Event Comment: Benefit for Mrs Hartley. Charges #69 2s. 6d. Profit to Mrs Hartley #89 12s. 6d., plus #90 14s. from tickets (Box 270; Pit 132; Gallery 34) (Account Book). Receipts: #158 15s

Event Comment: Mainpiece: A New Tragedy [by John Hoole] never perform'd. [The author in his Advertisement to the 1775 Edition express "singular obligations to Mrs Hartley, who most readily undertook the part of Cleonice, which she has continued to support, with unremitted assiduity and friendly alacrity, amidst the repeated attacks of severe indisposition." Reviewed, but without praise in the Westminster Magazine, March.

Event Comment: Mainpiece [1st time in London; DR. POEM 5, by William Mason, 1st acted at Crow Street Theatre, Dublin, 30 Mar. 1764]: Written on the Model of the ancient Greek Tragedy. The Overture and all the Music composed New by Dr Arne. With a New Scene designed and executed by Dahl [recte Dall]. The Dresses, Decorations, &c. all entirely New. Books of the Lyrical Part of the Drama to be had at the Theatre. 'But I had rather talk of Caractacus; I agree that he will not suffer by not being sputtered by Barry, who has lost all his teeth. Covent Garden is rather above Drury Lane in actors, but both sets are exceedingly bad, so bad-that I almost wish Caractacus was not to appear. Very seldom do I go to the play, for there is no bearing such strollers" (Walpole [to the author, 8 Oct. 1776], IX, 419-20). "I attended Caractacus last winter, and was greatly interested, both from my friendship for Mr Mason and from the excellence of the poetry. I was out of all patience; for though a young Lewis played a subordinate part very well, and Mrs Hartley looked her part charmingly, the Druids were so massacred, and Caractacus so much worse, that I never saw a more barbarous exhibition" (Walpole [13 July 1777], X, 81-82). Public Advertiser, 7 Dec. 1776: This Day is published the Lyrical Part of Caractacus (6d.). [The publisher, J. Wilkie, states that he also has the "whole Drama, as altered by the Author, 18d." Ibid., 9 Dec., contains an advertisement from Mason stating that this version is unauthorized.] Ibid., 12 Dec.: This Day is published [by A. Ward of York] a new Edition of Caractacus, now altered for Representation at the Theatre-Royal in Covent Garden (1s. 6d.). Receipts: #163 10s. (163.6; 0.4)

Event Comment: Receipts: #200 7s. 6d. (Account Book). Mainpiece: With New Dresses and Decorations. [The first of a series of five performances (the last, Merchant of Venice, 18 Nov.) which got Macklin dismissed from the theatre until 1775, when his lawsuit against six persons whom he claimed formed a conspiracy to hiss him from the stage and ruin his livlihood was concluded favorably for him. His performance of Macbeth was favorably treated but with certain misgivings in the Morning Chronicle (25 Oct.), but he was mercilessly criticized in the London Evening Post and St James Chronicle: "In Act II, Sc. i, Shakespeare has made Macbeth murder Duncan; Now Mr Macklin, being determined to copy from no man, reversed this incident, and in the very first act, scene the second, murdered Macbeth." The favorable review (Morning Chronicle) thought he did well in first and last acts, but gave way to stage rant and "vehemence of energetic expression" wanting any variation in tone in between. It also pointed out a certain faulty memory of his lines. His novel stage effects came in for a paragraph of comment: The alterations in the jeux de theatre respecting the representation of this tragedy do Mr Macklin great credit. His change of the scenery is peculiarly characteristical. The Quadrangle of Macbeth's castle, and the door which is supposed to lead to Duncan's apartment (both of which are entirely new) are additions of consequence to the exhibition of the play. The door also through which Macbeth comes to the Weird Sisters, in the 4th act, is a better and more probable entrance than through the common stage portal. The dresses are new, elegant, and of a sort hitherto unknown to a London audience, but exceedingly proper. The Banquet was superbly set out, and it must be confessed that the managers seem to have spared neither cost nor assiduity to ornament and add to the effect of the representation." A favorable letter from a correspondent to the London Evening Post adds: "I must observe, Mr Printer, that from the graceful and characteristic manner in which Macbeth was introduced by the martial music and military procession, from the manner of M. Macklin's acting, from his judicious alteration of the dresses, the disposition of the scene where the King is killed, the cave of the witches in the 4th act, from the improvement of Mrs Hartley's thinking in Lady Macbeth and from her manner of speaking, which seemed plainly to be the effects of some intelligence she had received from Mr Macklin...I thought Mr Macklin deserv'd great praise." See the newspaper comments all gathered and reprinted in an Apology for the Conduct of Charles Macklin, (London, 1773). See also note to 30 Oct. See also London Chronicle, Oct. 23-26 (cf. Odell, I, 453). The Westminster Magazine suggests the performance was pitiable. "Macklin knew what he ought to do, but could not do it." The Scenemen's pay this week was about double the normal cost. (Account Book).] Verse Squibs from St James Chronicle (Oct. 1773) against Macklin: @Macbeth@"Eight Kings appear and pass over in order, and Banquo the last"@Old Quin, ere Fate suppressed his lab'ring breath@In studied accents grumbled out Macbeth:--@Next Garrick came, whose utt'rance truth impressed,@While ev'ry look the tyrant's guilt confess'd:--@Then the cold Sheridan half froze the part,@Yet what he lost by nature sav'd by art.@Tall Barry now advanc'd toward Birnam Woodv@Nor ill performed the scenes--he understood--@Grave Mossop next to Foris shaped his march@His words were minute guns, his action starch.@Rough Holland too--but pass his errors o'er@Nor blame the actor when the man's no more.@Then heavy Ross, assay'd the tragic frown,@But beef and pudding kept all meaning down:--@Next careless Smith, try'd on the Murd'rer's mask,@While o'er his tongue light tripp'd the hurried task:--@Hard Macklin, late, guilt's feelings strove to speak,@While sweats infernal drench'd his iron cheek;@Like Fielding's Kings [in Tom Thumb] his fancy'd triumphs past,@And all be boasts is, that he falls the last.@ Also from St James Chronicle:@The Witches, while living deluded Macbeth@And the Devil laid hold of his soul after death;@But to punish the Tyrant this would not content him,@So Macklin he sent on the stage to present him.

