Event Comment: Benefit for Theatrical Fund. Doors open at 5 o'clock. Play to begin at half past 6. Last night of season. Cash in the Galleries #88, from Mr Johnston #211 18s. Total #299 19s. Paid in sundries (Rent #8; Soldiers 14s.; Properties 2s.; Bill Stickers 18s.; Candles, Oyl, Lampmen #3 18s. 6d.; Printer #2 13s. 6d.; Total #16 5s. 6d.; Box tickets 680 #170). Ladies and Gentlemen who have taken tickets for the Pit and Boxes are requested to be early at the Theatre, to prevent their being incommoded in getting to their Place. [N.B. 27 June 1767 the Gentleman's Magazine reports that Sg Tenducci "renounced the errors of popery, and embraced the protestant religion in Dublin."] Receipts: #299 19s. (Treasurer's Book). Instead of going to dinner put The Suspicious Husband in my pocket and read Ranger's part at the Somerset Coffee House. Dressed and at half past 5 went into the Front Boxes at Drury Lane to see The Suspicious Husband for the Fund for the Relief of Decayed Actors, being the last time of performing this season. The Pit and Boxes were laid together. Mr Garrick spoke an occasional Prologue and played Ranger. Though in the back row I saw him very well by the help of my glass...Before the Dance Mr Garrick saying that he would not have been able to do it after, in the name of the company and managers thanked the public for the favors received this season. Mr @@ asked me to go to Vauxhall after ye Play, but I chose rather to see Daphne and Amintor ye characters as usual (Neville MS Diary)

Event Comment: Mainpiece: Not acted these 12 years. [See 24 Jan. 1758.] Prologue written by Paul Whitehead. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant (only) at the Stage-Door. No persons can be admitted behind scenes, nor any Money returned after curtain is drawn up. To begin exactly at 6 o'clock. [Customary note in succeeding bills.] Receipps: #190 14s. (Account Book). @The New Occasional Prologue@As when the merchant to increase his store@For Dubious seas, advent'rous quits the shore;@Still anxious for his freight, he trembling sees@Rocks in each buoy, and tempest in each breeze@The curling wave to mountain billow swells,@And every cloud a fancied storm fortells:@Thus rashly launch'd on this Theatric main,@Our All on board, each phantom gives Us pain;@The Aatcall's note seems thunder in our ears,@And every Hiss a hurricane appears;@In Journal Squibs we lightning's blast espy,@And meteors blaze in every Critic's eye.@Spite of these terrors, still come hopes we view,@Hopes, ne'er can fail us--since they're plac'd--in you.@Your breath the gale, our voyage is secure,@And safe the venture which your smiles insure;@Though weak his skill, th' adventurer must succeed,@Where Candour takes th' endeavor for the deed.@For Brentford's state, two kings could once suffice;@In ours, behold! four kings of Brentford rise;@All smelling to one nosegay's od'rous savor@The balmy nosegay of--the Public favor.@From hence alone, our royal funds we draw,@Your pleasure our support, your will our law.@While such our government, we hope you'll own us;@But should we ever Tyrant prove--dethrone us.@Like Brother Monarchs, who, to coax the nation@Began their reign, with some fair proclamation,@We too should talk at least--of reformation;@Declare that during our imperial sway,@No bard shall mourn his long-neglected Play;@But then the play must have some wit, some spirit,@And We allow'd sole umpires of its merit.@For those deep sages of the judging Pit,@Whose taste is too refin'd for modern wit,@From Rome's great Theatre we'll cull the piece,@And plant on Britain's stage the flow'rs of Greece.@If some there are, our British Bards can please,@Who taste the ancient wit of ancient days,@Be our's to save, from Time's devouring womb,@Their works, and snatch their laurels from the tomb.@For you, ye Fair, who sprightlier scenes may chuse,@Where Music decks in all her airs the Muse,@Gay Opera shall all its charms dispense,@Yet boast no tuneful triumph over sense;@The nobler Bard shall still assert his right,@Nor Handel rob a Shakespear of his night,@To greet the mortal brethren of our skies [upper galleries]@Here all the Gods of Pantomime shall rise:@Yet midst the pomp and magic of machines,@Some plot may mark the meaning of our scenes;@Scenes which were held, in good King Rich's days,@By sages, no bad epilogues to plays.@If terms like these your suffrage can engage,@To fix our mimic empire of the stage;@Confirm our title in your fair opinions,@And crowd each night to people our dominions.@--(Poems and Miscelaneous Compositions, Ed. Capt. Edward Thompson, 1777) Covent Garden opened with the Rehearsal with alterations. I was in the Pit. Powell, from Drury Lane, one of the new managers who have bought the patent from Rich's heirs, spoke an occasional Prologue. Shuter did Bayes pretty much to my liking, adding many crochets of his own.... Entertainment The Mock Doctor,...Young Jasper pretty well by one Massey, being his first appearance on that stage (Neville MS Diary)

