Event Comment: The United Company. This play was apparently never published, but it was mentioned in the Prologue to King Edward the Third (ca. Nov. 1690) and again in tne Gentleman's Journal, Jan. 1691@2. Gentleman's Journal, Jan. 1691@2: You have often ask'd me, who was the author of that, call'd The Gordian Knot unty'd; and wondred, with many more, why it was never printed. I hear that Gentleman who writ lately a most ingenious Dialogue concerning Women, now translated into French, is the Author of that witty Play, and it is almost a Sin in him to keep It and his name from the world. [This statement points to William Walsh's A Dialogue Concerning Women, Being a Defence of the Sex. Written to Eugenia (London, 1691).] Henry Purcell wrote the instrumental music for this work. See Purcell's Works, Purcell Society, XX (1916), vii

Event Comment: The United Company. The Gentleman's Journal, January 1691@2: The Indian Emperor hath been reviv'd and play'd many times. [In addition, a song, I look'd, I look'd, and saw within the Book of Fate, the music by Henry Purcell, is in The Banquet of Musick, 1692, pp. 14-15. See also Purcell, Works, Purcell Society, XX (1916), xiii-ix. The play was also reprinted in 1692.

Event Comment: The United Company. The date of the first performance is not known, but Dryden, on 12 Dec. 1693, reported that it had then been acted eight times. If these performances were consecutive, the premiere probably occurred in November; but the fact that the play was advertised in the London Gazette, 4-7 Dec. 1693, suggests tnat the premiere was near the end of October or early in November. Henry Purcell composed the overture and act tunes. See Purcell's Works, Purcell Society, XVI (1906), xxxi. Two of the songs whose music he composed are in Thesaurus Musicus, 1694: Cynthia frowns when e're I woo her, sung by Mrs Ayliff; and Ancient Phillis has young Graces, sung by Bowman. See also 12 Dec. 1693 and 22 March 1692@3

Event Comment: The United Company. The date of the first performance is not precisely known, but it seems likely to have been in mid-January. See the discussion under 10 Jan. 1693@4 and Evelyn's remarks on 11 Jan. 1693@4. Part of the music for the play was composed by John Eccles: Young I am and yet unskill'd, sung by a girl, in Gentleman's Journal, January@February 1693@4, and Thesaurus Musicus, 1694: What state of life can be so blest, -Mrs Hudson, in Thesaurus Musicus, 1694. One song was set by Henry Purcell, How happy's the husband, the words by Congreve and sung by Mrs Ayliff, in Thesaurus Musicus, 1694: see also Purcell's Works, Purcell Society, XX (1916), xiii-xiv

Event Comment: The Queen's Birthday Ode, Come, Ye Sons of Art, the music by Henry Purcell, the author of the words not known; and Strike the Viol, sung by Alexander? Damascene, are in Gentleman's Journal, May 1694. See also Purcell's Works, Purcell Society, XXIV (1926), ii

Event Comment: Rich's Company. The date of the first production is not known, but the Prologue to the Second Part [1699] refers to warm weather and to May Fair. The Songs to both parts were advertised in the Post Boy, 24-27 June 1699, suggesting a first production not later than the end of May 1699. The following among the songs for Part I list the singer or composer or both: From azure plains, sung by Pate, in A Second Collection of New Songs and Ballads (1699). How comes it now good Mrs Spratt, sung by Pate and Leveridge (ibid.). Of all the world's enjoyments, sung by Leveridge (ibid.). Whilst wretched fools sneak up and down, composed by Daniel Purcell and sung by Leveridge and Pate (ibid.). Young Philander wooed me long, composed by Daniel Purcell (ibid.). For Part II: The devil he pulled off his jacket of flame, composed by Samuel Ackroyde (ibid.). He led her by the milk-white hand, composed by Samuel Ackroyde (ibid.)

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 29 Feb.-2 March 1695@6, and the London Gazette, No. 3165, 9-12 March 1695@6, suggests that its first appearance was not later than early February. One song, The town rakes, set by Daniel Purcell and sung by Mr Edward, was separately printed ca. 1696. Epistle Dedicatory, Edition of 1696: The unjust Sentence this Play met with before very partial Judges in the Acting....So that I may reasonable impute its miscarriage to some Faction that was made against it, which indeed was very Evident on the First day, and more on the endeavours employ'd, to render the Profits of the Third, as small as could be...Ch. Gildon

