SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "The Managers"/1) | (@(roleclean,performerclean) "The Managers")') GROUP BY eventid ORDER BY weight() desc, eventdate asc OPTION field_weights=(perftitleclean=100, commentpclean=75, commentcclean=75, roleclean=100, performerclean=100, authnameclean=100), ranker=sph04

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We found 314 matches on Event Comments, 309 matches on Roles/Actors, 87 matches on Performance Title, 44 matches on Performance Comments, and 0 matches on Author.
Event Comment: "Palmer and Bannister having withdrawn from the theatre, The School for Scandal and The Quaker, which were intended for the opening pieces, were changed" (Town and Country Magazine, Oct. 1787, p. 445). [These two actors thought themselves ill-used because of the refusal of the dl management to acknowledge their right to open the Royalty (see 20 June 1787). Oulton, 1796, II, 1-8, prints an exchange of letters between Palmer, Bannister, and King (the dl acting manager) relating to this situation.] "Some twenty of thirty bars of Handel, on the approach of the court to the play [in III. ii of mainpiece]...made a fine preparation for the scene which followed" (World, 19 Sept.). Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 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 13 Nov.]. Receipts: #186 5s. 6d. (151.0.0; 35.4.6; 0.1.0)

Performances

Mainpiece Title: Hamlet

Afterpiece Title: The First Floor

Event Comment: "When Priuli was relating to the Senators the impending and immediate destruction of their wives and families, the Senators, without discovering any emotion, were very pleasantly surveying the house, and laughing with their friends in the Upper Gallery. These gross enormities, that yet hang about our stage and are its disgrace, call aloud for the correcting hand of an intelligent Manager, to weed them out. Thanks to their own genius the Principals take care of themselves-the Subalterns are a disgrace. Is not King responsible for this part at one house, and Lewis at the other?" (World, 8 Oct.). Receipts: #302 2s. 6d. (274.4.0; 27.3.0; 0.15.6)

Performances

Mainpiece Title: Venice Preserv'd

Afterpiece Title: The Englishman in Paris

Dance: In afterpiece: The Minuet de la Cour-Hamoir, Miss Stageldoir

Event Comment: A Serio-Comic Opera in 2 acts (never performed here [1st performed at Vienna, 1784; and in April 1795 performed at king's under the title of Il Conte Ridocolo]). The Music composed in his best style by Paisiello. Under the direction of Mazzinghi. Fineschi being hardly recovered from his late severe indisposition humbly hopes for the indulgence of the public, whom rather than disappoint, he would run any danger. Gallini, for the last time, most respectfully entreats those few Subscribers who have hitherto delayed of declaring themselves, or sending in the names of their Co-subscribers, to do it immediately, as no one can be admitted without showing the Ticket for this year; and the Boxes not bespoke cannot remain empty after the opening of the House. Tickets to be had, and Subscription paid, as usual, at Messrs Ransom, Morland and Hammersley's, bankers, No. 57, Pall-Mall. The Doors to be opened at 6:00. To begin precisely at 7:00 [see 3 Jan. 1788]. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. "The only Part of the scenery which is interesting is the bridge Rialtov, and this is badly executed; it looks like a pantomimic show, but not like a grand opera scene; the bridge is crowded with figurative passengers, and small gondolas appear beyond it. The first idea is a capital error, for the representation of the bridge is supposed sideways, and being covered with shops, no passengers can be seen; the latter idea of boats being placed beyond the bridge crowds the scene, and makes the bridge lose its grand appearance at a distance...The Managers of the Opera are exceedingly to blame for having substituted a Soprano to a Tenor in the character of Gafforio" (Public Advertiser, 17 Dec.). Receipts: #164 14s. [These receipts, and those on all other nights throughout the opera season, represent the sale of non-subscription tickets. On this night 400 tickets were delivered to Prendergrass, office-keeper at the Haymarket pit entrance; of these he sold 159 at 10s. 6d. (i.e. #83 9s. 6d.). 100 were delivered to Toosey, office-keeper at the King's Door pit entrance; he sold 26 at 10s. 6d. (i.e. #13 13s.). 300 were delivered to Butler, office-keeper of the 1st Gallery; he sold 190 at 5s. (i.e. #47 10s.). 200 were delivered to Snelson, office-keeper of the 2nd Gallery; he sold 118 at 3s. (i.e. #17 10s.). Sale of one box #2 2s. "Difference from Gallery to Pit" (i.e. money received from persons who changed their seats from gallery to pit, 5s. 6d.). The delivery of 1,000 non-subscription tickets to be disposed was almost invariably the case on every night of the season; but see 5 Apr. 1788.

