Event Comment: Mainpiece: Written by the author of Percy [Hannah More]. 5th time [i.e. in continuation of the reckoning for the previous season.Prologue by the author. Epilogue by Richard Brinsley Sheridan (see text).] Receipts: #121 (118.1; 2.19)

Event Comment: Afterpiece: Not acted these 13 years [acted 5 May 1770]. With Alterations and 3 entire new Scenes [by Richard Brinsley Sheridan; and new music by Thomas Linley Sen.]. To conclude with a Representation of the Storming of Fort Omoa in the Bay of Hondurasv [when it was captured by the British from the Spaniards on 26 Oct. 1779. This scene was included in all subsequent performances]. The View and Machinery designed by DeLoutherbourg and executed under his direction. With New Dresses and Decorations. "The scenemen blundered egregiously all through the entertainment. During the siege of the fort so much gunpowder was fired off that the stage was so filled with smoke that the officers, men, were scarcely discernible from the boxes" (London Chronicle, 4 Jan.). Receipts: #203 2s. 6d. (154.7.0;47.17.0; 0.18.6)

Event Comment: Mainpiece [1st time; CO 5, by Richard Cumberland. Larpent MS 508, which also lists the following parts: Marsyas, Gumias, Chloris. Text not published; synopsis of plot in London Chronicle, 2 Feb. Songs published, without listings parts (G. Kearsley, 1780)]: With new Scenes, Dresses and Decorations. The Songs set to music and a new Overture by Butler. Book of the Songs to be had at the Theatre. Public Advertiser, 1 Feb. 1780: This Afternoon is published the Songs in The Widow of Delphi (6d.). Receipts: #228 4s. 6d. (227.4.6; 1.0.0)

Event Comment: Mainpiece: With alterations [by Richard Brinsley Sheridan]. Receipts: #168 12s. (124.4.0; 42.5.6; 2.2.6)

Event Comment: Benefit for Wilson. 1st piece [1st time; PREL I, probably by Richard Wilson, altered from Illumination, by Frederick Pilin. Author of Epilogue unknown]. 2nd piece: Not acted these 28 years [acted 9 May 1763]. 3rd piece [1st time; F 2, by Henry Man. Text 1st published in his Miscellaneous Works, 1802, Vol. II, which does not assign the parts, and also lists Mr Carlton, Ralph, Butler. Prologue by the author (London Chronicle, 3 May)]. Public Advertiser, 15 Apr.: Tickets to be had of Wilson, at Stars Acres, upper end of Bow Street. Receipts: #277 19s. 6d. (13.4.6; tickets: 140.15.0) (charge: #105)

Event Comment: [Mainpiece in place of Fatal Falshood, announced on playbill of 24 Apr.,] Afterpiece [1st time; MF 2, by Frederick Pilon]: The new Songs and Overture composed by Shield. The new Scenes by Richards and Carver. With a view of the English and Spanish Fleets entering the Bay. [This notice is included in all subsequent playbills.] Public Advertiser, 25 Apr. 1780: This afternon is published the Songs in The Siege Of Gibraltar (6d.). Ibid, 3 May 1780: This morning is published The Siege Of Gibraltar (1s.). Receipts: #168 5s. (166.4; 2.1)

Event Comment: Benefit for Richard Brinsley Sheridan [who is named in the Account-Book, but not on the playbill]. Afterpiece: With a Sea Fight and Procession. [These were included in all subsequent performances.] The Scenery designed by De Loutherbourg, and executed under his direction. Receipts: #236 3s. 6d. (200.17.0; 35.0.0; 0.6.6; tickets: none listed) (charge: #73 10s.)

