Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The King and Queene & a Box for ye Maydes of Honor at the Opera. See also Nicoll, Restoration Drama, p. 350, and 1 Jan. 1684@5. The opera was certainly given on 3 June, probably on 10 June, and probably on 13 June, the day that the news of the Duke of Monmouth's landing reached London; as Downes states that it was acted six times, there were three additional performances between 3 and 13 June 1685. Downes (Roscius Anglicanus, p. 40): In Anno 1685. The Opera of Albion and Albanius was perform'd; wrote by Mr Dryden, and Compos'd by Monsieur Grabue: This being perform'd on a very Unlucky Day, being the Day the Duke of Monmouth, Landed in the West: The Nation being in a great Consternation, it was perform'd but Six times, which not Answering half the Charge they were at, Involv'd the Company very much in Debt. Roger North: The first full opera that was made and prepared for the stage, was the Albanio of Mr Grabue, in English, but of a French genius. It is printed in full score, but proved the ruin of the poor man, for the King's death supplanted all his hopes, and so it dyed (Roger North on Music, ed. John Wilson [London, 1959], p. 311). The Prologue and Epilogue, published separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 244-46. The score and the libretto were published in 1687 (licensing date of 15 March 1686@7): Albion and Albanius; An Opera; Or, Representation in Musick. Set by Lewis Grabu, Esq; Master of His late Majesty's Musick

Event Comment: The United Company. The date of the first performance is not known, but it very probably occurred not later than May 1691, as the play was advertised in the London Gazette, 4-8 June 1691. For discussions of it, see E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44-45, and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter III. Downes, Roscius Anglicanus, p. 42: King Arthur an Opera, wrote by Mr Dryden: it was Excellently Adorn'd with Scenes and Machines: The Musical Part set by Famous Mr Henry Purcel; and Dances made by Mr Jo. Priest: The Play and Musick pleas'd the Court and City, and being well perform'd, twas very Gainful to the Company. Roger North: I remember in Purcell's excellent opera of King Arthur, when Mrs Butler, in the person of Cupid, was to call up Genius, she had the liberty to turne her face to the scean, and ner back to the theater. She was in no concerne for her face, but sang a recitativo of calling towards the place where Genius was to rise, and performed it admirably, even beyond any thing I ever heard upon the English stage....And I could ascribe it to nothing so much as the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants, or at least her envious sex. There was so much of admirable musick in that opera, that it's no wonder it's lost; for the English have no care of what's good, and therefore deserve it not (Roger North on Music, ed. John Wilson [London, 1959], p. 217-18)

Event Comment: Rich's Company. The date of the first performance is not known, but the Prologue to Bonduca refers to She Ventures and He Wins. As Bonduca was advertised in the London Gazette, No. 3126, 24-28 Oct. 1695, the play was certainly not acted later than early October 1695, probably not later than September 1695. The Edition of 1696 includes on the titlepage: With A New Entertainment of Musick, Vocal and Instrumental. [The music was composed by Henry Purcell. See Purcell's Works, Purcell Society, XVI, vii-xiii.] Those songs for which a performer is named are as follows: O lead me to some peaceful gloom, sung by Miss Cross, and Sing ye Druids, all your voices raise, sung by Mrs Ayliff, both in Songs in the Tragedy of Bonduca, ca. 1696. To arms, sung by Freeman and Edwards, is in Thesaurus Musicus, The Fifth Book, 1696

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, No. 3130, 7-11 Nov. 1695, suggests that it was acted not later than October 1695, although the first production may have been earlier than that. Part of the music was composed by Henry Purcell: Celia has a thousand charms, sung by Young Bowen; Take not a woman's anger ill, sung by Leveridge; and How happy is she, sung by Miss Cross; all are in Deliciae Musicae, The Third Book, 1696. See also Purcell's Works, Purcell Society, XXI (1917), x-xi. Another song, To me you made a thousand vows, set by John Blow, is in Amphion Anglicus, 1700. Dedication, Edition of 1696: I...found so much interrutpion and discouragement from some prejudic'd Gentlemen, who ought to have us'd me better, or, at least, had no reason to use me ill, that I repented I had bestow'd any time upon it....In spite of 'em, my Lord, it was kindly receiv'd, and that too, at a time when the Town was never thinner of Nobility and Gentry

