Event Comment: Mainpiece [1st time; C 5, by Richard Cumberland. Authors of Prologue and Epilogue unknown] . Account-Book, 25 Sept. 1794: Paid Cumberland for The Jew #300. Morning Chronicle, 4 Oct. 1794: This Day is published THE JEW (1s. 6d.). Powell: The Quaker rehearsed at 10; The Jew at 11. Receipts: #401 17s. (344/3; 45/19; 11/15)

Event Comment: Mainpiece [1st time; C 5, by Richard Cumberland. Prologue and Epilogue by the author (Pocket Magazine, Mar. 1795, pp. 190, 191)]: With new Scenes, &c. Powell, 27 Feb.: Wheel of Fortune rehearsed at 11; 28 Feb.: Wheel of Fortune rehearsed at 10. "The character of Penruddock is [Kemble's] greatest performance, and I believe it to be a perfect one. It is admirable...because the very defect which hurts his general style of acting, that studious and important preciseness, which is affectation in all his other characters, contributes to the strength, to the nature of Penruddock" (Leigh Hunt, Critical Essays on the Performers of the London Theatres, 1807, p. 8). Receipts: #255 19s. (195.10; 57.15; 2.14)

Event Comment: 2nd piece [1st time; D 5, by Richard Cumberland. Prologue by the author; Epilogue by George Colman ynger (London Chronicle, 27 July). Larpent MS 1138; 1st published in Cumberland's Posthumous Dramatic Works, 1813, Vol. II, with unassigned casts listing Citizens.

Event Comment: Account-Book: Tickets delivered by Ledger, Claremont, Goostree. Mrs Dick, Mrs Egan will be admitted. 2nd piece [1st time; M. INT 1, by Richard Cumberland. Larpent MS 1111; not published]: To conclude with an Illumination, Transparency, and a Rural Procession. The Music partly selected, and partly composed, by Shield. The Harp by Weippert. The Bells by Lawrence. With appropriate Scenery, Dresses, and Decorations. [Written in honour of the Royal Marriage" [see dl, 13 May] (Morning Herald, 19 May). "If we are to have these repeated Congratulations, let them be written by men of spirit and invention. The public are miserably placed, in cases like the present: between a respect for their King and a respect for their own understandings, they know not how to act" (Monthly Visitor, May 1797, pp. 454-55, which also includes a brief synopsis of the plot). Receipts: #254 9s. 6d. (84.0.0; 11.2.6; tickets: 159.7.0)

Event Comment: Mainpiece [1st time; C 5, by Richard Cumberland. Author of Prologue unknown. Epilogue by the author (Knapp, p. 302)]. [Afterpiece in place of Netley Abbey, advertised on playbill of 22 Nov.] Morning Herald, 6 Dec. 1797: To-morrow will be published False Impressions (2s.). Receipts: #165 16s. (161.13; 4.3)

Event Comment: Afterpiece [1st time; BALL P 1, by John Cartwright Cross. Text, i.e. synopsis of ballet, and the songs, in Cross's Circusiana (Lackington, Allen and Co., 1809), Vol. I. Bologna, Bologna Jun. and Mrs Parker were from the Royal Circus]: Invented and under the Direction of Cross. With entire new Scenes, Dresses, Music and Decorations. The Overture and Music principally new, with a Selection of some novel Irish Air, by Reeve, composer of the Music to Oscar and Malvina, &c. The Harp by Weippert. The Scenery, comprehending a Display of the most Romantic Views in Ireland, painted by Richards, Phillips, Lupino, Hollogan, and Blackmore. The Machinery by Cresswell, Sloper and Goostree. The Dresses by Dick, Mrs Egan, &c. The Following are a Part of the new Scenes, &c.: The Ancient Temple, dedicated to Bel, the God of Fire, with the Flactaga, or Sacred Fire burning; it having been enacted that, on the last Evening of October, no other Fire should be Used thro'out the Kingdom, that all might be derived from that, which being a Fire Sacrifice, would render the rest Propitious and Holy. The Dargle, where the Irish Druids consulted their Oracle. A View near Wicklow. The Salmon Leap. Entrance of a Subterraneous Pass. Maon's Cavern. Cemetery and Dungeon, appertaining to the Round Tower, Moated Castle, &c. Receipts: #264 2s. 6d. (259.19.6; 4.3.0)

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)