Event Comment: The Duke's Company. The play was licensed on 26 Dec. 1663, but the date of the premiere is uncertain. The Prologue and Epilogue refer to the end of the Long Vacation, and the beginning of Michaelmas Term on 9 Oct. 1663 suggests a performance in October

Event Comment: [The Duke's Company. For Harris' role, see Pepys, 11 May 1668. For Angel as Stephano, see An Elegy Upon...Mr Edward Angell, reprinted in A Little Ark, pp. 38-39: @Who shall play Stephano now? your Tempest's gone@To raise new Storms i' th' hearts of every one.@ For Underhill as Trincalo, note his nickname of Prince Trincalo. (For Mary Davis as Ariel and Mrs Long as Hypolito, see J. H. Wilson, All the King's Ladies, pp. 140, 166.) Downes (Roscius Anglicanus, p. 33): The Tempest...Acted in Lincolns-Inn-Fields...alter'd by Sir William Davenant and Mr Dryden before 'twas made into an Opera. Pepys, Diary: At noon resolved with Sir W. Pen to go see The Tempest, an old play of Shakespeare's, acted, I hear, the first day; and so my wife, and girl, and W. Hewer by themselves, and Sir W. Pen and I afterwards by ourselves; and forced to sit in the side balcone over against the musique-room at the Duke's house, close by my Lady Dorset and a great many great ones. The house mighty full; the King and Court there: and the most innocent play that ever I saw; and a curious piece of musique in an echo of half sentences, the echo repeating the former half, while the man goes on the latter, which is mighty pretty. The play [has] no great wit, but yet good, above ordinary plays. Thence home with Sir W. Pen, and there all mightily pleased with the play

Event Comment: The Duke's Company. This performance is on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage", p. 15. The play was not printed, and the only source of information concerning it is in Downes, Roscius Anglicanus, p. 30: The Woman made a Justice: Wrote by Mr Betterton: Mrs Long, Acting the Justice so Charmingly; and the Comedy being perfect and justly Acted, so well pleased the Audience, it continu'd Acting 14 Days together: The Prologue being spoke to it each Day. [It is possible that this date represents the premiere, since Saturday was frequently a day on which plays were first acted, but there is no certainty on this point.

Event Comment: The United Company. There is uncertainty concerning this date; it appears on Luttrell's copy (Huntington Library) of the separately printed Prologue and Epilogue, and the date may represent the time of his purchase rather than a date of performance. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 141-45. Downes (Roscius Anglicanus, pp. 39-40): All the preceding Plays, being the chief that were Acted in Dorset-Garden, from November 1671, to the Year 1682; at which time the Patentees of each Company United Patents; and by so Incorporating the Duke's Company were made the King's Company, and immediately remov'd to the Theatre Royal in Drury-Lane. Upon this Union, Mr Hart being the Heart of the Company under Mr Killigrew's Patent never Acted more, by reason of his Malady; being Afflicted with the Stone and Gravel, of which he Dy'd some time after: Having a Sallary of 40 Shillings a Week to the Day of his Death. But the Remnant of that Company; as, Major Mohun, Mr Cartwright, Mr Kynaston, Mr Griffin, Mr Goodman, Mr Duke Watson, Mr Powel, Sr, Mr Wiltshire, Mrs Corey, Mrs Bowtell, Mrs Cook, Mrs Montfort. [Joined the new company]. Note, now Mr Monfort and Mr Carlile, were grown to the Maturity of good Actors. The mixt Company then Reviv'd the several old and Modern Plays, that were the Propriety of Mr Killigrew, as Rule a Wife, and have a Wife: Mr Betterton Acting Michael Perez; Don Leon, Mr Smith, Cacofogo, Mr Cartwright: Margaretta, Mrs Barry: Estiphania, Mrs Cook. Next, @The Scornful Lady.@The Plain Dealer.@The Mock Astrologer.@The Jovial Crew.@The Beggars Bush.@Bartholomew-Fair.@The Moor of Venice.@Rollo.@The Humorous Lieutenant.@The Double Marriage.@ With divers others. George Powell, Preface to The Treacherous Brothers (1690): The Time was, upon the uniting of the Two Theatres, that the Reviveing of the old stock of Plays, so ingrost the study of the House, that the Poets lay dorment; and a new Play cou'd hardly get admittance, amongst the more precious pieces of Antiquity, that then waited to walk the Stage. Cibber, Apology, ed. Lowe, I, 95-96): I shall content myself with telling you that Mohun and Hart now growing old [for, above thirty Years before this Time, they had severally born the King's Commission of Major and Captain in the Civil Wars), and the younger Actors, as Goodman, Clark, and others, being impatient to get into their Parts, and growing intractable, the Audiences too of both Houses then falling off, the Patentees of each, by the King's Advice, which perhaps amounted to a Command, united their Interests and both Companies into one, exclusive of all others in the Year 1682. This Union was, however, so much in favour of the Duke's Company, that Hart left the Stage upon it, and Mohun survived not long after

