Event Comment: We hear that the play Venice Preserv'd is in Rehearsal at the Theatre Royal in Covent Garden, and is to be perform'd on Friday next; and that the part of Pierre will be attempted by a Gentleman who never appear'd on any stage before (General Advertiser). [This month was published A Letter to a certain Patentee, in which the Conduct of Managers is impartially considered, and a few Periods bestowed on those darlings of the Publick, Mr G k, Mr F te, Mrs P d, &c." Addressed to Rich it is criticism of his personnel policies as manager, with side comments on his morals, and some on his performances: of his Orpheus and Eurydice, the author agrees that three flaming scenes of Hell, now left out, should have been omitted from the beginning. The Serpent, however, generally behaves himself so well, that "I have had more real pleasure in his appearance than if he had been a living one." Dislikes his replacing Ryan with Hallam, dislikes his abuse of Mrs Pritchard, criticizes his casting Hippisley as Polonius, since Polonius requires more than Hippisley can give, the latter being able to act only in the comic way.

Event Comment: SSmollett to Carlyle: I have wrote a sort of Tragedy on the story of Alceste, which will (without fail) be acted at Covent Garden next season, and appear with such magnificence of Scenery as was never exhibited in Britain before.--Knapp, Smollett, p. 85. [See also cg, 1 March 1750.

Event Comment: Afterpiece: A Farce of one Act, never performed before (General Advertiser). Taken from Beaumont and Fletcher. Well receiv'd till ye last Scene, then hiss'd greatly (Cross). Receipts: #150 (Cross)

Event Comment: Mainpiece: Not acted there before. New Decorations incident to the play (General Advertiser). Advanc'd towards purchasing Mr Smollet's copy of Alceste #100 (Account Book). Handel remov'd to Covent Garden, and entered into some engagements with Rich, the particulars of which are not known, save that in discharge of a debt that he had contracted with him in consequence thereof, he some years after set to music an English opera entitled Alceste, written by Dr Smollet, and for which Rich was at great expense in a set of scenes painted by Servandoni; but it was never performed (Hawkins, General History of Music, V, 324). [For additional information on Alceste, see Deutsch, Handel, pp. 679-81. See also cg 14 Feb. 1749.] Receipts: #155 18s. 6d

Event Comment: Mainpiece: Never acted there before

Event Comment: Benefit for Mrs Cibber. Play By Command of Prince & Princess of Wales. Play taken from the French of M de Voltaire. Never acted there before.' Pit and boxes to be laid together, where the Ladies and Gentlemen will be admitted as at the Oratorios. And for the better accommodation of the Ladies the Stage will be form'd into an amphitheatre (with particular care to keep it warm) where servants will be allowed to keep places, as also in the Pit. Ladies send servants by three o'clock

Event Comment: Mainpiece: Never before acted. A tragedy written by Mr Henry? Jones, a Bricklayer of Ireland. This play has been delay'd for 3 Or 4 years. Went of with great Applause (Cross). All the Characters New Dress'd. None to be admitted behind the scenes

Event Comment: [L+Letter to Miss Nossiter on Her First Appearance, pub. at 1s. praises her "natural acting" and analyses the character of Juliet as a most appropriate one for beginners: "In the First act she hath scarce anything to say; which affords her some breathing time to recover the confusion, into which her first appearance, before so awful an assembly must naturally throw her." Criticizes a supposed rival for planting herself full against her, as if with an intent by the superior force of her effrontery to stare away the little degree of Courage" Miss Nossiter had left. Her youth and freshness required no paint, so her color came and went as the passion required it, no small addition to the impression of natural acting. She is never inattentive on stage. She feels what others say as much as what she speaks herself. The Author gives practically a speech by speech account of her part, describing her gesture, action, and modulation of voice minutely. Concludes by pointing the reader's attention to Otway's contribution to the Garrick version which was played then at both houses. Praises Barry for instructing Miss Nossiter and bringing her to the stage. Hopes Garrick will refrain from attacking her in his papers, The Craftsman and Gray's Inn Journal, because she will one day become such an ornament to the stage, that I shall be proud to own myself the first who publicly displayed her merit.' Hers is the greatest real first attempt made by man or Woman on the stage, within these 40 years." See also 1 Nov.

