Event Comment: By Permission of the Lord Chamberlain. Benefit for the large Infant Orphan Family of a Man of Fashion [Sir Richard Perrott]. The mother of these helpless, unprotected infants, in contemplating the benevolence of a humane Public, throws herself with implicit confidence on the commiserating patronage of those who are ever ready to afford it for the relief of suffering innocence. Tickets to be had of Lady Perrott, No. 28, Spring-street, Portman-square [and see 18 Sept. 1797]

Event Comment: Mme Allegranti continuing so seriously indisposed, as in opinion of Sir George Baker, to render her immediate appearance [in Il Matrimonio Segreto, advertised in Morning Chronicle, 5 Apr.] extremely dangerous [see 9 Apr.]

Event Comment: The Lord Mayor's Show. By John Tatham. The author mentions as his assistants: Andrew Dakers and William Lightfoot, painters; Thomas Whiting, joyner; and Richard Clear, carver

Event Comment: On 23 Nov. 1659 John Page, the Treasurer of the Middle Temple, entered in his records: Music, four nights at 30s., and acting The Clown four nights at 10s. (See A Calendar of the Middle Temple Records, ed. Hopwood, p. 167. See also Bentley, Jacobean and Caroline Stage, V, 1314.

Event Comment: On this date John Rogers petitioned the King concerning his right to keep the peace at the playhouses. In Herbert, Dramatic Records, p. 84, three companies, those at the red bull, cockpit, and salisbury court, are named as currently performing

Event Comment: A draft of a proposed order, i Hotson, Commonwealth and Restoration Stage, p. 201, specifies the companies acting at this time: Forasmuch as wee are advertis'd, that divers persons, and Companies have assembled, and doe dayly assemble themselves together at the Play-Houses called the red bull, in St. Johns Street, the cockpit in Drury Lane, and a certaine Play-House in Salisbury Court, and at other places within our Citty of London and County of Middlesex, without the least Colour of Authority, and doe there act, performe and shew in publique, Comedies, Tragedies, and other Entertainments of the Stage

Event Comment: See Herbert, Dramatic Records, p. 116. The King's Company. According to John Dennis, in the Dedication to The Comical Gallant (1702), when this play was revived in the times of Charles II, Wintershall acted Slender

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: According to the diary of the Reverend John Ward, ed. Charles Severn (London, 1839), Ward saw The Alchymist at this time. The Folger MS V.a. 292, of Ward's journal, gives it as performed between 1 and 25 Sept. 1662. See Shakespeare Quarterly, XI (1961), 336. See also Dec. 1660

Event Comment: Sixtus Petri Arnoldinus saw bear-baiting and bull-baiting at "the playhouse standing in St John's Street." See 16 Aug.; Zwager, p. 288

Event Comment: The Duke's Company. Pepys, Diary: To the Opera, where there was a new play (Cutter of Coleman Street), made in the year 1658, with reflections much upon the late times; and it being the first time, the pay was doubled, and so to save money, my wife and I went up into the gallery, and there sat and saw very well; and a very good play it is. It seems of Cowly's making. Downes (Roscius Anglicanus, p. 25): This Comedy being Acted so perfectly Well and Exact, it was perform'd a whole Week with a full Audience. John Dennis, Dedication to The Comical Gallant, 1702: The only Play that ever Mr Cowley writ, was barbarously treated the first night, as the late Mr Dryden has more than once informed me, who has told me that he went to see it with the famous Mr Sprat, now Bishop of Rochester, and that after the Play was done, they both made a visit to Mr Cowley. Langbaine (English Dramatick Poets, p. 81): This Play met with some Opposition, at its Representation under this new Name, from some who envyed the Authors unshaken Loyalty to the Prince, and the Royal Cause, in the worst of Times. BM Add. Mss. 34217, fol. 31b, in Hotson (Commonwealth and Restoration Stage, p. 247): @The Cutter of Coleman street had more fame@Before the Author chang'd its name@And shewd himselfe an Englishman right@By mending of things to spoyle them quite@And bee's more to blame because he can tell@(No better) to make new strings soe well.

Event Comment: The King's Company. See Herbert, Dramatic Records, p. 118. John Wright (Historia Histrionica [1699], p. 3): [Hart] Acted the Dutchess in the Tragedy of The Cardinal, which was the first Part that gave him Reputation

Event Comment: See HMC, Report III, Appendix, p. 215a; Hotson, pp. 214-15; B. M. Wagner, "John Rhodes and Ignoramus," Review of English Studies, V (1929), 43-48. See also Nicoll, Restoration Drama, pp. 302n, 423. This appears to be the Duke's Company

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: Pepys, Diary: Thence to Islington, and so to St John's to the Red Bull, and there saw the latter part of a rude prize fought

Event Comment: A facsimile of a bill announcing A Trial of Skill at this playhouse, 30 May 1664, is in Rariora, ed. John Eliot Hodgkin (London, n.d.), III, 53-54. See also William VanLennep, The Death of the Red Bull, Theatre Notebook, XVI (1962), 133-34

Event Comment: Henry Muddiman, 29 Nov. 1666: The Players have upon great proffers of disposing a large share to charitable uses prevailed to have liberty to act at Both Houses, which they begin this day (CSPD, Charles II, clxxcii, 6, in Hotson, Commonwealth and Restoration Stage, p. 250). A manuscript prologue for the opening of the theatre in Bridges Street is in J. Payne Collier's MS Restoration Stage History, Part I, p. 106, in the Houghton Library, Harvard. The Diary of John Milward, Esq., ed. Caroline Robbins (Cambridge, 1938), p. 49: This day at my coming to the House [of Commons] it moved that plays might be tolerated and acted in the common theatres, and whether any members of the House of Commons should be admitted to go to acts of the playhouses, but it was not resolved

Event Comment: In April or May 1667, probably, John Dryden's The Wild Gallant may have been revived, perhaps because of the success of Secret Love. The 1667 edition of The Wild Gallant, which was entered in the Stationers' Register, 7 Aug. 1667, contains: A Prologue to The Wild Gallant revived. An Epilogue to The Wild Gallant revived