Event Comment: Post Man, 5-8 Sept. 1696: At Mr Barns's Booth in Southwark Fair, near St Georges Church, will be seen the only English, Dutch, Spanish, High German and Indian Companies of Rope-Dancers, who are all five joined together, and will perform such variety of Dancing, Walking, Vaulting and Tumbling; the like was never seen in England before. 1st, You will see the famous Indian Woman and her Company. 2. You will see the High German Company. 3. You will see the Spanish Company dance excellently well on the Low Rope. 4. You will see the two famous Dutch Children, who are the wonder and admiration of all the Rope Dancers in the World of their Sex and Age. 5. You will see the two famous Englishmen, Mr Edward Barns of Rederiff, and Mr Appleby, who are the only two Master Ropedancers and Tumblers in the old world; also you may see Mr Edward Barnes dance with a Child standing on his shoulders, and with 2 children at his Feet, in Jack-boots and Spurs, and cuts Capers a yard and a half high, and dances a Jig on the Rope with that variety of steps, that few, or no Dancing Masters can do the like on the ground: He likewise walks on a slack Rope no bigger than a penny Cord, and swings himself 6 or 7 yards distance. Afterwards you will see the famous Indian Woman Vault the High Rope with great dexterity. Likewise you will see the famous Mr Appleby, who is the only Tumbler in all Europe, fling himself over 16 mens heads, through 12 Hoops, over 14 Halbards, over a Man on Horseback, and a Boy standing upright on his Shoulders. You will likewise the entertained with good Musick. The merry Conceits of Harlequin and his Son Punch. You will see the English and Dutch Flag on the top of the Booth. Vivat Rex. We shall play in this place 12 days

Event Comment: Post Boy, No 482, 4-7 June 1698: At York Buildings this Day, being the 7th of June, will be performed an Entertainment of New Musick, Vocal and Instrumental, Mr Pate, Mr Leveridge, Mr Freeman, Mr Bowen, and all the best Masters perform their Parts. Composed by Mr Daniel Purcell for his Benefit

Event Comment: Betterton's Company. The date of the first production is not known, but the Prologue refers to "this Winter," suggesting a date before March 1700. A song, Ah Belinda I am pressed, in this play, appeared in Orpheus Britannica, 1698, the music by Henry Purcell, who had died some years before its appearance in this collection. A Comparison Between the Two Stages (1702), pp. 26-27, referring to the rivalry between lif and dl in reviving Shakespeare and Jonson: The Battel continued a long time doubtful, and Victory hovering over both Camps, Batterton Sollicts for some Auxiliaries from the same Author, and then he flanks his Enemy with Measure for Measure

Event Comment: Benefit the Author of the Farce. [R. Fabian.] By Their Majesties Command. Afterpiece: a Farce of Two Acts. Intermix'd with Songs. London Daily Post and General Advertiser, 13 May: On Saturday Night last, during the Play time, one Mr Mechlin (alias Macloughlin) who lately belong'd to [DL], having had a Dispute with Mr Hallam, of the same Theatre, about a particular Wig, which the latter had from the Wardrobe, to wear in his Part that Night, in the Farce, and which he resign'd to Mr Mechlin; but reproved him for his Behaviour, and ill Language. Some time after Mr Mechlin, thrust a Crabtree Stick that was in his Hand, at the Face of Mr Hallam, which enter'd at his Left Eye, and penetrated into his brain, of which Wound he languish'd till Sunday Night 6 o'clock, when he died

Event Comment: For the Benefit and Increase of a Fund establish'd for the Support of Decay'd Musicians and their Families. Mainpiece: With the Original Scenes and Habits. Pit and Boxes half a guinea. Gallery 5s. 6:30 p.m

