Event Comment: Benefit for Fawcett. 1st piece: Not acted some years [acted 30 Oct. 1790]. 2nd piece [1st time: ENT 1]. 3rd piece: By Permission of George Colman, Esq., and for that Night only. Tickets and Places to be had of Fawcett at his house, No. 10, Golden Square, and of Brandon, at the Theatre. "To the Public, May 16, 1797. In consequence of repeated Forgeries of Tickets on Benefit Nights, particularly those of Miss Wallis, Mr Incledon, Mr Holman, and Mrs Mattocks, it has been found necessary to offer a large Reward for the Discovery of the Person or Persons concerned in this unjust and cruel Practice. Mr Fawcett, therefore, thinks it his Duty to warn his Friends and the Public from purchasing Tickets for his Night of Strangers, especially those Persons who sell them in the Avenues of the Theatre, as all such will be stopt at the Doors, and if forged the Persons offering them for Admittance will be drawn into a disagreeable dilemma" (printed slip attached to Kemble playbill). Receipts: #462 5s. (189.12; 8.13; tickets: 264.0)

Event Comment: Benefit for Mrs Clendining. [1st piece in place of The Travellers in Switzerland, advertised on playbill of 23 May.] Morning Herald, 22 May: Tickets to be had of Mrs Clendining, No. 13, King-street, Covent-Garden. Receipts: #157 18s. (55.10; 3.19; tickets: 98.9)

Event Comment: Account-Book: Tickets delivered by Shotter, Mrs Pitt, Wall, Berecloth, Young, Hasler, Sturgeon, Noble, Bonsor, Little, Brice, Thompson (gallery office-keeper), Abbot, Curties will be admitted. Receipts: #304 15s. (27.19.6; 1.5.0; tickets: 275.10.6)

Event Comment: Benefit for Mrs Davenport, Powel, Thompson & Sloper. [For Mrs Litchfield see 17 May.] Receipts: #291 10s. (46.6; 9.17; tickets: 235.7, of which Mrs Davenport sold 55.4, Powel #37.16, Thompson 26.12, Sloper 115.15)

Event Comment: Benefit for R. Palmer, Russell & Dowton. 1st piece [1st time; B 1, by Edward Henry Iliff. The title-page has "by Edmund Spenser, Ynger." On his copy, now in Huntington Library, J. P. Kemble has written, "Iliffe [sic] is the real Name of the Authour"; he has made a similar notation on the playbill]: Founded on the 17th Number of The Spectator. 3rd piece [1st time; MF 1. Larpent MS 1219; not published. The characters are all taken from previous plays by John O'Keeffe, as follows: Sadboy (The Young Quaker); Signor Arionelli and Bowkitt (The Son-in-Law); Motley (The Dead Alive); Tully (The London Hermit); Lingo and Cowslip (The Agreeable Surprise); Ephraim Smooth (Wild Oats); Nipperkin (Sprigs of Laurel); Jemmy Jumps and Betty Blackberry (The Farmer); Mrs Casey (Fontainbleau)]: Written by Mr O'Keeffe. Times, 4 June: Tickets to be had of R. Palmer, No. 2, Queen's-row, Pimlico; of Russell, No. 19, Martlet-court, Bow-street; of Dowton, No. 5, Strand-lane, Surry-street, Strand. Receipts: #413 11s. 6d. (76.17.6; 37.7.0; 1.0.0 tickets: 298.7.0) (charge: #215 10s. 5d.)

Event Comment: Benefit for Twaits, Ives, Hallam, Brown & Mrs Brooks. Pit 2s. Gallery 1s. Back Seats 6d. The Doors to be opened at 6:00. To begin at 7:00. The above Performers, with the utmost Deference and Respect, inform the Ladies and Gentlemen of Greenwich, they have selected those Entertainments which they flatter themselves will meet their Approbation; being compelled to answer their Engagements in another Town, they jointly solicit their Patronage on this occasion, the honour of which will ever be remembered with the most lively effusions of gratitude

Event Comment: 2nd piece [1st time; MD 3, by James Boaden; some of the songs written by George Colman, ynger]: With new Musick, Scenes, Dresses, and Decorations. The new Musick by Dr Arnold. With an appropriate Overture, accompanied by two Pedal Harps and the Union Pipes, by Weippert, C. Jones, and Murphy. The Scenery by Marinari. The Dresses and Decorations designed by A. Johnston, and executed by him and Mrs Egan. Books of the Songs to be had at the Theatre. "Any exertion of impartial criticism to check the prevalent taste for the marvellous and the horrific which so wantonly conjures up the spirit (it was once thought had been for ever laid) of gross superstition and Gothic barbarism must, we fear, prove at present unavailing" (Times, 23 July). Morning Chronicle, 30 July 1798: This Day is published Cambro-Britons (2s.)

