Event Comment: Mainpiece: Written by Sir John Vanburgh [sic], with Alterations [by John Philip Kemble]. [Afterpiece in place of Arthur and Emmeline, advertised on playbill of 22 Oct.] Receipts: #176 1s. (140.1.0; 31.9.6; 4.10.6)

Event Comment: Mainpiece: With Additions [by John Philip Kemble] from Dryden. The Musick by Purcell and Dr Arne, with the new Airs and Chorusses by the late Linley Jun. Afterpiece: 30th [recte 29th] time [i.e. in continuation of the reckoning for the previous season]. The Overture, new Songs and Accompaniments by Shaw. Receipts: #199 18s. 6d. (157.10.0; 40.8.0; 2.0.6)

Event Comment: Mainpiece: With Additions [by John Philip Kemble] from Dryden. The Music by Purcell and Dr Arne. With new Airs and Chorusses by Linley Jun. Receipts: #225 8s. 6d. (188.14.6; 34.19.0; 1.15.0)

Event Comment: Mainpiece: In 5 Acts, altered from the Dramatic Romance by David Garrick, Esq. With a new Overture and new additional Musick by Storace [on 2 Jan. 1792 and thereafter, added: Shaw] and other Eminent Masters. Entirely new Scenery by Greenwood, and new Dresses, Decorations and Machinery. To conclude with a Grand Procession of the Hundred Knights of Chivalry, and the Representation of an Ancient Tournament. [These were included in all subsequent performances.] Books of the Songs to be had at the Theatre. Morning Post, 3 Jan. 1792, prints a full description of the Procession of over 100 persons: 1st, Anglo-Saxon Knights and banners; then ancient British knights, Norman knights, Indians, Turks, Scythians, Romans, a dwarf, a giant; at end, "soldiers drawing a superb picture of St. George, knights in chain mail, a cupid leading a knight covered with a silver net, Hymen, piping fauns, bands of cupids drawing an altar--flame burning, cupids hovering over it, and others feeding doves below, a troop of Arcadian shepherds drawing the car of Cymon and Sylvia, characters of the drama, and chorus." "At the conclusion of the procession, a tournament took place of both horse and foot, between several combatants in armour, who fought with lances, swords and battle-axes: three of Hughes' horses [from the Royal Circus] were introduced, and managed with much dexterity; the Prince of Wales' Highlander made one of the procession, and entered the lists as a champion, fighting with an enormous club; against him a small female warrior was opposed, by whom he was subdued. It was by far the grandest spectacle ever seen upon the stage. Many of the characters were taken from Sir Philip Sydney's Arcadia, in which the scene of the piece was laid; and the dresses of the knights, armour, &c. from the drawings and descriptions of the best antiquarians" (Oulton, 1796, II, 215). [This was Edmund Kean's 1st appearance on the stage; he was about four years old. He personated a cupid lying in Cymon and Sylvia's car (Kelly, Reminiscences, II, 21-22).] Account-Book, 13 Jan. 1792: Paid Hughes for his Horses #16 19s. 10d.; 23 Jan.: Paid Gough for his Greyhounds in Cymon #5 19s. 6d. Receipts: #420 6s. (385.0; 35.5; 0.1)

Event Comment: Mainpiece: [With alterations by John Philip Kemble] Not acted these 4 years. [In his prompt copy (1808) now in Harvard Theatre Collection Kemble's annotation lists the following as needed in the opening scene: 10 principals, Captain of the Guard, 3 Knights, 2 Pages, 2 Gentlemen with Crown, 2 Gentlemen with Map, Physician, Herald, 2 Ladies with Goneril, 2 Ladies with Regan, 2 Standard Bearers, 12 Guards. Nearly every scene opens or closes with drums and trumpets. In the storm scene, "Thunder and lightning; lamps down," i.e. the footlights lowered out of sight into a shallow trough. It is not unlikely that these arrangements were adhered to in this present revival.] "Kemble said that, however singular it might be, in Lear an audience quite unsettled him; the noise of the box-doors caught his ear, and routed all his meditated effects; and he found it absolutely impossible to do that at night which he had thrown out during the rehearsal in the morning" (Boaden, Siddons, II, 376). Receipts: #350 9s. 6d. (310.9.6; 38.12.0; 1.8.0)

Event Comment: Mainpiece: With Additions [by John Philip Kemble] from Dryden. The Music by Purcell and Dr Arne, with the new Airs and Chorusses by the late Mr Linley Jun. Receipts: #120 9s. 6d. (82.18.6; 29.0.0; 8.11.0)

Event Comment: Benefit for Mrs Siddons. Mainpiece [1st time; T 5, by Arthur Murphy. Prologue by John Philip Kemble (see text). Author of Epilogue unknown; European Magazine, Apr. 1793, p. 306, prints two Epilogues: the one spoken by Mrs Siddons, and the one "as originally written by Thomas? Vaughan"]. Morning Herald, 20 Mar. 1793: This day is published The Rival Sisters (1s. 6d.). Morning Herald, 25 Feb.: Tickets to be had of Mrs Siddons, No. 49, Great Marlborough-street. Receipts: #451 6s. 6d. (243.1.0; 21.18.0; 1.18.0; tickets: 184.9.6) (charge: #154 9s. 8d.)