Event Comment: The United Company. The exact date of the first production is not known, but the play was entered in the Term Catalogues, February 1691@2, and mentioned in the Gentleman's Journal, February 1691@2 (licensed 12 February 1691@2). In all probability, it was first acted not later than January 1691@2. The music to one song, As soon as the Chaos, was composed by Henry Purcell. See Purcell, Works, Purcell Society, XX (1916), xvii. Two songs--Bonny lad prithee lay thy pipe down, with music by Tollet; Great Jove once made love like a bull, with music by Mountfort--are in The Banquet of Musick, The Sixth and Last Book, 1692. Dedication, Edition of 1692: Having at last so well acquitted it self on the Stage (tho' the thronging, imperfect Action, and worse than all, the faulty length, which I will never be guilty of again, render'd it little Diversion the first day). A Letter to Mr D'Urfey [by Charles Gildon], Edition of 1692: If there be any fault in this Play, 'tis that which few are guilty of; that is, there are too many good Characters, too full of Humour, a very Pardonable failing, which only proceeds from Variety, the life of Pleasure and Wit, tho' that gave it the disadvantage of seeming too long the first days Acting, tho' the Stage's being throng'd with Spectators, did not a little contribute to the imperfect Acting of it, which accidental Misfortunes concurring with the Endeavours of an opposite Faction, must needs have damn'd it, had it not by the Force and Vigour of its own Worthy, rais'd it self the second day with the general Applause of all that saw it....But the Marriage-hater went further, and in spight of all the disadvantages it labour'd under of Action and Audience, pleas'd on, after several times Repetition. See also Poeta Infamis; or, A Poet not worth Hanging (1692) for a variety of comments upon this play. London Mercury, 26 Feb. 1691@2: Query 4. Whether in Justice he [D'Urfey] is not obliged to present Mr Dogget (who acted Solon to so much Advantage) with half the Profit of his Third Day, since in the Opinions of most Persons, the good Success of his Comedy was half owing to that admirable Actor? Query 5. Whether, if there be any Wit in bringing a Person upon the Stage with an extravagantly broad-brimmed Hat, and a Muff of the same Size, so it will not be a very easy Matter for the next Poet that writes a Play, to Out-hat and Out-muff his Predecessors, and consequently to Out-wit him? Downes, Roscius Anglicanus, p. 42: Mr Dogget perform'd the part of Solon Inimitably. Gentleman's Journal, p. 454, February 1691@2 (licensed 12 Feb. 1691@2): I send you the Marriage-hater match'd, a new Comedy by Mr Durfey; it hath met with very good success, having been plaid six days together, and is a diverting Play. Gentleman's Journal, January 1691@2: Now I speak of Music I must tell you that we shall have speedily a new Opera, wherein something very surprising is promised us; Mr Purcel who joyns to the Delicacy and Beauty of the Italian way, the Graces and Gayety of the French, composes the Music, as he hath done for the Prophetess, and the last Opera called King Arthur, which hath been plaid several times the last Month [presumably December 1691]

