Event Comment: Mainpiece [1st time; CO 3, by Richard Bentley. Beginning with 4 Feb. 1789 reduced to an afterpiece of 2 acts. Not in Larpent MS; not published; synopsis of plot in Public Advertiser, 15 Dec.]: With entire new Dresses, Scenery, and Decorations. The Music partly selected from the works of Haydn, Purcell, Pleyel, Anfossi, Cimarosa, Gretry, Giordani, Sacchini [the score (Longman and Broderip [1788]) adds: Irwich]; and partly composed by Shield. With a Grand Overture by Salieri. Books of the Songs to be had at the Theatre. Receipts: #245 3s. 6d. (238.6.6; 6.17.0)

Event Comment: Mainpiece [1st time; CO 3, by James Cobb. Text 1st published (unauthorized), Dublin [1790]. Sga Storace had 1st appeared in concerts from 1774 to 1778, and at king's on 24 Apr. 1787 and thereafter]: With new Scenes, Dresses and Decorations. The new Music composed by Storace, the rest compiled from Linley? Sen., Purcell, Sarti, Paisiello, Martin y Soler?, Pleyel, &c. The Scenes designed and executed by Greenwood. Books of the Songs to be had at the Theatre. "In her own particular line on the stage [Sga Storace] was unrivalled, being an excellent actress, as well as a masterly singer. She settled entirely in England, and after quitting the opera (to which she was frequently recalled in times of distress, as was too often the case), she engaged at Drury Lane, where the English opera was raised to an excellence not known before, by her singing, with that of Mrs Crouch, Mrs Bland, Kelly, and Bannister, and under the direction of her brother Stephen Storace, who composed, or rather compiled, several very pretty operas, of which the Haunted Tower, and the Siege of Belgrade still remain favorites, and are frequently performed" (Mount-Edgcumbe, 65). Account-Book, 4 Jan. 1790: Paid Cobb on Acct. of the Purchase of the Copyright of the Haunted Tower #157 10s.; 27 Feb. 1790: Paid Cobb in full for Copyright #52 10s. Receipts: #219 9s. 6d. (200.13.0; 17.14.6; 1.2.0)

Event Comment: 1st piece: The Music partly selected from Handel, Purcell, Pleyel, Anfossi, Cimarosa, Gretry, Giordani and Sacchini; and partly composed by Shield. With an Overture by Salieri. [3rd piece in place of Thomas and Sally, advertised on playbill of 23 Nov.] Receipts: #195 11s. 6d. (189.14.0; 5.17.6):

Event Comment: Benefit for Mrs Billington. Tickets delivered for Monday the 8th of February will be received. Mainpiece [1st time; CO 3, by John O'Keeffe. Text 1st published in his Dramatic Works, Vol. III (T. Woodfall, 1798). Season of 1790-91 acted as The Fugitive]: With new Scenes, Dresses, and Decorations. The Music selected and composed by Shield, and consists of several Russian Melodies, and compositions of Handel, Sacchini, Pleyel, Rauzzini, Guglielmi, Weichsel, Dalayrac, Callcott, Reeve, Prati and Shield. Receipts: #366 9s. 6d. (255.2.6; 3.5.0; tickets: 108.2.0)

Event Comment: Benefit for Kelly. Afterpiece [1st time, MF 2, by Prince Hoare]: The Music chiefly composed by Storace; the Rest selected from Pleyel, Harington, Giordani, Gluck, &c. [text adds Gretry]. Account-Book, 16 Dec. 1790: Paid P. Hoare for the Copyright of No Song No Supper #63. Gazetteer, 2 Apr.: Tickets to be had of Kelly, No. 27, James-street, Covent-garden. Receipts: #273 5s. (125.19; 38.18, 2.2; tickets: 106.6) (charge: #109 19s. 4d.)

Event Comment: Afterpiece: 6th Night [i.e. in continuation of the reckoning for the previous season]. The Musick chiefly composed by Storace, the rest selected from Pleyel, Giordani, &c. &c. Receipts: #205 11s (160.1; 44.2; 1.8)

