Event Comment: Benefit for Portal, Shade, Hicks, J. Shade, Gibson. Kemble Mem.: Benefit for the Boxkeepers. Receipts: #389 4s. 6d. (22.13.0; 10.15.6; 1.8.0; tickets: 354.8.0) (charge: #116 8s. 4d.)

Event Comment: Benefit for Portal, Shade, Hicks, J. Shade, Gibson, Rice. Kemble Mem.: Bt. the box-keepers. The Last Time of the Company's performing this Season. Receipts: #87 2s. 1d. (53.2.0; 28.15;28.15.1; 5.6.0; tickets: none listed) (charge: #148 1s. 3d.)

Event Comment: Benefit for Portal, Shade, Hicks, J. Shade. Kemble Mem.: Benefit the boxkeepers. The Last Time of the Company's performing this Season. Receipts: #51 1s. 6d. (35.8.6; 12.4.6; 3.8.6; tickets: non listed) (charge: #147 12s. 6d.)

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 production is not known, but the entry of this play in the Term Catalogues for November 1680 suggests a first offering in September or October 1680. The music for the play was composed by Henry Purcell, his first (according to Downes composing for the stage. Downes (Roscius Anglicanus, p. 38) gives a shortened cast and adds: All the Parts in't being perfectly perform'd, with several Entertainments of Singing; Compos'd by the Famous Master Mr Henry Purcell, (being the first he e'er Compos'd for the Stage) made it a living and Gainful Play to the Company: The Court; especially the Ladies, by their daily charming presence, gave it great Encouragement. Dedication, Edition of 1680: The Reputation that this Play received on the Stage, some few Errors excepted, was more than I could well hope from so Censorious an Age....You [the Duchess of Richmond] brought her Royal Highness just at the exigent Time, whose single Presence on the Poet's day is a Subsistence for him all the Years after. A song, Hail to the myrtle shade, is in Choice Ayres and Songs, The Third Book (dated 2 Nov. 1680)

Event Comment: Rich's Company. Post Boy, No 496, 7-9 July 1698: This day is acted Oroonoko, at the King's Playhouse, for the particular Entertainment of some Persons of the highest Quality, with the Italian Shades, as they were perform'd with great Applause, before their Excellencies the Russian and Morocco Ambassadors, in the Reign of King Charles II. And an Entertainment after the manner of the Carnaval at Rome. With several Grotesque Dances

Event Comment: Benefit for Ross. Mr Ross did Romeo & spoke an Elogium upon Shakespear in ye form of ye Monument in the Abby (Cross). Last time of performing the mainpiece this season. Nothing under full prices. After the play an Elogium wrote by Dryden, concluding with Milton's Epitaph to the Memory of Shakespeare, spoken by Ross representing the Shade of Shakespeare as figured on his monument in Westminster Abbey. Receipts: #200 (Cross)

Event Comment: Mr Berry dy'd (Cross). Receipts: #170 (Cross). British Chronicle; 8 Jan. 1760. (Winston MS 8): Died Mr Edward Berry in Russel St., Covent Garden, 53 years one of the comedians of tr dl. On this Sunday the body was interr'd in the Cemetery of St Martin's Church. The loss of so worthy a man was expressed by those present. His only daugher is to [....] with the following inscription to his memory, to whom he has left his fortune worth about #1000: @Epitaph@Here lies the remains of@Edward Berry@Who lived@With public applause and private esteem@The former he acquired as@An Excellent Comedian, the latter as an@Honest Man. 8 Jan 1760 Aet 5s.@Light lie the turf, what tho' no breathing Bust@Of mimic Marble dignifie thy dust?@Yet filial sorrow pays the Dudeous Tear@And heartworn Friendship heaves a Sigh sincere.@Pleas'd may thy shade these humble rites receive@The last sad tribute gratitude can give@

Event Comment: Lyric Ode (never performed) "On the Witches, Fairies, and Aerial Beings in Shakespeare. The Music entirely New." [The Westminster Magazine for March commented: "This poem is said to be written by a young gentleman of Oxford, and has many strokes of genius and inagination in it. The music, we hear, is composed by Mr Linley Jr, who has (since his return from Italy) been a student under that most excellent musician Dr Boyce. This composition must be allowed to be an extraordinary effort of genius in so young a man. The Fugue of the overture is masterly. The song of 'There in old Arden's inmost shade,' is well suited to the scene described by the poet....But what we think most deserving of praise is the power our young composer has shown in the chorusses....From the general and sincere applause with which the Ode was received, we may venture to pronounce, that if Mr Linley Jr pursues his studies, he will one day stand foremost in the list of modern composers."