Event Comment: New Dances, new Clothes, new Decorations. A new serious Opera; music by several celebrated Composers. Pit and Boxes put together and no Persons to be admitted without Tickets, which will be delivered this Day, at Half a Guinea each; First Gallery 5s. Second Gallery 3s. Gallery, Pit, and Boxes open at Five. By their Majesties Command, no Person whatsoever to be admitted behind the Scenes or into the Orchestra. 6:30 p.m. Vivant Rex et Regina. [Notice repeated in the bills.] [Messrs. Vincent and Gordon, Managers of the Operas had noted (Public Advertiser, 9 Sept.) their engagement of singers: For the Serious Opera: Guarducci, first Man; Signora Campolini, first Woman; Savoi, second Man; Signora Querzioli, second Woman; Signora Piatti, third Woman; Michelli The Comic Opera: Lovattini, first Man; Signora Guadagni, first Woman; Savoi, serious Man; Signora Querzoli, serious Woman; Moriggi (Bass); Signora Piatti, third Woman; Michelli. Also engaged: Guglielmi and Alessandri, Composers; Pugniani, first Violin; Signora Coradini a new Dancer.

Event Comment: The Managers beg leave to acquaint the Nobility and Gentry that on account of the sudden Indisposition of the principal Singers they cannot perform an opera this evening

Event Comment: The Last time of the company's performing this season. [Following deficiencies for this season paid up: Richard Smith, Lewes, Dumay, Condell, Potter, Thomas Smith, Quick, Furkins, Wilkinson, Abbott, Simmonds, Pullen, Stephenson, Asbury, Wilde, Francis, Mrs Griffiths, Claridge, and Sharratt (Account Book). This includes payment of half value of tickets for those who were granted partial benefits on that basis.] Music forfeits at end of season #17 6s. 11d. Neville MS Diary: Went...to see Cymbeline...chiefly to hear Powell speak an occasional prologue. Would not have gone had I known it was only a stale piece of flattery to George. [See The Gentleman's Magazine, 9 July p. 346: "On shutting up the playhouse in Covent Garden at the end of the season, admission into the theatre having been denied to Mr H and R through any other passage but Mr Powell's House, those gentlemen at the head of a large posse on the 17th of last month, [June] made a forcible entry by breaking open a window near the playhouse door in Hart street; after which they expelled by violence Mr Sargeant the Housekeeper, all his family and others; but the acting managers not being inclined to submit to the arbitrary proceedings of their colleagues, immediately applied for redress, where redress was effectually to be had, and this day they were formally expelled by virtue of a warrant from under the hand and seal of the high sherrifs of London and Middlesex, and the old housekeeper, Mr Sargeant, restored to his office of trust, to the great mortification of one of the champions who had been heard to say: That he had now got possession and d--n him if he would not keep it while he had a drop of blood in his body, and while there was one brick upon another belonging to the house."

Event Comment: [The Young Gentleman who played Zaphna was Wroughton. "His real name was Rottan, but altered euphonia gratia. He was designed for a surgeon and served his apprenticeship at Bath. The following playbills show that he met with approbation on the stage. He remained with Covent Garden from this time till the end of the season 1785-86. He then played in Ireland one Winter, and was engag'd at Drury Lane Theatre in the beginning of the season 1787-88. This was the occasion of Mr Wroughton's leaving Covent Garden, I mean it was thus conjectured. Mr Lewis had been appointed manager of that theatre for Mr Harris. Mr Lewis and Mr Wroughton lived next door neighbors in Broad Court at the top of Bow Street, and were sworn friends:--they laughed together, lived together--In the season 1784-85 two new performers Mr Holman and Mr Pope, appeared on the Covent Garden Stage--these young men were great favorites with Mr Harris; Mr Holman, attracting at this time very crowded audiences, stood so particularly high in his regard, that his partiality made him guilty of some injustice to older and abler actors in the theatre. Mr Henderson had really cause to complain of neglect; and Mr Wroughton thought himself equally oppressed. At this time we had a Club and met every Wednesday fortnight during Lent at the Long Room in Hamstead at dinner. Our Club consisted of a certain number of us belonging indifferently to either theatre, and two or three other gentlemen who were not actors. Mr King, Mr Quick, Mr Farren, Mr Mattocks, myself, etc., etc. When the bottle had a little warmed Mr Wroughton he threw out some sarcasms on his Friend Mr Lewis's management; Mr Lewis retorted; Their tempers grew hot, their words grew aggravating; Mr Wroughton struck Mr Lewis; Mr Lewis returned the blow. They were parted; all the pleasures of the day were over, and the Club broke up in confusion. I was not present this day, but have related what Mr Siddons told me of this Quarrel, and I imagine that Mr Wroughton's attack on Mr Lewis sprang from a suspicion that he was too willing to execute Mr Harris's designs in favour of Mr Holman. Be this as it may, Mr Wroughton was discharged from cg at the expiration of his Articles with Mr Harris."--Hopkins MS Notes.] Receipts: #186 3s. (Account Book)

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: Benefit for Mrs Ward. Mrs Ward is extremely sorry she is oblig'd to change the Night's Entertainment advertised for her Benefit, but the severe illness of Mrs Mattocks and Mrs Baker, makes it impossible to perform the Opera of Love in a Village, as does Mr Woodward's indisposition the Farce of the Citizen. The Managers have therefore kindly granted her the above tragedy and pantomime. Charges #65 15s. Balance to Mrs Ward #55 5s. plus #53 2s. from tickets (Box 58; Pit 158; Gallery 149). Receipts: #121 (Account Book)

Event Comment: Benefit for Bensley. The Tragedy Altered by Dr Hawkesworth. Part of Pit will be Laid into the Boxes. [Winston MS 10, from O. Smith from the Town & Country Magazine, suggests Oroonoko--Fleetwood, son of the late manager, and brother to the gentleman who appeared about Nine years ago at dl.] Charges #66 19s. Balance to Bensley #51 15s. 6d. plus #113 15s. from tickets (Box 416; Pit 59; Gallery 9). Paid Younger for writing parts #6 3s. 4d. Receipts: #118 4s. 6d. (Account Book)

Event Comment: Benefit for Mrs Baker. The Indisposition of a principal Performer making it impossible to do the play of Hamlet as advertised for Mrs Baker's Benefit, she is oblig d to change to the above Comedy, on account of which disappointment, the Managers have kindly granted her this pantomime, and she humbly hopes her illness will plead her excuse for not appearing on her own night. Tickets deliver'd for Hamlet will be taken. Charges #66 13s. Balance to Mrs Baker #33 8s. 6d. plus #29 14s. from Tickets (Box 35; Pit 101; Gallery 58). Receipts: #100 1s. 6d. (Account Book)

Event Comment: Benefit for Legg, Mrs Lampe, Mrs Jones. Tickets deliver'd for The Maid of the Mill will be taken. The vocal performers continuing too ill to appear in the Maid of the Mill, the Managers have kindly indulged Mr Legg, Mrs Lampe and Mrs Jones with the above tragedy. Charges #70. Deficit to Legg #7 8s. 6d.; to Mrs Lampe and Mrs Jones #7 6d., covered by income from tickets: Legg #58 (Box 73; Pit 161; Gallery 156); Mrs Lampe and Mrs Jones #47 15s. (Box 72; Pit 117; GAllery 122) (Account Book). Receipts: #55 3s. (Account Book)

