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: Hotson (Commonwealth and Restoration Stage, pp. 178-79) believes that this was Jolly's organization. See also the list of Sir Edward Browne's attendance at plays in the introduction to this season. An edition of this play appeared in 1663, but the title page does not state at what theatre the play was given. Pepys, Diary: Thence to taken my wife to the redd bull, where we saw Doctor Faustus, but so wretchedly and poorly done, that we were sick of it, and the worse because by a former resolution it is to be the last play we are to see till Michaelmas

Event Comment: Lady Mary Bertie to Katherine Noel, 4 March 1670@1: I was with my Lady Rochester and my Lady Bettey Howard and Mrs Lee at a play (HMC, 12th Report, Part V, Vol. II, page 23)

Event Comment: Lady Mary Bertie to Katherine Noel, 16 March 1670@1: I have sent you the songs that were in the ballet (HMC, 12th Report, Part V, Vol. II, page 23)

Event Comment: This play was reprinted in 1672, being entered in the Term Catalogues, 20 Nov. 1671. It probably was acted in the late summer of 1671. The title page states that it was acted at the Theatre Royal, Bridges Street

Event Comment: A playbill [PRO, State Papers 29, Vol. 317, No. 187): At the Booth at Charing-Cross, every day in the Week will be presented variety of Farces Drolls, and Comical Entertainments by Mr Anthony Devo, His Majesties Servant. And this present Monday being the Eleventh of November, will be presented the Dutch cruelties at Amboyna, with the humours of the Valiant Welch-Man. Acted by Men and Women. Beginning exactly at Two of the Clock in the Afternoon, and at Four. Vivat Rex. [This playbill is reproduced in Theatre Notebook, VI (1952), opposite page 36.] L. C. 5@140, p. 129 (Nicoll, Restoration Drama, p. 250): That Antonio diVoto Doe sett forth Exercise & Play all Drolls and Interludes, He not receiuing into his Company any person belonging to his Mates or Royal Highnesse Theatres Nor Act any Play usually acted at any of ye said Theatres Nor takes peeces or Sceenes out of ye Playes Acted at ye said Theatres

Event Comment: The King's Company. It is difficult to assign a date to this burlesque, but it is obviously a satiric thrust at Elkanah Settle's The Empress of Morocco, which had been acted on 3 July 1673, and on Macbeth, which had been most recently acted (probably) on 9 Aug. 1673. As the title page of Duffett's burlesque does not name a theatre, it is not known whether it was acted before the King's Company left Lincoln's Inn Fields for the new theatre in Drury Lane. But the fact that Settle's Empress of Morocco was acted again at Dorset Garden on 6 Dec. 1673 makes December 1673 a likely month (or the King's Company to play its burlesque, although it may have been given in the late summer or early autumn, as many lesser actors are in the cast

Event Comment: The King's Company. The date of the premiere is not known, but, as the play was entered in the Term Catalogues, May 1674, a first production not later than March 1674 is likely. In addition, the relatively large number of minor actors suggests that it might be a Lenten performance by the young players of the company. As to the authorship, the title page states: Written by a Person of Honour. On the other hand, Langbaine (English Dramatick Poets, p. 526) reports that he had heard that it was written by Duffett. The second Prologue is in Covent Garden Drollery, 1673, but the fact that it was intended but not spoken does not assist in dating the first performance

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 116. See also Nicoll, Restoration Drama, p. 345. There is no certainty that this is the premiere, but the frequency of performance of The Tempest during September-October-November would make November 1674 a suitable time for a burlesque of this sort. A small quarto, The Songs & Masque in the New Tempest (in the Huntington Library, 122925), without a title page, contains what are apparently the songs and concluding masque of the play. It may have been issued during the run of the play and sold at the theatre. It does not name any performers. Langbaine (English Dramatick Poets, p. 177): This Play was to draw the Town from the Duke's Theatre, who for a considerable time had frequented that admirable reviv'd Comedy call'd The Tempest

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. The date of the first performance is not known. As the play was entered in the Term Catalogues, May 1681, it was probably first acted not later than March 1681. The title page states: Revis'd with Alterations

Event Comment: On this date the officers of the Duke's Company and the King's Company entered into agreements to merge the two companies. For details, see Hotson, Commonwealth and Restoration Stage, p. 271; Fitzgerald, A New History, I, 154-58; and Nicoll, Restoration Drama, pp. 296-97. See also Langhans, New Restoration Theatre Accounts, p. 122, for evidence that the union had been effectively made by 13 May 1682. See page 123 for evidence that the company probably acted continuously to 7 August 1682, then closed until early October. But see 10 August 1682

Event Comment: The United Company. This performance, which is out of the chronological order, is on L. C. list, 5@147, p. 68; the list does not indicate which Part of this play was given. See also Nicoll, Restoration Drama, p. 350, and page 380, for an order (L. C. 5@147, p. 1) for rehabilitation of the seats in the theatre

Event Comment: The United Company. The date of the first performance is not known. The edition of 1687 states on the title page: This may be printed, April 23. 1686. It was entered in the Stationers' Register, 8 May 1686, under the title: The Disappointed Marriage; or, Ye Generous Mistris. It was probably first given before mid-April 1686, with the publication delayed, a delay accounting for the fact that Mrs Percival, who did not marry Mountfort until 2 July 1686, appears in the cast as Mrs Mountford. A song, O love that stronger art than wine, the music by John Blow, the verse by Ousley, and sung by John Bowman, is in The Theater of Music, The Fourth Book, 1687

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 361. See also Nicoll, Restoration Drama, p. 351. The date of the first performance of this revision is not known. As it is somewhat unlikely that a play would have its premiere at court, the first production possibly appeared earlier in the month. See 6 Nov. 1668 for an earlier revision of this work. The title-page of the edition of 1687 states: As it is Acted at the Theatre-Royal. Reviv'd with Alterations