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: Account-Book, 13 Feb.: Received from John Ashley Oratorio rent #52 10s. [i.e. for every performance]

Event Comment: Benefit for Bannister Jun. 1st piece [1st time; MD 2, by Samuel Birch]: The Musick by Attwood. Books of the Songs to be had in the Theatre. 2nd piece [1st time; INT 1, by George Colman, ynger. This was the 1st scene from Colman's New Hay at the Old Market, slightly revised; in subsequent seasons it was acted under the title of Sylvester Daggerwood]: By Permission of the Proprietor of the Theatre Royal Hay-Market. 3rd piece: With a Sea Fight. [The playbill assigns Sneer to Palmer, but "The Public are most respectfully informed that Palmer being too ill to perform this Evening, the character of Sneer will be attempted by Benson, who humbly hopes for their usual indulgence" (printed slip attached to Kemble playbill).] Oracle, 4 Apr.: Tickets to be had of Bannister Jun., No. 65, Gower-street, Bedford Square. Receipts: #613 12s. (332.0.6; 45.19.6; 4.3.0; tickets: 231.9.0) (charge: #221 19s.)

Event Comment: Benefit for the Widow and Three Orphan Children of the late Mr Benson. [Address by John Taylor, Poems, I, 62.] "Benson [who committed suicide on 19 May] was remarkable for a very retentive memory, which enabled him on the slightest notice to become a substitute for almost any performer who might be suddenly disabled from appearing" (European Magazine, June 1796, p. 397). The house was a very good one, but it has been said that Sheridan went to the Treasury and carried off the money, so that Benson's widow and children never got a sixpence" (Genest, VII, 245). Receipts: #678 10s. 6d. (319.8.0; 66.3.6; 2.19.0; tickets: 276.6.0; odd money: 13.14.0) (charge: #212 15s.)

Event Comment: [As afterpiece the playbill announces Olympus in an Uproar, but it "was obliged to be postponed, on account of the sudden indisposition of Mrs Martyr. The change was announced in bills published at a late hour, and the door-keepers were ordered to acquaint the audience as they entered of the change. This information ought to have been given from the stage; but instead of that decent ceremony the curtain drew up on Rosina. John Bull resented this want of respect, and made a tremendous clamour, which Incledon and Townsend in vain attempted, by repeated apologies, to allay. At last, however, the storm gradually subsided, and Rosina was suffered to warble her mellifluous tones" (True Briton, 14 Nov.).] Receipts: #199 4s. (193.6; 5.18)

Event Comment: Mainpiece [1st time; T 5, by Robert Jephson, based on La Clemenza di Tito. by Pietro Bonaventura Trapassi? Metastasio. Text (unauthorized), Dublin: John Archer, 1796; it assigns no parts. Authors of Prologue and Epilogue unknown]: The Scenery by Marinari. Receipts: #237 10s. (169.18; 64.12; 3.0)

Event Comment: Mainpiece: Not acted these 9 years. [Mrs Worthington is identified in MS list in Kemble playbills of new performers for this season.] Ballet: 1st time; composed by Giacomo? Gentili. Afterpiece [1st time: ENT 1, by Richard Brinsley Sheridan; acted in place of The Prize, advertised on playbill of 4 Mar. Text (C. Lowndes, 1797)]: Altered from a Dramatick Entertainment performed 1794 [The Glorious First of June]. In the course of which will be introduced a representation of the late Glorious Engagement between the British and Spanish Fleets on the Fourteenth of February [1797, under Sir John Jervis, off Cape St. Vincent]. Receipts: #253 9s. (151.2.6; 100.17.0; 1.9.6)

Event Comment: [Address by John Taylor (see text).] Receipts: #236 17s. (229.5; 7.12)

Event Comment: Mainpiece [1st time; C 5, by Frederick Reynolds. Prologue by John Taylor. Epilogue by Miles Peter Andrews (see text; although Boaden, Jordan, I, 286 says the Epilogue was by Samuel Rogers, being the same as that spoken on 27 Apr. 1795)]: With new Scenes, Dresses, and Decorations. [Afterpiece in place of No Song No Supper, advertised on playbill of 18 Apr.] Morning Herald, 29 Apr. 1797: On Monday [1 May] will be published The Will (2s.). Account-Book: Reynolds to receive #33 6s. 8d. for every night of The Will. Receipts: #413 4s. (344.12.6; 63.16.6; 4.15.0)