Event Comment: Afterpiece [1st time; P 2 (?), by Charles Dibdin and James Messink; synopsis of plot in London Chronicle, 30 Dec.]: To conclude with a Procession of the principal Grand Masters, from the Creation to the present Century, dressed in the Habits of their respective Ages and Countries. With new Music [by Charles Dibdin], Scenes, Dresses, Pageants, and Decorations. The paintings executed by Richards, Carver, Hodgins, and assistants. Books of the Songs, with an Explanation of the Pageants, to be had at the Theatre. Nothing under full Price will be taken. "To give magnificence a meaning, and unite antiquarian knowledge with polite entertainment, was a task hitherto unattempted by the contrivers of our Pantomime exhibitions. Such praise, however, the acting manager of Covent Garden theatre may justly claim, on the score of Harlequin Free-Mason, which is now representing before greater crowds than perhaps were ever attracted by Perseus and Andromeda [in 1730], the Rape of Proserpine [in 1727], or the celebrated Sorcerer [i.e. The Magician, in 1721]. The beauty of the first scene, in which a setting sun is admirably contrived, the Dutch winter piece, with numberless skate[r]s moving in the most natural attitudes, and, above all, the imperfect building, finished in a moment at the command of Harlequin, can be exceeded only by the pomp of the historic procession which closes the whole, and offers the richest and most intelligent spectacle that ever yet appeared on an English stage" (Gentleman's Magazine, Feb. 1781, pp. 58-59, which also prints a detailed description of the pageant). Account-Book, 1 Feb.: Paid Dibdin for music of Harlequin Free-Mason #70. Receipts: #236 2s. (230.3; 5.19)

Event Comment: Afterpiece [1st time; P 2, by Richard Brinsley Sheridan; music by Thomas Linley Sen.]: With entire new Scenery, Machinery, Dresses, and Decorations. The Scenery designed by DeLoutherbourg, and executed under his Direction. Nothing under Full Price will be taken. Receipts: #257 19s. (249.16; 8.3)

Event Comment: Mainpiece [1st time; C 5, by Hannah Cowley. Larpent MS 548; not published. On 24 Mar. altered by the author as Second Thoughts are Best. Prologue by Richard Josceline Goodenough (Public Advertiser, 8 Mar.). Author of Epilogue unknown]: With New Scenes and Dresses. Receipts: #226 15s. 6d. (224.3.0; 2.12.6)

Event Comment: Afterpiece [1st time; past 2, by Richard Tickell]: Altered from [the same, by] Allan Ramsay. [MS not in Larpent; not published.] With the original Airs, new Accompaniments, and a new Overture [by Thomas Linley, Sen.]. Books of the Songs to be had at the Theatre. "The above Opera, written by Allen Ramsay, has been long and justly admired, but by those only whose knowledge of the Scottish dialect has enabled them to judge of its excellencies. That an English audience might become partakers of this entertainment seems to have been the laudable design of the Dramatist, Mr Tickel, in now divesting it of its numerous provincialities, grown almost obsolete, even in Scotland, at this distant period . . . The characters were drest with a rustic simplicity, which, tho' not exactly characteristic of the Highland manner, were perfectly Pastoral" (Universal Magazine, Nov. 1781, p. 237). Receipts: #202 9s. 6d. (167/18/0; 33/3/0; 1/8/6)