Event Comment: Mainpiece: Not acted these 4 years [acted 28 Dec. 1787. Toms is identified in Morning Herald, 22 Sept. 1795: A Mr Toms made a probationary essay last night in the character of Romeo. The bills erroneously announced it as his first appearance on this stage [cg]; for his unsuccessful attempt in Young Norval [i.e. Douglas], about five years ago, on the same boards, is perfectly within our recollection. London Chronicle, 22 Sept. 1795, also refers to Toms as Douglas. European Magazine, Oct. 1790, p. 305, gives the name as Turner, but in Oct. 1795, p. 273, states that Toms performed on one night only "a few years since."]. Afterpiece [1st time; BALL. P 2 (?), by James Byrne, based partly on his Nootka Sound, and in May 1793 agin altered as The Shipwreck; or, French Ingratitude. Not in Larpent MS; not published; synopsis of action in Diary, 5 Oct.]: A Ballet Pantomime, with new Scenes, Dresses, and Decorations. The Overture and Music compiled by Byrne, from Haydn, Rochefort, Pleyel, Gyrowetz, Reeve, Pieltain, Dibdin. The new Music by Shield. On account of some Scenes which are introduced from the Entertainment of Nootka Sound (performed last Season [on 4 June 1790]) Half Price will be taken. [This alludes to the custom of not llowing half-price during the run of entirely new pantomimes.] Paid Brodie, for Stoves for the Theatre, #19 8s. Receipts: #207 8s. 6d. (201.16.0; 5.12.6)

Event Comment: "On 31st Dec. I was with Pleyel in the Pantheon Theatre. They gave La Pastorella Nobile by Guglielmi. Mad. Casentini played the leading role and Lazarini? the primo huomo; the thin Calvesi had l'ultima parte. The opera did not please. Neither did the ballet, even though the great Hilligsburg [sic] danced" (Haydn, 266)

Event Comment: Afterpiece [1st time; Ball. P 2(?), by James Byrn. Not in Larpent MS; not published. Synopsis of action in Public Advertiser, 11 Mar.]: The Music selected from Shield, Haydn, Dibdin, Pleyel, Reeve, and other eminent Composers. The Pantomime composed by Byrn. The Scenery entirely new, by Hodgins, Pugh, Walmsley. With new Dresses and other Decorations. Receipts: #250 12s. 6d

Event Comment: Benefit for Mrs Gibbs. 3rd piece [1st time; M. ENT 2, by James Roberts]: End of Act I A Grand View of the British Fleet and the French Prizes entering Portsmouth, and an appropriate Procession. The Piece to conclude with a representation of the Town, &c. of Portsmouth, as illuminated on the glorious occasion. With a Transparency of Earl Howe. [These were included in all subsequent performances.] The selected Musick by Mornington, Handel, Dr Arne, Boyce, Pleyel, &c. A Naval Overture, and the new Musick, by Dr Arnold. The Scenery by Rooker. Books of the Songs to be had at the Theatre. Morning Chronicle, 24 Oct. 1794: This Day is published RULE BRITANNIA! (1s.)

Event Comment: [Mainpiece in place of The Earl of Essex, advertised on playbill of 23 Dec.] Afterpiece [1st time; P 1]: Composed, prepared and directed by Mark? Lonsdale. With new Music, Scenery, Machinery, Dresses and Decorations. The Dances by Byrn. The Music partly composed new by Shield [the printed score (Preston and Son [1794]) contains rest of new music, by Aylward , Atterbury, Spofforth, Howard, with overture by Gretry (from Evenements Imprevus)]; the rest selected by Goodwin from the works of Haydn, Aylward, Baumgarten, Boccherini, Pleyel, Gluck, Reeve, Dr Arne, Ware, Leffler Jun. & Spofforth. The Scenery (with very few exceptions) expressly designed and executed by Richards, Walmsley, Phillips, Lupino Jun. and Hodgins; assisted by Byrne, Holland, Thorne, Hollogan and others. The Dresses under the direction of Dick. Books of the Songs to be had at the Theatre. Receipts: #286 1s. (270.8; 15.13)

Event Comment: The Overture to the Drama selected from Pleyel. The Overture to the Masque composed expressly for the occasion by Haydn, as is the rest of the Music by Salomon, except the Glee and Song, May the Prince and his Bride, which composed by Spofforth. [Rest of COMMENT as 6 Apr.]. Receipts: #236 10s. 6d. (220.5.0; 16.5.6)

Event Comment: 2nd ballet: With entire new Scenes, Dresses and Decorations, the Scenes designed by Marinari, and executed by himself and others under his direction; the Dresses by Sestini; the Stage Decorations by Johnston of the Theatre-Royal, Drury-lane. "Telemaque is the same as that produced by Dauberval at Bordeaux, as to the management of the story the story on the stage; but the Dances are the composition of Degville. The music is [compiled by D'Egville and Bossi] from Haydn, Pleyel, Sacchini, Gluck, Schulz, Moreau" (Morning Chronicle, 27 Mar.). [Synopsis of action in London Chronicle, 27 Mar.