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, No. 3153, 27-30 Jan. 1695@6, suggests that it was first given in December 1695, certainly no later than early January 1696

Event Comment: Rich's Company. The date of the first performance of this revision is uncertain. Although the play was not entered in the Term Catalogues until June 1696, the edition is date 1695. The production was certainly before May 1696, when Horden died, but the only fact which suggests a performance as early as December is the date on the title page. When the play was revived at Drury Lane on 13 Oct. 1711, the bill bore the heading: Not Acted these Fifteen Years

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 9-12 May 1696, suggests that it was first acted not later than April 1696. It may, however, have been first performed sometime earlier, for two songs for it were set by Henry Purcell, who had died in November 1695. See Purcell's Works, Purcell Society, XXI (1917), vi-vii. A Comparison Between the Two Stages (1702), p. 18: Pausanias, or Lover of his Country, Damn'd, tho writ by a person of Quality, and protected by Southern. One song, My dearest, my fairest, is a dialogue between Mr Cooke and Mrs Hodgson

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 27-30 June 1696, suggests that it was first acted not later than early June 1696 and probably not later than late May 1696. A dialogue, Fly, fly from my sight, between a Eunuch Boyr and a Virgin, set by Daniel Purcell and sung by Bowen and Mrs Cross, is in Deliciae Musicae, The Second Book of the Second Volume, 1696. This was also printed separately, without a date, by Thomas Cross, with the statement that the dialogue was written by Thomas D'Urfey. Gildon, English Dramatick Poets, ca. 1698, p. 111: For the Distress of Morena never fail'd to bring Tears into the Eyes of the Audience

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the London Gazette, 18-21 Jan. 1696@7 (Luttrell acquired his copy, Huntington Library, 20 Jan. 1696@7) suggests that it was first given not later than December 1696. A Comparison Between the Two Stages (1702), pp. 20-21, lists it among the "Masterpieces" on which Drury Lane "subsisted" in the early years after the separation of the theatres

Event Comment: Rich's Company. The date of the first performance is not known. A contract between Cibber and Rich was signed on 29 Oct. 1696 (L. C. 3@73, in Nicoll, Restoration Drama, pp. 381-82), with an agreement that it was not to be printed until a month after it was acted. Since the play was advertised in the Post Man, 20-23 March 1696@7, it may have been acted as early as January 1697, certainly not later than February 1697. Possibly Leveridge set the music for a song, Tell me, Belinda, prithee do, which is in A New Book of Songs by Mr Leveridge, advertised in the London Gazette, No. 3293, 3 June 1697. A Comparison Between the Two Stages (1702), p. 18: Lady in Fashion, by a Player, Damn'd. Preface, Edition of 1697: Not to miss the Advantage of Mr Doggett's Excellent Action; I prepar'd a low Character

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and one in the Box at Plott and noe Plott 8s. [There is no certainty that this performance is the premiere; since the play was advertised in the Post Man, 25-27 May 1697, the first performance may have been late April or very early May.] Preface, Edition of 1697: As for the Spectators, tho, by reason of the advanc'd Season, and the extremity of the heat, which when the Play was first acted was intolerable, we have not had such numerous assemblies as might have been expected in Winter; yet as long as I have known the Play-house I never saw the Company there in better humour. A Comparison Between the Two Stages (1702), pp. 18-19: Ramble: Oh, that's Dennis's; and a very regular Farce, tho' he calls it a Comedy. Sullen: I think it did pretty well; 'tis laboriously Writ, as everything of his is: There's an Air of Formality in the Play agreeable to the slovenly Air in his Behaviour