Event Comment: Rich's Company. That this day was the premiere is implied by the Post Boy, 6-9 July 1700: This Day at the Theatre Royal in Drury-Lane, will be presented a New Comedy, never Acted before, called Courtship Alamode. Preface, Edition of 1700: This Play was so long expected e're it came into the World, that I'm oblig'd in Justice to my self, to excuse its appearance at at time when there were scarce Witnesses in Town of its Birth. It was enter'd in the other House [lif], where Mr Betterton did me all the Justice I cou'd indeed reasonably hope for. But that Example he gave, was not it seems to be follow'd by the whole Company, since 'tis known that Mr Bowman (I mention his Name to keep the reflection from other sharers) kept the first Character of my Play six weeks, and then cou'd hardly read six lines on't. How far that Way of management makes of late for the Interest and Honour of that House, is easie to be judg'd. Some who valu'd their reputations more, were indeed rarely or never absent. To these I gave my thanks; but finding that six or seven people cou'd not perform what was design'd for fifteen, I was oblig'd to remove it after so many sham Rehearsals, and in two days it got footing upon the other Stage [dl]. Where twas immediately cast to the best Advantage, and Plaid in less than twenty days. [In the Dedication Penkethman states that he saw the play into print after its being received well by the town.] A Comparison Between the Two Stages (1700), pp. 104-5: Ramble: Courtship Alamode, the Author, one Crawford, a Caledonian. Sullen: I remember it, and its Adventures; it was enter'd into the New-House, at the Recommendation of a certain Scotch Lord, and sojourning there six Months to no purpose, it travell'd afterwards to the Old-House, where it was with much ado Acted. Ramble: And Damn'd-there I was in with you

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: The United Company. Tne date of the first performance is not known, but the Gentleman's Journal, March 1692 (licensed 9 March 1691@2), refers to its having already been produced. See also a letter concerning it dated 19 Jan. 1691@2. Probably the play was given in early February 1692. A song, How long must women wish in vain, the music by Robert King, is in Comes Amoris, The Fourth Book, 1693. Gentleman's Journal, March 1692: We have had lately a new Play, called, The Innocent Impostors. It hath been acted four times. Mr Shadwell Poet-Laureat, usher'd it into the Stage. It is said that the Author of it is not one of the Laity; therefore since he desires not to be known, I shall not presume to let you know his Name, tho the Play being Historical, and altogether of the Tragick kind, and withal treated with all the decency imaginable, can never be inglorious to its ingenious Author

Event Comment: Betterton's Company. The date of this performance, which coincides with the opening of the playhouse in Lincoln's Inn Fields by Betterton's Company, is established by Downes, Roscius Anglicanus, pp. 43-44: [Betterton, Mrs Bracegirdle, Mrs Barry, and others] set up a new Company, calling it the New Theatre in Lincolns-Inn-Fields; and the House being fitted up from a Tennis-Court, they Open'd it the last Day of April 1695, with a new Comedy: Call'd, Love for Love....This Comedy being Extraordinary well Acted, chiefly the Part of Ben the Sailor, it took 13 Days Successively. Three songs in the play were published separately: I tell thee, Charmion, the music by Finger, sung by Pate and Reading, is in Thesaurus Musicus, 1696, The Fifth Book. A Nymph and a Swain, the music by John Eccles and sung by Pate; and A Soldier and a Saylour, the music by John Eccles, and sung by Dogget, are in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 196-97: After we had stolen some few Days March upon them, the Forces of Betterton came up with us in terrible Order: In about three Weeks following, the new Theatre was open'd against us with veteran Company and a new Train of Artillery; or in plainer English, the old Actors in Lincoln's-Inn-Fields began with a new Comedy of Mr Congreve's, call'd Love for Love, which ran on with such extraordinary Success that they had seldom occasion to act any other Play 'till the End of the Season. This valuable Play had a narrow Escape from falling into the Hands of the Patentees; for before the Division of the Company it had been read and accepted of at the Theatre-Royal: But while the Articles of Agreement for it were preparing, the Rupture in the Theatrical State was so far advanced that the Author took time to pause before he sign'd them; when finding that all Hopes of Accomodation were impracticable, he thought it advisable to let it takes its Fortune with those Actors for whom he had first intended the Parts. A Comparison Between the Two Stages (1702), p. 10: Ramble: You know the New-house opened with an extraordinary good Comedy, the like has scarce been heard of. Critick: I allow that Play contributed not a little to their Reputation and Profit; it was the Work of a popular Author; but that was not all, the Town was ingag'd in its favour, and in favour of the Actors long before the Play was Acted. Sullen: I've heard as much; and I don't grudge 'em that happy beginning, to compensate some part of their Expence and Toil: But the assistance they receiv'd from some Noble Persons did 'em eminent Credit; and their appearance in the Boxes, gave the House as much Advantage as their Contributions. Ramble: Faith if their Boxes had not been well crowded, their Galleries wou'd ha' fallen down on their Heads. Sullen: The good Humour those Noble Patrons were in, gave that Comedy such infinite Applause; and what the Quality approve, the lower sort take upon trust. Gildon, The Lives and Characters (ca. 1698), p. 22: This Play, tho' a very good Comedy in it self, had this Advantage, that it was Acted at the Opening of the New House, when the Town was so prepossess'd in Favour of the very Actors, that before a Word was spoke, each Actor was clapt for a considerable Time. And yet all this got it not more Applause than it really deserv'd. An Essay on Acting (London, 1744), p. 10: The late celebrated Mr Dogget, before he perform'd the Character of Ben in Love for Love, took Lodgings in Wapping, and gather'd thence a Nosegay for the whole Town

