Event Comment: [In mainpiece the playbill assigns Ferdinand to Johnstone, but "The sudden illness of Johnstone gave much dissatisfaction, though Cubitt did all in his power to supply his place" (Town and Country Magazine, Sept. 1785, p. 451). William Palmer was from the Norwich theatre; Meadows from the HAY.] The Doors to be opened at 5:30. To begin at 6:30 [see 14 Nov.]. Places for the Boxes to be taken of Brandon, at the Stage-Door. [No playbill this season lists the various prices of admission; they were probably, as usual: Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s.] The Alterations and Improvements in the Theatre this Season are made by Richards, and executed under his Superintendance by Catton and others. [Public Advertiser, 22 Sept., notes that these improvements consisted of the enlargement of the boxes, in which "the seats are formed into recesses which communicate with the other boxes"; all the pillars, "even those of iron in the back boxes [being] capped, cased, fluted and gilt"; the front of the boxes and galleries being newly painted a "warm lilac"; the back of the boxes being wainscotted and painted crimson.] Paid Charewomen for cleaning Theatre #13 0s. 6d. Receipts: #214 2s. 6d. (210/10/0; 3/12/6)

Event Comment: Mainpiece: Sir Richard Steele's Comedy. Never acted at this theatre [acted 17 Mar. 1760, and advertised for performance on 10 Apr. 1764]. Receipts: #229 8s. 6d. (213.19.6; 15.9.0)

Event Comment: Afterpiece: Written by the Author of Rosina [Frances Brooke]. The Music by Shield. With entire new Scenes painted by Richards. Books of the Songs to be had at the Theatre. Receipts: #207 9s. 6d. (197.9.0; 10.0.6)

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: by Sir Richard Steele. Receipts: #230 2s. (213.7; 16.15)

Event Comment: Mainpiece: By Sir Richard Steel. Receipts: #122 6s. 6d. (112.3.6; 10.3.0)

Event Comment: Afterpiece [1st time; BALL. P 1, by James Byrne. MS of Songs only: Larpent MS 919; synopsis of action in Universal Magazine, Oct. 1791, p. 308]: Taken from Ossian. With new Music, Airs, Chorusses, new Scenery, Dresses, and Decorations. The Ballet composed by Byrne. The new Music composed, and the Ancient Scots Music selected and adapted by Shield. The Overture by Reeve. The Scenery by Richards, Hodgins, Pugh, &c. &c. The Dresses by Dick. Books of the Songs, &c. to be had at the Theatre. [For Harp and Pipes see 24 Oct.] Account-Book, 22 Nov.: Paid Byrne for Oscar & Malvina #50; 8 Dec.: Paid Mad. St.Amand expenses from Paris to London #14 6s. 8d. Receipts: #182 16s. 6d. (177.13.6; 5.3.0)

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: Benefit for Mme Banti. A New Serious Opera [1st time; SER 2]. The Poetry by Metastasio, and the Music entirely new, composed by an English Gentleman [Richard Edgcumbe, Earl of Mount-Edgcumbe], who has obligingly lent Mme Banti the Score, and kindly consented to its being represented upon that occasion. Tickets to be had of Mme Banti, No. 24, St. Alban's-street. "Having granted the use of this opera to Banti only, I withdrew it immediately, and would not permit it to be again represented for the manager, who requested to have it. After this, Roselli sung no more, nor had we ever another soprano [i.e. castrato] at the opera [until 1825]" (Mount-Edgcumbe, 88)