Event Comment: Benefit for Mrs Bland. Afterpiece: By permission of the Proprietors of the Theatre-Royal, Drury-Lane. Times, 18 Aug.: Tickets to be had of Mrs Bland, No. 25, King-street, Covent-garden

Event Comment: Afterpiece [1st time; MD 3, by Samuel Birch, adapted from Camille; ou, Le Souterrain, by Benoit Joseph Marsollier des Vivetieres, and from Les Victimes Cloitrees, by Jacques Marie Boutet de Monvel; the songs written by Thomas John Dibdin. Larpent MS 1236; not published. The playbill states that this was "Taken from the German," but London Chronicle, 12 Dec., says that its source is the same as that of The Captive of Spilburg (see dl, 14 Nov.). An examination of the MSS of these two pieces (Larpent 1230 and 1236) proves that such is unmistakably the case]: With entire new Scenes, Machinery, Dresses & Decorations. The Music composed and selected by Steibelt and Attwood. The Action of the Chorusaes, Finales, &c. under the Direction of Farley, and the Action of the Overture by Bologna Jun. A new Descriptive Overture, composed by Steibelt, on a Plan never before introduced on the English Stage, accompanied by Action. "The overture is...nothing more than music adapted to pantomime; and, in the present instance, the dumb shew is an unnecessary anticipation of the procession with which the piece opens" (Monthly Mirror, Dec. 1798, p. 369). The Scenery painted by Richards, Phillips, Lupino, Hollogan, Blackmore, &c. The Dresses by Dick and Mrs Egan. Books of the Songs to be had at the Theatre. Receipts: #338 17s. 6d. (325.14.6; 13.3.0)

Event Comment: Benefit for Pope. 1st piece [1st time; D 4. Larpent MS 1249; not published synopsis of plot in Universal Magazine, Apr. 1799, p. 273]: Translated from [Der Graf von Burgund, by August Friedrich Ferdinand von? Kotzebue (Author of The Stranger, Lover's Vows, &c.) by Miss Anne? Plumptre, and adapted to the English Stage by Alexander? Pope. Morning Chronicle, 25 26 Mar.: Tickets to be had of Pope at his house, No. 5, Half Moon-street, Piccadilly. [This was Mrs Abington's last appearance on the stage.] "The perpetuated evidence of youth was in character with her person and her powers; the slimness of her figure, the fulness of her voice, the freshness of her spirits, the sparkle of her eye, and the elasticity of her limbs, savoured alike of a juvenility that puzzled the mind, whilst it pleased it: of her it was justly said that 'she had been on the stage thirty years; she was one-and-twenty when she came, and one-and-twenty when she went!'" (John Bernard, Retrospections of the Stage, 1830, II, 228-29). Receipts: #334 19s. 6d. (194.1.0; 2.5.0; tickets: 138.13.6)

Event Comment: Benefit for Mrs Rose Didelot. Tickets to be had of Mrs Rose Didelot, No. 8, Haymarket. 2nd ballet: 1st time; composed by J. D'Egville. [In all subsequent performances this was billed as Tarare.] "D'Egville, Laborie, and St.Pierre are excellent dancers and fine manly figures. Laborie possesses more elegance than St. Pierre; but the latter greater animation. D'Egville displays much taste and poetical spirit in the invention of ballets...[which] are far richer in naive situations, and possess a more free poetical spirit than those of Paris" (Goede, 265-66)