Event Comment: [This Pastoral Serenata first appeared 21 March 1744 at the Crown and Anchor in the Strand, qv. At that time Beard, Savage, Mrs Clive and Miss Edwards sang in it.] By Subscription for three nights will be performed an English Pastoral Serenata, set to Music by Mr DeFesch. Pit and Boxes laid together at 5s. First Gallery 2s. 6d. Upper Gallery 1s. 6d. On the 20th of March and 3rd of April will be performed a New Oratorio call'd Joseph, also set to Music by Mr DeFesch. For the encouragement of such persons as shall please to favour Mr Defesch by subscribing one Guinea, they shall be entitled to six tickets, each of which will admit one into the boxes, or Two into the Gallery. Nobody to be admitted into the boxes without printed tickets, which will be deliver'd at the theatre. Subscriptions to be taken till the 5th of March, at Mr DeFesch's at the sign of the Angel and Trumpet, in St. Martin's Lane, at the Bedford Coffee House, Covent Garden; and at Mr Page's Stage Door-keeper. To begin at half an hour after six. This day is publish'd Papal Tyranny in the Reign of King John. [No price given, but the 1st edition lists it as 1s. 6d. Watts would have had to sell about two thousand copies to cover his investment in copyright and printing costs.

Event Comment: Afterpiece: By desire. To Mr G-, Sir: You will very much oblige many of your friends by reviving the play of Ulisses wrote by the celebrated Mr Rowe; We apprehdnd there are four characters in which yourself, Mr Barry, Mrs Cibber and Mrs Pritchard would shine inimitably. If you think this hint worthy your notice, we make no doubt it will in every Respect answer your expectations, as well as gratify the town in general. S. W., S. T., &c. (General Advertiser). This day is publish'd, at 1s. Lethe Rehears'd or a critical discussion of the beauties and blemishes of that performance; interspers'd with occasional remarks upon dramatick satires in general, as well as on some that have been best receiv'd in particular. The whole in a free conversation amongst several persons of distinction. Printed for J. Roberts (General Advertiser). [This is a fifty@two@page puff for Lethe, and for the usefulness of the stage for propagating morals. The characters who lead the discussion are: Sir Francis Friendly , a sensible learned Gentleman; Dr Heartfree , a candid, judicious person; who has a great opinion of Mr Garrick; Mr Snip@Snap , a vociferous modern Critic; and Two Women .] Receipts: #120 (Cross); #118 12s. 6d. (Powel)

Event Comment: Benefit for a Gentlewoman depriv'd of Sight (her name is Ann Williams). Mrs Ridout dy'd (Cross). Part of Pit to be laid into Boxes, Amphitheatre to be formed on stage. Tickets of Mrs Sheward, at the Turk's Head in Newport St., Long Acre; Mr Dodsley, in Pall Mall; Mr Millan, at Charing Cross; Mr Millar in the Strand; Mr Newberry in St Paul's Churchyard; Mr Payne in Paternoster Row, Booksellers; and at stage door. Receipts: #260 (Cross)

Event Comment: About this time Mr Theo: Cibber Mr Maddocks the wire Dancer, & several other Theatrical performers, with & number of other Passangers embark'd on board the Dublin, Captain White, in order to go to Ireland but the Ship was lost & every Soul perish'd (Cross). As Mr Sparks & others complain'd of Mr Wilkinson for taking them off, it [Diversions of ye Morning] was intended to be omitted this Night, But the Audience call'd so violently for it, that we were oblig'd to let him do it--he took off Foote & Sheridan, & wou'd have left out Sparks but ye Audience wou'd not be satisfied without it--when they first call'd Mr Foote went forward & said as some of the performers had complain'd it was to be omitted; as for being taken off himself he had no Objection to it, as he was always glad to contribute to their Entertainm[en]t &c. (Cross). Mainpiece: Not acted these 2 years [see 14 Oct. 1756]. Receipts: #130 (Cross); #139 10s. (Winston MS 8)

