Event Comment: The King's Company. The date of the premiere is most uncertain. The play was apparently finished in July 1671-see C. E. Ward, The Life of John Dryden (Chapel Hill, North Carolina, 1961), p. 83-and the play may have been acted before April 1672. For the possibilities see Macdonald, Bibliography of Dryden, p. 110, and Nicoll, Restoration Drama, pp. 404-5. The Prologue and Epilogue are in Covent Garden Drollery, 1672. The song, Whilst Alexas lay prest, the music by Nicholas Staggins, was printed in Westminster Drollery (entered in the Stationers' Register, 3 June 1672) and in Choice Songs and Ayres, The First Book, 1673. Another song, Why should a foolish Marriage Vow, set by Robert Smith, is also in Choice Songs and Ayres, 1673

Event Comment: The United Company. The date of the first performance is not known, but it had been acted by the time the January 1692@3 issue of the Gentleman's Journal appeared in March (on page 1 of that issue, the editor states that We are now in March): Mr Southerne's New Comedy, call'd, The Maid's last Prayer, or Any rather than fail, was acted the 3d time this evening, and is to be acted again to morrow. It discovers much knowledge of the Town in its Author; and its Wit and purity of Diction are particularly commended (p. 28). The first song in the play, Tho you make no return to my passion, composed by Henry Purcell, was sung, according to the printed play, by Mrs Hodgson; by Mrs Dyer, according to Thesaurus Musicus, First Book, 1693. The second song, composed by Samuel? Akeroyd, was sung by Mrs Ayliff (Thesaurus Musicus, The First Book, 1693). Another song, No, no, no, no, resistance is but vain, written by Anthony Henley, composed by Henry Purcell, and sung by Mrs Ayliff and Mrs Hodgson, Act IV, is in Purcell's Works, Purcell Society, XX (1916), xiv-xv. A song, Tell me no more I am deceiv'd, written by William Congreve, set by Henry Purcell, and sung by Mrs Ayliff, is in Works, XX (1916), xv-xvi. According to the London Gazette, No. 2852, 9-13 March 1692@3, the play was published "this day" (13 March 1692@3)

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the Songs were advertised in the Post Boy, 29-31 March 1698, and performance probably occurred in early March. One song, All things seem deaf to my complaints, set by John Eccles and sung by Mrs Bowman, was published in The A'lamode Musician, 1698. According to the Post Boy, 17-19 March 1697@8, another song, Fair Amoret is gone Astray, had its words written by Congreve, and, according to the Post Boy, 29-31 March 1698, the music set by John Eccles. A Comparison Between the Two Stages (1702), p. 20: Damn'd. Gildon, English Dramatick Poets, p. 173: I have little to say to this Play, for 'tis not fair to attack a Man that's down, tho' I do not think (considering what Plays have pleas'd) that this ought to have met with so severe a Fate

Event Comment: Benefit Moreau, Mrs Moreau, Papillion. Receipts: money #36 5s.; tickets #59 1s

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 Boy, 25-27 Aug. 1696, suggests that it was first acted not later than July 1696 and possibly in June 1696. In the edition of 1696 are two dialogues, set by Clarke, the words by Haynes, and sung by Bowen and Mrs Cross. A Comparison Between the Two Stages (1702), p. 18: Cornish Comedy: No matter whose, 'twas Damn'd

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the Dedication of the play is dated 15 Jan. 1696@7 suggests that it was probably first acted not later than December 1696. The play was advertised in the Post Man, 21-23 Jan. 1696@7. The music was set by John Eccles. Dedication, Edition of 1697: I make you a Present of a Play, that miscarri'd on the first Nights Performance; tho' afterwards, without any farther Discouragement, it kept it self alive till the third day was over, and then I must confess the City Lady expir'd....This I am confident on, that the like Unfortunate Accidents which attended this Comedy, wou'd have been sufficient to have Dam'd a much better Play. The tedious waiting to have the Curtain drawn, after the Prologue was spoke, occasion'd by Mr Underhill's violent Bleeding, put the Audience out of Humour, and made it susceptible of the least Disgust; and when once the Torrent of its Displeasure break bounds, nothing cou'd put a stop to his Vehemence. After Mr Underhill was no longer able to come upon the Stage, scarce any thing was done but by Halves, and in much Confusion; in the midst of which, I think my self oblig'd to applaud the Justice I receiv'd from the Incomparable Mrs Barry. I very well know that the Ode in the third Act seems to be introduc'd something unseasonably. It was made and set long since, in hopes of having it perform'd before the King, at his return from Flanders; and the Music being so finely compos'd by Mr John Eccles, I was loath it shou'd be wholly lost to the Town. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: [By Nicholas Rowe. Date of premiere unknown.

