Event Comment: With New Habits, Scenes, Decorations and Music. Full Prices. Songs in the Entertainment will be given out at the Theatre. Afterpiece compos'd by Love, perform'd with success (Victor, I, 40). [N.B. In June 1762 the King of the Cherokee Indians arrived with two of his chiefs to pay respects to King George III. On 28 August they appeared at Marylebone Gardens. A dmission Price to see them 6d. (London Chronicle, No 857 & 860).

Event Comment: Benefit for City of London Lying-In Hospital, Aldersgate St. No building on Stage. Tickets to be had at the Hospital, and of Mr Sarjant at the Stage-Door

Event Comment: Mainpiece: Never acted before. Characters new dressed &c. [See Theatrical Review; or, Annals of the Drama, 1763, pp. 67-74: Bless us what a sweet consistent piece of business is a modern Tragedy." See Boswell's account of his attendance that night with two friends, With oaken cudgels in our hands and shrill sounding catcalls in our pockets," ready prepared to damn the play (London Journal), p. 154 ff.).] Critical Strictures on the New Tragedy of Elvira, published this month (Gentleman's Magazine). I then undressed for the Play. My father and I went to the Rose, in the Passage of the Playhouse, where we found Mallet, with about thirty friends. We dined together, and went from thence into the Pitt, where we took our places in a body, ready to silence all opposition. However, we had no occasion to exert ourselves. Not withstanding the malice of a party, Mallet's nation, connections and indeed imprudence, we heard nothing but applause. I think it was deserved. The play was borrowed from de la Motte, but the details and language have great merit. A fine Vein of dramatick poetry runs thro' the piece. The Scenes between the father and son awaken almost every sensation of the human breast; and the Council would have equally moved, but for the inconvenience unavoidable upon all Theatres, that of entrusting fine Speeches to indifferent Actors. The perplexity of the Catastrophe is much, and I believe justly, critisized. But another defect made a strong impression upon me. When a Poet ventures upon the dreadful situation of a father who condemns his son to death; there is no medium; the father must either be monster or a Hero. His obligations of justice, of the publick good, must be as binding, as apparent as perhaps those of the first Brutus. The cruel necessity consecrates his actions, and leaves no room for repentance. The thought is shocking, if not carried into action. In the execution of Brutus's sons I am sensible of that fatal necessity. Without such an example, the unsettled liberty of Romev would have perished the instant after its birth. But Alonzo might have pardoned his son for a rash attempt, the cause of which was a private injury, and whose consequences could never have disturbed an established government. He might have pardoned such a crime in any other subject; and the laws could exact only a equal rigor for a son; a Vain appetite for glory, and a mad affectation of Heroism, could only influence him to exert an unequal & superior severity (Gibbon's Journal, ed. D. M. Low [New York, n.d.], pp. 202-4)

Event Comment: [This month the periodical, The Beauties of All Magazines Selected (London, 1763) quoted from the Theatrical Review Remarks on that Part of Dramatical Entertainments called Singing," A garrulous article concluding: The millions must be pleased-if audiences were only to be entertained with sensible exhibitions, or if only sensible people composed those audiences, whew! in what a sickly and consumptive state would be two thirds of the first rate salaries in every theatre!' (p. 76). This month publish'd An Appeal to the Publick in behalf of the Manager. Price 1s. Printed for Wilson. Hear all; and then let Justice hold the Scale. Shakespeare. A rather full description of the Fitzpatrick half-price riots, exonerating Garrick and the players. This month (probably) was published Theatrical Disquisitions; or, a Review of the late Riot at Drury Lane Theatre, 25, 26 January 1763, By a Lady (32 pp.). A calm defense of the acting profession, and a scourge of Fitzpatrick as a coward and a great nuisance. She prefers seeing plays to reading them. Holds Garrick blameless for reviving the Chances after failure of Eastward Ho. Comments at length on brilliance of contemporary stage costume in comparison with that earlier in the century.