Event Comment: Benefit for Mrs Martyr. 2nd piece [1st time; M. INT 1]. 3rd piece: Not acted these 2 years. Morning Chronicle, 17 Apr.: Tickets to be had of Mrs Martyr, No. 16, Martlet-court, Bow-street, Covent Garden. Receipts: #482 10s. (214.5.6; 8.9.0; tickets: 259.15.6)

Event Comment: Benefit for Townsend and Mrs Johnson. 3rd piece [1st time in London; F 1, by William Dunlap]: Performed with distinguished Applause at the John St.? Theatre, New York [on 9 Jan. 1797]; compressed into one act [from two], and adapted for the English Stage by a Gentleman [perhaps the author]. "Commencing at half past eleven o'clock, and after a tiresome variety of other entertainments, the audience thought they had had enough for their money, and demanded the fall of the curtain before the conclusion of [Tell Truth and Shame the Devil]" (Monthly Mirror, June 1799, p. 367). Morning Chronicle, 8 May: Tickets to be had of Townsend, No. 9, Leicester-place. [Mrs Johnson not listed.] Receipts: #442 17s. 6d. (108.1.0; 1.11.0; tickets: 333.5.6, of which Townsend sold 218.2.0; Mrs Johnson 115.3.6)

Event Comment: Benefit for Mr and Mrs H. Johnston. 1st piece: Not acted these 2 years. 3rd piece: Not acted here these 10 years [never previously acted at this theatre]. Morning Chronicle, 16 Apr.: Tickets to be had of Mr and Mrs Johnston, No. 24, Bedford-street, Covent Garden. The Doors to be opened at 5:30, and to begin at 6:30, and so continue for the remainder of the Season. Receipts: #380 11s. 6d. (168.5.6; 17.1.0; tickets: 195.5.0)

Event Comment: The Duke's Company. The date of the first production is uncertain. The date of licensing was 3 Jan. 1678@9, but Wilson (Six Restoration Play-Dates, p. 222) has argued that it may well have been the first new play of the season. The Prologue refers to it as "The first Play bury'd since the Wollen Act," the Act going into effect on 1 Aug. 1678. For Sandford as Creon, see Cibber, Apology, ed. Lowe, I, 131. Downes (Roscius Anglicanus, p. 37): Oedipus King of Thebes, Wrote by Mr Nat. Lee and Mr Dryden: The last Writing the first two Acts, and the first the 3 last. This play was Admirably well Acted; especially the Parts of Oedipus and Jocasta: One by Mr Betterton, the other by Mrs Betterton; it took prodigiously being Acted 10 Days together

Event Comment: The Duke's Company. The date of the first production is not certain, particularly since an entry in L. C. 5@145, p. 120 (see also Nicoll, Restoration Drama, p. 349) lists this play for 8 March, the year uncertain. Since the entry follows one for The Souldier's Fortune which followed the premiere of The Female Prelate, 31 May 1680, the L. C. entry probably is one for 8 March 1680@1. That the premiere occurred near 1 Nov. 1680 is suggested by a letter of Anne Montague to Lady Hatton, 1 Nov. 1680: For I never see the towne fuller, for I was to see the new play, The Spanish Frier, and there was all the world, but the Court is a letell dull yet; the Queen being sick, there is noe drawing room (Hatton Correspondence, Camden Society, XXII [1878], 240). A song, Farewell ungratefull Traytor, with music by Captain Pack and sung by Mrs Crofts, is in Act V. For Leigh's and Nokes' acting, see Cibber, Apology, ed. Lowe, I, 143, 145-46. Downes (Roscius Anglicanus, p. 37): 'Twas Admirably Acted, and produc'd vast Profit to the Company

Event Comment: The Duke's Company. Newdigate newsletters, 15 Aug. 1682: Thursday last being acted a play called the Tragedy of Romulus att the Dukes Theatre & the Epilogue spoken by the Lady Slingsby & written by Mrs Behn having reflected on ye Duke of Monmouth, ye Lord Chamberlaine thereupon has order[ed] them both in Custody to answer th[at] affront for ye same (Wilson, Theatre Notes from the Newdigate Newsletters, p. 81). See also True Protestant Mercury, 12-16 Aug. 1682, for essentially the same statement. The Prologue and Epilogue were printed separately, and Luttrell' copy (Huntington Library) bears his acquisition date of 8 Aug. 1682. They are reprinted in Wiley, Rare Prologues and Epilogues, pp. 132-34. The separately printed Prologue states that Mrs Behn also wrote it. A song, Where art thou god of love, the music by Giovanni Draghi, is in Theater of Music, The Third Book, 1686

