Event Comment: Both pieces By Command of their Majesties. Afterpiece: Not acted these 7 years. [See 27 Nov. 1760.] Present their Majesties, Dukes of Gloster and Cumberland, Princess of Brunswick and Lady Louisa. Gave Yeomen of the guard #2 2s.; Paid Mr Cousins for hair dressing in the Fairy Favour #1 4s. and Mr Thompson for the same #1 12s. Paid Ellis (scourer) a bill for the Men's Wardrobe, #1 4s. 6d. Paid for the license of Love in the City #2 2s. (Account Book). Receipts: #231 16s. (Account Book)

Event Comment: Benefit for Raftor, Walker and Mrs Simson. Tickets deliver'd by Mr Carltons will be taken

Event Comment: Benefit for Mr Love--Sir John Brute. A fat performance (and as Mr L--- says) he wanted breath to blow the Jokes out (Hopkins Diary). On 1 April 4 n[umbers] of Dramatic Censor published (Winston MS 10)

Event Comment: Cymon and The Witches both to be laid aside after this night on account of preparations for a New Pantomime for the Holidays (Winston MS 10). [See Pigmy Revels, 26 Dec.] Paid Mr Vernon on note #10 10s.; Mr Wright's bill to Manning, #4 10s. 3d.; Eaton for Women's cloaths #16 16s.; Master Cape per order, #2 12s. 6d. Receipts: #177 11s. 6d. (Treasurer's Book)

Event Comment: Ladies send servants by 5 to keep Places and prevent Confusion. Doors will be opened at half after five o'clock. To begin at half after 6 o'clock (playbill). Mr G. Voice and Spirits was never finer he never wanted Spirit or Voice thro' the whole part and Convinced the Audience that those Amazing powers he has always possess'd are now as brilliant as ever. Never was a part play'd with greater Propriety nor an Audience more lavish of their Applause (Hopkins Diary). [MacMillan's note from Kemble differs slightly.] [A full column letter for the Morning Chronicle this date from Theatricus to Garrick protested the fact that his announced benefit for the Theatrical Fund on the 30th of May would be all sold out to the highest bidders for tickets; that a nobleman offering ten Guineas for four box seats would get them in preference to the tradesmen who offered only a pound, the stated price of the tickets. Since charity was the cause this writer suggested that Garrick give a second benefit night to the Fund, with the hopes (1) that the Fund would be thereby vastly increased, and (2) that opportunity might be given for twice as many People to see a Garrick final performance. It was, perhaps, in response to this public request that Garrick gave a second Benefit night for the Fund on 10 June. The Morning Post, 29 May, noted: "The concourse of servants assembled yesterday morning at seven o'clock, at Drury Lane Stage Door, to take places for the approaching benefit, in which it is said Mr Garrick will again play Richard III , was astonishing, amounting to many hundreds, three fourths of which were not able to Succeed in their embassies' (Hampden, Journal).] Receipts: #307 3s. 6d. (Treasurer's Book)

Event Comment: Macbeth [announced on playbill of 17 Jan.] is obliged to be deferred on account of Mrs Hartley's Indisposition. [Afterpiece: Epilogue by Samuel Foote.] Receipts: #223 16s. 6d. (222.5.6; 1.11.0)

Event Comment: By Permission of the Lord Chamberlain, Mainpiece: Altered from the Original [Woman is a Riddle, by Christopher Bullock. Not in Larpent MS; not published]. 2nd piece [1st time; M. INT I, author unknown. MS not in Larpent; not published]. 3rd piece: Written by Henry Fielding, Esq. The Doors to be opened at 5:30. To begin at 6:30. Tickets delivered by Davis, Wright, Mrs Lefevre will be admitted. Constant fires will be kept on the stage, Pit, Boxes and Galleries to air the house