Event Comment: By Authority of the Lord Chamberlain. Under the Patronage of His Royal Highness the Prince of Wales, and His Royal Highness the Duke of Clarence. Benefit for the Unfortunate Sufferers in the Glorious Action between Sir John Jervis, and the Spanish Fleet, off Cape St. Vincent [on 14 Feb. 1797]

Event Comment: [Extra night] By Permission of the Lord Chamberlain. Benefit the Widow of a Baronet [Sir Richard Perrott] and a large Infant Family. [Address by John Taylor (True Briton, 21 Sept.).] Tickets to be had of the Widow, No. 28, Spring-street, Portman-square [and see 28 Jan. 1799]

Event Comment: Mainpiece [1st time; C 5, by Frederick Reynolds. Prologue and Epilogue by John Taylor (see text)]: With new Scenes, Dresses, and Decorations. Morning Herald, 3 Nov. 1797: This Day is published Cheap Living (2s.). Receipts: #348 14s. 6d. (283.4.0; 62.18.6; 2.12.0)

Event Comment: Under the Patronage of H. R. H. the Prince of Wales, H. R. H. the Duke of York, and H. R. H. the Duke of Clarence. Benefit for a Fund for the Relief of the Wounded Seamen, and also for the Widows and Orphans of the Brave Men who fell in the late Glorious Action, under Admiral Lord Viscount Duncan [see 16 Oct.]. The Tickets for the Boxes are issued under the Direction of a Committee consisting of the following Noblemen and Gentlemen, who have obligingly undertaken to attend to the arrangement of the Evening: The Duke of Leeds, The Duke of Bedford, The Earl of Guildford, The Earl of Thanet, The Right Honorable the Lord Mayor [Brook Watson], Mr Alderman Combe, M. P., Mr Alderman Skinner, John Julius Angerstein, Esq. Tickets and Places for the Boxes not disposed of by the Committee to be had of Fosbrook at the Box Office, Little Russell-Street, and at the Bar of Lloyds Coffee House. Ladies and Gentlemen having Privilege of the Theatre are requested by the Stewards to waive the use of it for this Evening. [Address by Richard Cumberland (European Magazine, Nov. 1797, p. 339). True Briton. 23 Nov. 1797, prints a letter from the Chairman of Committee of Subscribers to the performers of the theatre, thanking them for not "accepting the usual emolument on the night of performance."] Receipts: #631 8s. (357.17.6; 57.4.6; 1.11.0; money extra left at the doors: 2.14.6; tickets: 212.0.6) (charge: #161 0s. 6d.)

Event Comment: Afterpiece [1st time; MD 2, by George Colman, ynger, based on Raoul Barbe Bleue, by Michel Jean Sedaine (although, in the 1st edition of the play, this denied by Colman). Text (Cadell and Davies, 1798)]: The Scenery, Machinery, Dresses, and Decorations entirely new. The Musick composed and selected [from Paisiello] by Kelly. The Scenes designed and executed by Greenwood? Jun, Chalmers, and others. The Machinery, Decorations, and Dresses designed and under the direction of Johnston, and executed by him, Underwood, Gay, and Miss Rein. Books of the Songs to be had in the Theatre. Times, 8 Feb. 1798: This Day is published Blue Beard (1s. 6d.). "In the course of the representation, many blunders in working the scenery, which are unavoidable in a first representation of this nature, occurred, and the delays which took place were frequently very great...It was twelve o'-clock before the curtain dropped...The Expense of getting it up is said to be not less than #2,000" (London Chronicle, 18 Jan.). Proud swells the tide, with loads of capering heels, And vacant Folly shouts applause in peals; Hoards, even beyond th miser's wish, are thrown, To deck some sham farago for the town...Money for dresses, money for new scenes, New music, decorations, and machines; The cost of these, including every freak, Would pay ten decent players four pounds a week. Anthony Pasquin (pseud. for John Williams), "Innovation," in The Devil [1787], II, no. 2, 46. Receipts: #319 14s. 6d. (216.17.6; 102.2.0; 0.15.0)

Event Comment: Mainpiece [1st time; C 5, by Thomas Holcroft, adapted from Le Complaisant, by Antoine de Feriol comte de Pont-de-Veyle, and from Clavigo, by Johann Wolfgang von Goethe. It has been attributed to John Fenwick (Genest, VII, 360-61; London Chronicle, 14 Feb. 1798). But for Holcroft's acknowledgment of authorship see his Life, ed. Elbridge Colby, 1925, II, 170. Author of Prologue unknown. Epilogue by the author (Knapp, p. 88)]. Times, 12 Apr. 1798: This Day will be published He's Much to Blame (2s.). "Mrs Mattocks has of late habituated herself to a constant titter, which destroys the effect of her best scenes" (Times, 14 Feb.). Receipts: #249 1s. (240.5; 8.16)