Event Comment: TThe London Chronicle for 1758 (p. 455): On Friday the 3rd instant was presented Coriolanus. The two first acts of this play, as it is performed at the above theatre, were written by Shakespear; the three last for the most part by Mr. Thomson. But how a man of Mr Sheridan's knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. Mr Smith enters in the first act, after having (as we are to suppose) just overcome the Volsci, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which Coriolanus lived, before the Roman empire had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of the Gracchi, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. Mrs Hamilton in the part of Veturai, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born Englishman. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, Ryan and Sparks, only give us just cause to regret that the parts of Tullus and Volscius are not longer....After the play was presented a Ballad Opera called The Contrivances; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage

Event Comment: N.B. We have engag'd Mr King; & Miss Baker from Ireland, one Mr Moody, a Stroler,-Mr Beard is gone to Covent Garden, 'tis said to be manager Mr Mossop to Ireland. Receipts: #120 (Cross). Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places from Mr Varney at the Stage Door. No admittance behind scenes. [The customary note about prices and admittance will not be noted further here.] [At the opening of the theatres this season appeared an essay in Goldsmith's Bee, giving close observations upon actors, and deploring the relative stiffness and formality of English actors in comparison with the French. Advised English actors to travel abroad. Yet (Vol. 1759, p. 12) commented on the magnificnece of "our theatres as far superior to any others in Europe where plays only are acted. The great care our performers take in painting for a part, their exactness in all minutiae of dress, and other little scenical proprieties has been taken notice of by Riccoboni." Complains of the convention of laying a rug before a dying scene and of the vacant expressions of mutes on stage.

Event Comment: [Puff for the afterpiece]: As this Pastoral was not originally designed for the theatre, it is thought proper to give the public some account of it, and by what means it has now found its way to the stage. The Chorusses and Airs were selected from Mr Handel, and several other eminent masters, by a gentleman whose taste and knowledge in music is perhaps his least merit. Having conceived the design of a musical entertainment of this miscellaneous nature he found himself oblig'd...to connect them [the airs] by a Recitative of his own composition: This naturally produced a kind of a little drama, and the ease and elegance of the whole is the more to be admired when it is considered that the words were of necessity composed in perfect subservience to the music. The piece has been several times performed at Salisbury and greatly admired by many of the first Rank. The author, upon Mr Norris being engaged at the theatre, was applied to for leave to bring it on the stage, to which he has most obligingly given his consent. [Cast given] After an agreeable Overture, the curtain rises and discovers a rural scene, and a troop of nymphs and shepherds assembled to celebrate the Spring. Their rejoicings open with a grand cheerful chorus. We cannot say enough of the taste and execution of Mr Vernon and Miss Young in this scene. The united sprightliness and simplicity of the duet was truly admirable. [Song given, followed by a brief description of the parting of the shepherds, the announcement of Peace so they won't have to part, and special commendation for the various songs of Mr Vincent, and Mr Norris.] We will venture to prophesy that it will be more and more admired at every representation; though perhaps it may not fall in with the Taste of the Groundlings, who, like Polonius, are for a Jig or a Tale of Bawdry, or they sleep (Public Advertiser)

Event Comment: Mainpiece: By Particular Desire. Paid Mr Vincent for 3 sets of Abels Symphonies #2 5s. (Account Book). Receipts: #116 11s. (Account Book). This was the last time Mr Beard appeared on the stage. John Beard Esq Buried in the vault (at Hampton) 12 Feb. 1791. This celebrated actor was bred up at the King's Chapel, and was afterwards one of the singers at the Duke of Chandos's Chapel at Canons, where he took a part in Handel's Oratorio of Hester. His first appearance on the stage was 30 August 1737, in the character of Sir John Loverule [Devil to Pay], at Drury Lane. In 1739 he married Lady Henrietta Herbert, daughter of James, Earl of Waldegrave, and Widow of Lord Edward Herbert. Upon this event he quitted the Stage. After a few years he returned to it again, and continued to be a great favourite with the public both as an actor and a vocal performer till 1767, when he finally retired from the theatre. Lady Henrietta Beard died in 1753; and in 1759 Mr Beard married a Daughter of John Rich Esq Patentee of Covent Garden Theatre. On this occasion he removed a second time to that theatre, where he had acted from 1744 to 1748; and on the death of his father-in-law in 1761, was appointed Manager. Mr Beard, who was as much esteem'd in private life as he was admired on the stage, was for many years an Inhabitant of Hampton. See Lysons's Middlesex Parishes, p. 89 and 80. Mr Beard died 4 Feb. 1791, aged 74 years. See his Epitaph, ibidem. See Lady Beard's Epitaph in St Pancreas Churchyard (Hopkins MS Notes)

