sin in him to keep It and his name from the world. [This statement points to William Walsh's A Dialogue Concerning Women, Being a Defence of the Sex. Written to Eugenia (London, 1691).] Henry Purcell wrote the instrumental music for this work. See Purcell's Works, Purcell Society, XX (1916), vii

Event Comment: The United Company. The date of the first performance is not known, but it followed The Gordian Knot Unty'd, which is mentioned in the Prologue. Edward III was advertised in the London Gazette, No. 2629, 19-22 Jan. 1690@1, and entered in the Term Catalogues, February 1690@1. The authorship is uncertain. The title page bears no author's name, but the Dedication is signed by Will. Mountfort. In addition, on 10 Oct. 1691 Mountfort received a grant of #10 when Edward III was played before the Queen (L. C. 5@150, p. 306, in Nicoll, Restoration Drama, p. 357). On tne other hand, the Gentleman's Journal, October 1692, stated that it was written by the author of Henry the Second, which has been attributed to John Bancroft. See Nicoll, Restoration Drama, pp. 388-89, for a summation of the evidence on this problem. Alfred Harbage, Elizabethan-Restoration Palimpsest, Modern Language Review, XXXV (1940), 319, thinks that this is a revision of Robert Davenport's The Politic Queen

Event Comment: The United Company. The date of the first performance is not known. This is the second of three plays which have been assigned to December 1690 (see Alphonso and The Mistakes). It was entered in the Term Catalogues, Feb. 1690@1, and advertised in the London Gazette, No. 2638, 19-23 Feb. 1690@1

Event Comment: The United Company. The date of the first performance is not known, but the Prologue refers to a "Lenten Dish." The play was entered in the Stationers' Register, 4 April 1691, announced in the London Gazette, No 2657, 27-30 April 1691, and listed in the Term Catalogues, May 1691. Very probably the play made its first appearance not later than March 1691

Event Comment: The United Company. The date of the first performance is not known, but the face that the play was entered in the Term Catalogues, May 1691, and noticed in the London Gazette, No 2664, 21-25 May 1691, suggests that it was given in April, probably soon after Passion Week. Gildon, The Lives and Characters, p. 102: A very pretty Comedy, and has been always received with general Applause

Event Comment: Luttrell, A Brief Relation, II, 270-71: The lord mayor of London has publish'd an order to prevent all sort of lewdnesse and disorder during Bartholomew fair, and that it shal be kept but 3 dayes, viz. 23d, 24 and 25 of August

Event Comment: Richard Lapthorne, 8 Aug. 1691: Bartholomew faire by order of the Lord Mayor and Aldermen is to bee kept but for 3 days this yeare because its a season of great debauchery and therefore they think a fortnight to bee too long a space and it seemes according to the originall Institution it was to continue no longer then three dayes (R. J. Kerr and I. C. Duncan, The Portledge Papers [London, 1928], p. 118.

