Event Comment: Monday next Venice Preserved, for the Benefit of Mrs Cibber. N.B.: As many inconveniencies have arisen, from receiving Box Tickets in the Galleries, no Tickets will be admitted but in the Boxes, Pit and upon the Stage (General Advertiser). [The inconveniencies would seem to be connected with an overflow into the galleries of gentlemen with an animus towards The Foundling. Garrick was making an early managerial effort to control the house and render it quiet.] Receipts: #160 (Cross); #169 2s. 6d. (Powel)

Event Comment: Christopher Rich's Company. The date of the resumption of playing is not certain, for Cibber (see below) beclouds the issue by referring to Easter-Monday in April, whereas the first Monday following Easter fell on 25 March 1694@5. Nevertheless, Monday 1 April 1695 seems the likely date of the resumption of playing, with Rich's Company ready to perform before the seceding company under Thomas Betterton was fully organized. A new song for Abdelazar, Lucinda is bewitching fair, the music by Henry Purcell and sung by "the Boy" (Jemmy? Bowen), is in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 195: [The Patentees] were not able to take the Field till the Easter-Monday in April following. Their first Attempt was a reviv'd Play call'd Abdelazar, or the Moor's Revenge, poorly written, by Mrs Behn. The House was very full, but whether it was the Play or the Actors that were not approved, the next Day's Audience sunk to nothing. However, we assured that let the Audiences be never so low, our Masters would make good all Deficiencies, and so indeed they did, till towards the End of the Season, when Dues to Ballance came too think upon 'em. [See I, 195-96, for Cibber's account of his Prologue.] A Comparison Between the Two Stages, 1702, p. 7: But in my Opinion, 'twas strange that the general defection of the old Actors which left Drury-lane, and the fondness which the better sort shew'd for 'em at the opening of their Newhouse, and indeed the Novelty it self, had not quite destroy'd those few young ones that remain'd behind. The disproportion was so great at parting, that 'twas almost impossible, in Drury-lane, to muster up a sufficient number to take in all the Parts of any Play; and of them so few were tolerable, that a Play must of necessity be damn'd that had not extraordinary favour from the Audience: No fewer than Sixteen (most of the old standing) went away; and with them the very beauty and vigour of the Stage; they who were left behind being for the most part Learners, Boys and Girls, a very unequal match for them who revolted. According to a statement made in litigation, the company in Drury Lane acted 84 times between 25 March 1694@5 and 7 July 1695; and the Young Actors played 68 times from 6 July 1695 to 10 Oct. 1695 to 10 Oct. 1695. See Hotson, Commonwealth and Restoration Stage, p. 308

Event Comment: Cibber, Apology, I, 203-9, refers to an incident which occurred after the division of the companies, perhaps early in their competition. Essentially, Drury Lane, learning that Lincoln's Inn Fields was to act Hamlet on a Tuesday, posted it for Monday at Drury Lane, whereupon Betterton's Company, having announced The Old Batchelor for Monday, cancelled it in favor of Hamlet. As a countermove, Drury Lane altered its program to The Old Batchelor on Monday, Powell to mimic Betterton. A last-minute discovery that no one had been assigned to Fondlewife, originally played by Dogget, gave Cibber an opportunity to play the role, which he learned on short notice and which he acted with applause; he was pleased to see Dogget in the pit watching his performance

Event Comment: A great deal of Hissing by some Gentlemen in the Pit--at ye beginning of the 4th Act an apple thrown at Mrs Pritchard, Mr Garrick call'd for by ye pit--one Gent: got up, & said they insisted upon another play for Monday--Mr Garrick said as they had met with no obstruction since ye first Night, the Author's property was concern'd & desir'd it might be play'd Monday and Tuesday, the last being ye Author's night, & wou'd give out another play for Wednesday--Several in ye House approving this--they consented & at ye end of ye play, Mr Garrick gave out Gil Blas for Monday & Tuesday & Romeo & Juliet for Wed.:--before this at ye end of ye 1st Act, & beginning of ye Second the performance, that Night had been interrupted with Groans, Hisses etc. from ye Pit (Cross). Receipts: #140 (Cross)

