Event Comment: Afterpiece [1st time; BALL. P 1, by James Byrne. MS of Songs only: Larpent MS 919; synopsis of action in Universal Magazine, Oct. 1791, p. 308]: Taken from Ossian. With new Music, Airs, Chorusses, new Scenery, Dresses, and Decorations. The Ballet composed by Byrne. The new Music composed, and the Ancient Scots Music selected and adapted by Shield. The Overture by Reeve. The Scenery by Richards, Hodgins, Pugh, &c. &c. The Dresses by Dick. Books of the Songs, &c. to be had at the Theatre. [For Harp and Pipes see 24 Oct.] Account-Book, 22 Nov.: Paid Byrne for Oscar & Malvina #50; 8 Dec.: Paid Mad. St.Amand expenses from Paris to London #14 6s. 8d. Receipts: #182 16s. 6d. (177.13.6; 5.3.0)

Event Comment: Mainpiece: 32nd Night [i.e. in continuation, erroneously, of the reckoning for the preceding season, when it was acted 28 times]. With new Music, Scenes, Dresses, and Decorations. The Music (with a few Exceptions) composed entirely new by Shield. And new Scenery designed and chiefly executed by Richards. Books of the Songs to be had at the Theatre. "Covent-garden is the National Theatre. I was there on 10th Dec. and saw an opera called The Woodman. It was the very day on which the life story of Madam Billington, both from the good as well as from the bad sides was announced [i.e. Memoirs of Mrs Billington, and An Answer to the Memoirs of Mrs Billington, both anonymous, both predated 1792]...She sang rather timidly this evening, but very well all the same. The first tenor [Incledon] has a good voice and quite a good style, but he uses the falsetto to excess. He sang a trill on high C and ran up to G. The 2nd tenor [Johnstone] tries to imitate him, but could not make the change from the falsetto to the natural voice, and apart from that is most unmusical...But the cast is entirely used to him. The leader is Herr Baumgartner [sic], a German who, however, has almost forgotten his mother-tongue. The Theatre is very dark and dirty, and is almost as large as the Vienna Court Theatre. The common people in the galleries of all the theatres are very impertinent; they set the fashion with all their unrestrained impetuosity, and whether something is repeated or not is determined by their yells. The parterre and all the boxes sometimes have to applaud a great deal to have something good repeated. That was just what happened this evening, with the Duet in the 3rd Act, which was very beautiful; and the pro's and contra's went on for nearly a quarter of an hour, till finally the parterre and the boxes won, and they repeated the Duet. Both the performers stood on the stage quite terrified, first retiring, then again coming forward. The orchestra is sleepy" (Haydn, 273-74). Receipts: #194 11s. (191.8; 3.3)

Event Comment: [In mainpiece the playbill omits Anna, but "Mrs Rock was a wretched Anna" (Thespian Magazine, Feb. 1793, p. 195). Miss Morris is identified in European Magazine, Jan. 1793, p. 69; and see 14, 16 Nov.] Afterpiece [1st time; P 2(?), author unknown. Text (i.e. synopsis of action), For the Booksellers, 1793. Larpent MS 964 contains Songs only]: Partly New, and partly a Selection of Scenery, Machinery, Tricks, and Business, from the most approved Pantomimic Productions of Lunn, Rich, Woodward, Messink, Rosamond [i.e. Rosoman], Lalauze, &c. The Music chiefly compiled [by Thomas Goodwin] from Pepusch, Galliard, Dr Arne, Vincent, Dibdin, Dr Arnold, Fisher, the rest by Shield. The selected Scenery and Machinery re-painted, and the several new ones designed and executed by Hodgins, Pugh, Walmsley, Lupino, &c. The Dances by Byrn, who will for the first time introduce a Burlesque Pas de Russe. With new Dresses, Machinery and Decorations. Books of the Songs to be had at the Theatre. [In afterpiece the playbill lists Follett, but he "having received an injury at the morning's rehearsal, afforded that excellent actor, Munden, the opportunity of giving the Public an additional proof of the versatility of his talents: -he undertook the part of the Clown [i.e. Clodpole ], and performed it so well that he will probably be obliged to retain it" (Morning Herald, 21 Dec.). He was probably omitted from the Vocal Characters (see 21 Dec.).] Receipts: #258 10s. 6d

Event Comment: Mainpiece: To conclude with a Grand Procession of the Hundred Knights of Chivalry, and the Representation of an Ancient Tournament, under the direction of Dubois. [These were included in all subsequent performances.] With a new Overture and new Additional Musick, by Storace, Shaw, and other Eminent Masters. And new Dresses, Decorations and Machinery. [Miss Redhead is identified in Kemble Mem.] Account-Book, 20 Dec. 1792: Paid Kemble to purchase horses for Cymon #180 14s. 6d. (223.11.6; 55.4.0; 3.19.0)