Event Comment: Mainpiece [1st time; T 5, by Robert Jephson. Prologue by the author (Gentleman's Magazine, Jan, 1782, p. 36). Another Prologue, by the Right Hon. Luke Gardiner, "not arriving in London time enough for the first exhibition of the Count of Narbonne, was not spoken" (ibid.). Epilogue by Richard Josceline Goodenough, but beginning with 20 Nov. it was superseded by a new Epilogue written by Edmond Malone (see text)]: With new Scenery and Dresses. Public Advertiser, 1 Nov.: The Management of The Count of Narbonne is . . . under very good Care: Mr Horace Walpole, with a Fondness nothing less than fatherly, directs that part of the Affair which respects the Scenes and Dresses, while Henderson takes Charge of the Rehearsals and the casting of inferior Parts... [Henderson] is to wear a Dress which is lent him from among the Antiquities at Strawberry Hill. "I have been at the theatre, and compromised the affair of the epilogues: one is to be spoken to-morrow, the friend's on the author's night. I have been tumbling into trap-doors, seeing dresses tried on in the green-room, and directing armour in the painting-room" (Walpole [16 Nov. 1781], XII, 95). "I never saw a more unprejudiced audience, nor more attention. There was not the slightest symptom of disapprobation to any part ... It is impossible to say how much justice Miss Younge did to your writing. She has shown herself a great mistress of her profession, mistress of dignity, passion, and of all the sentiments you have put into her hands. The applause given to her description of Raymond's death lasted some minutes, and recommenced; and her scene in the fourth act, after the Count's ill-usage, was played in the highest perfection. Mr Henderson was far better than I excepted from his weakness, and from his rehearsal yesterday, with which he was much discontented himself. Mr Wroughton was very animated, and played the part of the Count much better than any man now on the stage would have done. I wish I could say Mr Lewis satisfied me; and that poor child Miss Satchell was very inferior to what she appeared at the rehearsals, where the total silence and our nearness deceived us. Her voice has no strength, nor is she yet at all mistress of the stage. I have begged Miss Younge to try what she can do with her by Monday. However, there is no danger to your play: it is fully established" (Walpole [to the author, 18 Nov. 1781], XII, 95-96). Public Advertiser, 28 Nov. 1781: This Day is published The Count of Narbonne (price not listed). Receipts: #164 10s. 6d. (163/0/6; 1/10/0)

Event Comment: [Miss Cleland, who was from the Edinburgh theatre, is identified in Lysons, Collectanea. Cleland was a stage name; her real name was Buttery.] Afterpiece [1st time; P 2, by James Messink]: To conclude with an exact Representation of the Procession at an Eastern Marriage [based on sketches made in India by Tilly Kettle, the portrait painter (Theatre Notebook, VIII, 6)]. The Scenery by Richards, Carver, Hodgins, Cipriani, Catton and others. The Music composed by [Michael] Arne. The Pantomime by Messink. Books of the Songs to be had at the Theatre. Nothing under Full Price will be taken. Public Advertiser, 12 Jan. 1782: The Openings between every Scene and all internal parts of the Theatre are now so crouded by people absolutely necessary in one character or another that were they not judiciously arranged and marshalled, they would stand in each other's way, and create inextricable confusion. All that appears before an Audience as moving with the ease, regularity and promptitude of clock-work is the result of much Contrivance and many exertions of bodily Labour. Ibid, 16 Feb. 1782: This Day is published The Choice of Harlequin (1s.). Receipts: #270 19s. (265/15; 5/4)

Event Comment: Benefit for Zuchelli, Delpini & the Miss Stageldoirs. Mainpiece: With Alterations [by Richard Brinsley Sheridan]. Afterpiece [1st time; P 2, author unknown]: The whole under the direction of Delpini and Zuchelli. The Music by the celebrated Chevalier Clough. An Historical Account of the Pantomime, with the Songs, may be had at the Theatre. Morning Herald, 27 Apr.: Tickets to be had of Zuchelli, No. 81, Hay-market; Ibid, 30 Apr.: of the Miss Stageldoirs at their house, No. 26, Crown-street, Little Russel-street, Covent-garden [Delpini not listed]. Receipts: #226 13s. (67/7; 28/12; 0/3; tickets: 130/11) (charge: #120 16s. 9d.)

