Event Comment: Mainpiece [1st time; CO 3, by James Cobb. Text 1st published (unauthorized), Dublin [1790]. Sga Storace had 1st appeared in concerts from 1774 to 1778, and at king's on 24 Apr. 1787 and thereafter]: With new Scenes, Dresses and Decorations. The new Music composed by Storace, the rest compiled from Linley? Sen., Purcell, Sarti, Paisiello, Martin y Soler?, Pleyel, &c. The Scenes designed and executed by Greenwood. Books of the Songs to be had at the Theatre. "In her own particular line on the stage [Sga Storace] was unrivalled, being an excellent actress, as well as a masterly singer. She settled entirely in England, and after quitting the opera (to which she was frequently recalled in times of distress, as was too often the case), she engaged at Drury Lane, where the English opera was raised to an excellence not known before, by her singing, with that of Mrs Crouch, Mrs Bland, Kelly, and Bannister, and under the direction of her brother Stephen Storace, who composed, or rather compiled, several very pretty operas, of which the Haunted Tower, and the Siege of Belgrade still remain favorites, and are frequently performed" (Mount-Edgcumbe, 65). Account-Book, 4 Jan. 1790: Paid Cobb on Acct. of the Purchase of the Copyright of the Haunted Tower #157 10s.; 27 Feb. 1790: Paid Cobb in full for Copyright #52 10s. Receipts: #219 9s. 6d. (200.13.0; 17.14.6; 1.2.0)

Event Comment: Benefit for Sga Storace. Mainpiece: By Permission of the Proprietors of the Theatre Royal, Drury Lane. Afterpiece [1st time; MF 2, by Prince Hoare, based partly on LE TABLEAU PARLANT, by Louis Anseaume]: The Music by Storace. "The songs are written with taste, and set to very lively and agreeable tunes by Storace's brother...[They are] calculated to afford her a complete opportunity of displaying that mixture of laughable levity, friskiness and merriment which on the stage give her so much attraction" (Public Advertiser, 18 Dec.). Tickets to be had of Sga Storace, No. 36, Howland Street, and of Rice at the Theatre, where Places for the Boxes may be taken

Event Comment: Mainpiece [1st time; MD 3, by Prince Hoare. Larpent MS 1126; not published; synopsis of plot in Monthly Magazine, May 1796, p. 320]: With new Scenes, Dresses, Decorations, &c. The Musick principally composed by the late Mr Storace [who had died on 19 Mar.], with a few Selections from Paisiello, Haydn and Sarti. [Grove, under Storace, states that the music was completed and prepared for the stage by Kelly and Sga Storace.] The Scenes designed and executed by Marinari and assistants. The Dresses by Johnston, Gay and Miss Rein. Books of the Songs to be had in the Theatre. "It was exceedingly tedious the first night, not being over till eleven o'clock. Since, it has been prudently cut down, and yet has lost nothing. A prologue, written on the very morning of representation, deploring the loss of the composer, was spoken (perfectly) by the last unfortunate Benson [for whom see 9 June. It was written by Hoare (Universal Magazine, May 1796, p. 362), and Was perhaps spoken only on the 1st night; it is not listed on any playbill]" (Monthly Magazine, May 1796, p. 320). "In short, possessing all the science of Harrison, the melody of Incledon, and the pleasing articulation of the late Mrs Kennedy, we have no hesitation in pronouncing [Braham] the first public singer of the present day. He was three times encored. His action is indifferent, and his dialogue scarcely audible" (Morning Herald, 2 May). Receipts: #297 14s. (258.10.6; 38.19.6; 0.4.0)

Event Comment: A new Comic Opera [1st time; COM 2, librettist unknown]; the Music composed by Storace. "Signor Storace does not appear to have studied that art [of music] much in Italy; for he has entirely deviated from the usual plan of Italian authors...The overture anneunces entirely a French author, and the finales are in the German style of Gluck, loaded with harsh, terrifying music of trumpeting and drumming" (Public Advertiser, 6 Mar.). Receipts: !162 [non-subscription]

Event Comment: Benefit for Mrs Crouch. Afterpiece [1st time; CO 2, by Prince Hoare, based on La Grotta di Trofonio, by Giovanni Battista Casti. Not in Larpent MS; not published]; Written by the Author of No Song No Supper. The Music composed principally by Storace [partly adapted from Salieri, composer of Casti's opera; one song each by Anna Storace, Thomas Attwood, Giovanni Paisiello, Richard Suett]. Oracle, 28 Apr.: Tickets to be had of Mrs Crouch, No. 26, Bridges-street. Receipts: #280 2s. (100.12.0; 33.13.6; 4.13.6; tickets: 141.3.0) (charge: #119 9s. 8d.)