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

Event Comment: The United Company. The exact date of the first production is not known, but the play was entered in the Term Catalogues, February 1691@2, and mentioned in the Gentleman's Journal, February 1691@2 (licensed 12 February 1691@2). In all probability, it was first acted not later than January 1691@2. The music to one song, As soon as the Chaos, was composed by Henry Purcell. See Purcell, Works, Purcell Society, XX (1916), xvii. Two songs--Bonny lad prithee lay thy pipe down, with music by Tollet; Great Jove once made love like a bull, with music by Mountfort--are in The Banquet of Musick, The Sixth and Last Book, 1692. Dedication, Edition of 1692: Having at last so well acquitted it self on the Stage (tho' the thronging, imperfect Action, and worse than all, the faulty length, which I will never be guilty of again, render'd it little Diversion the first day). A Letter to Mr D'Urfey [by Charles Gildon], Edition of 1692: If there be any fault in this Play, 'tis that which few are guilty of; that is, there are too many good Characters, too full of Humour, a very Pardonable failing, which only proceeds from Variety, the life of Pleasure and Wit, tho' that gave it the disadvantage of seeming too long the first days Acting, tho' the Stage's being throng'd with Spectators, did not a little contribute to the imperfect Acting of it, which accidental Misfortunes concurring with the Endeavours of an opposite Faction, must needs have damn'd it, had it not by the Force and Vigour of its own Worthy, rais'd it self the second day with the general Applause of all that saw it....But the Marriage-hater went further, and in spight of all the disadvantages it labour'd under of Action and Audience, pleas'd on, after several times Repetition. See also Poeta Infamis; or, A Poet not worth Hanging (1692) for a variety of comments upon this play. London Mercury, 26 Feb. 1691@2: Query 4. Whether in Justice he [D'Urfey] is not obliged to present Mr Dogget (who acted Solon to so much Advantage) with half the Profit of his Third Day, since in the Opinions of most Persons, the good Success of his Comedy was half owing to that admirable Actor? Query 5. Whether, if there be any Wit in bringing a Person upon the Stage with an extravagantly broad-brimmed Hat, and a Muff of the same Size, so it will not be a very easy Matter for the next Poet that writes a Play, to Out-hat and Out-muff his Predecessors, and consequently to Out-wit him? Downes, Roscius Anglicanus, p. 42: Mr Dogget perform'd the part of Solon Inimitably. Gentleman's Journal, p. 454, February 1691@2 (licensed 12 Feb. 1691@2): I send you the Marriage-hater match'd, a new Comedy by Mr Durfey; it hath met with very good success, having been plaid six days together, and is a diverting Play. Gentleman's Journal, January 1691@2: Now I speak of Music I must tell you that we shall have speedily a new Opera, wherein something very surprising is promised us; Mr Purcel who joyns to the Delicacy and Beauty of the Italian way, the Graces and Gayety of the French, composes the Music, as he hath done for the Prophetess, and the last Opera called King Arthur, which hath been plaid several times the last Month [presumably December 1691]

Event Comment: BM Add. Mss. 34096, folio 63r 64v, Whitehall, 15 July 1692: The Prince and Princesse of Danemarke...yesterday...tooke barge to Goe to ye Play House. [See Benjamin Bathurst, Letters of Two Queens (London, 1924), p. 225, for a letter by Princess Anne ordering boats to take her to the theatre.

Event Comment: The United Company. This performance is known from testimony in the trial of Charles Lord Mohun for the attack on William Mountfort on 9 Dec. 1692. The evidence given by Brereton at the trial stated: I had not seen my Lord Mohun for two or three days before this Fact was committed;...but the Friday before, the Play of Alexander the Great was Acted, and my Lord Mohun and I were talking of the Play, and he said it was a good Play, and he commended Mr Mountford's Acting extreamly (The Tryal of Charles Lord Mohun [London, 1693], p. 26)

Event Comment: The United Company. The date of the first performance is not known, but it had been acted by the time the January 1692@3 issue of the Gentleman's Journal appeared in March (on page 1 of that issue, the editor states that We are now in March): Mr Southerne's New Comedy, call'd, The Maid's last Prayer, or Any rather than fail, was acted the 3d time this evening, and is to be acted again to morrow. It discovers much knowledge of the Town in its Author; and its Wit and purity of Diction are particularly commended (p. 28). The first song in the play, Tho you make no return to my passion, composed by Henry Purcell, was sung, according to the printed play, by Mrs Hodgson; by Mrs Dyer, according to Thesaurus Musicus, First Book, 1693. The second song, composed by Samuel? Akeroyd, was sung by Mrs Ayliff (Thesaurus Musicus, The First Book, 1693). Another song, No, no, no, no, resistance is but vain, written by Anthony Henley, composed by Henry Purcell, and sung by Mrs Ayliff and Mrs Hodgson, Act IV, is in Purcell's Works, Purcell Society, XX (1916), xiv-xv. A song, Tell me no more I am deceiv'd, written by William Congreve, set by Henry Purcell, and sung by Mrs Ayliff, is in Works, XX (1916), xv-xvi. According to the London Gazette, No. 2852, 9-13 March 1692@3, the play was published "this day" (13 March 1692@3)