Event Comment: HHopkins MS Memorandum Book: Mrs Barry sent word she was so ill she could not come out for the Pageant [The Jubilee]. If she did she could not play in the Mourning Bride on Monday. I waited on her by the manager's orders & told her they would excuse her playing on Monday if she would come out & do her part in Pageant; & as it was a thing of great consequence to them, they desir'd and expected as she had begun it [as the Tragic Muse] that she would continue it as long as she was able. Her answer was, that as they seem'd to think it of such consequence she would come out & do it tonight & Monday night, but after that desir'd to be excus'd from do[ing] it. On Tuesday Morning Mr Barry sent a note that Mrs Barry was ill in her Bed & could not come out till she was better. Tancred & Sigismunda was call'd, and I did not receive the note till the rehearsal was begun. I also on Saturday deliver'd a message to Mrs Barry from Mr Garrick that he would never ask her to play in anything in which he was particularly interested. Her answer was that was in his Rage. But if his mind should alter, she was ready and willing to do anything he would desire her to do

Event Comment: TTancred and Sigismunda deferred. Mrs Barry ill. I call'd upon Mr Barry. He was not at home. In the afternoon I sent him a note desiring they would send notice when they were able to perform. He sent me an angry note in answer on Fryday. I, by the managers [orders] answer'd it on Fryday morning, both which letters Mr Garrick has (Hopkins MS Memorandum Book)

Event Comment: MMiss Weller a Pupil of Dr Arne first appear'd and-(Hopkins Diary). London Evening Post, 11 Jan.; A pupil of Dr Arne and scarecely 19 years of age; her figure is that of the tallest of the middle size, well proportioned and at present possesses a dignity and grace which when habit brings her to perfection cannot fail of being universally admired. Her face is oval with an aqualine nose and though from the timidity of a first appearance the rest of her features lost that necessary animation, yet there were periods when she could disposses herself of her confusion, that prognosticated great expression of countenance. Her voice was clear, commanding, and melodious, and her ear and manner both excellent. She is that kind of singer that one can be pleased from looking at as well as from hearing, --an excellence few vocal performers possess. Her acting abstracted from her voice would have done credit to a first appearance, as it was very pleasing and properly accompanied....What the managers could mean in casting Lucy for Miss Pope is extraordinary, as she sung, or indeed rather squalled every song so much out of tune that it was impossible for the music to accompany her; we do not however mean by this to cast the least reflection on so excellent an actress, as her spirited and judicious manner of playing it almost atoned for that of singing it

Event Comment: For the Benefit and Increase of a Fund established for the Support of decay'd Musicians, or their Families. Sig Guadagni having declined singing at this Concert, the Managers have applied to Sig Tenducci who is so obliging to favour the Society with his Performance. Upper Gallery 3s. 6d

Event Comment: For the House. Mainpiece: By Particular Desire. [Sometime after May, and during 1770 was published Paul Hiffernan's Dramatic Genius in Five Books, dedicated to Garrick (with a 2nd edn., 1772). Book I, delineates a plan for a permanent Temple to be erected to the memory of Shakespeare, in classical taste; Book II, details the invention of the drama, its rise to perfection, and gives a "candid disquisition of the rules laid down by the critics"; Book III, a treatise on the art of acting; Book IV, requisites for dramatic genius, in composition, and in acting; Book V, an essay on Architecture, Painting and the other arts as they relate to theatrical representation. Contains flattering comments on theatrical managers.

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: Mainpiece: By Particular Desire. Paid Whitefield for cloaths bought #34 7s. (Account Book). All the differences between the managers of Covent Garden Theatre are settled. They met together without the interposition of any other person, shook hands, dined at Mr Colman's, and put a final stop to all the proceedings at law (Gentleman's Magazine, XLI, 520). Receipts: #186 18s. (Account Book)

Event Comment: Paid Mr J. French by consent of assignees [24 Jan.] #5 5s.; Paid Mr J. French's assignees his balance of acct with managers #60 9s. (Treasurer's Book). Garrick (Hopkins Diary). Receipts: #258 13s. 6d. (Treasurer's Book)