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: Rich's Company. The date of the premiere is not known, but Cibber (see below) states that it was acted in January; the Dedication was signed 7 Feb. 1695@6, and the play was advertised in the London Gazette, No 3157, 10-13 Feb. 1695@6. Two songs were published separately: Go home, unhappy wench, set by Francks and sung by Mrs Cross and the Boy (in Thesaurus Musicus, The Fifth Book, 1696) and What an ungratefull devil moves you, set by Daniel Purcell (in Deliciae Musicae, The First Book of the Second Volume, 1696). A separately-printed sheet of the second song states that it was sung by "The Boy", Cibber, Apology, I, 212-14: The next Year I produc'd the Comedy of Love's last Shift; yet the Difficulty of getting it to the Stage was not easily surmounted; for, at that time, as little was expected from me, as an Author, as had been from my Pretensions to be an Actor. However, Mr Southern, the Author of Oroonoko, having had the Patience to hear me read it to him, happened to like it so well that he immediately recommended it to the Patentees, and it was accordingly acted in January 1695 [i.e., 1695@6]. In this Play I gave myself the Part of Sir Novelty, which was thought a good Portrait of the Foppery then in fashion. Here, too, Mr Southern, though he had approv'd my approv'd my Play, came into the common Diffidence of me as an Actor: For, when on the first Day of it I was standing, myself, to prompt the Prologue, he took me by the Hand and said, Young Man! I pronounce they Play a good one; I will answer for its Success, if thou dost not spoil it by thy own Action....I succeeded so well in both, that People seem'd at a loss which they should give the Preference to. A Comparison Between the Two Stages (1702), p. 16: Ramble: Ay, marry, that Play was the Philosopher's Stone; I think it did wonders. Sullen: It did so, and very deservedly; there being few Comedies that came up to 't for purity of Plot, Manners and Moral: It's often acted now a daies, and by the help of the Author's own good action, it pleases to this Day

Event Comment: Post Boy, No. 477, 24-26 May 1698: On Saturday next, being the [28th] of May, will be perform'd in York-Buildings, an Entertainment of Vocal and Instrumental Musick, Set by the late Mr Hen. Purcell, and perform'd by Mr Pate, and Mr Bowen, for Mr Leveridge his Benefit

Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and two in the Box at Constant Couple. See Hotson, Commonwealth and Restoration Stage, p. 378. There is no certainty that this is the first performance, but the fact that the play was advertised in the Post Man, 7-9 Dec. 1699, suggests that the first production may have occurred in mid-November. The Prologue also refers to the abandonment of Dorset Garden to "That strong Dog Sampson" (see 15 and 25 Nov. 1699). A song, Thus Damon knock'd at Celia's door, set by Daniel Purcell, was published separately about this time. Preface, Edition of 1700: All will join with me in Commendation of the Actors, and allow, without detracting from the Merit of others, that the Theatre Royal affords an excellent and compleat Set of Comedians. Mr Wilks's Performance has set him so far above Competition in the Part of Wildair, that none can pretend to envy the Praise due to his Merit. Preface to The Inconstant (1702): I remember, that about two Years ago, I had a Gentleman from France [The Constant Couple] that brought the Play-house some fifty Audiences in five months. A Comparison between the Two Stages (1702), p. 32: Critick: But above all, commend me to the ingenious Author of the Trip to the Jubilee. Ramble: Oh Lord, Sir! you won't quarrel with that Play; never any thing did such wonders. Critick: Oh 'twas admirable! admirable! I wonder the Town did not just then bespeak the Bays for him. Sullen: Nay, for ought you and I know, he may live to enjoy 'em; I assure you all the run of the Town is on his side. The Owl was never more esteem'd at Athens than the Trip to the Jubilee was here. Critick: Indeed I have known a Footman have a great stroak with his Lord at begging a Favour; if all the Footmen in Town that admire him were to club for his Preferment, I don't know what might be done. Ramble: The Footmen? Ay, and the middle Gallery too, I assure you are of his side, and that's a strong Party. Critick: Why, I believe it, 'tis about the pitch of their Understanding; but if ever it diverted one Man of tolerable Sense I'll be hang'd. Sullen: I don't know who are your People of tolerable Sense, Mr Critick, but at the play I have seen the Pit, Box and Stage so crowded--and if that is not a sign

Event Comment: Rich's Company. The date of the first performance is not known, but the Prologue suggests that it was given shortly before Bartholomew and Southwark Fairs (Drolls shortly will amuse ye at the Fair), even though the play was not advertised until mid-October (Post Boy, 15-17 Oct. 1696). One song, Alas! when charming Sylvia's gone, is in the Edition and was also published separately,with the indication that Daniel Purcell set it. In the Edition, a song, Fairest nymph that ever bless'd our Shore, is sung in Act II Betwixt Mr Leveridge a Spaniard, and Mrs Cross an English Lady. Tne composer is not named. A Comparison Between the Two Stages (1702), p. 18: and 'tis a most damnable Farce