Event Comment: Betterton's Company. The date of the first production is not known, but the Songs were advertised in the Flying Post, 6-8 Dec. 1698, and the play in the London Gazette, 19-22 Dec. 1698; hence, the premiere was certainly not later than early December and was probably not later than November. In fact, on 5 Dec. 1698 Dr. William Aglionby wrote Matthew Prior, referring to Dennis, "a poor poet who has made us a fine entertainment of Rinaldo and Armida" (quoted in The Works of John Dennis, II, 489). In a dialogue written by John Oldmixon (Reflections on the Stage [London, 1699], p. 101) Savage, referring to Rinaldo and Armida, states: I have seen it 3 or 4 times already, but the Musick is so fine, and the Play pleases me so well, that I shall not think it a burthen [to see it again] (in The Works of John Dennis, I, 479). The Musical Entertainments in the Tragedy of Rinaldo and Armida (1699) is reprinted, with an introduction by Herbert Davis, in Theatre Miscellany (Luttrell Society Reprints, No 14, Oxford, 1953), pp. 103-15. One song, Ah queen, ah wretched queen, give o'er, sung by Gouge, is in Mercurius Musicus, 1699; and another, Jolly breeze that comes whistling, sung by Gouge, is in Twelve New Songs, 1699. A Comparison between the Two Stages (1702), p. 22: Critick: At last, (as you say) the old Stagers moulded a piece of Pastry work of their own, and made a kind of Lenten Feast with their Rinaldo and Armida; this surpriz'd not only Drury-lane, but indeed all the Town, no body ever dreaming of an Opera there; 'tis true they had heard of Homer's Illiads in a Nut-shel, and Jack in a Box, and what not?...Sullen: Well, with this Vagary they tug'd a while, and The Jolly-Jolly breeze-came whistling thro'-all the Town, and not a Fop but ran to see the Celebrated Virgin in a Machine; there she shin'd in a full Zodiack, the brightest Constellation there; 'twas a pleasant Reflection all this time to see her scituated among the Bulls, Capricorns, Sagittaries, and yet the Virgo still remain itacta....Critick: But this merry Time lasted not always; every thing has an end, and at length down goes Rinaldo's inchanted Mountain; it sunk as a Mole-hill seen on't: What a severity was this? that the Labour of such a gigantick Poet, nay Critick, shou'd give up the Ghost so soon: The renown'd Author thought himself immortal in that Work, and that the World was to last no longer than his Rinaldo; and tho' he stole every thing from the Italian, yet he said, what the Italian did was but Grub-street to his. See also 5 Jan. 1698@9 for a letter written by Mrs Barry, in part concerning Rinaldo and Armida