Event Comment: Mainpiece: Not acted these 20 years. [See 16 April 1751.] With the Decorations prescribed by Shakespeare. The Characters new Dressed in the Haibts of the Times. [The reviewer for Town and Country Magazine preferred Mrs Hartley's acting in Jane Shore to that in Henry VIII, where she frequently sunk into a whining monotony which from the length of some of the speeches became very disagreeable.' She did, however, he thought, do the last scene well.] Receipts: #223 13s. 6d. (Account Book)

Event Comment: Mainpiece [1st time; C 5, by Hannah Cowley.] Miss Younge had a song [Wake, thou son of dullness] composed by Michael Arne. Authors of Prologue and Epilogue unknown]: New Scenes and Dresses. Account-Book, 16 June: Paid Mrs Cowley for suspending the publication of the Belle's Stratagem #100. Public Advertiser, 1 Apr. 1782: In a few Days will be published The Belle's Stratagem. A spurious Copy having been published in Ireland [in 1781] make[s] it necessary to observe that the above is the genuine Comedy, as performed at Covent Garden Theatre. Ibid., 9 Apr. 1782: This Day is published The Belle's Stratagem (1s. 6d.). Receipts: #213 19s. (212.15.6; 1.3.6)

Event Comment: [Mainpiece by Charles Boyle. Premiere.] Benefit Mrs Porter, who performs a part in it she never acted before. [Since Mrs Porter is not in the cast in the edition of 1703, the meaning of this statement is not clear.] At the Desire of several Persons of Quality

Event Comment: Benefit for Mrs Barry. Mainpiece: Not acted these 6 years. Part of the Pit will be laid into the Boxes. Servants are desired to be sent by Four o'clock, and those Ladies and Gentlemen who have Places in the Pit, are respectfully intreated to come early, to avoid inconveniency in getting to their Seats. Public Advertiser, 25 Feb.: Tickets to be had of Mrs Barry at No. 10, on the Terrace, New Palace-Yard, Westminster. Receipts: #271 15s. 6d. (143.15.6; tickets: 128.0.0) (charge: #67)

Event Comment: Paid Mrs Rich andCo. one year's rent for House in Bow Passage due Mich. last #40. Receipts: #140 11s. 6d. (Account Book)

Event Comment: Benefit for Whitefield and Mrs Pitt

Event Comment: Mainpiece: With a New Scene and New Dresses. Afterpiece [1st time; CO 2, by Charles Dibdin and Edward Thompson. Thompson's name does not appear on the title-page of the text; it has been added by J. P. Kemble on the half-title of his copy now in the Huntington Library]: The Music chiefly composed by Dibdin [Public Advertiser, 15 Nov.: Three of the airs and the finale were composed by Samuel Arnold; one air by John Abraham Fisher]. With New Scenes [ibid: by Dall, Richards, and Carver], Dresses and Decorations. Books of the Songs to be had at the Theatre. Account-Book, 7 Feb. 1777: Paid Dibdin in full for copyright of the Seraglio #20; ibid, 2 June 1777: Received of Cooper for Songs & Books sold of The Seraglio #19 10s. 9d. [Mrs Ward was from the Birmingham theatre]. Receipts: #221 11s. 6d. (219.7.0; 2.4.6)