Event Comment: HHopkins MS Memorandum Book: Mrs Barry sent word she was so ill she could not come out for the Pageant [The Jubilee]. If she did she could not play in the Mourning Bride on Monday. I waited on her by the manager's orders & told her they would excuse her playing on Monday if she would come out & do her part in Pageant; & as it was a thing of great consequence to them, they desir'd and expected as she had begun it [as the Tragic Muse] that she would continue it as long as she was able. Her answer was, that as they seem'd to think it of such consequence she would come out & do it tonight & Monday night, but after that desir'd to be excus'd from do[ing] it. On Tuesday Morning Mr Barry sent a note that Mrs Barry was ill in her Bed & could not come out till she was better. Tancred & Sigismunda was call'd, and I did not receive the note till the rehearsal was begun. I also on Saturday deliver'd a message to Mrs Barry from Mr Garrick that he would never ask her to play in anything in which he was particularly interested. Her answer was that was in his Rage. But if his mind should alter, she was ready and willing to do anything he would desire her to do

Event Comment: The Travels of Cosmo the Third [Monday 20 May 1669 NS, Monday 10 May 1669 OS]: After this excursion through the city, his highness went to the comedy at the Duke's theatre (p. 304)

Event Comment: The King's Company. For the identification of this play and details of its performance, see W. J. Lawrence, "Foreign Singers and Musicians at the Court of Charles II," Musical Quarterly, IX (1923), 217-25, and James G. McManaway, "Entertainment for the Grand Duke of Tuscany," Theatre Notebook, XVI (1961), 20-21. The Travels of Cosmo the Third [Monday 3 June 1669 NS; Monday 24 May 1669 OS]: In the afternoon his highness left home earlier than usual to make his visits, that he might be at the King's Theatre in time for the comedy, and a ballet set on foot and got up in honor of his highness by my Lord Stafford, uncle of the Duke of Norfolk. On arriving at the theatre, which was sufficiently lighted on the stage and on the walls to enable the spectators to see the scenes and the performances, his highness seated himself in a front box, where, besides enjoying the pleasure of the spectacle, he passed the evening in conversation with the Venetian ambassador, the Duke of Norfolk, Lord Stafford, and other noblemen. To the story of Psyche, the daughter of Apollo, which abounded with beautiful incidents, all of them adapted to the performers and calculated to express the force of love, was joined a well-arranged ballet, regulated by the sound of various instruments, with new and fanciful dances after the English manner, in which different actions were counterfeited, the performers passing gracefully from one to another, so as to render intelligible, by their movements, the acts they were representing. This spectacle was highly agreeable to his highness from its novelty and ingenuity; and all parts of it were likewise equally praised by the ladies and gentlemen, who crouded in great numbers to the theatre, to fill the boxes, with which it is entirely surrounded, and the pit, and to enjoy the performance, which was protracted to a late hour of the night (pp. 347-48). In BM Add. Mss. 10117, folio 230, Rugge's Diurnall states that towards the end of May 1669 Cosmo, Prince of Tuscany had several plays acted for him

Event Comment: The King's Company. The date of the premiere is not certain. This performance is known from an entry in the Newdigate newsletters, which also states that Rollo was to be acted on the following Monday. If this statement is accurate, the performance of The Loyal Brother on 4 Feb. 1681@2 may be the third night rather than the opening performance. Newdigate newsletters, 4 Feb. 1681@2: On Monday morn [the Moorish Ambassador] & ye Comers meet to conclude ye treaty and in ye afternoon goes to see Rollo D. of Normandy at ye Ks playhouse wre ye K was this afternoon to see ye new play calld ye Loyall brothr (Wilson, More Theater Notes from the Newdigate Newsletters, p. 59). The Prologue and Epilogue were printed separately and have been reprinted in Wiley, Rare Prologues and Epilogues, pp. 70-72. Luttrell acquired his copies (Huntington Library) on 7 Feb. 1681@2. In The Life of John Dryden (Chapel Hill, 1961), Charles E. Ward believes (pp. 166, 355) that The Loyal Brother was first acted in the autumn of 1681; but the entry in the Newdigate newsletters seems to make February 1682 the more probable time