Event Comment: Betterton's Company. The date of the first performance is not known, but Lucyle Hook, James Brydges Drops in at the Theatre, Huntington Library Bulletin, VIII (1945), 309, speculates that James Brydges' attendance at lif this day may have been prompted by his seeing this new play, as he stayed longer than he often did at a theatrical performance. The comedy was certainly acted before 12 March 1699@1700. James Brydges, Diary: I went to ye play in Lincolns inn fields, where I met Sr G. Coply, who set me down after it was ended (Huntington MS St 26). Downes, Roscius Anglicanus, p. 45: The Way of the World, a Comdey wrote by Mr Congreve, twas curiously Acted; Madam Bracegirdle performance her Part so exactly and just, gain'd the Applause of Court and City; but being too Keen a Satyr, had not the Success the Company Expected

Event Comment: The Article in the Daily Advertiser of Wednesday last, which mentions Mr Odell's intending to decline concerning himself any longer with the management of Goodman's-fields Playhouse, is a false and scandalous Libel

Event Comment: Mainpiece: Not acted these 12 years. [See 24 Jan. 1758.] Prologue written by Paul Whitehead. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant (only) at the Stage-Door. No persons can be admitted behind scenes, nor any Money returned after curtain is drawn up. To begin exactly at 6 o'clock. [Customary note in succeeding bills.] Receipps: #190 14s. (Account Book). @The New Occasional Prologue@As when the merchant to increase his store@For Dubious seas, advent'rous quits the shore;@Still anxious for his freight, he trembling sees@Rocks in each buoy, and tempest in each breeze@The curling wave to mountain billow swells,@And every cloud a fancied storm fortells:@Thus rashly launch'd on this Theatric main,@Our All on board, each phantom gives Us pain;@The Aatcall's note seems thunder in our ears,@And every Hiss a hurricane appears;@In Journal Squibs we lightning's blast espy,@And meteors blaze in every Critic's eye.@Spite of these terrors, still come hopes we view,@Hopes, ne'er can fail us--since they're plac'd--in you.@Your breath the gale, our voyage is secure,@And safe the venture which your smiles insure;@Though weak his skill, th' adventurer must succeed,@Where Candour takes th' endeavor for the deed.@For Brentford's state, two kings could once suffice;@In ours, behold! four kings of Brentford rise;@All smelling to one nosegay's od'rous savor@The balmy nosegay of--the Public favor.@From hence alone, our royal funds we draw,@Your pleasure our support, your will our law.@While such our government, we hope you'll own us;@But should we ever Tyrant prove--dethrone us.@Like Brother Monarchs, who, to coax the nation@Began their reign, with some fair proclamation,@We too should talk at least--of reformation;@Declare that during our imperial sway,@No bard shall mourn his long-neglected Play;@But then the play must have some wit, some spirit,@And We allow'd sole umpires of its merit.@For those deep sages of the judging Pit,@Whose taste is too refin'd for modern wit,@From Rome's great Theatre we'll cull the piece,@And plant on Britain's stage the flow'rs of Greece.@If some there are, our British Bards can please,@Who taste the ancient wit of ancient days,@Be our's to save, from Time's devouring womb,@Their works, and snatch their laurels from the tomb.@For you, ye Fair, who sprightlier scenes may chuse,@Where Music decks in all her airs the Muse,@Gay Opera shall all its charms dispense,@Yet boast no tuneful triumph over sense;@The nobler Bard shall still assert his right,@Nor Handel rob a Shakespear of his night,@To greet the mortal brethren of our skies [upper galleries]@Here all the Gods of Pantomime shall rise:@Yet midst the pomp and magic of machines,@Some plot may mark the meaning of our scenes;@Scenes which were held, in good King Rich's days,@By sages, no bad epilogues to plays.@If terms like these your suffrage can engage,@To fix our mimic empire of the stage;@Confirm our title in your fair opinions,@And crowd each night to people our dominions.@--(Poems and Miscelaneous Compositions, Ed. Capt. Edward Thompson, 1777) Covent Garden opened with the Rehearsal with alterations. I was in the Pit. Powell, from Drury Lane, one of the new managers who have bought the patent from Rich's heirs, spoke an occasional Prologue. Shuter did Bayes pretty much to my liking, adding many crochets of his own.... Entertainment The Mock Doctor,...Young Jasper pretty well by one Massey, being his first appearance on that stage (Neville MS Diary)