Event Comment: Tomorrow (Never acted there before) Phaedra and Hypolitus

Event Comment: A Tragedy [by Edmond Smith] revived. Never acted there before

Event Comment: Benefit for Mrs Bellamy. Tragedy reviv'd and never acted there before. Afterpiece: Written by Foote

Event Comment: Farce never performed before, taken from second part of ye Busy Body (Cross). For the benefit of Woodward. Garrick had Woodward act Polonius seriously (Genest, IV, 408). Receipts: #300 (Cross)

Event Comment: A play reviv'd for ye Lock Hospital (Cross). Never acted there before. Receipts: #210 (Cross)

Event Comment: Farce in two acts never performed before. Full prices. [See advertisement to Reed's 1761 edition where he accuses Foote of taking the character of Mrs Cole in the Minor from Mrs Snarewell.] A new farce wrote by one Reed, a ropemaker, brought out by Mr Foote--went off tolerable--hissed a little at the end (Hopkins MS Notes). [See advertisement for the Universal Register Office General Advertiser 18 Oct. 1750: This Office being much approv'd and encouraged especially by Ladies and Gentlemen in the Country, we have daily enquiries by those who are just come to town, and many letters from those in the country to procure houses and lodgings, both furnished and unfurnished, for single Gentlemen, Ladies, and Families for the winter; and also boarding houses as well in French Families as in English Families." Announces its books open to any who wish to register there. The afterpiece met with trouble from the Licenser. Larpent MS 189 and 196, indicate the exceptionable passages to be those using profanity, and those of Mrs Snarewell's capable of double entendre, principally about the comfort she received from Mr Watchlight who was called twice out of bed to pray-"so ernest in his ejaculations, &c."

Event Comment: Mainpiece: Never acted there before

Event Comment: Benefit for Hull and Miss Miller. Afterpiece: A Farce in 2 Acts Never perform'd before

Event Comment: Comedy by Mrs Griffith, never before acted. [Not well received the first night, but clarified and improved the second Victor, History of the Theatres, III, 59. Prologue and Epilogue printed in Public Advertiser, 28 Jan.

Event Comment: A New Musical Comedy in 3 Acts never performed before. New Scenes and Habits. Book of the Comedy to be had at the Theatre. [Richard Cumberland's second dramatic piece, and first one to be performed (Genest, V, 104).

Event Comment: Comedy (by Colman) never before acted. [Prologue is Larpent MS 265, super patriotism.] Rec'd stopages #3 13s. 6d.; Paid salary list #441 4s. (Treasurer's Book). Receipts: #235 3s. 6d. (Treasurer's Book)

Event Comment: Benefit for Cautherly. [Farce never before acted, written by King.

Event Comment: great applause to the Play (Hopkins Diary). Mainpiece: A tragedy never before acted [by Mrs Celisia]. Prologue (by Whitehead)-Reddish; Epilogue (by Garrick)-Mrs Barry. New Scenes, Dresses and Decorations (Winston MS 10). [The Gentleman's Magazine for Feb. reviewed the mainpiece in great detail, concluding: "A combat between two knights in the days of chivalry and honour, not to determine whether a person accused is innocent or guilty, but whether a person under the infamy of acknowledged guilt shall suffer, is, as the Scotch peasant says emphatically of his pupil, a phenomenon. It is, however, but justice to Mrs Barry, to say, that in performing the part allotted her in this piece, she rises like perfection out of chaos, and therefore those who have not yet seen it represented should by no means be deterred by these strictures on the composition, supposing them to be just."

