Event Comment: Paid Fisher for tunes and use of the organ in Love in the City #1 (Account Book). Could not get into the Pit, 2s. Gallery or the slips at Covent Garden (Neville MS Diary). Receipts: #228 19s. (Account Book)

Event Comment: Post Season Accounts. Receiv'd from Vincent for Music Forfeits #24 8s. 4d. Expended: To Fisher for Music for Harlequin's Jubilee #26 5s. 30 May: Paid to Foulis for writing out Music #34 9s. 2 June: Paid to Shove for paper for Music #7 1s. Paid to Arnold for composing #61 19s. 15 June: Paid Kirkman for tuning Harpsichord #19 12s. Paid Simpson (hautboy) for special performances #67 4s

Event Comment: Mainpiece: In three acts altered from Shakespeare. Afterpiece, a New Pastoral Masque and Pantomime interspersed. The Music composed by Fisher. The scenes painted by Messrs Dahl, Richards and Carver. Nothing under Full Prices will be taken. Books of Songs, &c. sold in Theatre. The words of the Masque taken chiefly from Ben Johnson (playbill). [DNB s.v. "Jonson," suggests The Haddington Masque, 1608, with the "Hue and Cry after Cupid" material as the source. The reviewer for the Westminster Magazine commented on the performance of 25 November, after outlining the story: "Such are the outlines of The Druids, whick is a hetereogeneous jumble of monstrous absurdities; and if considered merely as a vehicle for music, dances, and decorations, is, in our opinion, far inferior to the dramatic monstrum horrendum of the other House [The Maid of the Oaks]. Both pieces, however, are equally an insult on the understanding and judgments of the Public, and exhibit striking proofs of the miserably depraved state of the English theatre, whose entertainments are at present conducted by Managers either destitute of taste and abilities or actuated by no other than the paltry, despicable motives of vanity, prejudice, and avarice,"]

Event Comment: Mainpiece: With a New Scene and New Dresses. Afterpiece [1st time; CO 2, by Charles Dibdin and Edward Thompson. Thompson's name does not appear on the title-page of the text; it has been added by J. P. Kemble on the half-title of his copy now in the Huntington Library]: The Music chiefly composed by Dibdin [Public Advertiser, 15 Nov.: Three of the airs and the finale were composed by Samuel Arnold; one air by John Abraham Fisher]. With New Scenes [ibid: by Dall, Richards, and Carver], Dresses and Decorations. Books of the Songs to be had at the Theatre. Account-Book, 7 Feb. 1777: Paid Dibdin in full for copyright of the Seraglio #20; ibid, 2 June 1777: Received of Cooper for Songs & Books sold of The Seraglio #19 10s. 9d. [Mrs Ward was from the Birmingham theatre]. Receipts: #221 11s. 6d. (219.7.0; 2.4.6)

Event Comment: Afterpiece [1st time; P 2 (?), author unknown]: An Alteration of Prometheus. The Overture and Music composed by Fisher. The Scenes painted by Dall and Richards. Books of the Songs, Masque, &c. to be had at the Theatre. Receipts: #208 3s. 6d. (205.14.6; 2.9.0)

Event Comment: Mainpiece: Never Performed There. On account of the Additional Airs, contracted into 3 Acts. [Public Advertiser, 30 Dec., notes that the principal omission was the conspiracy of Alonzo, Antonio, &c., and that the Masque in Act IV was removed to the concluding scene of the play.] With New Dresses, Scenery and Decorations. The Music by Purcell, John Christopher? Smith, Dr Arne and Fisher. [In afterpiece the playbill retains Delpini as Pierrot, but "[Hull] made an apology for the illness of Delpini, telling the audience that the Signor had hurt himself so much the preceding evening in performing the part of Pierrot that he could not come out of his room; the managers therefore hoped that the audience would accept of Wewitzer in the character" (Morning Chronicle, 28 Dec.). The playbill also adds Wewitzer as the Gardener; this part was perhaps omitted.] Paid Enderby, Oil Merchant, #258 17s. Receipts: #245 18s. (244.15; 1.3)

Event Comment: Mainpiece: With Alterations and New Airs [composed by Fisher (Gazetteer, 6 Oct.)]. Receipts: #170 16s. 6d. (170.6.0; 0.10.6)

Event Comment: Mainpiece [1st time; CO 3, by Thomas Hull, altered from The School for Guardians by Arthur Murphy. Not in Larpent MS; synopsis of plot in Public Advertiser 19 Nov.]: With New Dresses, &c. The Music chiefly compiled; the rest composed by Dr Arne, Sacchini and Fisher. Books of the Songs to be had at the Theatre. Public Advertiser, 18 Nov. 1777: This Day is published the Airs in Love Finds the Way (6d.). [Miss Courtenay is identified in the Airs.] Receipts: #233 8s. 6d. (232.5.0; 1.3.6)

Event Comment: Afterpiece: The Scenery, Machinery, &c. painted by Carver, Greenwood and Garvey. The Overture and the rest of the Music composed by Fisher. Books of the Songs to be had at the Theatre

Event Comment: Benefit for Condell, Evans & Curteen, box-keepers. Tickets sold at the Doors will not be admitted. Mainpiece: On account of the additional Airs, contracted into 3 Acts. The Music by Purcell, Smith, Arne & Fisher. [Wright is identified by MS annotation on Kemble playbill. And see 8 May.] Public Advertiser, 7 May: Tickets to be had of Condell, Cross-court, Bow-street, Covent Garden; of Evans, at Bromfield's, trunk-maker, No. 118, Long-acre; of Curteen, No. 11, Temple-lane, Whitefriars

Event Comment: Benefit for W. Bates and Miss Ambrose. 3rd piece: The overture and the rest of the music composed by Fisher. Tickets sold at the Doors will not be admitted. Receipts: #232 17s. 6d. (105.17.6; tickets: 127.0.0) (charge: #105)

Event Comment: [Mainpiece in place of The First Part of King Henry the Fourth, announced on playbill of 22 Sept.] Afterpiece: The Overture and the rest of the music composed by Dr Fisher. Paid Music 22nd Inst. #7 15s. 4d.; Properties 22nd Inst. 9s. 8d.; Wardrobe #6 11s. 6d.; Supernumeraries #1 19s.; Chorus Singers #1 5s.; Guard [master carpenter] for Scene Men #10 19s. 5d. Receipts: #194 13s. 6d. (193.18.0; 0.15.6)