Event Comment: By Authority of the Lord Chamberlain. Benefit for Stewart and Walker. Mainpiece [1st time; PAST 5]: Done into English, from the Original of Allan Ramsay, by Cornelius Vanderstop, Esq. As it has long been the Desire of the Nobility and Gentry to have this celebrated Piece performed in English, the Gentleman who has undertaken this ardent Task hopes it will give Satisfaction to the Public in general. [Text 1st published For the Author, 1777.] Afterpiece [1st time; F 2, by James Stewart. Authors of Prologues unknown.]. The Doors to be opened at 5:00. To begin at 6:00. No Persons whatever to be admitted behind the Scenes, nor any Money returned after the Curtain is drawn up. Ladies are desired to send their Servants by Five to keep Places. Tickets to be had at the Edinburgh Coffee-house and Jamaica Coffee-house, Cornhill; the St. Andrew, Wapping; and of Walker, No. 4, New Round Court, Strand

Event Comment: The Duke's Company. The date of the premiere is not known, but the play was entered in the Stationers' Register, 18 Nov. 1670, and was probably performed not long before that date. Preface: The misfortune it had in having some of the Parts ill and imperfectly performed, as also the laying down of it, the sixth day of its being presented, when the Audience was very near as considerable, as the first day it was Acted, as also an intermission hitherto occasioned by the long absence of some principal Actresses, could not but prejudice the esteem it gain'd

Event Comment: The King's Company. Although the play was not licensed until 16 Oct. 1676 and not published until 1678, the Epilogue refers in detail to the burning of the King's Theatre in Bridges Street, Drury Lane, suggesting that the premiere came not long after that event

Event Comment: The United Company. The date of the first performance is not certain, but it was very likely this day. Writing on 12 May 1688, Peregrine Bertie states that it had been acted nine days successively. If the ninth performance fell on Friday 12 May, the premiere probably occurred on Wednesday 3 May. The Prologue and Epilogue, printed separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 261-63. Downes (Roscius Anglicanus, p. 41): This Play by its Excellent Acting, being often Honour's with the presence of Chancellor Jeffereies, and other great Persons had an Uninterrupted run of 13 Days together. Note, The Poet receided for his third Day in the House in Drury Lane at single Prizes 130 l. which was the greatest Receipt they ever had at that House at single Prizes. Dedication, Edition of 1688: This, I must confess, made me hope for success upon the Stage, which it met with, but so great, as was above my expectation (in this Age which has run mad after Farces) no Comedy, for these many years, having fill'd the Theatre so long together: And I had the great Honour to find so many Friends, that the House was never so full since it was built, as upon the third day of this Play; and vast numbers went away, that could not be admitted. For Leigh as Belfond Sr, see Cibber, Apology, ed. Lowe, I, 147-48; and for Underhill as Lolpoop, I, 154-55. For further comment upon the play, see 12 May 1688

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: Benefit for Mons and Mme Bithmere, and Le Baruf, Composers and principal Performers of the Dramatic Romance of The Rival Knights. Gazetteer, 7 May: Tickets to be had of Mons and Mme Bithmere and of Le Boeuf at Stacy's, colourman, corner of Long-acre. Receipts: #101 8s. 6d. (73/0/6; tickets: 28/8/0) (charge: #105)

Event Comment: Mainpiece [1st time; D 5, by Benjamin Thompson, altered from Menschenhass und Reue, by August Friedrich Ferdinand von Kotzebue. Prologue by William Linley; Epilogue by Matthew Gregory Lewis (European Magazine, Mar. 1798, p. 260)]: With new Scenes, Dresses, &c. With Musick [by Thomas Shaw]. "Mrs Siddons was succesful in all the impassioned parts; but she cannot sustain a mixed character. She is the Muse of Tragedy herself, and when she descends from her lofty state to the level of familiar dialogue, she instantly ceases to astonish and we to admire" (Monthly Mirror, Apr. 1798, p. 234). "The dialogue must be considerably abridged, as well for the purpose of preserving the interest of the piece, as for shortening the time of representation, which is at least an hour too long, it being half past ten before the curtain dropt" [see 26 Mar.] (Morning Herald, 26 Mar.). Receipts: #420 7s. 6d. (378.11.6; 40.18.0; 1.8.0)