Event Comment: Benefit for Whitfield and Mrs Ward. Afterpiece [1st time; F 2, by-Fernside, for whose authorship see Kemble Mem., based partly on Love's Cure; or, The Martial Maid, probably by Philip Massinger. Incidental music by Richard Suett]. Public Advertiser, 15 May: Tickets to be had of Whitfield, under the Great Piazza; of Mrs Ward; No. 6, York-street, Covent-Garden. Morning Herald, 12 June 1793: This day is published The Female Duellist (1s.). Receipts: #469 13s. 6d. (51.4.0; 33.9.0; 8.4.0; tickets: 376.16.6) (charge: #158 17s. 2d.)

Event Comment: Mainpiece: With Additions (by John Philip Kemble] from Dryden. The Musick by Purcell and Dr Arne, with the new Airs and Chorusses by the late Mr Linley Jun

Event Comment: Mainpiece: With Alterations [by John Philip Kemble. In his version, as published in 1793, Lewis is assigned to Barrymore, Helena to Mrs Siddons, the Countess to Mrs Ward, Diana to Mrs Powell. Genest lists the present cast; it appears to be reliable. He omits Phillimore, who is assigned in the text, and Miss Tidswell]. A new Edition of All's Well that Ends Well to be had in the Theatre. Afterpiece: With a Sea Fightv. Powell: Drummer rehearsed at 10; Critic at 11:30; Cherokee at 1. Receipts: #282 1s. (178.19; 99.16; 3.6)

Event Comment: [Mainpiece altered by John Philip Kemble.] An Accurate Edition of King Lear to be had in the Theatre. Receipts: #214 19s. 6d. (159.2.6; 54.9.0; 1.8.0)

Event Comment: Mainpiece [altered by John Philip Kemble]: With new Scenes, Dresses, Decorations, and Machinery. In Act I, at the opening will be introduced, for the First Time a Battle between the Macedonians and the Persians. In Act IV, the Royal Banquet. [These were included in all subsequent performances.] The Scenes designed and painted by Marinari. The Dresses and Decorations by Johnston and Miss Rein. The Machinery by Cabanel. "[In the last scene] the expiring tone with which [Kemble] pronounces 'Cover me'; his shivering, when wrapt round in the imperial robes; his wan and wasted countenance; the manner of his labouriously drawing his legs together, and their aguish knocking when they meet, surpass all description" (Monthly Mirror, Jan. 1796, p. 180). Receipts: #375 2s. 6d. (306.14.6; 67.3.0; 1.5.0)

Event Comment: Mainpiece: With Alterations [by John Philip Kemble]. The Scenery and Dresses are entirely new. The Scenes designed and executed by Marinari and Capon. [Oracle, 29 Feb.: Capon painted three scenes of Westminster Hall.] An accurate Edition of The Plain Dealer to be had in the Theatre. Receipts: #324 14s. 6d. (322.6.6; 2.8.0)

Event Comment: Benefit for Burton, Miss Heard, Miss Tidswell, & Mrs Bramwell. [2nd piece: With alterations by John Philip Kemble.] 3rd piece: Not acted these 6 years. "Of [Wroughton's] comedy something favourably must be said. His personations are usually natural, easy, and spirited; he is perhaps too locomotive: he cannot bear to stand still...To this peculiar bustle of his motion may be attributed much of his success in Sir John Restless [in All in the Wrong]...For the same reason, no man can play Ford with half the effect Wroughton does" (Monthly Mirror, Mar. 1796, p. 304). Morning Herald, 30 May: Tickets to be had of Miss Heard, No. 43, Haymarket [others not listed]. Receipts: #337 6s. 6d. (30.13.0; 40.16.6; 3.4.6; tickets: 260.10.0; odd money: 2.2.6) (charge: #202 11s.)

Event Comment: Mainpiece [altered by John Philip Kemble]. Receipts: #427 19s. (360.8.6; 66.5.6; 1.5.0)

Event Comment: [Mainpiece: With alterations by John Philip Kemble.] Receipts: #115 14s. (81.0.6; 32.9.6; 2.4.0)