Event Comment: New Overture and Pieces of Music Between the Acts. Music by Barthelemon. New Scenes, Habits and Decorations. The Scenes designed by DeLoutherberg, and painted by Messrs French, Royer, and Greenwood. Books of the songs and Chorusses to be had at the Theatre. This piece is got up in a most Superb manner. The Scenery is beyond description fine -& the whole Performance tho' the most complicated upon the stage went off with uncommon Applause. Mrs Abington played finely--Mr Slingsby & Sga Hidou danc'd for the first time & were Amazingly well Rec'ed. The Ballets are very Grand (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording.] Rec'd stopages #17 18s.; Paid salary list #567 16s.; J. French on Acct #5 5s. (Treasurer's Book). Mainpiece: Never performed before, by John Burgoyne. [The review in the Westminster Magazine, Nov. 1774, tells the plot, and concludes: "After some superb exhibitions of transparent scenery, several characteristic airs, and elegant dances, Mr Oldworth...proclaims Maria his only daughter and gives her to Sir Harry. After a dance of Cupids, Hymen, &c....offering them eternal wreaths, the Druid of the Oaks, freed by the present powers of Beauty from that sequestered habitation to which by mystic spells he had long been doomed, appears to ratify their union, and astonishes the spectators by his magic influence, in a glorious vision of that felicity the virtues of the happy pair had so justly insured. An admirable vaudeville, and a grand dance, conclude the dramatic entertainment....Had it not appeared obvious that the whole was intended as a mere vehicle for the splendid spectacle, we do not suppose, in spite of the managers Orders and Puffs, that the author's labors would have been tolerated. The very excellent scenery, however, of the ingenious Mr Loutherbourg preserved this piece from that damnation, which as a dramatic production, it justly merited."] Receipts: #263 14s. 6d. (Treasurer's Book)

Event Comment: Benefit for Waldron and Mrs Greville. Farce (in 2 Acts) Never performed before, and for that night only. This Farce was written by Mr Waldron-Some Applause (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording.] Paid Mr Wegg's rent half year to Lady Day last #57; Duke of Bedford ditto #164 2s. 10d.; One yrs Paving, Cleansing & Lighting to ditto #39 7s. 6d.; Mr Moody for Mr Philips #13 13s.; St Martin's Charity School, 1 year, 1774 #2 2s. (Treasurer's Book). [The Westminster Magazine for May gives the following cast for the farce: Reuben-$Waldron; Blunt-$Moody; Sharp-$Dodd; Flimsy-$LeMash; Joseph-$Burton; Mrs Reuben-$Mrs Davies; Betty-$Miss Platt. It then bluntly tells the plot and concludes: "The whole is beneath criticism."

Event Comment: A new Musical Entertainment of Two Acts never performed before by Thomas Brydges?. Music by Hook

Event Comment: Benefit for Reddish [and his last appearance on the stage]. Tickets sold at the Doors will not be admitted. Public Advertiser, 1 May: Tickets to be had of Reddish, No. 14, near the Turnpike, Tottenham Court Road. "Poor Reddish, on the 5th of May, had a benefit, and it was resolved to try whether he could not go through the character of Posthumus. He was now infirm; in common occurrences imbecile, but to be exited by his former profession, or nothing. The late John Ireland gave an affecting detail of this attempt. He met his friend an hour before the performance began. Reddish entered the room with the step of an idiot, his eye wandering, and his whole countenance vacant. Mr Ireland congratulated him, that he was sufficiently recovered to perform his favourite Posthumus. 'Yes', said he, 'and in the garden scene I shall astonish you.' 'The garden scene! I thought you were to play Posthumus?' 'No, Sir, I play Romeo.' His friend assured him that Posthumus was the part he was to act--and he walked to the theatre, reciting Romeo all the way. When dressed for Posthumus, and in the green-room, it was still hard to undeceive him--at length he was pushed upon the stage....The instant he came in sight of the audience his recollection seemed to return; his countenance resumed meaning, his eye became lighted up, he made the modest bow of respect, and played the scene as well as he had ever done. But Romeo again met him in the green-room, and it was only the stage cue that had the power to unsettle this delusion; and that never failed to do it through the whole play. Mr Ireland thought him, on this occasion, less assuming and more natural than he had seemed in the full enjoyment of his reason" (Boaden, Kemble, I, XVI-XVII; Ireland, 58-60)