Event Comment: Rich's Company. The date of the first production is not known, but the fact that it was advertised in the London Gazette, No. 3122, 10-14 Oct. 1695, indicates that it was probably acted not later than September 1695. Three songs were published separately: O how you protest, possibly set by Henry Purcell and sung by Mrs Knight; 'Twas within a Furlong, the words by Thomas D'Urfey, set by Henry Purcell, and sung by the Girl [Miss Cross]; and Man is for the woman made, the words by Pierre Motteux and set by Henry Purcell, are in Deliciae Musicae, The Third Book, 1696. See also Purcell's Works, Purcell Society, XX (1916), xix-xx. Preface, Edition of 1696: Notwithstanding the many Accidents that concurr'd to the Ruin of this Play, it succeeded above my Expectations: And I must own my self infinitely oblig'd to the Town, in receiving so favourably, what I at first never design'd for the Stage. Gildon, English Dramatick Poets, p. 121: This particular Play met with pretty good Success, for the Season of the Year, considering it the first Essay by a Young Writer, unacquainted with the Town. A Comparison Between the Two Stages (1702), p. 18: Sullen: Mock-Marriage, a young Fellows of the Town, a Retainer, and kind of Pensioner to the Stage. Ramble: What was it's Fate? Sullen: Damn'd, Damn'd

Event Comment: Benefit Mrs Walter and Mrs Bennett. Tickets deliver'd by Rector and Mrs King will be taken

Event Comment: Benefit for Taswell, Mrs Bennett, Mrs Ridout

Event Comment: By Permission. Positively the last Night of Performing this Season. Benefit for Dancer, Mrs Fearon, and VanRymsdyck. Tickets delivered by Lloyd and Vowell will be taken

Event Comment: [The King's Company. The date of the first performance is not known, but a letter--see 2 Jan. 1670@1--indicates that the first part had been acted before that date and that Part II was to be shortly staged. The point of the Prologue spoken by Ellen Gwyn seems to have derived from an incident at Dover (see Downes, Roscius Anglicanus, p. 20) in May 1670, when James Nokes attired himself in a ridiculous fashion, including "Broad wast Belts." The speakers of the Epilogue and the Prologue to the Second Part are mentioned in Sir William Haward's MS (Bodl. MS Don. b., pp. 248-49); see The Poems of John Dryden, ed. James Kinsley (Oxford, 1958), IV, 1848-49. In Part I a song Beneath a myrtle shade, with music by John Bannister, is in Choice Songs and Ayres, First Book, 1673. Another, Wherever I am, with music by Alphonso Marsh, is in the same collection, as is also How unhappy a lover am I, the music by Nicholas Staggins. Mrs John Evelyn to Mr Bohun, ca. Jan. 1670@1: Since my last to you I have seen The Siege of Grenada, a play so full of ideas that the most refined romance I ever read is not to compare with it; love is made so pure, and valour so nice, that one would image it designed for an Utopia rather than our stage. I do not quarrel with the poet, but admire one born in the decline of morality should be able to feign such exact virtue; and as poetic fiction has been instructive in former ages, I wish this the same event in ours. As to the strict law of comedy I dare not pretend to judge: some think the division of the story is not so well if it could all have been comprehended in the day's actions (The Diary and Correspondence of John Evelyn, ed. William Bray, IV, 25). According to John Evelyn--see 9 Feb. 1670@1--Robert Streeter did some of the scenes for this play. In the Preface to The Fatal Discovery, ca. February 1697@8, George Powell, in discussing revivals of Dryden's plays, stated: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun could not prop

Event Comment: [By Nicholas Rowe. Date of premiere unknown. For an anecdote concerning an early performance, see Chetwood, pp. 253-54.

Event Comment: The United Company. The date of the premiere is not certain, but the fact that a song in the play, composed by Henry Purcell and sung by Mrs Hudson, is in the Gentleman's Journal, January@February 1693@4 (advertised in the London Gazette, No 2955, 5-8 Marcn 1693@4) suggests that the play had its premiere in February. The play was advertised in the London Gazette, No 2959, 19-22 March 1693@4. The music for additional songs was composed by Henry Purcell: The danger is over, sung by Mrs Hudson, is in Joyful Cuckoldom, ca. 1695; I sighed and owned my love, sung by Mrs Ayliff, is in Thesaurus Musicus, Book III, 1695. See also Purcell's Works, Purcell Society, XX (1916), i-iii. Two songs were composed by John Eccles: Still, I'm grieving, sung by Mrs Bracegirdle; and Give then royal maid your sorrows o're, sung by Mrs Cibber, are in Thesaurus Musicus, 1695. Gentleman's Journal, March 1694 (advertised in London Gazette, No 2964,5-9 April 1694): Mr Southern's new Play call'd The Fatal Marriage; or, The Innocent Adultery, has been so kindly receiv'd, that you are by this time no stranger to its merit. As the world has done it justice, and it is above my praise, I need not expatiate on that subject. [See also 22 March 1693@4.