Event Comment: By Command of their Majesties, an Occasional Oratorio "selected from the most celebrated compositions of the late George Frederick Handel." Pit and Boxes to be put together. No person to be admitted without Tickets which will be deliver'd this day at the Office in the Theatre at half a guinea each. First Gallery 5s. Upper Gallery 3s. 6d. Galleries to be opened at half past Four. Pit and Boxes at Five. To begin at half after Six. This day Publish'd Price 1s. An Occasional Oratorio, as it is to be performed at Covent Garden...J. and R. Tonson. [The most provocative commentary on Oratorios may be found in [Robert Maddison's] An Examination of the Oratorios performed This Season at Covent Garden, (London, 1763) 63 pages, wherein he seeks to define the genre, then judge the performances in terms of his definition.

Event Comment: Benefit for the Colleges of Philadelphia and New York. Mainpiece a Sacred Ode written by Dr Brown set to select Airs, Duets and Choruses from Mr Handel, and other Eminent Composers, with the addition of several new songs. Pit and Boxes to be put together. No Persons to be admitted without tickets, which will be deliver'd at the Office of the theatre at 1!2 a Guinea each; and also at the following Coffee House, viz: the Smyrna, Pall Mall; the Mount, Grosvenor St; George's, Temple Bar; the Rainbow, Cornhill, the New York, Sweetings's Alley; and the Pennsylvania, Birchin Lane. First Gallery 5s. Second Gallerp 3s. 6d. Galleries to be opened at half past Four, Pit and Boxes at Five. To begin at 1!2 after Six (playbill). This philanthropic enterprise, of which the theatrical benefit was but a part, seems not to have born much fruit for the respective Colleges. See Letter to the Governors of the Colleges of New York, respecting the Collection that was made in the Kingdom in 1762 and 1763, for the Colleges of Philadelphia and New York, to which are added Explanatory notes and appendix. By Sir James Jay, M. D. (London, 1771). The funds collected seem largely to have been used up in a law suit. The Governor of the College of New York, Rev. Dr Johnson, asked Jay to collect funds, which he did. Alderman Trecothick wrote Dr Johnson that the funds were not safe in Jay's hands. The Governors insulted Jay, and when they found they were wrong refused to apologize. They entered a bill against him in Chancery to gain the funds. It dragged out for four years. When the power of Attorney had been given to Trecothick, he claimed that a sum of #1437 15s. 6d. was unaccounted for by Jay, and was supposed to be in Jay's hands. Jay explained the Governors had not reckoned on reimbursement for his time and expenses for two years.

Event Comment: Benefit for Love. Mr Love Hiss'd in the Scotchman. Dumont by Mr Powell (Hopkins). Characters Dress'd in Habits of Times. Mr Love was hissed very much in the Scotchman, and the Farce hissed at the end (Hopkins Diary-MacMillan). No building on stage. On Saturday Othello with a New Burletta call'd Music A-La-Mode, or Bayes in Chromatics For the Benefit of Vernon. [The principal characters were to have been played by King, Vernon, Packer, Fox, Mrs Mrs Dorman, and Miss Young (Public Advertiser, 13 April). But it was deferred at the last minute and seems never to have been performed. Larpent MS 237 lists the parts: Dr Crochet, Player-Packer; Squire, Justice; Damon; Daphne, Chorus of Shepherds and Nymphs. $J. P. Kemble thought it a burlesque at the expense of Dr Arne (professor of nonharmonic music). The Player wants in it to banish all but four plays (Tamerlane, London Cuckolds, George Barnwell, and Twelfth Night) and fill stage performance with music.] Receipts: #208 14s. 6d. (MacMillan); charges: #64 4s. [Profit to Love: #144 10s. 6d.

Event Comment: Benefit of Miss Mozart of eleven, and Master Mozart of seven Years of Age, Prodigies of Nature. At the Great Room, Spring Garden, St James's Park. Tickets at half a guinea each. By Permission of the Lord Chamberlain. [For Wolfgang Amadeus Mozart and his sister. Their father had brought them to visit London in May. See hay 21 Feb. 1765. They remained through July 1765. See also Grove's Dictionary of Music and Musicians, III, p. 539 (3rd edn. New York, 1947).

Event Comment: Benefit for City of London Lying In Hospital, Aldersgate St.