Event Comment: The United Company. The date of the first performance is not known, but Lord Granville, writing on 5 May 1688, refers to the King's presence on the third day, and since The Squire of Alsatia may have begun its run about 2 May 1688, Crowne's play must have been produced by the end of April. Lord Granville to Sir William Leveson, 5 May 1688: The town is as empty of news as the Court; we have had a new play called The Fall of Darius (written by Crown), by which the poet, though he could get no fame, yet had a most extraordinary third day by reason the King's presence at it; the first day of its acting Mrs Bower [Barry] was taken so violently ill in the midst of her part that she was forced to be carried off, and instead of dying in jest was in danger of doing it in earnest. Mrs Cook is dead and Mrs Boute...is again come upon the stage, where she appears with great applause. We are promised this week another new play of Shadwell's called the Alsatia Bully, which is very much commended by those who have had the private perusal of it (HMC, 5th Report, Part II, pP. 197-98). Dedication, Edition of 1688: A misfortune fell upon this Play, that might very well dizzy the Judgments of the Audience. Just before the Play began, Mrs Barry was struck with a very violent Fever, that took all Spirit from her, by consequence from the Play; the Scenes She acted fell dead from her; and in the 4th Act her distemper grew so much upon her, She cou'd go on no further, but all her part in that Act was wholly cut out and neither Spoke nor Read; that the People went away without Knowning the contexture of the Play, yet thought they knew all....[My] Thanks to His Majesty for the Honor of his Presence, on the Day which was to be for my Advantage; which He was pleased to Grant me. [See L. C. 5@148, p. 195--in Nicoll, Restoration Drama, p. 356--for a grant of #20 as a gift from the King to Crowne for this play.

Event Comment: The United Company. The date of the first performance is not known; It is one of several plays which may have been acted in or near December, for three were entered in the Term Catalogues at approximately the same time. Of the three, The Mistakes was given first near Christmas 1690; the other two may have come earlier in the month. A song, When Sylvia was kind, the music composed by John Eccles, is in Joyful Cuckoldom, ca. 1695. In the text of the play is a song, Corinna in the bloom of youth, sung by Mrs Botoler

Event Comment: Christopher Rich's Company. The date of this revival is not certain. Apparently the revival was in preparation before the division of the company, but the publication of the Songs in 1695 confines the production to the period between mid-April and the late autumn. For the opera, see The Works of John Dryden, Vol. VIII: The Plays, edited by John Harrington Smith and Dougald MacMillan (Berkeley and Los Angeles, 1692), pp. 325-30; Moore, Henry Purcell and the Restoration Theatre, Chapter VI;and Purcell's Works, Purcell Society, Vol. XIX. The Songs (1695), the music by Henry Purcell, lists the following pieces and singers: I, Wake, wake, Quivera, sung by Freeman. I, Why shou'd men quarrel, sung by The Boy, with Flutes. Their looks are such that mercy flows, sung by Freeman. II, I come to sing, sung by Freeman. Scorn'd Envy here's nothing, sung by Freeman. Begone, curst Feinds of Hell, sung by Freeman. III, Ah, how happy we are, sung by Freeman and Church. I attempt from Love's sickness to fly, sung by Mrs Cross. IV, They tell us that you mighty powers above, sung by Mrs Cross. In addition, other parts of the opera appeared elsewhere: Act V, a Masque, set by Daniel Purcell, O Bless the Genial Bed with chast delights, in Deliciae Musicae, First Book of the Second Volume, 1696. [The others, since they do not name the performers, are omitted here.

