Event Comment: Mainpiece: With new Scenery, Dresses and Decorations. [This was the version, altered probably by Joseph George Holman, in which he appeared in Dublin on 29 July 1794, on which occasion the playbill reads, "Dressed in the Habits of the Times, and with other Alterations, adopted in its Representations 19 [recte 11] Nights last Winter, at the Theatre Royal, Covent Garden." It further states that the part of Ophelia would be performed "without the Airs, and with a considerable Restoration of the Text." No record of what these alterations consisted of has come to light. In III.iv Hamlet's father was represented by a life-sized portrait that hung over the chimney, and the Queen wore a large miniature of Claudius on her arm as a bracelet (London Chronicle, 10 Oct.). The words of the Dirge are printed in European Magazine, Nov. 1793, p. 393; they are stanza X of Shakespeare's Passionate Pilgrim. Miss Poole had appeared as a singer at king's and at Vauxhall in 1787 and at the cg oratories in 1791.] Afterpiece: Not acted these 2 years [and in place of The Prisoner at Large, advertised on playbill of 8 Oct.]. Receipts: #332 4s. (330.3; 2.1)

Event Comment: In II The Grand Triumphal Entry of Alexander into Babylonv. In IV a Grand Banquetv. [Macartney was from the Theatre Royal, Dublin.] Receipts: #222 18s. (218.2; 4.16)

Event Comment: [Full column in Daily Advertiser describing Barry's and Mrs Macklin's acting techniques.] Barry from the Theatre in Dublin, perform'd the part of Othello, at Drury Lane, before a numerous and polite audience; and met with as great Applause as could be express'd.--General Advertiser, 6 Oct. Thomas Gray to Horace Walpole: You have probably been there since I left you, and consequently have seen the Mr Barry you desired some account of; yet as I am not certain of this and should be glad to know whether we agree about him, I will nevertheless tell you what he is, and the impression he made upon me. He is upwards of six feet in height; wdll and prortionably made, treads well and knows what to do with his limbs; in short a noble graceful figure. I can say nothing of his face but that it was all black, with a wide mough and good eyes. His voice is of a clear and pleasing tone, something like Delane's, but not so deep-mouthed, not so like a passing bell. When high strain'd it is apt to crack a little and be hoarse, but in its common pitch, and when it sinks into any softer passion, particularly expressive and touching. In the first scene, especially when he recounts to the Senate the progress of his love and the means he used to win Desdemona, he was quite mistaken, and I took a pique against him; instead of a cool narration he flew into a rant of voice and action, as though he were relating the circumstance of a battle that was fought yesterday. I expected nothing more from him, but was deceiv'd: in the scenes of rage and jealousy he was seldom inferior to Quin in the parts of tenderness and sorrow far above him. These latter seem to be his peculiarly; his action is not very various, but rarely improper, or without dignity, and some of his attitudes are really fine. He is not perfect to be sure, but I think may make a better player than any now on the stage in a little while. However, to see a man in one character, and but once, is not sufficient, so I rather ask your opinion by this, than give you mine.--Horace Walpole's Correspondence with Thomas Gray, II, 6-7

Event Comment: Mainpiece: Not acted these 5 years [acted 16 Jan. 1789]. Afterpiece [1st time at a public theatre (1st acted at Lord Barrymore's private theatre at Wargrave, 13 Apr. 1791); P 2, by Carlo Antonio Delpini. Not published]: With entire new Music, Scenery, Machinery, Dresses, and Decorations. The Music composed by Baumgarten. The Scenes painted by Richards, Hodgins, Pugh, Walmsley, and other assistants. Books of the Songs [W. Woodfall, 1791] to be had at the Theatre. Nothing under Full Price will be taken. "The Piece was last night very incorrectly exhibited...The scenes of the destruction of the cottage by fire, the view of Strawberry-hill, and Blue Beard's infernal palace...are worthy of commendation. The last scene was not grand enough: the wings were by no means in unison" (Public Advertiser, 22 Dec.). Receipts: #279 13s. (249.19; 29.14)

Event Comment: Mainpiece [C 5, by the Hon. Henry Seymour Conway, adapted from Les Dehors Trompeurs; ou, L'Homme du Jour, by Louis de Boissy; incidental music by Michael Kelly. Prologue by the author. Epilogue by John Burgoyne (see text)]: 1st time at a public theatre. With new Scenes and Dresses. [This was 1st acted on 31 May 1788 at the private theatre in the town house of the Duke of Richmond, which was situated on what is now Richmond Terrace, Whitehall. It was demolished in 1819.] Diary, 16 June 1789: This Day is published False Appearances (1s. 6d.). Receipts: #138 3s. (114.15.0; 22.5.6; 1.2.6)