Event Comment: Afterpiece: To conclude with an Exact Representation of the Procession at an Eastern Marriage. The Scenery by Richards, Carver, Hodgins, Cipriani, Catton and others. The Music composed by [Michael] Arne. Receipts: #218 11s. (214/1/6; 4/9/6)

Event Comment: In afterpiece, added, following Lord Mayor's Show: A New Historical Procession of the Several Companies, with their respective Pageants, and the Chief Magistrates belonging to the City of London, from its Foundation. The Scenes, Machinery and Decorations, both of the Pantomime and Procession, invented and designed by Richards, and executed by Him, Smirk, Hodgins, Catton, and others. Book of the Songs, with an Explanation of the Procession [reprinted in Public Advertiser, 21 Jan.], to be had at the Theatre. Public Advertiser, 21 Jan.: The glee is the composition of the late [Benjamin] Rogers (who lived in 1600); the other airs are by Handel, [the Earl of] Kelly, Abel, Stamitz, and Shield . . . More than 200 supernumeraries are employed to walk in the Procession. Receipts: #236 4s. 6d. (231/4/0; 5/0/6)

Event Comment: [Mainpiece in place of King Richard the Third, announced on playbill of 11 Feb.] Receipts: #112 5s. (103/9; 8/16)

Event Comment: Afterpiece: To conclude with an Exact Representation of the Procession at an Eastern Marriage. The Scenery by Richards, Carver, Hodgins, Cipriani, Catton, and others. The Music composed by [Michael] Arne. Paid Properties 19th Inst. 10s. 10d. Receipts: #261 9s. 6d. (260/4/6; r/5/0)

Event Comment: King Richard the Third [announced on playbill of 27 Dec] is obliged to be deferred on account of the Indisposition of a principal Performer. Receipts: #110 12s. (87/0/0; 19/0/0; 3/9/6; tickets not come on: 1/2/6)

Event Comment: [Mainpiece in place of Tamerlane, announced on playbill of 23 Dec] Afterpiece [1st time; P 2 (?), by Ralph Wewitzer and Frederick Pilon. MS not in Larpent; not published. Synopsis of action in Town and Country Magazine, Supp. 1784, p. 717]: With new Scenery, Music, Dresses and Decorations. The Scenes chiefly designed by Richards, and executed by him, Carver, Hodgins, and assistants. The Overture, Songs, Chorusses and the whole Music of the Pantomime new, and composed by Shield. Nothing under Full Price will be taken. The Words of the Songs, &c to be had at the Theatre. "The performance was such as the first performance of pantomimes generally--machinery and scenery not so perfectly executed as when practice has rendered the movements more familiar to those to whom they belong, which, as the beauty of a pantomime depends on the celerity and adroitness of the scene-men, it seldom is discovered on the first night" (Public Advertiser, 28 Dec)

Event Comment: [As afterpiece the playbill announces Richard Coeur de Lion, but because of "Mrs Jordan's sudden indisposition [it was changed] to The Humourist" (General Advertiser, 22 Nov.).] Receipts: #177 7s. 6d. (148.10.0; 27.8.0; 1.9.6)

Event Comment: Afterpiece [1st time; P 2, by Miles Peter Andrews. Larpent MS 752, as The Castle of Wonders; not published; synopsis of action in Morning Post, 27 Dec.]: With new Music, Scenes, Machinery, Dresses, and Decorations. A few of the Airs compiled from Purcell, Travers, Sacchini, &c. The Rest of the Music composed by Shield. The Scenery and Machinery designed by Richards and Carver, and executed by them, Hodgins, and many Assistants. To conclude with a Representation of the Inside of a Nabob's Palacev. Books of the Songs [which assign only Colombine ] to be had at the Theatre. Nothing under Full Price will be taken. Account-Book, 6 Mar. 1787: Paid Shield in full for Compositions #100. Receipts: #242 4s. (239.8; 2.16)

Event Comment: [The playbill announces Julia and Richard Coeur de Lion, but "Kemble was so ill that he could not appear...The substituted play was The Fair Penitent" (World, 17 Apr.), and "Harlequin's Invasion [was] substituted" (Morning Herald, 17 Apr.).] Receipts: #171 7s. 6d. (137.11.0; 31.18.0; 1.18.6)