Event Comment: Last time of performing both pieces this season. Zenobia deferr'd. Hopkins MS Memorandum Book: waited on Mrs Dancer & told her the Managers gave their compliments to Mr Barry and her & as their going to Ireland would be of such advantage to 'em, they would not hinder 'em, & they had their permission to go the 15th. The only reason they wish'd they would have stay'd a few days longer, was to have kept up the reputation of Zenobia, as the play had got a reputation. They were sorry it had not been played oftener. Mrs Dancer's answer was: Their compliments to the Managers, that it was now too late, & that Mr Barry has wrote word they should not go to Ireland as the Managers seem'd against it & that Mr Barry & She was ready to do anything the Managers desir'd, as long as the House was open. I ask'd, if they stay'd, if she thought Mr Barry would be able to play in Zenobia the Thursday following, & if it would be agreeable to her do play Mrs Sullen [Stratagem] the next week. Her answer was she would play that or anything else the Managers pleas'd & that she was going to Mr Barry the next morning & that she would send word if he thought he should be able to play in Zenobia on Thursday next. When I left her the Maid follow'd me into the street & told me Mrs Dancer meant by saying as long as the House was open was--as long as the usual time of keeping the House open

Event Comment: FFreeholder's Magazine, Jan., p. 247: A Card. The frequenters of Drury Lane playhouse present their compliments to Mr Garrick, and take the liberty of reminding him, that as he has now no capital performer, besides himself, belonging to that house, to engage Mr Lee, if at liberty. As Mr Garrick's reputation as a player, and a fortune, are now established upon a basis sufficiently firm and solid, he need not entertain those jealous apprehensions of Mr Lee he formerly did. And as the Public have encouraged Mr Garrick so far, as to acquire an immense fortune, they esteem it incumbent upon him, in point of gratitude, to oblige them in whatever may contribute to their satisfaction and pleasure

Event Comment: Paid Mr Heath for point lace, 9s.; Mr Cropley (linen draper) 2 bills #93 12s. 6d.; 8 extra trumpets for 6 nights, #18; Wax Chandler's Bill #21 3s. 4d.; Mr Squire, Chorus, 15 nights #3 15s.; Printer's Bill #9 6s.; Mr Weston's Note & Bill to Mr Flaherty #5 6s. 6d. (Treasurer's Book). Mrs Robinson Angelica-very indifferent (+Hopkins MS Notes). Receipts: #133 11s. (Treasurer's Book)

Event Comment: Benefit for Mrs Egerton. Afterpiece: Not acted in 3 years. [See 3 April 1769.] [Genest in Volume of News Clippings (Harvard Library) quotes Edinburg Evening Courant of 29 April: Last night between the play and the farce at Drury Lane Theatre, a disturbance arose which continued for a full hour. Mr Weston it appeared was in debt to the managers a considerable sum of money, on which account they had impounded all the cash received on his benefit night. This the comedian did not like, and therefore yesterday evening sent word that he could not play, that he was arrested and detained in a springing house, but desired that no apology should be made of his being 'suddenly ill' (the usual stage plea) as it would be an egregious falsehood. After the play Mr Vernon came forward and inform'd the audience that Mr Weston 'was suddenly taken ill' and could not perform. Weston instantly started up in the front of the upper Gallery, and inform'd the house that he was not ill, but in the custody of an officer, and if the audience would have patience he'd inform them of the whole affair. A long altercation ensued. The Managers sent on Mr Vernon repeatedly; and after much pro and con Weston came down and played his part of Sneak." The article must have referred to the 24th of April, when Weston play'd Sneak in The Mayor of Garratt. The Managers promis'd the Town a publication of the whole affair."] Paid Mr Brathwait for men's cloaths #33s. Receipts: #200 8s. Charges: #70 12s. Profit to Mrs Egerton: #129 16s. (Treasurer's Book)