Event Comment: 3rd piece [1st time; MF 2, by George Moultrie. Larpent MS 1199; not published; synopsis of plot in Morning Herald, 18 Mar. Prologue by John Taylor (Poems, I, 97)]: The Music composed by Attwood. Books of the Songs to be had at the Theatre. Receipts: #250 14s. (243.16; 6.18)

Event Comment: Benefit for Holman. 2nd piece [1st time; D 5, by Joseph Trapp, adapted from Siri Brahe; oder, Die Neugierigen, by J. A. Gruttschreiber, itself a translation of Siri Brahe, by Gustavus III. Larpent MS 1206; not published. Prologue and Epilogue by John Taylor (Poems, I, 56-57)]: Written by the Late King of Sweden. Times, 28 Mar.: Tickets to be had of Holman, No. 73, New-street, Hanover-square. Receipts: #231 16s. (138.12.0; 4.10.6; tickets: 88.13.6)

Event Comment: Benefit for Bannister. 3rd piece [1st time: INT 1. Larpent MS 1218; not published]: A Sequel [to Sylvester Daggerwood], written by John? O'Keeffe. Times, 24 May: Tickets to be had of Bannister, No. 7, Suffolk-street, Haymarket. Receipts: #318 17s. (86.6.0; 44.4.6; 2.0.6; tickets: 186.6.0, of which Bannister to pay for half over #100) (charge: none listed)

Event Comment: The last Night of the Company's performing this season. [This was John Palmer's last appearance in London. He died on the stage of the Liverpool theatre, while acting in The Stranger, on 2 Aug. 1798.] Receipts: #164 19s. (113.2.6; 50.9.0; 1.7.6)

Event Comment: Mainpiece [1st time; D 5, by Elizabeth Inchbald, adapted from Das Kind der Liebe, by August Friedrich Ferdinand von Kotzebue. Prologue by John Taylor; Epilogue by Thomas Palmer (see text)]. Afterpiece [1st time; MF 2, by Charles Smith]: The Music composed by Attwood. The Overture accompanied on the Harp by Weippert. Morning Herald, 28 Nov. 1798: This Day is published Lovers' Vows [sic] (2s.). Times, 26 Oct. 1798: This Day is published A Day at Rome (1s.). Receipts: #197 15s. 6d. (194.3.6; 3.12.0)

Event Comment: Afterpiece [1st time; M. INT 1, by Thomas John Dibdin. Prologue by Richard Cumberland (see text)]: The Overture and Music composed by Attwood, with some favorite Selections from the Works of Dibdin and Mazzinghi. Books of the Songs, including a descriptive Sketch of the Ballet, to be had at the Theatre. Morning Herald, 5 Nov. 1798: This Day is published The Mouth of the Nile (1s.). Receipts: #309 3s. 6d. (303.0.6; 6.3.0)

Event Comment: Afterpiece [1st time in London; F2, by Thomas John Dibdin, 1st acted at Maidstone, 12 July 1798]. Receipts: #286 3s. (279.13; 6.10)

Event Comment: Afterpiece [1st time; MD 3, by Samuel Birch, adapted from Camille; ou, Le Souterrain, by Benoit Joseph Marsollier des Vivetieres, and from Les Victimes Cloitrees, by Jacques Marie Boutet de Monvel; the songs written by Thomas John Dibdin. Larpent MS 1236; not published. The playbill states that this was "Taken from the German," but London Chronicle, 12 Dec., says that its source is the same as that of The Captive of Spilburg (see dl, 14 Nov.). An examination of the MSS of these two pieces (Larpent 1230 and 1236) proves that such is unmistakably the case]: With entire new Scenes, Machinery, Dresses & Decorations. The Music composed and selected by Steibelt and Attwood. The Action of the Chorusaes, Finales, &c. under the Direction of Farley, and the Action of the Overture by Bologna Jun. A new Descriptive Overture, composed by Steibelt, on a Plan never before introduced on the English Stage, accompanied by Action. "The overture is...nothing more than music adapted to pantomime; and, in the present instance, the dumb shew is an unnecessary anticipation of the procession with which the piece opens" (Monthly Mirror, Dec. 1798, p. 369). The Scenery painted by Richards, Phillips, Lupino, Hollogan, Blackmore, &c. The Dresses by Dick and Mrs Egan. Books of the Songs to be had at the Theatre. Receipts: #338 17s. 6d. (325.14.6; 13.3.0)