Event Comment: Afterpiece: The Musick composed by Storace. Powell: My Grandmother rehearsed at 10 (Bannister Jun. one scene, Sedgwick one scene, Storace); Prize at 11 (Master Welsh and Suett two scenes); Lodoiska at 12. The Doors to be opened at 5:30. To begin at 6:30 [same for rest of season]. Receipts: #481 11s. 6d. (392/15/0; 80/16/0; 6/7/6; tickets not come in: 1/13/0)

Event Comment: Benefit for Kelly. Afterpiece [1st time, MF 2, by Prince Hoare]: The Music chiefly composed by Storace; the Rest selected from Pleyel, Harington, Giordani, Gluck, &c. [text adds Gretry]. Account-Book, 16 Dec. 1790: Paid P. Hoare for the Copyright of No Song No Supper #63. Gazetteer, 2 Apr.: Tickets to be had of Kelly, No. 27, James-street, Covent-garden. Receipts: #273 5s. (125.19; 38.18, 2.2; tickets: 106.6) (charge: #109 19s. 4d.)

Event Comment: Mainpiece [1st time; CO 3, by James Cobb. Text 1st published (unauthorized), Dublin, 1792]: The Scenes entirely new, designed and executed by Greenwood. With new Dresses and Decorations. The Musick composed principally by Storace, with a few Pieces selected from [Una Cosa Rara, by] Martini [i.e. Martin y Soler], Salieri, and Paisiello. "The Siege of Belgrade is a very pleasing vehicle for the music, which in a modern opera is all that is expected from the poet" (Universal Magazine, Jan. 1791, p. 66). "The battle between Palmer and Kelly ought to be shortened. It is almost as ludicrous as that between Don Whiskerandos and Beefeater, in Mr Puff's Tragedy [in The Critic]" (Gazetteer, 4 Jan. 1791). Account-Book, 24 May 1791: Paid Cobb for Copyright of Siege of Belgrade of #210. Receipts: #267 9s. 6d. (242.0.0; 23.9.6; 2.0.0)

Event Comment: Mainpiece [1st time; CO 3, by James Cobb. Larpent MS 1050; published (pirated) 1795]: The Musick, principally new, composed by Storace, with a few Pieces selected from Anfossi, Mozart, Bianchi, Ditters and Sarti. The Scenes and Decorations are all designed and painted by Greenwood, except the View of the New Settlement, which is by Capon. The Dresses, &c. are executed by Johnston and Miss Rein. Books of the Songs to be had in the Theatre. Powell: Cherokee rehearsed at 9:30. Receipts: #340 5s. 6d. (284.5.0; 54.13.0; 1.7.6)

Event Comment: Benefit for Sga Storace. Morning Herald, 25 Apr.: Tickets to be had of Sga Storace, No. 36, Howland-street, Fitzroy-square. Receipts: #402 7s. (197.11.6; 62.19.6; 0.16.0; tickets: 141.0.0) (charge: #261 7s.)

Event Comment: Benefit for Miss Wallis. 2nd piece: By Permission of the Proprietors of Drury Lane Theatre, and for that night only; with additional Songs [Sga Storace had sung in the oratorios at this theatre in the 1789 season.] True Briton, 13 Apr.: Tickets to be had of Miss Wallis, Gower-street. Receipts: #376 9s. 6d. (192.15.6; 2.16.0; tickets: 180.18.0)

Event Comment: Afterpiece: 6th Night [i.e. in continuation of the reckoning for the previous season]. The Musick chiefly composed by Storace, the rest selected from Pleyel, Giordani, &c. &c. Receipts: #205 11s (160.1; 44.2; 1.8)

Event Comment: No Money to be returned. Boxes 6s. 2nd Price 3s. Pit 3s. 6d. 2nd Price 2s. Gallery 2s. 2nd Price 1s. Places for the Boxes to be taken of Fosbrook, at the Theatre. The Doors to be opened at 5:30. To begin at 6:30 [see 14 Nov.]. The Avenues to the Boxes, Pit and Gallery are all at the Front of the Theatre in the Hay-Market, and the Door in Market-Lane is for Chairs only. "The short time since it had been determined to occupy this theatre had not been sufficient to enable the workmen to perfect what was intended so soon as was expected; nor could they be got out in time for opening the doors in the afternoon: this delay, and the difficulty of finding the way to different parts of the house [see 24 and 27 Sept.], caused some disgust" (Universal Magazine, Sept. 1791, p. 220). 1st piece [1st time; M. PREL 1, James Cobb; music by Storace (Kemble Mem.). Larpent MS 918; not published]. Receipts: #472 8s. 6d. (451.7.6; 20.6.0; 0.15.0)

Event Comment: 2nd piece: The Scenes entirely new, designed and executed by Greenwood. The Music composed principally by Storace, with a few pieces selected from Martini [i.e. Martin y Soler], Salieri, and Paisiello. Receipts: #450 8s. (403.12; 46.12; 0.4)

Event Comment: Afterpiece: Written by the Author of No Song No Supper [Prince Hoare]; performed but once [on 3 May 1791]. The Music composed principally by Storace. Receipts: #464 15s. (377.4; 85.15; 1.16)

Event Comment: Afterpiece: Written by the Author of No Song No Supper [Prince Hoare]; the Music composed principally by Storace. Receipts: #145 14s. 6d. (94.1.6; 49.17.0; 1.16.0)

Event Comment: Afterpiece: The Music composed by Storace. [In afterpiece the playbill assigns Nelly to Miss Redhead, but on the BM playbill (Harris, Vol. IV) her name is deleted and a MS annotation substitutes Mrs Bramwell's.] Paid Chorus to 25th Inst. #22 10s.; Supernumeraries #32 9s. Powell: Jew rehearsed at 10. Receipts: #436 10s. 6d. (356/2/0; 77/1 9/0; 1/5/6; tickets not come in: 1/4/0)

Event Comment: Mainpiece: The Music composed principally by Storace, with a few pieces selected from Anfossi, Bianchi, and Guglielmi. "But for the excellent acting of Falmer, [THE ENGLISHMAN IN PARIS] would now scarcely be tolerated" (Thespian Magazine, June 1794, p. 225). Powell: Pirates rehearsed at 11 (Sedgwick one scene; Bardeauleau, Boyce, Horsfall). Receipts: #337 3s. (277/3/6; 57/3/0; 2/16/6)

Event Comment: Benefit for the Relief of the Widows and Orphans of the brave Men who fell in the late Glorious Actions [on 1 June 1794], under Earl Howe. The Whole Receipt of the Night to be applied to the above Fund. Under the Patronage of His Royal Highness the Prince of Wales, and His Royal Highness the Duke of Clarence. The Tickets for the Boxes at Half-a-Guinea each, are issued under the Direction of a Committee consisting of the following Noblemen and Gentlemen, who have obligingly undertaken to attend to the arrangements of the Evening: The Duke of Leeds, The Duke of Bedford, The Earl of Lauderdale, Lord Mulgrave, Lord William Russel, The Right Honourable the Lord Mayor [Paul Le Mesurier], Mr Alderman Coombe, Hon. Thos. Erskine, J. Nesbit Esq., I. B. Church Esq., W. Devaynes Esq., J. Taylor Vaughan Esq., J. J. Angerstein Esq., R. B. Sheridan Esq. Tickets and Places for the Boxes, not disposed of by the Committee, to be had of Fosbrook, at the Box-Office, Little Russel-Street. Tickets also to be had at the Bar of Lloyd's Coffee House. Afterpiece [1st time; ENT 2, by Richard Brinsley Sheridan and James Cobb; with songs written by the Duke of Leeds, the Earl of Mulgrave, Mary Robinson, Joseph Richardson, &c. In 1797 altered as CAPE ST. VINCENT. Prologue by Joseph Richardson (London Chronicle, 4 July). Epilogue by Richard Brinsley Sheridan]: The Music composed and selected by Storace [with one song each by Reeve. Linley Sen., Michael Kelly]. The Dresses, Scenery and Machinery entirely New. "This piece is a sort of continuation of No Song No Supper...hastily put together for the occasion" (European Magazine, July 1794, p. 60). "The Theatre this Evening was crowded in every Part, the receipt amounting to something better than 1300 Guineas" (Powell). Powell, 1 July: Country Girl rehearsed at 10; Glorious First at 12 and at night. 2 July: Glorious First rehearsed at 10. Receipts: #1,526 11s. (450/6/0; 41/13/0; 0/12/6; tickets in boxes: 954/0/0; tickets in pit: 80/0/0) (charge: free)