Event Comment: Benefit for Reddish [and his last appearance on the stage]. Tickets sold at the Doors will not be admitted. Public Advertiser, 1 May: Tickets to be had of Reddish, No. 14, near the Turnpike, Tottenham Court Road. "Poor Reddish, on the 5th of May, had a benefit, and it was resolved to try whether he could not go through the character of Posthumus. He was now infirm; in common occurrences imbecile, but to be exited by his former profession, or nothing. The late John Ireland gave an affecting detail of this attempt. He met his friend an hour before the performance began. Reddish entered the room with the step of an idiot, his eye wandering, and his whole countenance vacant. Mr Ireland congratulated him, that he was sufficiently recovered to perform his favourite Posthumus. 'Yes', said he, 'and in the garden scene I shall astonish you.' 'The garden scene! I thought you were to play Posthumus?' 'No, Sir, I play Romeo.' His friend assured him that Posthumus was the part he was to act--and he walked to the theatre, reciting Romeo all the way. When dressed for Posthumus, and in the green-room, it was still hard to undeceive him--at length he was pushed upon the stage....The instant he came in sight of the audience his recollection seemed to return; his countenance resumed meaning, his eye became lighted up, he made the modest bow of respect, and played the scene as well as he had ever done. But Romeo again met him in the green-room, and it was only the stage cue that had the power to unsettle this delusion; and that never failed to do it through the whole play. Mr Ireland thought him, on this occasion, less assuming and more natural than he had seemed in the full enjoyment of his reason" (Boaden, Kemble, I, XVI-XVII; Ireland, 58-60)

Event Comment: Benefit for Suett and Wright. Morning Herald, 3 May: Tickets to be had of Suett at his house, No. 20, Gloucester-street, Queen's-square, Bloomsbury; of Wright at his house, No. 21, Bennett-street, Westminster. [Afterpiece: Prologue by David Garrick.] Receipts: #232 10s. (67/13/0; 30/16/6; 0/12/6; tickets: 133/8/0) (charge: #115 10s.)

Event Comment: Afterpiece: Not acted these 5 years. With Alterations and Restorations, particularly the admired Shades and Transparencies representing the Amusements of Harlequinv, and the Destruction of the Pantomimical Fleetv. [These were included in all subsequent performances.] Receipts: #194 3s. (173.4; 17.10; 3.9)

Event Comment: [Afterpiece in place of A Beggar on Horseback, announced on playbill of 19 June. Mrs Brown was from cg.

Event Comment: Afterpiece [acted in place of The First Floor, advertised on playbill of 22 Sept.]: With Alterations and Restorations, particularly the admired Shades and Transparencies, representing the Amusements of Harlequinv and the Destruction of the Pantomimical Fleetv. The Way to Keep Him [advertised on playbill of 22 Sept.] is obliged to be deferred on account of the Indisposition of Dodd. Paid Renter's Interest [this paid daily throughout season] #30; Properties 8s. 4d.; Supernumeraries #1 8s. 6d.; Lampmen #7 8s.; Scenemen #5 4s.; Carpenters #5 10s. 9d.; Appleby, messenger, 6s. 9d. Receipts: #140 5s. (95.9; 43.4; 1.12)

Event Comment: Benefit for Mr and Mrs Brown. Mainpiece: With a Grand Processionv, as 21 Sept. 1787. [The Cottagers, a comic opera written by Mrs Brown's daughter, was published in 1788, and 1st acted at the Crow Street Theatre, Dublin, 19 May 1789.] Receipts: #167 7s. (58.2; 7.9; tickets: 101.16)

Event Comment: [Kemble Mem.: Haymes, from Margate.] Afterpiece: Not acted these 2 years. With Alterations and Restorations, particularly the admired Shades and Transparencies representing the Amusements of Harlequin, and the Destruction of the Pantomimical Fleet. Harlequin's Invasion will be performed only Four Times this Season, when it must necessarily give place to Preparations for other Entertainments. Receipts: #183 3s. 6d. (119.4.0; 62.2.0; 1.17.6)

Event Comment: Benefit for Palmer. Mr Palmer most respectfully informs the Publick, the Lord Chamberlain having given Permission, Mr Colman having liberally granted the use of the Theatre, and his Brethren kindly consented to perform, that [there] will be presented...[as above. This benefit had originally been arranged for 20 Sept., but because of the death of the Duke of Cumberland, the theatre on that night was dark.] Tickets to be had of Palmer, No. 3, London Road, St. George's Fields; and of Rice, at the Theatre, where Places for the Boxes may be taken