Event Comment: Mainpiece: Not acted these two years. [See 13 April 1771.] Paid Mr Cropley (linnen draper) #14 16s.; Sandys & Co. (colourmen) #50 3s.; Mr Chettel (timbermerchant) #52 4s.; Mr Cole (turner) #46 3s.; Mr Barrow & Co. for Oil, #46 6s. 6d.; Mrs Vaughan (haberdasher) #22 18s.; Mr Callon for men's cloaths #30 (Treasurer's book). Receipts: #217 4s. (Treasurer's Book)

Event Comment: Receipts: #200 7s. 6d. (Account Book). Mainpiece: With New Dresses and Decorations. [The first of a series of five performances (the last, Merchant of Venice, 18 Nov.) which got Macklin dismissed from the theatre until 1775, when his lawsuit against six persons whom he claimed formed a conspiracy to hiss him from the stage and ruin his livlihood was concluded favorably for him. His performance of Macbeth was favorably treated but with certain misgivings in the Morning Chronicle (25 Oct.), but he was mercilessly criticized in the London Evening Post and St James Chronicle: "In Act II, Sc. i, Shakespeare has made Macbeth murder Duncan; Now Mr Macklin, being determined to copy from no man, reversed this incident, and in the very first act, scene the second, murdered Macbeth." The favorable review (Morning Chronicle) thought he did well in first and last acts, but gave way to stage rant and "vehemence of energetic expression" wanting any variation in tone in between. It also pointed out a certain faulty memory of his lines. His novel stage effects came in for a paragraph of comment: The alterations in the jeux de theatre respecting the representation of this tragedy do Mr Macklin great credit. His change of the scenery is peculiarly characteristical. The Quadrangle of Macbeth's castle, and the door which is supposed to lead to Duncan's apartment (both of which are entirely new) are additions of consequence to the exhibition of the play. The door also through which Macbeth comes to the Weird Sisters, in the 4th act, is a better and more probable entrance than through the common stage portal. The dresses are new, elegant, and of a sort hitherto unknown to a London audience, but exceedingly proper. The Banquet was superbly set out, and it must be confessed that the managers seem to have spared neither cost nor assiduity to ornament and add to the effect of the representation." A favorable letter from a correspondent to the London Evening Post adds: "I must observe, Mr Printer, that from the graceful and characteristic manner in which Macbeth was introduced by the martial music and military procession, from the manner of M. Macklin's acting, from his judicious alteration of the dresses, the disposition of the scene where the King is killed, the cave of the witches in the 4th act, from the improvement of Mrs Hartley's thinking in Lady Macbeth and from her manner of speaking, which seemed plainly to be the effects of some intelligence she had received from Mr Macklin...I thought Mr Macklin deserv'd great praise." See the newspaper comments all gathered and reprinted in an Apology for the Conduct of Charles Macklin, (London, 1773). See also note to 30 Oct. See also London Chronicle, Oct. 23-26 (cf. Odell, I, 453). The Westminster Magazine suggests the performance was pitiable. "Macklin knew what he ought to do, but could not do it." The Scenemen's pay this week was about double the normal cost. (Account Book).] Verse Squibs from St James Chronicle (Oct. 1773) against Macklin: @Macbeth@"Eight Kings appear and pass over in order, and Banquo the last"@Old Quin, ere Fate suppressed his lab'ring breath@In studied accents grumbled out Macbeth:--@Next Garrick came, whose utt'rance truth impressed,@While ev'ry look the tyrant's guilt confess'd:--@Then the cold Sheridan half froze the part,@Yet what he lost by nature sav'd by art.@Tall Barry now advanc'd toward Birnam Woodv@Nor ill performed the scenes--he understood--@Grave Mossop next to Foris shaped his march@His words were minute guns, his action starch.@Rough Holland too--but pass his errors o'er@Nor blame the actor when the man's no more.@Then heavy Ross, assay'd the tragic frown,@But beef and pudding kept all meaning down:--@Next careless Smith, try'd on the Murd'rer's mask,@While o'er his tongue light tripp'd the hurried task:--@Hard Macklin, late, guilt's feelings strove to speak,@While sweats infernal drench'd his iron cheek;@Like Fielding's Kings [in Tom Thumb] his fancy'd triumphs past,@And all be boasts is, that he falls the last.@ Also from St James Chronicle:@The Witches, while living deluded Macbeth@And the Devil laid hold of his soul after death;@But to punish the Tyrant this would not content him,@So Macklin he sent on the stage to present him.

