Event Comment: Afterpiece [1st time; MF 2, by Thomas John Dibdin. Larpent MS 1280; not published]: With New Music, Dresses and Decorations. The Music composed by Attwood. Books of the Songs to be had in the Theatre. Receipts: #354 16s. (347.18; 6.18)

Event Comment: A Comic Opera; the Music by Paisiello. The Dialogue, for the first time in this Country, will be delivered without the Music of the Recitative. "Nina [Bolla] performed for her benefit in a novel and singular manner, the dialogue being spoken in prose without recitative, which had not a bad effect; but this way of acting it was deemed an infringement of the rights of the English theatres, and after a few nights it was stopped by authority, as unlawful at the Opera" (Mount-Edgcumbe, 111-12). Tickets to be had of Mme Bolla, No. 6, Haymarket

Event Comment: Benefit for the Humane Society. A new grand Commemorative Oratorio [1st time; in two parts], as originally performed by Busby, in aid of the Fund for the Naval Pillar, including the new Music [by Busby: Song and Chorus, From where the sun; Song, To thy brave sons; Recitative and Song, Peace to the soul, Around the ever-honoured urn], introduced in the Grand National Concert, performed the 28th of May, at the Opera House. Leader of the Band-Cramer. Organ-Russell. The performance to be conducted by Busby, who will preside at the Piano Forte. Tickets, at playhouse prices, to be had at all the principal music shops...and of Busby, No. 9, China Terrace, Vauxhall Road. The Doors to be opened at 6:00. To begin at 7:00. "The words [of Part I] are taken entirely from Gray's well-known Pindaric Ode, The Progress of Poesy," with six introductory lines written by John Gretton andthe concluding stanzas by Thomas Dutton; the text of Part II by Gretton (Dramatic Censor, II, 285-86)

Event Comment: On 23 Nov. 1659 John Page, the Treasurer of the Middle Temple, entered in his records: Music, four nights at 30s., and acting The Clown four nights at 10s. (See A Calendar of the Middle Temple Records, ed. Hopwood, p. 167. See also Bentley, Jacobean and Caroline Stage, V, 1314.

Event Comment: 6 Feb. 1659@60: Music, three nights, and acting The Clown #6 (A Calendar of the Middle Temple Records, ed. Hopwood, p. 168)

Event Comment: Charles II entered London on this day, an event which occasioned several works of a quasi-dramatic nature. One was The Famous Tragedie of the Life and Death of Mrs Rump...As it was presented on a burning Stage at Westminster the 29th of May, 1660. It has a Prologue and Epilogue; the author is not known. A second is An Ode Upon the Happy Return of King Charles II to his Languishing Nations, May 29. 1660. This work, by James Shirley, with music by Dr Coleman, was printed in 1660, and reprinted in A Little Ark, ed. G. Thorn-Drury (1921), pp. 21-23. A third is A True Relation of the Reception of his Majestie and Conducting him through the City of London...on Tuesday the 29 of this instant May, being the Day of his Majesties Birth

Event Comment: The music was composed by Matthew Lock, and the architectural elements were created by Peter Mills, Surveyor of the City. For further details, see Robert Withington, English Pageantry (1918), I, 243

Event Comment: The Duke's Company. This play is on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage", p. 14. A song in this play, Thus all our Lives, with music by John Banister, is in Choice Songs and Ayres, 1673. Downes (Roscius Anglicanus, p. 31): [Concerning several plays] All which Expir'd the third Day, save the Royal Shepherdess, which liv'd Six. Pepys, Diary: To the Duke of York's house, and there before one, but the house infinite full, where, by and by, the King and Court come, it being a new play, or an old one new vamped, by Shadwell, called The Royal Shepherdesse!; but the silliest for words and design, and evepything, that ever I saw in my whole life, there being nothing in the world pleasing in it, but a good martial dance of pikemen, where Harris and another do handle their pikes in a dance to admiration; but never less satisfied with a play in my life

Event Comment: The Travels of Cosmo the Third [Tuesday 30 April 1669 NS; Tuesday 20 April 1669 OS]: This day, his highness went to the comedy at the Duke of York's theatre, where the music and dancing, after the English manner, were less pleasing than the operas performed by the comedians; because, being in the English language, the only pleasure which we who heard them, can derive from the latter, is that of observing their action, which it cannot be denied, was supereminently excellent (London, 1821, p. 194)

