Event Comment: [Afterpiece in place of The Divorce, announced on playbill of 14 Oct.] Receipts: #247 4s. 6d. (228/1/0; 18/16/0; 0/7/6)

Event Comment: Receipts: #85 17s. (53/17; 31/10; 0/10)

Event Comment: Receipts: #253 13s. 6d. (237/5/0; 15/18/6; 0/10/0)

Event Comment: Receipts: #244 6s. (223/0; 20/14; 0/12)

Event Comment: Receipts: #242 10s. 6d. (217/5/0; 24/18/0; 0/7/6)

Event Comment: By Command of Their Majesties. Receipts: #249 17s. (239/7/0; 9/18/6; 0/11/6)

Event Comment: "I have been for two days in town, and seen Mrs Siddons . . . She is a good figure, handsome enough, though neither nose nor chin according to the Greek standard, beyond which both advance a good deal. Her hair is either red, or she has no objection to its being thought so, and had used red powder. Her voice is clear and good; but I thought she did not vary its modulations enough, nor ever approach enough to the familiar--but this may come when more habituated to the awe of the audience of the capital. Her action is proper, but with little variety; when without motion, her arms are not genteel ... I treated my eyes, not only with Mrs Siddons but a harlequin farce. But there again my ancient prejudices operated: how unlike the pantomimes of Rich, which were full of wit, and coherent, and carried on a story! What I now saw was Robinson Crusoe: how Aristotle and Bossu, had they ever written on pantomimes, would swear! It was a heap of contradictions and violations of the costume. Friday is turned into Harlequin, and falls down at an old man's feet that I took for Pantaloon, but they told me it was Friday's father. I said, 'Then it must be Thursday'" (Walpole [3 Nov. 1782], XII, 356-57, 359). Receipts: #241 6s. (222/4/0; 18/15/6; 0/6/6)

Event Comment: Receipts: #75 8s. 6d. (63/1/0; 11/18/0; 0/9/6)

Event Comment: [For afterpiece see also 20 Sept.] The Doors to be opened at 5:15. To begin at 6:15 [see 3 May 1783]. Receipts: #246 8s. (213/19/0; 31/9/6; 0/19/6)

Event Comment: Afterpiece [1st time; mf 2, by John Dent. Prologue by the author (see text)]: A new Overture and Songs by Hook. Account-Book, 19 Nov.: Paid Dent for his farce #100. Receipts: #84 17s. (53/14; 30/18; 0/5)

Event Comment: [In afterpiece the playbill retains Miss Collett, but on the Kemble playbill a MS annotation substitutes Miss Simson.] "Since the first performance, the scene of the Physicians has been judiciously struck out [of afterpiece]" {Universal Magazine, Nov. 1782, p. 254.) Paid Pemberton for copying parts #2. 3s. 6d. Receipts: #232 0s. 6d. (207/17/0; 23/12/0; 0/11/6)

Event Comment: Receipts: #235 10s. 6d. (214/8/0; 19/16/6; 1/6/0)

Event Comment: Receipts: #225 10s. (194/16; 30/1; 0/13)

Event Comment: "The Ring, to talk of [Mrs Siddons in] this Scene, would be Actum agere--almost every Body has seen it, and every one who has seen it must have felt, to their Heart's Core. As much ought to be said of some other Parts of the Play, viz. the Look at the Child, when she gives her Hand to Villeroy!, Her expressive Deportment at the Banquet!, Her Fainting!, Her Death! To all and each of these we desire the Printer not to omit, what they so potently demand, the Note of Admiration!!!" (Public Advertiser, 15 Nov.). Receipts: #249 2s. 6d. (228/7/0; 19/17/0; 0/18/6)

Event Comment: Benefit for the Author of the Farce. Receipts: #121 4s. 6d. (84/13/0; 36/9/0; 0/2/6; tickets: none listed) (charge: none listed)

Event Comment: By Command of Their Majesties. Receipts: #237 15s.6d.(223/13/0; 13/17/6; 0/5/0)

Event Comment: Receipts: #246 14s. (223/16/0; 21/15/6; 1/2/6)

Event Comment: Receipts: #243 11s. (220/7/0; 22/5/6; 0/18/6)

Event Comment: [In afterpiece the playbill retains Parsons as Davy, but on the Kemble playbill his name is deleted, and a MS annotation substitutes Suett's.] Receipts: #246 4s. (210/5/0; 34/7/6; 1/11/6)

Event Comment: Mainpiece: With Accompaniments to the Airs composed by Linley [Sen.]. Receipts: #67 17s. 6d. (41/19/0; 25/17/6; 0/1/0)