Event Comment: Benefit for Berrisford, Carleton Jun., Shade & Edleston. Receipts: #227 5s. 6d. (25.17.0; 3.10.6; 0.0.0; tickets: 197.18.0) (charge: #84)

Event Comment: Benefit for Carleton Jun., Hind, Shade & Bayne. Tickets sold at the doors will not be admitted. Tickets delivered for a comic opera [Love in a Village, announced on playbill of 23 May] and by Barrett and McDonald will be taken. Receipts: #258 11s. 6d. (19.4.0; 7.2.6; 0.1.0; tickets: 232.4.0) (charge: #105)

Event Comment: Benefit for Wood, Percey, Shade & Cameron. Tickets delivered by Lewis, Hodges, Gardner, and for Monday, the 31st of May, will be taken. MS annotation on Kemble playbill: "I believe this was the last time of Mr Henderson's acting at Drury Lane, except when he played Jaques in As You Like It for Mrs Robinson's Benefit, April 7, 1780. See October 18, 1779, Covent Garden Bills." Receipts: #301 6s. 6d. (19.14.0; 2.14.6; 0.14.0; tickets: 278.4.0) (charge: #105)

Event Comment: Benefit for Lamash, Holcroft & Norris. 2nd piece: Taken from Foote's Devil Upon Two Sticks. 3rd piece: To conclude with a grand representation of a Regattav. Tickets delivered by Shade and Mrs Pulley will be taken. Receipts: #190 4s. 6d. (27.9.0; 18.6.6; 1.18.0; tickets: 142.11.0) (charge: #92 4s. 4d.)

Event Comment: Benefit for Wood, Percey, Shade & Cameron. Tickets delivered by Gardner, Gibson, Morris and Leslie will be taken. Receipts: #15 6s. 6d. (12.19.0; 2.7.6; 0.0.0; tickets: none listed) (charge: #105)

Event Comment: 1st piece [1st time; PREL I, by George Colman, the elder]. "The ground-work was the apologies received from the great actors, who all preferred their suburban shades to the temperature of the Haymarket...The prompter enters to apologize to the audience and return the money, but his plea is rendered nugatory by certain oratorical and mimetic personages stationed in the pit and boxes, who not at first being recognized by the house as professional people, a great confusion was produced. When Mrs Webb arose to address the audience, the joke became apparent, and a prodigious interest was excited' (Boaden, Siddons, 1,208). [In 2nd piece the playbill lists Baddeley, but "Previous to the beginning of the Play, Palmer came forward...and acquainted [the audience] that Baddeley then lay speechless [as the result of a stroke], and Hitchcock, the prompter, would, with their permission, read Baddeley's Part" (London Chronicle, 31 May). The Doors to be opened at 6:00. To begin at 7:00 [same throughout season]. Places for the Boxes to be taken of Rice at the Theatre. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Public Advertiser, 6 July 1780: This Day is published The Manager in Distress (1s.)

Event Comment: Tickets delivered by Duprez, Pemberton, Barrett, J. Shade, Collins, Newton will be taken. Receipts: #148 12s. (28.9.0; 21.7.6; 0.16.6; tickets: 97.19.0)

Event Comment: Benefit for Mortimer, Tomlinson, Shade, Bayne & Carleton Sen. Receipts: #269 14s. (30.13; 15.6; 0.16; tickets: 222.19) (charge: none listed)

Event Comment: Tickets delivered by Duprez, Pemberton, Collins, Newton, Lyon, J. Shade, Gardner, Devoto will be taken. [Miss Blower is identified by MS annotation on Kemble playbill.] Receipts: #225 (48/17; 17/4; 0/5; tickets: 158/14)