Event Comment: The Duke's Company. This performance is on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage", p. 16. Whether this is the premiere is not known. A song, Amintas that true-hearted swain, with music by John Bannister, is in Choice Ayres, Songs, and Dialogues, 2d. Ed., 1675. Downes, Roscius Anglicanus, p. 34: The Jealous Bridegroom, Wrote by Mrs Bhen, a good Play and lasted six Days; but this made its Exit too, to give Room for a greater. The Tempest. Note, In this Play, Mr Otway the Poet having an Inclination to turn Actor; Mrs Bhen gave him the King in the Play, for a Probation Part, but he being not us'd to the Stage; the full House put him to such a Sweat and Tremendous, Agony, being dash't, spoilt him for an Actor

Event Comment: The King's Company. The date of the premiere is not known. Although the play was not entered in the Stationers' Register until 6 Oct. 1671, a reference in the Dedication to a Lenten performance suggests that it appeared about this time. A song, A wife I do hate, with music by Pelham Humphrey, is in Choice Ayres and Songs, The Fifth Book, 1685

Event Comment: The Duke's Company. The date of the first performance is not known, but the Preface suggests that it was given first in the summer; the fact that part of the Duke's Company was at Oxford in July makes June a probable time. Preface: It had the misfortune to be brought into the world in a time, when the Dog-star was near his Reign, and my Judges sat in a hot Bath, rather than a Theatre, and were doubly persecuted by the heat of the weather, and the Impertinence of the Poet; and which was the worst mishap, when the most candid, as well as the most Illustrious Judges (I mean the Court) were absent. A song, Lo behold a sea of tears, with music by John Bannister, for this play, is Choice Ayres and Songs, The First Book, 1673

Event Comment: The King's Company. The date of the first performance is not known, but the premiere probably occurred during this month. The Preface states: This Play, as it was wrote in less than a moneth, and was the last Play that was Acted at the King's Theatre in Covent-Garden, before the fatal Fire there. [The Preface may mean that this was the last new play acted before the fire.] Two songs for this play, with music by Robert Smith, are in Choice Songs and Ayres, The First Book, 1673

Event Comment: The Duke's Company. There is no indication as to whether this is the premiere. This performance is on the L. C. lists at Harvard. See VanLennep, Plays on the English Stage, p. 19. Downes (Roscius Anglicanus, p. 32): The third new Play Acted there [dg] was the Gentleman Dancing-Master, Wrote by Mr Witcherly, it lasted but 6 Days, being like't but indifferently, it was laid by to make Room for other new ones. A song, with music by John Bannister, for this play is in Choice Songs and Ayres, The First Book, 1673

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 Duke's Company. This performance is on the L. C. list, 5@141, p. 2. See also Nicoll, Restoration Drama, p. 347. There is no certainty that this is the premiere. A song, A heart in love's empire, with music by Robert Smith, and another, Let's drink dear friends, set by Thomas? Farmer, are in Choice Songs and Ayres, The First Book, 1673. The Dedication in the edition of 1672 is to Prince Rupert and states: tho' of thirty times it has been acted, you seldom fail'd to honour it with your presence. Downes (Roscius Anglicanus, p. 32): The next new Comedy [at dg] was the Mamamouchi, or the Citizen turn'd Gentleman, Wrote by Mr Ravenscroft [cast as in edition of 1672 except French Tutor and Singing Master, by Mr Haines: (He having Affronted Mr Hart, he gave him a Discharge and then came into our House)]; This Comedy was look[ed] upon by the Criticks for a Foolish Play; yet it continu'd Acting 9 Days with a full House; upon the Sixth the House being very full: The Poet added 2 more Lines to his Epilogue, viz. @The Criticks came to Hiss, and Dam this Play,@Yet spite of themselves they can't keep away.@ However, Mr Nokes in performing the Mamomouchi pleas'd the King and Court, next Sir Martin, above all Plays

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: This work, printed in 1674, was performed, probably, at court by a French company. See M. Horn-Monval, French Troupes in England During the Restoration, Theatre Notebook, VII (1953), 82; and Edwin P. Grobe, S. Bre, French Librettist at the Court of Charles II, Theatre Notebook, IX (1954), 20-21

Event Comment: Evelyn, Diary: [I] heard Signor Francisco on the Harpsichord, esteem'd on[e] of the most excellent masters in Europe on that Instrument: then came Nicholao Matteis? with his Violin & struck all mute, but Mrs Knight, who sung incomparably, & doubtlesse has the greatest reach of any English Woman; she had lately ben roming in Italy: & was much improv'd in that quality: Then was other Musique, & this Consort was at Mr Slingsbys Master of the Mint, my worthy friend, & great a lover of musique. [For a contemporary account of Matteis, see Roger North on Music, ed. John Wilson (London, 1959), pp. 307-11.