Event Comment: Benefit for Miss Young. Afterpiece: Not acted in 20 years. Music by Dr Arne. [See John Lockman's Reflections concerning Operas, &c." in his introduction to his edition of Rosalinda (London, 1760), p. iv: 'A gentleman, well known for his musical compositions, is of opinion, that the reason why the Opera Rosamond tho' adorned with all the graces of lyric poetry, does not please from the stage, so much as might be expected, is owing to a circumstance that forms a beauty in the drama itself; I mean the suppos'd poisoning of Rosamond at the end of the second act, and her appearing no more upon the stage. Whilst this sheet was at press, I was told that Mr Arne has reduc'd this opera into one act, and set the whole anew; and so managed matters, that Rosamond appears throughout the whole drama. Tis said that the music of this new Rosamond is as delightful as that of another performance of Mr Arne's which now affords the town so agreeable an Entertainment."

Event Comment: Benefit for the City of London Lying-In Hospital for Married Women, in Aldersgate St

Event Comment: A new Comic Opera. The Music composed by several celebrated Composers. All Boxes put together, and no Persons admitted without Tickets, which will be delivered this Day at the Office at Half a Guinea each; First Gallery 5s. Second Gallery 3s. By His Majesties Command no Person whatsoever to be admitted behind the Scenes or into the Orchestra. 6:30 p.m. Vivant Rex et Regina. [Repeated in all bills.] [A pasticchio similar to La Schiava (The Humorists). See Nicoll, III, 361. Advertisement for the company of performers at the Opera had been given in the Public Advertiser three months earlier, 6 August: 'Drummond, Vincent and Gordon,Proprietors and Managers of the Opera at the King's Theatre in the Haymarket beg leave to announce that they have engaged the best Company that could be got in Italy...and are expected in London this month. The company are as follows: Serious-the celebrated Guarducci, first man; Signora Aunuciati, first woman; Savoi, second man; Miss Young, second woman; Grassi, Signora Piatti, third woman. Comic-Lovattini, first man, tenor; Signora Zamperini, first woman; Savoi, first man, serious; Miss Young, first woman; Signor Moriggi (the old man) bass; Signora Piatti, second woman; Zamperini second man; Signora Gibbetti [Gibelli in the Gazetteer] third woman."

Event Comment: A new Serious Opera composed by several celebrated Composers. [From the London Evening Post: The Decoration of the Opera House is very splendid. The Concert Master has 50 Guineas a night, an Englishman. The First Dancer 6 Guineas a night."

Event Comment: [From The London Evening Post: Married: Michael Arne, music composer and son of Dr Arne, to Miss Wright, a celebrated singer of Drury Lane Theatre."] Paid Mr Evans on Wardrobe acct #10 10s. (Treasurer's Book). Receipts: #133 17s. (Treasurer's Book)

Event Comment: Tragedy, never before acted, by Dr T. Franklin. Published at 1s. 6d. [See A Letter from the Rope Dancing Monkey in the Hay-Market to the acting Monkey of Drury Lane on the Earl of Warwick (London, 1767) which damns the play as a flat and insipid plagiarism from de la Harpe's tragedy Le Conte de Warwick, Paris, 1764. Especially severe on Colman's Prologue and Garrick's Epilogue.] Rec'd stopages #4 11s. 6d.; Paid salary list #440 4s. (Treasurer's Book). Receipts: #165 9s. 6d. (Treasurer's Book)

Event Comment: Benefit for Mrs Pritchard. Part of pit laid into boxes. House charges #61 4s. [Profit to Mrs Pritchard #68 8s.] Lent to Mr Johnston, Prompter, by order #2 2s.; Paid to James Aickin on his note #40; Paid Poor's rate (1!2 year for St Martin's) #20 4s.; Salary list #294 2s. 8d. (Treasurer's Book). Receipts: #129 12s. (Treasurer's Book). Went to see Macbeth for Mrs Pritchard's Benefit. Got a good seat in the Pit, which was not full for half an hour after I went, tho part of it was laid into the boxes. Read the Public Advertiser of Today' and part of London Chronicle before the play began...Dance of the Furies in the 4th Act, and end of the Play (Neville MS Diary)