Event Comment: Benefit for Mrs Pitt, Booth & L'Estrange. Morning Chronicle, 7 May: Tickets to be had of Mrs Pitt, James-street; of Booth, No. 35, Brownlow-street, Long-acre; of L'Estrange, Bolton-street, Long-acre. Tickets delivered for Elfrida will be taken. Receipts: #161 15s. 6d. (45.8.6; tickets: 116.7.0) (charge: #91 10s.)

Event Comment: Benefit for Mrs Hartley. Mainpiece: By Particular Desire, with New Music, Dresses and Decorations. Interlude taken from Prior's celebrated poem, The Nut Brown Maid. Books of the Interlude to be had at the Theatre. Adapted by Henry Bate. Charges: #72 9s. 6d. Profit to Mrs Hartley #54 15s., plus #61 18s. from tickets (Box 202; Pit 76). Paid Whitfield for making cloaths #33 17s. 4d.; Paid Mr Walker for trimmings &c. #13 4s. Receipts: #127 4s. 6d. (Account Book)

Event Comment: The last Time of performing this Season. [This was Mrs Hartley's last appearance on the tstage.] Account-Book, 29 May: Paid Foulis for writing Music #101 17s.; 31 May: Received of Their Majesties for this Season #60, of Prince of Wales #30; 16 June: Paid Pattinson, tallow chandler, #332 8s. Paid Cooper, printer, #335 11s. Paid Harris, manager, #500. Paid Enderby, oil merchant, #1,061 17s. Paid Hull, salary as Acting Manager #150. Paid Mrs Hartley in lieu of a Benefit #105; 6 July: Received Stage Forfeits this season #42 3s. 6d. Receipts: #63 8s. (61.14.6; 1.13.6)

Event Comment: [Maria Macklin wrote her father (13 March 1773): Smith has rais'd such a fury in the Town, owing to Colman's having refus'd Mrs Yates to play for him, that last Saturday [6 March] being the fifth night of Alzuma, when the play ought to have begun, the Audience made a most violent noise, called for Colman, insisted that the play should not begin till he was found & the reasons given why Mrs Yates was not suffered to play for Smith. In vain did Bensley endeavor frequently to speak and tell them that Colman was not to be found. The still continued hissing and roaring, and this last till past seven o'clock. Dagge and Harris were behind in a dreadful consternation least the house should be demolished, of which indeed it was in some danger. At last they said something must be said to quiet them, when Smith in the confusion ran on and told them that the managers had consented Mrs Yates should play for him. Then they sent him off to tell them that his day must be settled whenever he thought proper, to give her time to come here. He went off and made them fix it for the 19th of April, went on and told them it was settled. They then insisted that Smith should tell them whether everything was settled to his entire satisfaction. He assured them it was. The play was then ordered to begin. I am told they have given him up his articles for three years, at his desire. Several Gentlemen went round into the Hall and sent for Smith, telling him his private quarrels with the managers were nothing to them. That if Mrs Yates play'd they should be glad to see her, but that as she was not in the company it was not right in him to disturb the play and hinder them from seeing it. He expostulated with them and told his story. The Town rings with this affair. Various are the opinions. Some think it is her plan to get once more upon the stage, and they say there is a most powerful Party making to oppose her & that she shall not play that night. Others say Colman is very wrong to hinder her. I find she entirely built upon your playing for me, and there has been a very impatient card in the Ledger to Colman insisting upon his telling the town why Mrs Yates was hindered to play, and why Mr Macklin had any more right to be suffered to come over so long unmolested to play for Miss Macklin? But that everybody sees thru'....Colman I am certain has not a thing against your playing for me. He seems rather to wish for your coming....I do not think the Yeats's will be engag'd tho' the Town rail much at Mrs Hartley & Miss Miller, and sure enough they are bitter bad....On Tuesday I shall send you the fate of Dr Goldsmith's Comedy, which comes out on Monday next. It is call'd the Mistakes of a Night....Foote's Rary Shew has been rehears'd three mornings but he got no money, so he shews off again at night instead-but it does not fill violently. Alonzo goes on but Barry is too ill to play. The great support of it is Mrs Barry's acting." (Harvard Theatre Collection, A.L.S.)] Receipts: #196 19s