Event Comment: The Duke's Company. This performance, the premiere, is on the L. C. list, 5@141, p. 216: first Acting. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance; see VanLennep, Nell Gwyn's Playgoing, p406. The title page states: The English Opera; or The Vocal Musick in Psyche, with the Instrumental Therein Intermix'd...By Matthew Lock. Preface: All the Instrumental Musick (which is not mingled with the Vocal) was Composed by that Great Master, Seignior Gio. Baptista Draghi, Master of the Italian Musick to the King. The Dances were made by the most famous Master of France, Monsieur St.Andree. The Scenes were Painted by the Ingenious Artist, Mr Stephenson. In those things that concern the Ornament or Decoration of the Play, the great industry and care of Mr Betterton ought to be remember'd, at whose desire I wrote upon this Subject. Roger North Upon Music: I am sure the musick in the Psyche was composed by Mr M. Lock, of whom wee may say, as the Greeks sayd of Cleomenes, that he was ultimus Heroum. This masque is also in print, and begins 'Great Psyche,' &c. and the book containing the whole musick of that entertainment is not unworthy of a place in a vertuoso's cabanet (ed. John Wilson [1959], pp. 306-7). Preface to Settle's Ibrahim (licensed 4 May 1676): I have often heard the Players cursing at their oversight in laying out so much on so disliked a play [Psyche]; and swearing that they thought they had lost more by making choice of such an Opera: writer than they had gained by all his Comedies; considering how much more they might have expected, had such an Entertainment had that scence in it, that it deserved: and that for the future they expect the Tempest, which cost not one Third of Psyche, will be in request when the other is forgotten. Downes (Roscius Anglicanus, pp. 35-36): In February 1672. The long expected Opera of Psyche, came forth in all her Ornaments; new Scenes, new Machines, new Cloaths, new French Dances: This Opera was Splendidly set out, especially in Scenes; the Charge of which amounted to above 800l. It had a Continuance of Performance about 8 Days together it prov'd very Beneficial to the Company; yet the Tempest got them more Money

Event Comment: [The Duke's Company. Nell Gwyn attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 407. There is no certainty that this performance is the premiere, btt an additional known performance on 15 June suggests that early June probably saw the initial run. The music for two songs, Thou joy of all hearts and When you dispense your influence, both set by Dr William Turner, is in Choice Ayres and Songs, Second Book, 1679. Preface, Edition of 1676: I have no reason to complain of the success of this Play, since it pleased those, whom, of all the World, I would please most: Nor was the Town unkind to it....[There] being no Act in it, which cost me above Five days writing: and the last Two (the Play-house having great occasion for a Play) were both written in Four Days. Downes (Roscius Anglicanus, p. 37): The Libertine and Virtuoso: Both Wrote by Mr Shadwell; they were both very well Acted, and got the Company great Reputation. The Libertine perform'd by Mr Betterton Crown'd the Play

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 359: Augustus Caesar. See also Nicoll, Restoration Drama, p. 346. The music for a song in act I, scene I, was composed by Nicholas Staggins, and printed in Choice Ayres and Songs, The Second Book, 1679. There is no certainty that this was the premiere, but it may well have been. The play was entered in the Term Catalogues, May 1676

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@142, p. 81: At the Virtuoso. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance; see VanLennep, Nell Gwyn's Playgoing, p. 407. The Diary of Robert Hooke, 25 May 1676: Mr Abraham Hill gave J. Hoskins, Aubery and I an account of Vertuoso play. A song, How retched is the slave to love, the music by Francis Forcer, is in Choice Ayres and Songs, The Second Book, 1679. Downes (Roscius Anglicanus, p. 37): The Libertine and Virtuoso: Both Wrote by Mr Shadwell; they were both very well Acted, and got the company great Reputation

Event Comment: The Duke's Company. Nell Gwyn attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 408. It is not known when the premiere occurred, but this is the earliest known performance. The Prologue, missing in the 1677 edition, is in the 1693 edition. A song, Make haste, my shepherd, come away, with music by Francis Forcer, is in Choice Ayres and Songs, Second Book, 1679