Event Comment: [In 2nd piece the playbill assigns Orlando to Kemble, but "On account of indisposition, Barrymore last night performed Orlando for Kemble" (Oracle, 4 Oct.).] 3rd piece: To conclude with the Glorious Defeat of the Spanish Armada, and a Grand Procession. "Equal to any actor I ever saw, as far as his line extends, is Mr Parsons; his conception and expression of Sir Fretful Plagiary, in Mr Sheridan's Critic, are as strong and masterly as were Garrick's in Kitely [in Every Man in his Humour]; and his 'laughing without mirth' therein equally admirable" (Jonson, ed. Waldron, 171). Receipts: #251 4s. 6d. (213.6.6; 37.0.0; 0.18.0)

Event Comment: Benefit for Bannister Jun. 1st piece [1st time; C 5, by Richard Cumberland. Text 1st published in his Posthumous Dramatic Works, Vol. II (G. and W. Nicol, 1813); it assigns no parts, but adds George Ivey and David Duncan, acted by Caulfield and Packer. Genest erroneously assigns Sir Adam to Wewitzer and Beau Tiffany to R. Palmer. Prologue and Epilogue by the author (True Briton, 9 May). Songs by Michael Kelly, in Act I harmonized by Sir William Parsons.] True Briton, 25 Apr.: Tickets to be had of Bannister Jun., No. 65, Gower-street, Bedford-square. Receipts: #581 15s. (294.18.6; 72.7.0; 3.17.6; tickets: 210.12.0) (charge: #213 6s. 8d.)

Event Comment: Rich's Company. The date of the premiere is not known, but Cibber (see below) states that it was acted in January; the Dedication was signed 7 Feb. 1695@6, and the play was advertised in the London Gazette, No 3157, 10-13 Feb. 1695@6. Two songs were published separately: Go home, unhappy wench, set by Francks and sung by Mrs Cross and the Boy (in Thesaurus Musicus, The Fifth Book, 1696) and What an ungratefull devil moves you, set by Daniel Purcell (in Deliciae Musicae, The First Book of the Second Volume, 1696). A separately-printed sheet of the second song states that it was sung by "The Boy", Cibber, Apology, I, 212-14: The next Year I produc'd the Comedy of Love's last Shift; yet the Difficulty of getting it to the Stage was not easily surmounted; for, at that time, as little was expected from me, as an Author, as had been from my Pretensions to be an Actor. However, Mr Southern, the Author of Oroonoko, having had the Patience to hear me read it to him, happened to like it so well that he immediately recommended it to the Patentees, and it was accordingly acted in January 1695 [i.e., 1695@6]. In this Play I gave myself the Part of Sir Novelty, which was thought a good Portrait of the Foppery then in fashion. Here, too, Mr Southern, though he had approv'd my approv'd my Play, came into the common Diffidence of me as an Actor: For, when on the first Day of it I was standing, myself, to prompt the Prologue, he took me by the Hand and said, Young Man! I pronounce they Play a good one; I will answer for its Success, if thou dost not spoil it by thy own Action....I succeeded so well in both, that People seem'd at a loss which they should give the Preference to. A Comparison Between the Two Stages (1702), p. 16: Ramble: Ay, marry, that Play was the Philosopher's Stone; I think it did wonders. Sullen: It did so, and very deservedly; there being few Comedies that came up to 't for purity of Plot, Manners and Moral: It's often acted now a daies, and by the help of the Author's own good action, it pleases to this Day

