Event Comment: Pepys, Diary: And then out to the red bull (where I had not been since plays come up again)...where I was led by a seaman that knew me, but is here as a servant, up to the tireing-room, where strange the confusion and disorder that there is among them in fitting themselves, especially here, where the clothes are very poor, and the actors but common fellows. At last into the pitt, where I think there was not above ten more than myself, and not one hundred in the whole house. And the play, which is called All's lost by Lust, poorly done; and with so much disorder, among others, that in the musique-room the boy that was to sing a song, not singing it right, his master fell about his ears and beat him so, that it put the whole house in an uprore. Nicoll (Restoration Drama, p. 309) argues that George Jolly probably occupied the red bull in St John's Street, Clerkenwell. When Richard Walden saw the red bull players at Oxford in July 1661, Anne Gibbs acted Dionysia in All's Lost by Lust. It is possible that she played that role on this day. See Walden's Io Ruminans, 1662

Event Comment: At Oxford on this day the so-called red bull players acted All's Lost by Lust in the morning, The Young Admiral in the afternoon. According to Richard Walden (Io Ruminans, 1662) Anne Gibbs played Dionysia in the former, Rosinda in the latter

Event Comment: At Oxford in the morning A Mad World My Masters was played; in the afternoon, The Merry Milkmaids of Islington. According to Richard Walden (Io Ruminans, 1662) Anne Gibbs played Harebrain's Wife in the former, A Lady in the latter

Event Comment: At Oxford in the morning the players gave The City Wit; in the afternoon, Tu Quoque. For the latter, see 3 July

Event Comment: At Oxford the players gave The Young Admiral in the morning, The Rape of Lucrece in the afternoon. According to Richard Walden (Io Ruminans, 1662) Anne Gibbs played Rosinda in the former, Lucretia in the latter

Event Comment: At Oxford the players gave All's Lost by Lust in the morning, The Milkmaids in the afternoon. For these plays see 4 and 5 July

Event Comment: At Oxford the players gave The City Wit in the morning, The Poor Man's Comfort in the afternoon

Event Comment: At Oxford the players gave Tu Quoque in the morning, A Very Woman in the afternoon. For the former, see 3 July

Event Comment: At Oxford the players gave The Rump in the morning, The Young Admiral in the afternoon. For the latter, see also 8 July

Event Comment: The Duke's Company. Evelyn, Diary: I saw acted the 2d? part of the Siege of Rhodes: In this acted the faire & famous Comoedian call'd Roxalana for that part she acted, & I think it was the last; then taken to be the E. of Oxfords Misse (as at this time they began to call lew'd women) it was in Recitativa Musique

Event Comment: Flora's Figarys appears in Herbert, Dramatic Records, p. 148, under this date. As Flora's Vagaries, it had been acted at Christ Church, Oxford, on 8 Jan. 1663. The play was not published before 1670, and the entry in Herbert's list has sometimes been regarded as the date of licensing, sometimes as the date of a performance in London. Nicoll, Restoration Drama, p. 427, assigned it to ca. January 1662@3 at Vere St, presumably because "Mr Bird" in the cast in the quarto of 1670 referred to Theophilus Bird, who died before 3 Nov. 1663. But the cast in the edition of 1670 is presumably that for 5 Oct. 1667, when Pepys saw the play and referred to Nell Gwyn and Mrs Knepp as acting in it; they, too, are listed in the quarto of 1670 but could hardly have played in it in 1663. If the cast in the 1670 edition is not that for 3 Nov. 1663 and if the "Mr Bird" is Theophilus Bird Jr, then the obstacles to consiuering 3 Nov. 1663 as the date of a performance rather than of licensing are less formidable. [I am indebted to professor John Harold Wilson for much of this argument.

Event Comment: The King's Company. For an edition of this play from the MS prompt copy, see The Change of Crownes, ed. F. S. Boas (Oxford University Press, 1949). For the consequences of Lacy's ad libbing, see 16, 20, and 22 April, and 1 May. Pepys, Diary: I to the King's house by chance, where a new play: so full as I never saw it; I forced to stand all the while close to the very till I took cold, and many people went away for want of room. The King and Queene, and Duke of York and Duchesse of York there, and all the Court, and Sir W. Coventry. The play called The Change of Crownes; a play of Ned Howard's the best that ever I saw at that house, being a great play and serious; only Lacy did act the country-gentleman come up to Court, who do abuse the Court with all the imaginable wit and plainness about selling of places, and doing every thing for money. The play took very much.... Gervase Jaquis to the Earl of Huntington, 16 April: Here is another play house erected in Hatton buildings called the Duke of Cambridgs play-house, and yester-day his Matie the Duke & many more were at the King's Playe house to see some new thing Acted (Hastings MSS, HA 7654, Huntington Library)

Event Comment: The Duke of York's Players acted at Oxford during this month. See M. Summers, The Playhouse of Pepys, p. 127, and Nicoll, Restoration Drama, p. 306

Event Comment: [The King's Company. The date of the first performance is not known, but a letter--see 2 Jan. 1670@1--indicates that the first part had been acted before that date and that Part II was to be shortly staged. The point of the Prologue spoken by Ellen Gwyn seems to have derived from an incident at Dover (see Downes, Roscius Anglicanus, p. 20) in May 1670, when James Nokes attired himself in a ridiculous fashion, including "Broad wast Belts." The speakers of the Epilogue and the Prologue to the Second Part are mentioned in Sir William Haward's MS (Bodl. MS Don. b., pp. 248-49); see The Poems of John Dryden, ed. James Kinsley (Oxford, 1958), IV, 1848-49. In Part I a song Beneath a myrtle shade, with music by John Bannister, is in Choice Songs and Ayres, First Book, 1673. Another, Wherever I am, with music by Alphonso Marsh, is in the same collection, as is also How unhappy a lover am I, the music by Nicholas Staggins. Mrs John Evelyn to Mr Bohun, ca. Jan. 1670@1: Since my last to you I have seen The Siege of Grenada, a play so full of ideas that the most refined romance I ever read is not to compare with it; love is made so pure, and valour so nice, that one would image it designed for an Utopia rather than our stage. I do not quarrel with the poet, but admire one born in the decline of morality should be able to feign such exact virtue; and as poetic fiction has been instructive in former ages, I wish this the same event in ours. As to the strict law of comedy I dare not pretend to judge: some think the division of the story is not so well if it could all have been comprehended in the day's actions (The Diary and Correspondence of John Evelyn, ed. William Bray, IV, 25). According to John Evelyn--see 9 Feb. 1670@1--Robert Streeter did some of the scenes for this play. In the Preface to The Fatal Discovery, ca. February 1697@8, George Powell, in discussing revivals of Dryden's plays, stated: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun could not prop

Event Comment: The Duke's Company. The date of the first performance is not known, but the Preface suggests that it was given first in the summer; the fact that part of the Duke's Company was at Oxford in July makes June a probable time. Preface: It had the misfortune to be brought into the world in a time, when the Dog-star was near his Reign, and my Judges sat in a hot Bath, rather than a Theatre, and were doubly persecuted by the heat of the weather, and the Impertinence of the Poet; and which was the worst mishap, when the most candid, as well as the most Illustrious Judges (I mean the Court) were absent. A song, Lo behold a sea of tears, with music by John Bannister, for this play, is Choice Ayres and Songs, The First Book, 1673