Event Comment: Benefit for Shuter. Tickets to be had of Shuter at Number 2, in Martlet Court, Bow St. Covent Garden; and of Mr Sarjant, Book-Keeper. Charges: #65 2s. [Profits to Shuter #150 6d., plus #70 11s. from tickets (Box 233; Pit 82).] Paid Miss Elliott the balance of her two nights Jan. 13 and Feb. 18, #90 13s. 6d. and gave her as a present from the managers by deducting the charge of the Farce for her 2nd night, Feb. 18th, #21 (Account Book). Receipts: #215 2s. 6d. (Account Book). About 5 with great difficulty got into the Pit at Covent Garden to see...the benefit for Mr Shuter. Stood all night at the bottom of the Pit in a most disagreeable situation, though I saw very well and heard too, unless when prevented by the noise on occasion of which Shuter very smartly applied the Passage, But if we all speak together, how shall we hear one another," and again when a great noise was made about someone in the Gallery, he cried 'Give him a knock o' the head and make him quiet,' and another bawling Silence," he cried Silence, Silence why don't you be quiet.'At the end of Act II, the Cries of London', with additions by Shuter. In going off he shook his head on hearing it encored, but was oblig'd to comply by repeating the greater part. End of Opera Shuter entertained us with his Serious, Comic Post-Haste Observations in his Journey to Paris, to hear which was a principal reason of my not dining at Holliss's. The Barber in the Upholsterer inimitably played by Woodward (Neville MS Diary)

Event Comment: Mainpiece: By Particular Desire. Afterpiece: By Desire. Benefit for Holland. Part of Pit laid into Boxes. House Charges #67 1s. 6d. [Profit to Holland #201 8s. 6d.] Tragedy (never performed) written in the manner of Shakespeare [by Joseph Reed]. Rec'd stopages 16s. 6d. Paid salary list #294 2s. 8d.; Chorus singers 1 night #2 5s. 6d. (Treasurer's Book). Receipts: #268 10s. (Treasurer's Book). To see Dido, a Tragedy in Shakespere's style, performed for the first time, with Daphne and Amintor. This piece is the production of a Ropemaker of Chadwick, and being refused by the managers, was given to Holland to be played for his benefit. It went off with considerable applause and is by desire to be performed again. Powel and Yates were good in Aeneas and Dido. Holland played Narbel, Havard Bilias, and Bensley Anchises. We had a prologue spoken by King and an Epilogue spoken by Mrs Abington. Before the play began, by the light of my wax taper read No. 1564 of the London Chronicle, in which was Night' a pretty good ode (Neville MS Diary)

Event Comment: A Tragedy for Warm Weather. Written after the manner of the Worst, as well as the Best of the English Poets, containing amongst a Variety of Particulars, curious, entertaining, and pathetic, the Rebellion of the Journeymen Taylors on the Score of Wages, etc. Neville MS Diary: Half past Six went to ye Haymarket Theatre but could not get into ye Pit or first Gallery, so stood on ye last row of the shilling Gallery, tho' I could see little, to see how ye Taylors, a new tragedy for warm weather, would go off, being the first night of its performance. 3rd Act hiss'd-ye Gods in ye shilling Gallery called for ye Builder's Prologue-hissed off ye part of ye Old Maid twice and Davies who came to make an excuse. The Gentlemen, many of whom were there, cried No Prologue" but to no purpose. At last Foote said if he knew their demands he would be ready to comply with them. The noise ceasing, after some time he was told the Builder's Prologue was desired. He said he had done all in his power to get the performers, having seen them. After some time he came and informed them he had got the performers together, and if the House would be pleased to accept of ye Prologue in our dresses as we are you shall have it." This was followed by great clapping which shows the Genius of our English mobility ever generous after victory. Left ye House after ye Farce began. [Flints were journeymen tailors who refused to comply with the masters' terms and the regulations of the magistrate, in contradistinction to those who submitted and were in derision stiled Dungs. The term dates from 1764-OED. An extract from the Occasional Prologue (the Builder's Prologue) in prose on the opening of the Theatre Royal in the Haymarket, by Foote published in the London Magazine July 1767, p. 351. Foote, Scaffold, and Prompter are the three participants. Foote tells Scaffold he will be paid by the audience. Scaffold notes that the audience must in that case be pleased at all times. Foote promises no long processions [will] crowd my narrow scenes." He assumes that any of the reforms he plans will but echo the public voice. The Prompter then calls the actors on.