Event Comment: Sethona Publish'd. Note of Hand deferr'd Dodd ill (Winston MS 10). Paid Mr F. Aickin's joint note with Mr J. Aickin #4 10s.; Mr Everard (late Cape) a debt & Costs #3 18s.; Mr Highley on acct #200; Mr Hopkins, Licence for Note of Hand & Sethona, #4 4s.; Miss P. Hopkins 1 night 5s. (Treasurer's Book). Receipts: #239 13s. (Treasurer's Book)

Event Comment: Rec'd Remainder of Sinking Fund #561 15s.; Mr Bank's 1 yrs rent to Lady Day last #3; Box Office Keeper's cash returned Watson #10; Archeveque #15; Remainder of S. Barry's Bag #75 14s. 2d. (Treasurer's Book). Paid Salary List #525 12s.; half yrs. Cleansing & Lighting to Lady Day last for St Martin's #12 3s.; Mr King's extra salary #3; Manager's gift to the sufferers by fire in King Street not belonging to the theatre (#10 10s., but Mr Kennedy's Bt. under charged #3 12s. deducted) #6 18s.; Mr Millidge, printer 15s.; Mr J. French on acct #5 5s.; half yrs Land and Window Tax for Covent Garden Parish to Lady Day last-#2 18s. 6d.; Church rate for 1 yr ditto 10s. (Treasurer's Book)

Event Comment: This Comis Opera is Written by the Revd Mr Bate. It is very Pleasant & the Music pretty. It is admirably Perform'd & was receiv'd with very great Applause (Hopkins Diary). The Music of the Afterpiece by Mr Carter. New Scenes, Dresses, Decoartions for afterpiece. Paid for Licences of Matilda & Rival Candidates #4 4s.; Mr Baddeley on note #10 10s.; Miss Berkley #2 2s. on note (Treasurer's Book). [A long rewiew of the plot of the afterpiece appeared in the Feb. Westminster Magazine, concluding: "In point of dialogue, poetry or music, it is inferior to few, if any, of the modern attempts of a similar kind; amongst which number, however, we desire to be understood not to include the ribald, unmeaning, sing-song compilations of the monotonous Mr Dibdin. The Fable, indeed, is too light and trival to endure the severity of a critical analysis; but it is at least sufficiently important to serve as a vehicle for the music; and the catastrophe has peculiar vivacity and theatrical spirit. Upon the whole the author has fully answered the end he proposed of introducing a deserving young composer whose name, it seems is Carter, to the public and who more than promises to be a composer of taste and genius. In this his first performance he both received and deserved the greatest encouragement and applause. Mr Weston spoke a humorous Epilogue accompanied by a large dog named Dragon, which had a very good effect, but as it was poor Dragon's first time of appearing on the stage, he, like all young performers of true feeling, seemed a good deal frightened...but having conquored his fears, and recovered himself a little, he performed his part very chastely and to the entire satisfaction of all present." Epilogue ends with a satirical remark upon Sg Rossignol, the "bird imitator" at Covent Garden. See 6 Jan. cg.] Receipts: #204 17s. 6d. (Treasurer's Book)