Event Comment: Written by Sir Richard Brome

Event Comment: [By Sir John Vanbrugh and Colley Cibber.] All the Characters new drest. Mist's 13 Jan.: On Wednesday last a most horrid, barbarous, and cruel Murder was committed...upon a posthumous Child of the late Sir John Vanbroog, by one who, for some Time past, has gone by the Name of Keyber. It was a fine Child born, and would certainly have lived long, had it not fallen into such cruel Hands. Davies (Dramatic Miscellanies, III, 260-61): In all the tumults and isturbances of the theatre on the first night of a new play, which was formerly a time of more dangerous service, to the actors, than it has been of late, Mrs Oldfield was entirely mistress of herself; she thought it her duty, amidst the most violent opposition and uproar, to exert the utmost of her abilities to serve the author. In the comedy of uproar, to exert the utmost of her abilities to serve the author. In the comedy of the Provoked Husband, Cibber's enemies tried all their power to get the play condemned. The reconciliation scene wrought so effectually upon the sensible and generous part of the audience, that the conclusion was greatly and generously approved. Amidst a thousand applauses, Mrs Oldfield came forward to speak the epilogue; but when she had pronounced the first line,-Methinks I hear some powder'd critic say-a man, of no distinguished appearance, from the seat next to tne orchestra, saluted her with a hiss. She fixed her eye upon him immediately, made a very short pause, and spoke the words poor creature! loud enough to be heard by the audience, with such a look of mingled scorn, pit, and contempt, that the most uncommon applause justified her conduct in this particular, and the poor reptile sunk down with fear and trembling. See also Cibber, Apology, I, 310-11; Victor, History of the Theatres, II, 105

Event Comment: At the Desire of several Persons of Quality. Written by the late Sir John Vanbrugh

Event Comment: Mainpiece: Never Acted before. [By James Miller.] Daily Advertiser, 6 March: We hear that Sir John Barnard has offerM a Proposal limiting the Number of Playhouses, and for putting them under the Regulation of Parliament

Event Comment: Mainpiece: By Particular Desire. By Sir John Vanbrugh, being the Sequel of The Fool in Fashion. Receipts: #110

Event Comment: A New Comedy of three Acts [by Foote]. By Authority. Open'd by Mr Foote. Most of the performers entirely new. Boxes 5s. Pit 3s. Gallery 2s. Doors to be opened at five. Curtain drawn up at seven. [Notice repeated in subsequent bills. Genest, IV, 599, lists Smith as Sir George.

Event Comment: Mainpiece: Not acted these 7 years. No joke ever raised such loud and repeated mirth, in the galleries, as Sir John 's labour in getting the body of Hotspur on his back...At length this upper-gallery merriment was done away [with] by the difficulties which Henderson encountered in getting Smith on his shoulders. So much time was consumed in this pick-a-pack business that the spectators grew tired, or rather, disgusted. It was thought best, for the future, that some of Falstaff 's ragamuffins should bear off the dead body" (Davies, I, 273-75). [For Henderson as Falstaff see hay, 24 July 1777.] Receipts: #207 10s. 6d. (185.6.0; 20.7.0; 1.17.6)

Event Comment: [In afterpiece the playbill assigns Sir Harry's Servant to Dodd, but "King [asked that] Dodd, on account of illness, be released from his part in the farce. Whitfield was in consequence Sir Harry " (World, 24 Sept.).] Receipts: #185 12s. (133.18.0; 50.6.6; 1.7.6)

Event Comment: Benefit for Mrs Martyr. 3rd piece [1st time; M. INT 1, by John Cartwright Cross. Larpent MS 1124; not published]: Founded on the recent and glorious Achievement, at the above French Fort, of Sir Sydney Smith. [On 17 Mar. 1796 a force under Sir William Sydney Smith had destroyed six French vessels in the Bay of Herqui.] To conclude with the British striking the French Colours on the Fort, burning their Corvettes in the Harbour. The new Music by Shield. Oracle, 29 Mar.: Tickets to be had of Mrs Martyr at her house, No. 16, Martlett-court, Bow-street, Covent-Garden. Receipts: #384 11s. 6d. (192.14.0; 10.1.0; tickets: 181.16.6)

Event Comment: Benefit for Mrs Jordan. [In mainpiece the playbill retains King as Sir Peter Teazle, but "Murray, on account of the indisposition of King, was the Sir Peter to Mrs Jordan's Lady Teazle" (Monthly Mirror, May 1797, p. 311).] Tickets delivered for the 15th [for which day the benefit was first announced] will be admitted. "On the whole, Mrs Jordan's Lady Teazle, if not excellent, was respectable; and at a time when it was thought that it would be impossible to personify her Ladyship [i.e. after the retirement of Miss Farren], Mrs Jordan is commendable in having endeavoured it...[Sir Peter] was a part well suited to Murray, who excels in the still and the pathetic...In the screen scene his mirth in revealing to Charles the story of the French milliner, and his amazement the moment after when Charles, throwing down the screen, presented that milliner in the shape of Lady Teazle, must confirm the reputation of Murray. 'Lady Teazle!' (exclaimed he, turning from her towards the door, and in an accent alarmingly impressive), 'Lady Teazle, by all that is damnable!" (Monthly Visitor, June 1797, pp. 531-32). True Briton, 6 May: Tickets to be had of Mrs Jordan, No. 14, Somerset-street, Portman-square. Receipts: #550 3s. (232.4.0; 72.2.0; 7.10.6; tickets: 238.6.6) (charge: free)

