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 known, but the fact that Narcissus Luttrell purchased a copy on 22 March 1679@80 suggests that the premiere occurred not later than February. A copy, with Luttrell's date of purchase, is in the Ohio State University Library. (I am indebted to Professor J. H. Wilson for this information.

Event Comment: The King's Company. The date of the premiere is not certain. This performance is known from an entry in the Newdigate newsletters, which also states that Rollo was to be acted on the following Monday. If this statement is accurate, the performance of The Loyal Brother on 4 Feb. 1681@2 may be the third night rather than the opening performance. Newdigate newsletters, 4 Feb. 1681@2: On Monday morn [the Moorish Ambassador] & ye Comers meet to conclude ye treaty and in ye afternoon goes to see Rollo D. of Normandy at ye Ks playhouse wre ye K was this afternoon to see ye new play calld ye Loyall brothr (Wilson, More Theater Notes from the Newdigate Newsletters, p. 59). The Prologue and Epilogue were printed separately and have been reprinted in Wiley, Rare Prologues and Epilogues, pp. 70-72. Luttrell acquired his copies (Huntington Library) on 7 Feb. 1681@2. In The Life of John Dryden (Chapel Hill, 1961), Charles E. Ward believes (pp. 166, 355) that The Loyal Brother was first acted in the autumn of 1681; but the entry in the Newdigate newsletters seems to make February 1682 the more probable time

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 the play was licensed 6 April 1687 in the Stationers' Register, 24 May 1687. The play was probably given first in March, as the Prologue refers to the speaking head, which was mentioned in the Newdigate newsletters (Folger Shakespeare Library), 26 March 1687: A Country man haveing invented a head & soe contrived it that whatever language or tune you speak in the Mouth of it it Repeated distinctly and Audibly. [I owe this reference to Professor John Harold Wilson]

Event Comment: Benefit for Carleton, Wilson, J. Shade, Gibson. The last Time of the Company's performing this Season. Receipts: #256 13s. (22.8; 9.8; 0.5; tickets: 224.12) (charge: #106 0s. 8d.)

Event Comment: Benefit for Gibson, Wood, Rice, Wilson. Kemble Mem.: Benefit the boxkeepers. Receipts: #40 18s. (27.16; 11.17; 1.5; tickets: none listed) (charge: #148 13s.)

Event Comment: Benefit for Shade, Cameron, Nix, Woollams, Wood, Dangerfield, Wilson, Panchaud, Irish, Edwards, Wooldridge, Griffiths. Kemble Mem.: BT. the box-keepers. Receipts: #528 8s. 6d. (30.13.6; 16.7.6; 11.7.6; tickets: 470.0.0) (charge: #211 14s.)

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348. There is considerable uncertainty as to when the first performance occurred, but it appears to have been acted first at court. See Boswell, Restoration Court Stage, pp. 131-34. The first Prologue, written by Lord Mulgrove, and the second, written by Lord Rochester, are in A Collection of Poems Written upon several Occasions by several Persons (1673). Roger North: And now we turne to the Publik theatres. It had bin strange if they had not observed this promiscuous tendency to musick, and not have taken it into their scenes and profited by it. The first proffer of theirs, as I take it, was in a play of the thick-sculd-poetaster Elkanah Settle, called The Empress of Morocco; which had a sort of masque poem of Orfeus and Euridice, set by Mr M. Lock, but scandalously performed. It begins The Groans of Ghosts, &c. and may be had in print (Roger North on Music, ed. John Wilson [London, 1959], p. 306)

Event Comment: The date of the premiere is not known, but Robert Hooke, attended play on 27 Aug. 1675 which might well refer not to Psyche but to Duffett's travesty of it. In addition, John Harold Wilson has argued that the reference in the Prologue to "The new-come Elephant" probably concerns the elephant imported by Lord George Berkeley and sold by 12 Aug. 1675 (see The Diary of Robert Hooke, p. 174). The cast also contains a number of "young actors" who might well have had an opportunity to act in a play in the summer vacation

