Event Comment: Rich's Company. The date of the first performance is not known, for the play was apparently not printed until 1704. Nevertheless, some details indicate a performance early in the early in the season of 1696-97. In the first place, the presence of Verbruggen in the cast indicates that it must have been acted before 1 Jan. 1696@7, when Verbruggen was permitted to act at Lincoln's Inn Fields. The play also parodies the works of Mrs Manley, whose The Royal Mischief had been staged (probably) in April 1696, and it is likely that the company would emphasize the pertinence of the parody by presenting it soon after the appearance of the original. Although The Female Wits may not have been acted until later in the autumn, it seems likely that it was acted first in the late summer or early autumn. Preface, Edition of 1704: [The] Success of this Play has been such...having been Acted six Days running without intermission....Among the rest, Mr Powel and his Wife excell'd in the Characters they represented, as did Mrs Verbruggen, who play'd the Chief Character....The Lady whose Play is rehears'd, personated one Mrs M-ly [Manley]

Event Comment: By His Majesty's Command. A New Oratorio in English. Composed by Mr Handel. And to be perform'd by a great Number of the best Voices and Instruments. The House to be fitted up and illuminated in a new and particular manner. Tickets One Guinea. Gallery Half a Guinea. [Text by Samuel Humphreys. Their Majesties, Prince, and three eldest Princesses present.] Daily Advertiser, 20 March: An Entertainment, perhaps, the most magnificent that has ever been exhibited on an English Theatre....The Composition of the Musick is by no means inferior to the most finish'd of that Gentleman's Works; but the Disposition of the Performers was in a Taste beyond what has been attempted. There was a very great Number of Instruments by the best Hands, and such as would properly accompany three Organs. The Pit and Orchestre were cover'd as at an Assembly, and the whole House Illuminated in a new and most beautiful manner. [See also Lady A. Irwin to Lord Carlisle, in Deutsch, Handel, pp. 309-10.

Event Comment: Benefit Lacy. Afterpiece: A new Satyrical, Allegorical, Political, Philosophical Farce, [Apparently by Lacy.] Daily Advertiser, 30 April: Yesterday I accidentally call'd in at the Theatre in the Hay-Market, and saw the Rehearsal of a new Farce call'd Fame...Which is to be acted there on Wednesday next...for the Benefit of Mr Lacy the Author. As I am neither acquainted with him, nor the Master of the Playhouse, I cannot be accus'd of Partiality, in affirming, that I think this the best Farce this Age has produc'd. It seems to be writ in Imitation of Shakespear, and entirely calculated for the present Taste. The Characters are strong, lively, majestic, and just; the incidents natural and moving; the Conduct regular; the Distresses extremely affecting; the Stile sublime; the Sentiments grand, full of Patriotism; and the Catastrophe so masterly wrought up, that, I am persuaded, no Farce whatsoever, now acting, will draw more Tears than this. But what affected me beyond all, was, the Zeal, the exemplary Zeal of a worthy Magistrate, who so strictly adheres to the very Letter of the Law, as to send a rich and honest Merchant, and Freeholder, to the House of Correction, as a sturdy Beggar, or Loiterer. I could enlarg in its Praise, but fear I may do the Author wrong, in raising your Expectations too high. See it, and I am convinc'd you will entertain the same Sentiments of it, as does Your Humble Servant, James Lacy. Alias Fustian, alias Sour-Wit, alias--But hold:--If I should be arraign'd for the Murder of this Farce, so many Alias's will half condemn me before I am heard

Event Comment: This comedy was wrote by Mr Moor, & except ye part of Faddle meet with Universal Applause (ye Author's first play) (Cross). New Scenes and Cloaths (General Advertiser). This C. was written by Moore--it is a good play--it was acted 11 times successively--Garrick's peculiar qualifications and happy use of them, added amazing spirit to the piece, and gave more consequence to Young Belmont than can well be imagined--Macklin, who never had in voice, figure or features much capacity for the fop cast, yet struck out some things in Faddle, that have not been since equalled, particularly in marking the obsequious knave throughout--Barry in the fourth act supported his character with emphatic dignity and in the last with melting tenderness--the part of Rosetta was undoubtedly conceived for Mrs Woffington, and she did it particular justice--the elegance, the notions of love, and the vanity of admiration, which are united in Rosetta, were natural to Mrs Woffington, so that she had the advantage of looking and speaking in her own character--the softness and pathos, which distinguished Fidelia sat with much ease on Mrs Cibber (Dramatic Censor, II, 206). [For contemporary account of plot and discussion of the play, see Gentleman's Magazine Feb. 1748, pp. 51-54; March 1748, pp. 114-17; May 1748, pp. 207-9; June 1748, pp. 257-59. See also G. Stayley, An Answer to an unjust criticism on the Foundling, listed in Register of Books, Gentleman's Magazine, May 1748, p. 240; A Criticism of the Foundling, in a letter to the author, listed in Register of Books, Gentleman's Magazine, March 1748, p. 144. The Larpent MS indicates many revisions. The substitution of Rake for Whoremaster, &c. Some Suggestive passages marked for excision. "The Disapprobation, which the Character of Faddle met with the first Night, made it necessary for me to shorten it in almost every Scene" (Dedication to 1st Edition).] Receipts: #200 (Cross); #200 5s. (Powel)