Event Comment: Betterton's Company. The date of the first performance is not certain, but contemporary sources refer to the fact that William Smith, who died in the last week of December, fell ill on the fourth day of its run; hence, it probably was first presented in mid-December. One song, O take him gently from the pile, set by John Eccles and sung by Mrs Bracegirdle, is in Deliciae Musicae, The Fourth Book, 1696. Downes, Roscius Anglicanus, p. 44: The Grand Cyrus, wrote by Mr Banks; it was a good Play; but Mr Smith, having a long part in it, fell Sick upon the Fourth Day and Dy'd, upon that it lay by, and ne'er have bin Acted since. Gildon, English Dramatick Poets, p. 6: Tho' this Play had been formerly refus'd the Action, yet it held up its Head about Six Days together, and has been since Acted several Times. A Comparison Between the Two Stages: Sullen, p. 16: Banks's, which the Players damn'd and wou'd not Act of a great while, but at length it was acted, and damn'd then in manner and form

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Flying Post, 29-31 March 1698, suggests that the first performance probably occurred in late February or very early in March. One song, Though over all mankind, the music by Leveridge and sung by Mrs Lindsey, was published in A Second Book of Songs with a Through Bass, 1699

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: Rich's Company. The date of the first production is not certain, but tradition states that Dryden died on the third day (1 May 1700); if this report is correct, the first performance occurred on 29 April 1700. In A Collection of New Songs...Compos'd by Mr Daniel Purcel, Perform'd in the Revis'd Comedy call'd the Pilgrim (1700) is a song, Chronos, Chronos, mend thy pace, with Janus sung by Freeman, Momus by Pate, Diana by Mrs Erwin. Gottfried Finger apparently composed the passage sung by Venus, Calms appear when storms are past. William Egerton, Faithful Memoirs of...Mrs Anne Oldfield (1731): The Pilgrim was indeed reviv'd for the Benefit of Mr Dryden, Ann. 1700, but he dying on third Night of its Representation, his Son attended the Run of it, and the Advantages accrued to his Family. Cibber, Apology, I, 269-70: This Epilogue, and the Prologue the same Play [The Pilgrim], written by Dryden, I spoke myself, which not being usually done by the same Person, I have a mind, while I think of it, to let you know on what Occasion they both fell to my Share....Sir John Vanbrugh, who had given some light touches of his Pen to the Pilgrim to assist the Benefit Day of Dryden, had the Disposal of the Parts, and I being then as an Actor in some Favour with him, he read the Play first with me alone, and was pleased to offer me my Choice of what I might like best for myself in it. But as the chief Characters were not (according to my Taste) the most shining, it was no great Self-denial in me that I desir'd he would first take care of those who were more difficult to be pleased; I therefore only chose for myself two short incidental Parts, that of the stuttering Cook and the mad Englishman....Sir John, upon my being contented with so little a Share in the Entertainment, gave me the Epilogue to make up my Mess; which being written so much above the Strain of common Authors, I confess I was not a little pleased with. And Dryden, upon his hearing me repeat it to him, made a farther Compliment of trusting me with the Prologue. Cibber, Apology, I, 305-6: In theYear 1699, Mrs Oldfield was first taken into the House, where she remain'd about a Twelve-month almost a Mute and unheeded, 'till Sir John Vanbrugh, who first recommended her, gave her the Part of Alinda in the Pilgrim revis'd. This gentle Character happily became that want of Confidence which is inseparable from young Beginners, who, without it, seldom arrive to any Excellence: Notwithstanding, I own I was then so far deceiv'd in my Opinion of her, that I thought she had little more than her Person that appear'd necessary to the forming a good Actress; for she set out with so extraordinary a Diffidence, that it kept her too despondingly down to a formal, plain (not to say) flat manner of speaking. Nor could the silver Tone of her Voice 'till after some time incline my Ear to any Hope in he favour. A Comparison Between the Two Stages (1702), p. 27: [After Drury Lane and Lincoln's Inn Fields had revived Shakespeare and Johnson] Nay then, says the whole party at D. Lane, faith we'll e'en put the Pilgrim upon him--ay faith, so we will, says Dryden, and if youll let my Son have the Profits of the Third Night, I'll give you a Secular Mask: Done, says the House, and so the Bargain was struck

Event Comment: [By John Dennis. Premiere.] Preface: [The last scene was omitted] on the account of Length....The Play indeed receiv'd all the Grace and Ornament of Action in most of the principal Parts, and in all the Womens. But that of Sakia by Mrs Barry was acted so admirably and inimitably, as that no Stage in Europe can boast of any thing that comes near to her Performance