Event Comment: The King's Company. The date of the first performance is not known. Wilson (Six Restoration Play-Dates, pp. 222-23) argues from a number of references (principally in the Epilogue) to events of early 1681 which point to a premiere near May 1681: to the dissolution of Parliament, 28 March 1681; to the comet which appeared in November 1680 and disappeared in January 1680@1; to the Hatfield Maid; to William Lilly, the astrologer, who is referred to as though alive, thus suggesting a premiere before his death, 9 June 1681. It is possible that the premiere may have been earlier than this. In 1681 was published Poeta de Tristibus; or, The Poet's Complaint, whose author had obviously read the Prologue and Epilogue to The Unhappy Favourite. He represents himself as a disappointed dramatist whose tragedy has been rejected by both houses because "their Summer-store@Will all this Winter last." With the work entered in the Term Catalogues in 1682 and a copy purchased by Narcissus Luttrell with his note "4d 1681 12 Nov" (see A Bibliography of John Dryden, ed. Macdonald, pp. 235-36), his quotations from the Epilogue to The Unhappy Favourite and references to the Prologue would offer no difficulties if it were not that the "Author's Epistle" in which the references are made is dated "at Dover the Tenth day of January 1680@1," thus suggesting that he had seen the Prologue and Epilogue before that date. Nevertheless, some of the references in the Epilogue (to Heraclitus Ridens, beginning on 1 Feb. 1680@1, and Democritus Ridens, beginning on 14 March 1680@1) preclude a January premiere for the Prologue and Epilogue. Possibly the dating of the "Author's Epistle" is in error

Event Comment: Benefit Mrs Littlejohn. As 27 Nov. 1738. Tickets of Mrs Littlejohn, at Mr Wilson's, David Street, near Grosvenor Square

Event Comment: [This month the periodical, The Beauties of All Magazines Selected (London, 1763) quoted from the Theatrical Review Remarks on that Part of Dramatical Entertainments called Singing," A garrulous article concluding: The millions must be pleased-if audiences were only to be entertained with sensible exhibitions, or if only sensible people composed those audiences, whew! in what a sickly and consumptive state would be two thirds of the first rate salaries in every theatre!' (p. 76). This month publish'd An Appeal to the Publick in behalf of the Manager. Price 1s. Printed for Wilson. Hear all; and then let Justice hold the Scale. Shakespeare. A rather full description of the Fitzpatrick half-price riots, exonerating Garrick and the players. This month (probably) was published Theatrical Disquisitions; or, a Review of the late Riot at Drury Lane Theatre, 25, 26 January 1763, By a Lady (32 pp.). A calm defense of the acting profession, and a scourge of Fitzpatrick as a coward and a great nuisance. She prefers seeing plays to reading them. Holds Garrick blameless for reviving the Chances after failure of Eastward Ho. Comments at length on brilliance of contemporary stage costume in comparison with that earlier in the century.

Event Comment: Benefit for Watson, Roberts, Wilson and Palmer. Tickets deliver'd by Humphreys will be taken. Paid a cotten Bill #2 11s. 4d. (Treasurer's Book). Receipts: #254 1s. 6d. Charges: #84. Profits to beneficiaries: #170 1s. 6d. (Treasurer's Book)

Event Comment: Benefit for Watson, Wilson, Carleton Jun., Hicks & Palmer [Sen.]. Receipts: #246 6s. (27/11/0; 11/7/6; 0/13/6; tickets: 206/14/0) (charge: none listed)

Event Comment: [The Duke's Company. For Harris' role, see Pepys, 11 May 1668. For Angel as Stephano, see An Elegy Upon...Mr Edward Angell, reprinted in A Little Ark, pp. 38-39: @Who shall play Stephano now? your Tempest's gone@To raise new Storms i' th' hearts of every one.@ For Underhill as Trincalo, note his nickname of Prince Trincalo. (For Mary Davis as Ariel and Mrs Long as Hypolito, see J. H. Wilson, All the King's Ladies, pp. 140, 166.) Downes (Roscius Anglicanus, p. 33): The Tempest...Acted in Lincolns-Inn-Fields...alter'd by Sir William Davenant and Mr Dryden before 'twas made into an Opera. Pepys, Diary: At noon resolved with Sir W. Pen to go see The Tempest, an old play of Shakespeare's, acted, I hear, the first day; and so my wife, and girl, and W. Hewer by themselves, and Sir W. Pen and I afterwards by ourselves; and forced to sit in the side balcone over against the musique-room at the Duke's house, close by my Lady Dorset and a great many great ones. The house mighty full; the King and Court there: and the most innocent play that ever I saw; and a curious piece of musique in an echo of half sentences, the echo repeating the former half, while the man goes on the latter, which is mighty pretty. The play [has] no great wit, but yet good, above ordinary plays. Thence home with Sir W. Pen, and there all mightily pleased with the play