Event Comment: London Gazette, No. 259, 22-25 Sept. 1690: The Consort of Vocal and Instrumental Musick, lately performed in Villers-street in York-Buildings, will begin again in the same place on Monday next, (being Michaelmas-day) at 7 of the Clock; and will be conducted there every Monday night all this ensuing Winter

Event Comment: London Gazette, No 2651, 6-9 April 1691: The Consort of Vocal and Instrumental Musick lately held in York-Buildings, will be performed again (at the same place and hours as formerly) on Monday next (being Easter-Monday) by the Command, and for the Entertainment, of her Royal Highness the Princess of Denmark

Event Comment: Luttrell, A Brief Relation, II, 316: The players have begg'd pardon of the lords abused there, and have leave to act again on Monday. [The order for reopening is in L. C. 5@150, p. 345 (Nicoll, Restoration Drama, p. 361).] Newdigate Newsletters, 19 Dec. 1691: We heare that the Play house will be againe opened this Night or on Monday & will Continue to Act as formerly and tis S. the Sentinell who discharged his Musquet was tryed by a Court Martial and acquitted (Wilson, Theatre Notes from the Newdigate Newsletters, p. 82)

Event Comment: London Gazette, No 2919, 30 Oct.-2 Nov. 1693. Whereas last Monday proving to be the Lord Mayors Day Signior Tosi could not play his Consort of Musick, but will do it this present Thursday the 2d instant, and the Thursday following; and afterwards on every Monday, in York-Buildings, during the Winter

Event Comment: London Gazette, No 2925, 20-23 Nov. 1693: In York-Buildings on Monday next being the 27th Instant, will begin Mr Fingers Consort of Musick, and so continue every Monday night, beginning exactly at 8 of the Clock

Event Comment: London Gazette, No 3019, 5-8 Nov. 1694: The Consort of Musick in York-Buildings, will begin on Monday next, being the 12th instant, and so continue every Monday during the Season, beginning between 7 and 8 at night

Event Comment: Rich's Company. The date of this production is not certain. The Dedication, signed by George Powell and John Verbruggen, is dated Monday, 16 Oct. 1696, but this date is in error, for the sixteenth fell on Friday in October; however, 16 Nov. 1696 fell on Monday. In addition, the Dedication implies that the two men hope to have visitors (i.e., spectators at performances) on "Wednesday, and Saturday next, the Visiting Days of, Your Friends and Servants, George Powell, John Verbruggen." It is possible that the text and the songs were printed in advance of performance and were available at the theatre, but it is still uncertain whether the opera first appeared in October or November 1696. The Single Songs, With the Dialogue, was published separately in 1696, with Daniel Purcel named as the composer. The songs to which performers' names are listed are as follows: Cease, Cynthia, cease your fruitless tears, sung by Mrs Cross. I courted and writ, the verse by Jo Hanes and sung by Church. How happy I am the fair sex can defy, the verse by Jo Hanes and sung by Leveridge. 'Tis in vain to tell me I am deceived, sung by Freeman. Great queen of Hymen's hallowed fires, sung by Mrs Willis. Why, Chloe, will you not perceive, the verse by John Robens and sung by Church. Why dost thou fly me, sung by Edwards and Mrs Cross. If mortals laugh and sing, sung by Freeman. The Songs were entered in the Term Catalogues, November 1696

Event Comment: Post Man, No 413, 13-15 Jan. 1697@8: The Consort of Musick, which was performed last Monday in York-Buildings, will be performed there again, with an Addition of new Musick on Monday next, being the 17th of this instant January: beginning at the usual hour, for the benefit of Mr King and Mr Banister

Event Comment: [Downes lists this performance for Sunday 23, a very unlikely day for an offering at Court. Since both dl and lif were closed on Monday 24 and since the dl advertisment for Tuesday 25 refers to dances performed "last night" at St. James's, Monday 24 seems the probable date.

Event Comment: The Spartan Dame advertised, but The Orphan Reviv'd or Powell's Weekly Journal, 19 Dec., states: On Monday Night his Mae Author. The Spartan Dame advertised, but The Orphan Reviv'd or Powell's Weekly Journal, 19 Dec., states: On Monday Night his Majesty came to the playhouse in Drury-Lane, and saw the Comedy of the Busie Body

Event Comment: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov