Event Comment: [Messrs Vincent and Gordon beg the Nobility and Gentry that intend honouring them with their protection the ensuing season of Opera will pay their subscriptions to Messrs Drummonds, Bankers, Charing Cross. The subscription is for 50 nights only. A letter from Timotheus in the Public Advertiser: "I repeatedly see in your paper an advertisement from the managers of the opera to solicit subscriptions from the Nobility and Gentry to enable them to carry it on. Surely, from the specimin they have already given us of their performance in the serious way, never had managers less claim to the countenance and favour of the public. In the whole company but one voice, and that just tolerable and no more; compared indeed to the rest a nightengale. Then, Sir, for their dancers, they seem so perfectly so well suited to the singers, that 't is difficult to pronounce to which of them the palm should be allotted. For the Figurers, one only excepted, they seem in that article to have paid a due attention to their want of every Talent requisite, by reducing them to so small a number that they look like so many mice scudding about an empty barn. In short, Singers, Dancers, Figurers, Cloaths, Decorations, etc., etc., are all so much of a piece, that if the directors either can't or won't engage better performers, the sooner an end is put to the exhibition of Operas the better it will be." See comment in reply, 8 Nov.

Event Comment: MMiss Morris was a pupil of Mr Colman's--She was very much approved by the public in the character of Juliet. On the sixth night of her appearance on the stage she was taken ill, and died before the end of this season. See the Bill for her Benefit (Hopkins MS Notes). Afterpiece: Not acted these 6 years. [See 19 May 1762.] [The Occasional Prologue, by Colman, is Larpent MS 288, which introduces Miss Morris as Juliet, and stresses the qualms and fears of a new performer.] Receipts: #227 19s. 6d. (Account Book). Lloyd's Evening Post, 28-30 Nov.: Sir: The managers of both theatres have of late, in order to put a stop to the Public complaint against a dearth of actors, given trials to several stage candidates that seemed to have any promising requisite. Such experiments have not proved fruitless. The most brilliant and interesting of which was the young lady's appearance on Covent Garden Theatre last night, in the character of Juliet. So great was her terror, on presenting herself for the first time before a crowded audience, that, deprived of all her powers, she fell down on the stage in a swoon. The first act in consequence, was all terror on her side, all compassion and anxiety on that of the audience. But having had time between the first and second Acts to recover from her panic, she shone forth in the Balcony Scene the most pleasing promise of a young tragic actress that has been seen for half a century past, and continued so throughout. Her person is genteel, her tone of voice insinuating, variable, and melodious; her recitation is just and sensible; very affecting in the pathetic parts; condescending, free, and polite are the familiar speeches with the Nurse. She is happily devoid of all stage whine, and tragedy Cant. The manner she has been rudimented in does great honour to her instructors, who have so judiciously prevented the so excellent actor of this verily a Shakespeare's Juliet, from being sophisticated by the studied tricks, and false ornamenting of mistaken modern and degenerate art

Event Comment: Mainpiece: By Particular Desire

Event Comment: Benefit for Mr and Mrs DuBellamy. Mainpiece: By Particular Desire. Afterpiece [comedy by Samuel Foote]: never perform'd there

Event Comment: Miss Younge having been a Season in Ireland is now return'd play'd Well & was receiv'd with Great Applause (Hopkins Diary). Potter, Theatrical Review: We must beg leave to point out a small error in her playing the part of Imogen; and which was too obvious to escape notice: --When Iachimo arrives from Italy...he is introduc'd to her by Pissanio who says..."Madam, a noble gentleman of Rome comes from my Lord with letters." And Iachimo on his first appearance informs her, that "the worthy Leonatus is in safety." These circumstances ought to awaken the highest joy and transport in Imogen, instead of which, we wer sorry to observe, she dropped a solemn curtsey, and without one joyous feature said, with the utmost langor, "Thanks good sir, &c." And even after she had read the letter...she addresses herself to him again with the same indifference. Rec'd Mrs Groath, 1 yrs. Rent to Xmas last #3, and from Mr Atkins on Acct #5 5s.; Advanc'd Mr Barry, Box Office keeper #15; Ditto to Mr Watson, Box Office Keeper #10 (Treasurer's Book). Receipts: #164 5s. (Treasurer's Book)

Event Comment: Paid 6 days salary at #82 16s. 5d. per diem--#496 18s. 6d.; Mrs Abington on cloaths account #2; Mr French on acct #2. Mr D. Garrick's Night. Charges #84 (Treasurer's Book). Profit to D. G. for sixth night of Inst of Garter #115 7s. 6d. Mainpiece: Not acted in 4 years. [See 2 Dec. 1767.] Garrick recovered from his illness (Winston MS 10). [Of the mainpiece: "How the managers could think of shoving Mr Cautherly into the part of Captain Plume, is, to us, a matter of surprize....The part requires elegance, vivacity and the easy deportment of an accomplish'd gentleman. We never remember to have seen this character more completely performed, than by Mr Smith at Covent Garden Theatre (who is everything that criticism can wish) nor much worse, than by Mr Cautherly, who does not possess one requisite for the character, and is the effeminate and insipid School-boy throughout the whole. To this we may add, that he was not perfect, and made a great mistake, by coming in where he should not which oblig'd him to retire again. This was an unpardonable fault, though it was the first time of his appearing in this character."--Theatrical Review, 2 Nov. Of the afterpiece: "We were not a little pleased to observe this evening, that Mr King, in the character of Sir Dingle, omitted the parody on the lines with which the third act of Otway's Orphan concludes. But we think the introducing a chine of roast beef, decorated with a flag, to be carried off in triumph by the rabble, accompanied, from the orchestra with music of the old song of that title is a pitiful addition to the performance, and intended only as a sacrifice to the caprice of the riotous inhabitants of the upper gallery. Had this Entertainment been exhibited at a French theatre it would have had some claim to merit. This seems to be a piece of stage policy, arising from a consciousness, that the whole performance is too contemptible to meet with countenance from any but the sons of riot, for which reason they are brib'd to support it, by this notable trick."--Theatrical Review, 2 Nov.] Receipts: #199 7s. 6d. (Treasurer's Book)

Event Comment: [The Young Gentleman identified as Owenson by Hopkins MS Notes. Confirmed by Sir Nicholas Nipclose, in The Theatres (2nd. ed. London, 1722, p. 51) speaking of Inchbald's introduction to the London stage with advertisement of "first appearance" though he had been many years an itinerant actor, "this is a trick to gain, from curiosity, what may pay by one night the whole season's pitiful salary of such actors; several mushrooms have vegetated thus; but none more worthless or short lived, than Mr Owenson; brought forward modestly in Tamerlane, some weeks since; without even the requistes of a grown-up school-boy."] Receipts: #180 6s. (Account Book)

Event Comment: Every Man in His Humour oblig'd to be Deferr'd. Paid Joseph Stephenson as per Certificate from Sir John Fielding, 10s. (Account Book). Receipts. #156

Event Comment: Eleventh and Last time of performing Mainpiece this season. Afterpiece: By Particular Desire. Othello and The Irish Widow, to have been performed this evening for Mr Barry's Benefit, oblig'd to be deferr'd till further notice (playbill). Mr Barry being Ill his Benefit which was to have been this Night is oblig'd to be deferr'd (Hopkins Diary). [So, according to Hopkins, the profits went to the house.] Receipts: #171 19s. 6d. To the Public Advertiser: Sir, I spent an agreeable evening lately with a Country Friend at the Primitive Puppet Show, and was not displeased at the ridicule pointed at the dull, spiritless stuff, which composes modern Sentimental Comedy. I was entertained too with the manner in which some of the Actors were taken off; But I cannot think mimicry worthy to furnish an Evening Entertainment for a Polite British Audience, or suited to the happy ridicule and pointed wit of Aristophanes. The old Roman comedy, as it was called, was designed for nobler purposes: it was directed to improve the head and mend the heart. The keen manly satire of that Comedy was pointed at Upstart, Braggart, Vice, and to expose the dangerous unfeeling craft of innocent Villainy, or to use the words of Mr Pope--Brand the bold front of shameless, guilty man. Such was, and such ought to be, the salutary Direction of Wit, and Satire by exhibiting characters in their genuine colours, when the mask, which disguises and conceals them from the eyes of the Weak the Credulous, and the Ignorant, is drawn off. The words of Horace are--Detrabere et pellam, mitidus qua quisque per ora Cederet, introrsum turpis. Yours, Dramaticus. Poetry for the Public Advertiser. Epigram on the New Tragedy Alonzo. @No wonder that each female voice@Resounds Alonzo's praise;@A sure foundation of Applause,@The crafty Author lays.@ @Against the Virtue of his Wife@A Husband, if he's wise@According to the Gallant HOME,@Should not believe his eyes.

Event Comment: Benefit for Mrs Bulkley. Mainpiece: Not acted these 5 years. [See 19 April 1769.] Afterpiece: A Farce Never acted there [Wm Whitehead]. Tomorrow (for the only Time this Season) The Merchant of Venice with Love-a-la-Mode. Shylock and Sir Archy by Mr Macklin being the only time of his performing this season. For the Benefit of Miss Macklin (playbill). Charges #66. Profit to Mrs Bulkley #43 6s. 6d. plus #103 16s. from tickets (Box 194; Pit 298; Gallery 106). Paid one half year's paving &c. for the Theatre due Lady Day #26 5s. (Account Book). Receipts: #109 6s. 6d

Event Comment: Benefit for Smith. [See note for 6 March.] Part of Pit laid into Boxes. Ladies send servants by half past 4 o'clock, and those who have taken places in the Pit requested to come early to prevent Confusion in getting to their seats. Tickets deliver'd for Lady Jane Grey will be taken. Charges #65 10s. Profit to Smith #84 6s. 6d., plus #172 15s. from tickets (Box 640; Pit 85). Paid Blanchville Clark as per certificate from Sir John Fielding 10s. (Account Book). Receipts: #149 16s. 6d

Event Comment: Benefit for Quick. Afterpiece: A new Farce never performed. Altered from Sir Charles Sedley's Piece of the same title by Dr Goldsmith. Acted only this night (playbill). [The notation on the alteration is by Kemble on the playbill. The characters are: Sourby, Octavio, Wentworth, Dancing Master, Scamper, Clarissa and Jenny. See Edition by Alice I. Perry Wood (Cambridge, Mass., 1931).] Charges #66 5s. Profit to Quick #7 6d., plus #80 from tickets (Box 100; Pit 263; Gallery 156) (Account Book). [Brief review of the Grumbler in the Westminster Magazine for May 1773: "It was several years ago translated from the French, and received this night some additional touches from the pen of Dr Goldsmith. An entertainment of one act cannot be expected to contain much. The whole merit of this is centered in one character, and perhaps in one scene."] Receipts: #73 5s. 6d

Event Comment: Mainpiece: By Desire. The eighth night of the New Pantomime of the Sylphs will be on Thursday. Gave Porters of the several Inns of Court their Christmas Box #3 12s. 6d. Paid John Corker and Joseph Stephenson each 10s. as per certificate from Sir John Fielding (Account Book). Receipts: #183 15s. (Account Book)