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 2. See also Nicoll, Restoration Drama, p. 347. There is no certainty that this is the premiere. A song, A heart in love's empire, with music by Robert Smith, and another, Let's drink dear friends, set by Thomas? Farmer, are in Choice Songs and Ayres, The First Book, 1673. The Dedication in the edition of 1672 is to Prince Rupert and states: tho' of thirty times it has been acted, you seldom fail'd to honour it with your presence. Downes (Roscius Anglicanus, p. 32): The next new Comedy [at dg] was the Mamamouchi, or the Citizen turn'd Gentleman, Wrote by Mr Ravenscroft [cast as in edition of 1672 except French Tutor and Singing Master, by Mr Haines: (He having Affronted Mr Hart, he gave him a Discharge and then came into our House)]; This Comedy was look[ed] upon by the Criticks for a Foolish Play; yet it continu'd Acting 9 Days with a full House; upon the Sixth the House being very full: The Poet added 2 more Lines to his Epilogue, viz. @The Criticks came to Hiss, and Dam this Play,@Yet spite of themselves they can't keep away.@ However, Mr Nokes in performing the Mamomouchi pleas'd the King and Court, next Sir Martin, above all Plays

Event Comment: The United Company. The date of the first performance is not known, but the latest likely date is early summer, for it was licensed for publication on 14 Aug. 1685. if it did not appear before the death of Charles II, July 1685 is a likely date, as May was occupied with Sir Courtly Nice and June with Albion and Albanius. Dedication, Edition of 1685: [The Scenes] had no better Success on the Stage, was for this Reason: The principal Part (on which the Diversion depended) was, by Accident, disappointed of Mr Nokes's Performance, for whom it was design'd and only proper. A song, How great are the blessings of government made, set by Henry Purcell, is in The Musical Companion, The Second Book, 1686

Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and two in the Box at Constant Couple. See Hotson, Commonwealth and Restoration Stage, p. 378. There is no certainty that this is the first performance, but the fact that the play was advertised in the Post Man, 7-9 Dec. 1699, suggests that the first production may have occurred in mid-November. The Prologue also refers to the abandonment of Dorset Garden to "That strong Dog Sampson" (see 15 and 25 Nov. 1699). A song, Thus Damon knock'd at Celia's door, set by Daniel Purcell, was published separately about this time. Preface, Edition of 1700: All will join with me in Commendation of the Actors, and allow, without detracting from the Merit of others, that the Theatre Royal affords an excellent and compleat Set of Comedians. Mr Wilks's Performance has set him so far above Competition in the Part of Wildair, that none can pretend to envy the Praise due to his Merit. Preface to The Inconstant (1702): I remember, that about two Years ago, I had a Gentleman from France [The Constant Couple] that brought the Play-house some fifty Audiences in five months. A Comparison between the Two Stages (1702), p. 32: Critick: But above all, commend me to the ingenious Author of the Trip to the Jubilee. Ramble: Oh Lord, Sir! you won't quarrel with that Play; never any thing did such wonders. Critick: Oh 'twas admirable! admirable! I wonder the Town did not just then bespeak the Bays for him. Sullen: Nay, for ought you and I know, he may live to enjoy 'em; I assure you all the run of the Town is on his side. The Owl was never more esteem'd at Athens than the Trip to the Jubilee was here. Critick: Indeed I have known a Footman have a great stroak with his Lord at begging a Favour; if all the Footmen in Town that admire him were to club for his Preferment, I don't know what might be done. Ramble: The Footmen? Ay, and the middle Gallery too, I assure you are of his side, and that's a strong Party. Critick: Why, I believe it, 'tis about the pitch of their Understanding; but if ever it diverted one Man of tolerable Sense I'll be hang'd. Sullen: I don't know who are your People of tolerable Sense, Mr Critick, but at the play I have seen the Pit, Box and Stage so crowded--and if that is not a sign