Event Comment: The Duke's Company. The date of the first production is uncertain. The fact that the Epilogue suggests that it followed Settle's The Female Prelate is not a factor in the dating, as the Newdigate newsletters--see Wilson, Theatre Notes from the Newdigate Newsletters, p. 80--show that Settle's play was first acted on 31 May 1680, whereas Caesar Borgia was entered in the Term Catalogues, November 1679. Although the reference in the Epilogue to burning the Pope's Effigies" has been argued as referring to the Pope-burning procession of 17 Nov. 1679, the references in the Epilogue to Father Lewis, who was tried and convicted at York, 28 March 1679, suggest that it was written before his execution, 27 Aug. 1679. Hence the play may have been acted first some time in the late spring or the summer. A song, Blush not redder than the Morning, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Event Comment: The United Company. Newdigate newsletters, 28 Nov. 1682: This day was Acted a new play called the Duke of Guise by Mr Dryden it was formerly forbidd as reflecting upon the D of Monmouth but by ye supplication of ye Author its now allowed to be acted (Wilson, Theatre Notes from the Newdigate Newsletters, p. 81). The Prologue and Epilogue, separately printed, bear Luttrell's date of acquisition (Huntington Library) as 4 Dec. 1682, but above this date Luttrell has written: "30 Nov." The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 149-52. Dedication, Edition of 1683: In the Representation itself, it was persecuted with so notorious Malice by one side, that it secur'd us the Partiality of the other. In a report from the Abbe Rouchi, in London, 14 Dec. 1682, it is stated that the Duke of Guise was acted three times (Campana de Cavelli, Les Derniers Stuarts [Paris and London, 1871], I, 398). One song, Tell me Thyrsis all your anguish, with music by Captain Pack, is in the edition of 1683 and also in Choice Ayres and Songs, The Fourth Book, 1683

Event Comment: The Duenna [announced on playbill of 24 Feb.] is unavoidably postponed on account of Wilson's sudden and violent indisposition. Mainpiece: Not acted these 2 years. Receipts: #138 10s. (135.4.6; 3.5.6)

Event Comment: Benefit for Shade, Cameron, Woollams, Wood, Wilson, Dangerfield, Irish, Edwards, Griffiths, Nix, Wooldridge, Panchaud & Cole [box-keepers]. [This was Dodd's last appearance on the stage.] "Dodd was one of the most perfect actors that I have ever seen. He was the fopling of the drama rather than the age. I mean by this, that his own times rarely shewed us anything so highly charged with the vanity of personal exhibition. He was, to be sure, the prince of pink heels, and the soul of empty eminence. As he tottered rather than walked down the stage, in all the protuberance of endless muslin and lace in his cravats and frills, he reminded you of the jutting motion of the pigeon. He took his snuff, or his bergamot, with a delight so beyond all grosser enjoyments that he left you no doubt whatever of the superior happiness of a coxcomb" (Boaden, Kemble, I, 55). Receipts: #580 17s. 6d. (25.17.0; 37.3.6; 11.0.0; tickets: 503.4.0; odd money: 3.13.0) (charge: #211 17s. 6d.)

Event Comment: Benefit for Shade, Cameron, Wood, Wilson, Dangerfield, Irish, Nix, Edwards, Wooldridge, Panchaud, Cole, Gray, Hough [box-keepers]. The Last Time of the Company's Performing this Season. Receipts: #85 0s. 6d. (42.0.6; 40.6.6; 2.13.6; tickets: none listed) (charge: #204 14s. 10d.)

Event Comment: The Duke's Company. The date of the first production is not known, but the date 31 May 1681 on a copy in the Ohio State University Library, representing Luttrell's purchase of a copy, argues for a performance initially in April or early May 1681. See Wilson, Six Restoration Play-Dates, p. 222

Event Comment: Benefit Lawrence and Wilson, Boxkeepers. Receipts: money #5 7s.; tickets #143 9s. [The identity of these receipts and those for 23 May suggests that the treasurers' records may be in error for one of these nights.

Event Comment: Benefit Miss Ward, Wilson