Event Comment: [1st piece in place of THE FLITCH OF BACON, advertised on playbill of 25 July.] 3rd piece [1st time; CO 2, by Samuel James Arnold]: The new musick, with a Scottish Medley Overture, by Dr Arnold. New Scenery by Rooker. New Dresses and Decorations. Morning Chronicle, 28 Aug. 1794: This Day is published AULD ROBIN GRAY (1s)

Event Comment: Mainpiece [1st time; T 5, by Joseph Berington, altered from the same, by Gotthold Ephraim Lessing. MS: Larpent MS 1041; not published; synopsis of plot in Morning Herald, 30 Oct. It has hitherto been assumed that this play was altered by Benjamin Thompson, but "This Tragedy was translated from the German by the Rev. Jos. Berrington [sic]" (Kemble Mem.). Dr. Berington's authorship is also referred to in London Chronicle, 30 Oct. 1794. Thompson's translation was published by Vernor and Hood in 1800. Prologue by Richard Cumberland. Epilogue by George Colman, ynger (London Chronicle, 29 Oct.)]: The Dresses, Scenes and Decorations are entirely new. The Scenery in the four first Acts is the work of Signor Barzago and of his Brother; and in the fifth of Greenwood, by whom also a new Frontispiece is designed and executed. [Miss Miller, who had appeared the previous season as a chorus singer, is identified in European Magazine, Nov. 1794, p. 363.] The Doors to be opened at 5:15. To begin at 6:15 [see 20 Apr. 1795]. Powell: Emilia Galotti rehearsed at 10. The New Frontispiece and Stage doors were exhibited for the first Time this Evening. Receipts: #317 19s. 6d. (270.8.6; 46.5.0; 1.6.0)

Event Comment: Afterpiece [1st time; BALL. P 2, by James Byrn. Synopsis of action, somewhat enlarged from that on playbill (H. Macleish, 1794)]: The Music partly new by Shield, and partly selected from Haydn, Mazzinghi, Gluck, Baumgarten, Gretry, Martin? y Soler, Dezede, Eley. With a new Overture for a Double Orchestra composed by Reeve. The Scenery, Machinery, Dresses and Decorations are entirely New. The Scenery painted by Hodgins, Walmsley, Phillips and Lupino Jun., assisted by Hollogan, Byrn, &c. The Dresses chiefly designed by Lupino Sen., and executed under the direction of Dick. "This ballet [is] the most magnificent exhibited on the English stage for many years" (Universal Magazine, Nov. 1794, p. 378). Receipts: #136 13s. 6d. (123.12.6; 13.1.0)

Event Comment: A new Comic Opera; the music entirely by Paisiello [performed at the Pantheon, 14 May 1791, as La Molinarella]. Bianchi and Martini [i.e. Martin y Soler] are both engaged as composers to this Theatre, and will each preside at the harpsichord the three first nights of every new Opera of their composition. Pit 10s. 6d. Gallery 5s. No Money to be returned. The Doors to be opened at 6:30. To begin at 7:30 [see 30 Apr. 1795]. The Nobility are intreated to give directions to their servants to set down and take up at the Theatre, with horses' heads towards Pall Mall. On account of abuses practised in the names of the Subscribers it is become necessary to require the production of the Subscription Tickets both at the doors and the Boxes, At the Chair-door in Market-lane Subscribers only will be admitted. "The Pantomime is too much in the gaudy stile of Italy, and even in this respect the ballet-master is not well seconded by the machinist; the decorations were unfinished, and the scenes clumsily shifted...We were sorry to find that the new and superb room, which the proprietor was encouraged to build, and Which was opened in its unfinished state last year, is now entirely shut up, through the cabal of some few of the subscribers who refuse a miserable guinea for its illumination. The inconvenience of getting away from the Theatre will consequently be severely felt by the Beau Monde" (Morning Chronicle, 8 Dec.)

Event Comment: A New Opera (1st time [in London; 1st performed at Venice, 1792]), accompanied with Chorusses; the music entirely new, composed [i.e. revised] here by Bianchi. With entirely new Scenes, designed by Hamilton and executed by Walmsley, Dresses and Decorations

Event Comment: 2nd piece [1st time; MD 3, by Thomas Morton]: With new Scenery, Dresses and Decorations. The Overture, Chorusses, and new Musick by Dr Arnold. The new Scenery by Rooker, Marinari, &c. Books of the Songs to be had at the Theatre. Morning Chronicle, 1 July 1795: This Day is published Zorinski (2s.)