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Man, 7-9 July 1698, suggests a premiere in June 1698. In addition, the Preface replies to Jeremy Collier, whose Short View had a second edition appear in mid-May, and the presence of some younger actors--Fairbank and Bullock, for example--in the cast suggests a summer performance. The music for the songs was composed by Daniel Purcell. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: London Gazette, No 3457, 26-29 Dec. 1698: On Wednesday next, will be performed at York Buildings Mr Daniel Purcell's Musick made for last St Cecilia's Feast, for the Benefit of Mr Howel and Mr Shore, with an Addition of new Vocal and Instrumental Musick. [London Gazette, 29 Dec. 1698-2 Jan. 1698@9, adds: beginning at 7 at night.] See also 22 Nov. 1698

Event Comment: London Gazette, No. 3556, 7-11 Dec. 1699: On Wednesday next, the 13th Instant, will be performed at York-Buildings, a Consort of Musick, with the last St. Cecilia's Song, for the Benefit of Mr Pate and Mr Daniel? Purcell, beginning exactly at 8 at night

Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and one in the Box at the Grove an Opera. 10s. See Hotson, Commonwealth and Restoration Drama, p. 378. It is not known whether this performance was the premiere, but the publication of this work on 16 March 1699@1700 (Post Man, 14-16 March 1699@1700) suggests that if the usual month between premiere and publication intervened for this work, the premiere may have been in mid-February. On the other hand, a letter-see 20 Jan. 1699@1700-may refer to this work. The music was composed by Daniel Purcell. In Songs in the New Opera Called The Grove or Love's Paradice (1700) the following singers are listed: Mrs Irwin, Freeman, The Boy, Hughes, Mrs Lindsey, Pate, and Mrs Shaw. The Preface implies that the opera was a failure: As for the Persons who were not so generous...who thought the Catastrophe was not enough prepar'd, and that the discovery in the last Act was huddled and in confusion, they will now see if what he had writ had been spoken, every thing would have appear's clear and natural, which, to shorten the Entertainment had been before broken and disorder'd

Event Comment: The King's Company. The date of the first performance is not known, but the fact that the play was entered in the Term Catalogues in February 1681@2 and advertised in The Loyal Protestant, 7 March 1681@2, suggests a premiere in December 1681. A certain performance on 14 Jan. 1681@2 may indicate, however, that the play did not have its first performance until that month. A song for this play, Retired from mortal's sight, set by Henry Purcell, is in Choice Ayres and Songs, 1683

Event Comment: The program was published in 1684: A Musical Entertainment Perform'd on November XXII. 1683, It Being the Festival of St Cecilia, a great Patroness of Music; Whose Memory is Annually Honour'd by a public Feast made on that Day by the Masters and Lovers of Music, as well in England as in Foreign Parts. [Henry Purcell signed the Preface: To the Gentlemen of the Musical Society, and particularly the Stewards.] An advertisement in Vinculum Societatis, 1691, states that Christopher Fishburn composed the verse

Event Comment: The United Company. This performance is on the L. C. list, 5@149, p. 368: The Queene a Box, and a Box for the Maids of Honor at the Spanish Fryer. See also Nicoll, Restoration Drama, p. 352. A warrant, dated 8 June 1689, L. C. 5@149, p. 154 (see Nicoll, Restoration Drama, p. 356), calls for a payment of #25 to Mrs Barry and presumably represents payment for this performance. Daniel Finch, ca. June 1689: The only day Her Majesty gave herself the diversion of a play, and that on which she designed to see another, has furnished the town with discourse for a month. The choice of the play was the Spanish Fryar, the only play forbid by the late K@@. Some unhappy expressions, among which those that follow, put her in some disorder, and forc'd her to hold up her fan, and often look behind her and call for her palatine and hood, and any thing she could next think of, while those who were said. (Sir John Dalrymple, Memoirs of Great Britain [London, 1771-88], in the pit before her, whenever their fancy led them to make any application of what was Volume II, Appendix, Part II, pp. 78-80.) Henry Purcell's new setting for whilst I with grief did on you look may have been made by this date. It is in Deliciae Musicae, 1695

Event Comment: The Te Deum and Jubilate, For Voices and Instrumentals, Made for St Cecilia's Day, 1694, was published in 1697. The music was composed by Henry Purcell. See also 9 Dec. 1694

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: A masque of music composed by Henry Purcell. Benefit Mrs Lucas. Mainpiece: Revis'd with large Alterations