Event Comment: Afterpiece: To conclude with the Representation of an Engagement between the English and Spaniards, and the Storming of Fort Omoa, on the Spanish Main. Account-Book: Paid Chorus to 11th Inclusive #7 10s.; Poor Rate 1@2 Year #45 17s. 10d.; Thompson on Acct. Supernumeraries #10. Receipts: #212 3s. 6d. (179.13.0; 30.13.6; 1.17.0)

Event Comment: Benefit for Mrs Mountain. 1st piece: Not acted these 4 years [acted 22 May 1789]. 3rd piece: Not acted these 18 years [acted 3 June 1783]. Morning Herald, 27 Apr.: Tickets to be had of Mrs Mountain, No. 9, Bow-street, Covent Garden. Receipts: #119 10s. (117.12.6; 1.17.6; tickets: none listed) (charge: #105)

Event Comment: Afterpiece: Not acted these 2 years. With the much-admired Shades and Transparencies, representing the Amusements of Harlequin, and the Destruction of the Pantomimical Fleet. Receipts: #217 19s. (158.11; 54.0; 5.8)

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The King and Queene & a Box for ye Maydes of Honor at the Opera. See also Nicoll, Restoration Drama, p. 350, and 1 Jan. 1684@5. The opera was certainly given on 3 June, probably on 10 June, and probably on 13 June, the day that the news of the Duke of Monmouth's landing reached London; as Downes states that it was acted six times, there were three additional performances between 3 and 13 June 1685. Downes (Roscius Anglicanus, p. 40): In Anno 1685. The Opera of Albion and Albanius was perform'd; wrote by Mr Dryden, and Compos'd by Monsieur Grabue: This being perform'd on a very Unlucky Day, being the Day the Duke of Monmouth, Landed in the West: The Nation being in a great Consternation, it was perform'd but Six times, which not Answering half the Charge they were at, Involv'd the Company very much in Debt. Roger North: The first full opera that was made and prepared for the stage, was the Albanio of Mr Grabue, in English, but of a French genius. It is printed in full score, but proved the ruin of the poor man, for the King's death supplanted all his hopes, and so it dyed (Roger North on Music, ed. John Wilson [London, 1959], p. 311). The Prologue and Epilogue, published separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 244-46. The score and the libretto were published in 1687 (licensing date of 15 March 1686@7): Albion and Albanius; An Opera; Or, Representation in Musick. Set by Lewis Grabu, Esq; Master of His late Majesty's Musick

Event Comment: The United Company. On 23 April 1689 Luttrell purchased a copy of the Prologue. The broadside copy, with Luttrell's date of acquisition, is in the possession of Mr Louis Silver, Wilmette, Illinois, to whose courtesy I am indebted for permission to use this date. When the Prologue, which is reprinted in Wiley, Rare Prologues and Epilogues, pp. 271-72, appeared in The Fourth and Last Volume of the Works of Mr Tho. Brown (1719), the Prologue has the title: Jo. Haines in Penance; Or, his Recantation-Prologue, at his acting of Poet Bays in the Duke of Buckingham's Play call'd The Rehearsal. Spoken in a white Sheet, with a burning Taper in his Hand, upon his Admittance in to the House after his Return from the Church of Rome. In the Preface to his play, The Fatal Mistake (1691-92), Haines stated: In troth I have Acted Mr Bays so often, and so feelingly, that I could not possibly forbear copying after so fair an Original

Event Comment: [T$Theophilus Cibber opened the theatre this one night. Mainpiece, a Mock Tragedy by Joseph Reed. Afterpiece, anonymous.] Tickets to be had at the Swan, Westminster Bridge; Forest's Coffee House and Cannon Tavern, Charing Cross; the Tuns in the Borough, Southwark; the Rainbow Coffee House, near the Royal Exchange; and the Bedford Coffee House, Covent Garden. N.B. Tickets for the Author to be had at Mr Briscall's at Parliament-Street Coffee House; the Bedford Head, Southampton St.; Mr Wells at the Crown and W in Russel Court, Covent Garden; Mr Long's in Little Britain; the Union Coffee House in Cornhill; the White Lion in Talbot Court; and the Sun Tavern, Shadwell