Event Comment: A new Serious Opera [1st time; by Lorenzo DaPonte]; the music entirely new, composed here by Bianchi. With Chorusses and new Scenery, Decorations and Dresses

Event Comment: The Publick is most respectfully informed that on account of the sudden Indisposition of a Principal Performer, the new Tragedy of The Conspiracy [advertised on playbill of 11 Nov.] is obliged to be deferred. "A new tragedy, entitled The Conspiracy, written by Mr Jephson, was announced for representation on Saturday evening; but (as the apology stated) on account of the indisposition of a principal performer, The Grecian Daughter was substituted in its room. All the principal performers advertised for the new play having, however, appeared in The Grecian Daughter, it is supposed, and generally understood, that it was the interference of the Lord Chamberlain's interdiction (who, by the mighty virtues of his white wand, valiantly frustrated the meditated Conspiracy), that produced the sudden change of performance" (Morning Herald, 14 Nov.), Receipts: #256 7s. 6d. (167.6.6; 84.11.0; 4.10.0)

Event Comment: [Mainpiece in place of The Force of Ridicule; afterpiece of Richard Coeur de Lion, both advertised on playbill of 28 Nov.] "The new Comedy last night was deferred upon the pretext of Miss Farren's illness...The Manager sent after Mrs Siddons, who was found at Covent-Garden Theatre, seeing Abroad and at Home. Brandon, however, ordered her a chair, and she kindly performed Isabella. Wroughton read the Father" (Oracle, 30 Nov.). "For near an hour the audience waited patiently...At half past seven Palmer addressed the audience" He said that Miss Farren was ill, that to those who preferred to leave the theatre their money would be returned, and that instead of the new play Mrs Siddons would act Isabella, "as soon as the dresses could be prepared for that purpose. This address was by no means favourably received, and hundreds of persons immediately left the house. A few minutes after eight, the Curtain drew up to the tragedy, which was well performed, and much applauded by the few who remained to witness it" (Morning Herald, 30 Nov.). "November 30. Miss Farren last night refused to appear in a new Play at Drury Lane which made much confusion in the House. The cause assigned was indisposition but that was not believed by the audience; and the fact Lysons says is, that as she cannot obtain payment from the Theatre, she resolutely told them she wd. not appear unless her demands were paid...Such is the unprincipled conduct of Sheridan" (Diary of Joseph Farington, 1922, I, 174). [On 1 Dec. Morning Herald prints a letter from Miss Farren, from Green-street, Grosvenor-square. saying that she really was ill. The editor of the paper adds a note in which he affirms his positive knowledge that rumours about a dispute as to Miss Farren's unpaid salary were without foundation.] Receipts: #134 2s. (82.2; 50.18; 1.2)

Event Comment: Afterpiece [1st time; BALL P 1, by John Cartwright Cross. Text, i.e. synopsis of ballet, and the songs, in Cross's Circusiana (Lackington, Allen and Co., 1809), Vol. I. Bologna, Bologna Jun. and Mrs Parker were from the Royal Circus]: Invented and under the Direction of Cross. With entire new Scenes, Dresses, Music and Decorations. The Overture and Music principally new, with a Selection of some novel Irish Air, by Reeve, composer of the Music to Oscar and Malvina, &c. The Harp by Weippert. The Scenery, comprehending a Display of the most Romantic Views in Ireland, painted by Richards, Phillips, Lupino, Hollogan, and Blackmore. The Machinery by Cresswell, Sloper and Goostree. The Dresses by Dick, Mrs Egan, &c. The Following are a Part of the new Scenes, &c.: The Ancient Temple, dedicated to Bel, the God of Fire, with the Flactaga, or Sacred Fire burning; it having been enacted that, on the last Evening of October, no other Fire should be Used thro'out the Kingdom, that all might be derived from that, which being a Fire Sacrifice, would render the rest Propitious and Holy. The Dargle, where the Irish Druids consulted their Oracle. A View near Wicklow. The Salmon Leap. Entrance of a Subterraneous Pass. Maon's Cavern. Cemetery and Dungeon, appertaining to the Round Tower, Moated Castle, &c. Receipts: #264 2s. 6d. (259.19.6; 4.3.0)