Event Comment: Mainpiece: The Music composed principally by Storace, with a few pieces selected from Anfossi, Bianchi, and Guglielmi. Powell: Emilia Galotti rehearsed at 10; Wedding Day at 12; Sultan at 1. Receipts: #304 (245.14; 58.2; 0.4)

Event Comment: Mainpiece: The Musick principally new, composed by Storace, with a few Pieces selected from Anfossi, Mozart, Bianchi, Ditters and Sarti. Receipts: #165 1s. (113.5.6; 50.15.0; 1.0.6)

Event Comment: Benefit for Sga Storace. Tickets, 10s. 6d. each, to be had of Sga Storace, No. 24, Howland-street, Rathbone-place. Receipts not listed

Event Comment: Benefit for Sga Storace. Part of the Pit will be laid into the Boxes. Ladies and Gentlemen are desired to send their Servants by Half past Four o'Clock. Public Advertiser, 26 Jan.: Tickets to be had of Sga Storace, No. 23, Howland-street, Rathbone-place. Receipts: #328 5s. 6d. (177.14.0; 18.6.0; 3.0.6; tickets: 129.5.0) (charge: #112 0s. 10d.)

Event Comment: Benefit for Sga Storace. Part of the Pit will be laid into the Boxes. Public Advertiser, 2 Feb.: Tickets to be had of Sga Storace, No. 23, Howland-street, Rathbone Place. Receipts: #357 11s. (195.13; 20.19; 1.9; tickets: 139.10) (charge: #115 3s. 6d.)

Event Comment: Mainpiece [1st time; MD 3, by George Colman, ynger]: The Scenery and Dresses are entirely new. The Musick composed by Storace.The Scenes designed and executed by Greenwood and Capon [the Gothic library was painted by Capon (Oracle, 21 Mar. 1796)]. The Dresses by Johnston, Gay and Miss Rein. Books of the Songs to be had in the Theatre. [When Colman published his play he prefaced it with an acrimonious attack on Kemble, in which he accused him of deliberately trying to make the play a failure. But almost without exception the contemporary reviews excused Kemble's performance on the grounds of his obvious indisposition, and agreed that the play itself was unsatisfactory. "The play failed, and we are sorry to say did not merit to succeed...Kemble, who was tormented With an incessant cough, said he could not but be sensible that much of the displeasure of the house proceeded from his deficiency in a principal character...The whole audience with one voice cried out, 'No, no, Kemble-it is not your fault'" (Oracle, 14 Mar.). "The dialogue is extremely heavy, and there is little or no incident to relieve the tedium of more than four hours representation...Sir Edward Mortimer is a being distracted, with no adequate cause; a prey to remorse, which he of all men was the last to feel from the principles that make up his being. This therefore is the radical moral defect of the piece. But there is another which, though not equally strong, is equally fatal: there is no progression of interest, there is no involution of plot, there is no development of character" (Star, 14 Mar.). Other notices of the opening night were much in the same vein. Subsequently Colman revised the play, and it held the stage for many years. "The curtailments which have been made shorten the representation near an hour and a half, and the alterations are many and judicious" (Morning Herald, 21 Mar. 1796). Morning Herald, 23 July 1796: This Day is published The Iron Chest (2s.). Receipts: #471 9s. (468.13; 2.16)