Event Comment: Paid Mr Chapman for horsekeeping [for Jubilee] #12 6s. (Treasurer's Book). [Published this month A Letter to David Garrick, Esq. on his conduct as Principal Manager and Actor at Drury Lane. Printed for S. Bladon. Accuses Garrick of controlling the press, save for two papers, and thus getting more favourbale treatment than his position and actions deserve. "You are a mere actor. You affect to feel where you do not, and imitate tones, looks and gestures, while your heart is at ease. This should heighten our opinion of you as an artist, whatever we might think of you as a man. I believe you are not generally judged of in this manner. It is not difficult to impose on the world." The author (David Williams?) deprecates Garrick's supposed handling of the actors of his company, and desires to see more Shakespeare. Suggests Garricks' acting perfection lies in the extreme, in exaggerated gesture, and sudden bursts of passion." Suggests he is getting old and should try his hand at Shylock.] Receipts: #271 (Treasurer's Book)

Event Comment: March 3 [or 23] Garrick is remov'd from Southampton St. to the Adelphi (Winston MS 10). Paid Dr Nares and Mr Cooke's 8 Boys in the Garter (8 nights) #24; Mr Bibb (sword cutler) #2 9s.; Mr Dibdin's draft on the managers, #50 (Treasurer's Book). Receipts: #181 15s. 6d. (Treasurer's Book)

Event Comment: By Command of Their Majesties. Tickets and places to be taken of Mr Johnston at the Stage Door of the Theatre at Half a Guinea. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. Doors to be opened at Five o'clock. To begin at Half past Six. Theatrical Review (London, 1772), appendix, pp. 207-8: The Oratorios performed at this House were conducted by Messrs. Stanley and Smith, for their own emolument; the Managers of the theatre having had no Share of the profit arising from these performances, nor any advantage, except a premium for the use of the house. Mr Stanley's musical abilities are well known. Mr Smith, was, if we are not mistaken, a pupil of the celebrated Mr Handel's; and, we believe, that Gentleman left Mr Smith the greatest part of his music, if not his whole library; so that Mr Smith may with great propriety claim the right of succeeding Mr Handel in the exhibition and conduct of his Oratorios, which he has undertaken (in conjunction with Mr Stanley) every since Mr Handel's death. Their band was composed of some of the most capital performers in this kingdom, and was led by Mr Ximenes. The vocal performers (exclusive of Chorus singers) were Mr Norris, well known to all lovers of Music, for his taste and delicacy of execution. Mr Parry (a Bass voice) from the Cathedral Church of Salisbury. This gentleman, though very young, has an extensive compass, and a great power of voice, and acquits himself with considerable reputation. Mrs Weichsel and Mrs Scott, of whom it would be superfluous and unnecessary to say anything, since their abilities are generally known. And lastly Signora Grassi, a performer of great merit. Theatrical Review, 6 March: This is Mr Dryden's celebrated Ode on St Cecelia's Day, and not an Oratorio, but performed as such...It contains many beauties and such as are worthy of Mr Handel's genius...Being much shorter than the usual length of oratorios, Mr Handel's celebrated Coronation Anthems were added in order to make the evening's entertainment of a proper length. Also a Solo on the Violincello by Mr Janson...lately arrived from Paris, said to have been a pupil of Mr Duport's but, though his taste and excution is very astonishing, we cannot give him the preference of his master. [See 13 April 1773.Charge seems to have been #28 per night plus expenses for oil, candles &c.

Event Comment: Paid Mr Dibdin's draft on Managers, #50; Mrs Weston 4 nights in the Garter in full, 10s. (Treasurer's Book). Mr Daigueville, First Dancer and Ballet Master at Drury Lane House, gives notice to the Nobility and Gentry, that he has an elegant dancing room, No. 38 Cow Lane, Snowhill; where he continues to teach every day the Dauphin's Minuet and others...Teaches abroad also when required; and at the request of his scholars, he will give a Ball on the 10th instant. The Gentlemen are desired to call at his house for the tickets 10s. 6d. each, to admit one Gentleman and a Lady. If any Gentleman wants the Ballroom for private assembly or concert they may have it for one or two nights in the week. Receipts: #159 6s. (Treasurer Book)

Event Comment: We cannot quit this aritcle without remarking to the credit of the managers at this theatre, that there probably never was an evening Performance of this nature before exhibited, consisting of so great a variety. However, the great applause the whole received evinced that the audience were sensible of an attentive effort to please, and, as such signified their approbation (Theatrical Review, p. 223). Charges: #35 (Account Book)