Event Comment: Afterpiece [1st time; MD 2, by George Colman, ynger, based on Raoul Barbe Bleue, by Michel Jean Sedaine (although, in the 1st edition of the play, this denied by Colman). Text (Cadell and Davies, 1798)]: The Scenery, Machinery, Dresses, and Decorations entirely new. The Musick composed and selected [from Paisiello] by Kelly. The Scenes designed and executed by Greenwood? Jun, Chalmers, and others. The Machinery, Decorations, and Dresses designed and under the direction of Johnston, and executed by him, Underwood, Gay, and Miss Rein. Books of the Songs to be had in the Theatre. Times, 8 Feb. 1798: This Day is published Blue Beard (1s. 6d.). "In the course of the representation, many blunders in working the scenery, which are unavoidable in a first representation of this nature, occurred, and the delays which took place were frequently very great...It was twelve o'-clock before the curtain dropped...The Expense of getting it up is said to be not less than #2,000" (London Chronicle, 18 Jan.). Proud swells the tide, with loads of capering heels, And vacant Folly shouts applause in peals; Hoards, even beyond th miser's wish, are thrown, To deck some sham farago for the town...Money for dresses, money for new scenes, New music, decorations, and machines; The cost of these, including every freak, Would pay ten decent players four pounds a week. Anthony Pasquin (pseud. for John Williams), "Innovation," in The Devil [1787], II, no. 2, 46. Receipts: #319 14s. 6d. (216.17.6; 102.2.0; 0.15.0)

Event Comment: Pepys, Diary: So back to the Cockpitt [Whitehall], and there, by the favour of one Mr Bowman, he [Creed] and I got in, and there saw the King, and Duke of York and his Duchess (which is a plain woman, and like her mother, my Lady Chancellor). And so saw The Humersome Lieutenant acted before the King, but not very well done. But my pleasure was great to see the manner of it, and so many great beauties, but above all Mrs Palmer, with whom the King do discover a great deal of familiarity. Sometime before the Coronation of Charles II, on 23 April 1661, there may have been acted The Merry Conceited Humours of Bottom the Weaver. An edition of 1661 refers to its being "often publikely acted by some of his Majesties Comedians" and the Dedication suggests that it would make a good entertainment at the mirthful time of the Coronation. The edition lists no actors' names, no prologue, no epilogue

Event Comment: On Sunday Charles, Duke of Cambridge, the son of the Duke of York, died. On 7 May 1661, Francis Newport wrote to Sir Richard Leveson: The Duke of Cambridge dyed on Sunday in the afternoon and was buryed yesternight without any solemnity, noe mourning in the Court for him (HMC, Sutherland MSS, 5th Report, Appendix, 1876, p. 151). If the theatres were closed because of this death, the closure was for not more than ten days

Event Comment: The King's Company. Pepys, Diary: My wife and I...to the Theatre, where we seated ourselves close by the King, and Duke of York, and Madame Palmer, which was great content; and, indeed, I can never enough admire her beauty. And here was Bartholomew Fayre, with the puppet-show, acted to-day, which had not been these forty years (it being so satyricall against Puritanism, they durst not till now, which is strange they should already dare to do it, and the King to countenance it), but I do never a whit like it the better for the puppets, but rather the worse

Event Comment: The Duke's Company. Pepys, Diary: Against my judgment and conscience (which God forgive, for my very heart knows that I offend God in breaking my vows therein) to the Opera, which is now newly begun to act again, after some alteracion of their scene, which do make it very much worse; but the play, Love and Honour, being the first time of their acting it, is a very good plot, and well done. Downes (pp. 21-22): This Play was Richly Cloath'd; The King giving Mr Betterton his Coronation Suit;...The Duke of York giving Mr Harris his...and my Lord of Oxford gave Mr Joseph Price his...and all the other Parts being very well done: The Play having a great run, Produc'd to the Company great Gain and Estimation from the Town

Event Comment: Evelyn, Diary: I saw a Comedy acted before the Dutchesse of York at the Cock-pit: The king was not at it

Event Comment: Rugge's Diurnal, BM Add. Mss. 10117, folio 179: Acted at Whitehall atcourt a play witt wt'out mony before King and nobility. Pepys, Diary, 15 Oct.: But she [Lady Carteret] cries out of the vices of the Court, and how they are going to set up plays already; and how, the next day after the late great fast, the Duchesse of York did give the King and Queene a play. Nay, she told me that they nave heretofore had plays at court the very nights before the fast for the death of the late King [i.e., on the night preceding 30 Jan.]

Event Comment: The Duke's Company. This play in on the L. C. list, 5@139, p. 125. See also Nicoll, Restoration Drama, p. 346. It is possible that this is a delayed third performance and that the conjectured one for 7 Oct. did not occur. Pepys, Diary: My wife and I and Willet to the Duke of York's house, where, after long stay, the King and Duke of York come, and there saw The Coffee House, the most ridiculous, inspid play that ever I saw in my life, and glad we were that Betterton had no part in it