Event Comment: According to the Flying Post, 18-20 Oct. 1698: On Tuesday October 18, 1698, the Penny Lottery began at the Theatre Royal in Dorset Garden with the first draw. [On 28 Sept. 1698 James Brydges, Diary reported that he had gone into dg to see the "engine" for the lottery.] The Post Boy, 18-20 Oct. 1698: There is now Acting at the Theatre Royal in Dorset Garden a Tragy-Comedy called The Wheel of Fortune, or The Fools Expectation. And 'tis thought the Author will have a good Sixth Day. According to the Post Boy, 20-22 Oct. 1698: On Monday next will be publish'd, a Comical and Satirical Prologue and Epilogue, intended to be spoken at the Acting of the new Invented Farce, call'd, the Wheel of Fortune, or the Fools Expectation. [The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 305-10.] It seems probable that the lottery was dignified, for satiric purposes, by being given the title of a play, with a satirical Prologue and Epilogue. Post Man, 20-22 Oct. 1698: The Entertainment performed at the Theatre Royal in Dorset Garden, at drawing the Lottery, called the Wheel of Fortune; being the Speeches addrest to the Spectators, as Prologues and Epilogues. During a Symphony of Musick the Curtain rises slowly, and discovers two wheels upon the Stage; then two Figures, representing Fortunev and Astraea the Goddess of Justicev, descend over each Wheel, in two rich Chariots gilt with Gold

Event Comment: The King's Theatre having been rented to the Proprietors of Drury-Lane House, with a reserve of the Nights for the Italian Opera to be carried on there for the Opera Trust, the Drury-Land Patent will in future be moved on Tuesdays and Saturdays to the Theatre Royal, Hay-Market, where all old and new Renters, claiming under the Drury-Lane Patent, will be entitled to Free Admission, and to their Rights for each Night of Performance. Half Price not being taken at this Theatre, the Performances will be reduced to the old established Prices. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places for the Boxes in the Theatre Royal, Hay-Market, to be taken at Fosbrook's Office at the King's Theatre as usual. [Mainpiece in place of Cymon; afterpiece of The Patron, both advertised on playbill of 25 Jan.] Receipts: #140 11s. (139.0; 1.11)

Event Comment: Benefit Mrs Clive. Mainpiece: Never acted there Before. Amphitheatre on stage [see 12 March]. Mainpiece: By Command of their Royal Highnesses the Prince and Princess of Wales. Tickets and places of Mrs Clive at her house in Great Queen St., Lincoln's Inn Fields; or of Page at the stage door of the theatre. Last Night their Royal Highnesses the Prince and Princess of Wales were at the Theatre Royal in Covent Garden to see the Merchant of Venice; when the Song of Britons strike home was commanded to be sung, which was accordingly done, with the Chorus's, accompanied by Trumpets, Kettle-Drums, etc. and met with the Greatest Applause.--General Advertiser, 14 March. [The notice about Miss Edwards' first attempt means in an acting role; she was a singer.

Event Comment: Mainpiece: By Desire. His Royal Highness the Duke of Cumberland was at the Theatre Royal in Drury Lane, to see the tragedy of The Orphan; being the first time of his Royal Highness's being at either of the Theatres since his indisposition (General Advertiser, 4 Jan.). Receipts: #180 (Cross)

Event Comment: Mainpiece [1st time in London; T 3, by William Hayley, 1st acted at Chichester, late in May 1784. Text in his Plays . . . for a Private Theatre (T. Cadell, 1784). Prologue by George Colman, the elder (European Magazine, Aug. 1784, p. 165). Contrary to the usual custom on the 1st night of a new play, the parts on this occasion are assigned]. "Palmer had done with Lord Russel as he did with many other characters, that is, totally neglected to study the words of the part . . . Whenever he felt himself at a loss he dexterously introduced some passages from The Earl of Essex, which he contrived to fit into the cues received by Lord Russel." His brother, R. Palmer, who told this anecdote to Boaden, said that the audience suspected nothing amiss (Boaden, Kemble, I, 193)

Event Comment: Benefit for Palmer. Mainpiece [1st time; C 3, by William Hayley. Text in his Plays . . . for a Private Theatre (T. Cadell, 1784). Prologue by George Colman, the elder. Epilogue by Edward Topham (Gazetteer, 13 Sept., which also gives the names of the speakers). The parts are assigned (see 18 Aug.)]: A new Comedy, in Rhyme

Event Comment: Benefit for Bannister. [Wathen had 1st appeared in London at Lord Barrymore's private theatre, Savile Row, 22 July 1790.] Morning Herald, 16 Aug.: Tickets to be had of Bannister, No. 7, Suffolk-street