Performances

Mainpiece Title: Il Re Teodoro In Venezia; Or, Theodore (king Of Corsica) At Venice

Dance: End I: a new Divertissement (composed by Chevalier)-Chevalier, Coulon, Vestris, the two Miss Simonets, Sga Bedini, Mlle Coulon (1st appearance); End Opera: a new ballet (composed by Noverre) Les Offrandes a l'Amour-Didelot (1st appearance), Coulon, Vestris, Mlle Hilligsberg, Mlle Vedie, Mlle Coulon, Saulnier, Henry, Sala, the two Miss Simonets, Mlle Grenier, Mezierres

Event Comment: The Manager of the Opera, in conjunction with Noverre, the Ballet Master, esteem it their duty to request all persons who are not immediately interested in the performance of the new ballet of L'Amour et Psiche, to keep clear from the stage during the time of its representation, lest any accident should arise from the moving of the Machinery, from the flambeaux to be used therein, and from the opening of the Trap Doors, circumstances which must necessarily take place on the Practices and Representation of that ballet, and which they therefore think it incumbent on themselves to forewarn and caution the Public. "Noverre was unanimously called for on the stage to receive the applause and acclamations due to his merit...This, though common in France, was a new mark of approbation in England" (Burney,II, 901). Receipts: #146 1s. 6d. [non-subscription]

Performances

Mainpiece Title: La Locandiera

Dance: End I: Divertissement, as17871208

Ballet: End Opera: a new ballet (1st time), composed by Noverre, L'Amour et Psiche. By Mlle Hilligsberg, Didelot, Mlle Coulon, Chevalier, Vestris, Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. Cast from synopsis (H. Reynell, 1788): Psyche-Mlle Hilligsberg; Adonis-Didelot; Venus-Mlle Coulon; Hymen-Chevalier; Love, or Cupid-Vestris; Graces Furies and Fates-Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala; Mercury-Coulon. The music composed by Mazzinghi; with all new Scenery (by Marinari), Dresses (by Lupino)

Performance Comment: By Mlle Hilligsberg, Didelot, Mlle Coulon, Chevalier, Vestris, Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala, Coulon. Cast from synopsis (H. Reynell, 1788): Psyche-Mlle Hilligsberg; Adonis-Didelot; Venus-Mlle Coulon; Hymen-Chevalier; Love, or Cupid-Vestris; Graces Furies and Fates-Sga Bedini, the two Miss Simonets, Mlle Vedie, Henry, Jacolet, Saulnier, Sala; Mercury-Coulon. The music composed by Mazzinghi; with all new Scenery (by Marinari), Dresses (by Lupino). with all new Scenery (by Marinari), Dresses (by Lupino).
Event Comment: Benefit for the Manager. Receipts not listed

Performances

Mainpiece Title: Giulio Sabino

Dance: End I: The Military Dance, as17880115; End Opera: the second act of Euthyme et Eucharis, as17880403

Event Comment: A New Comic Opera (never performed [in London; 1st performed at Vienna, 1786]); the Music by Martini [i.e. Martin y Soler], under the direction of Mazzinghi. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. Those Subscribers of last season who have not yet signified their intention respecting the retaining of their Boxes are respectfully requested to send their names, in writing, to the Treasurer's office in Union-court, Hay-market, on or before Thursday next, the 15th inst., or the Manager will be under the necessity of disposing of the Boxes. Subscriptions are received and Tickets delivered as usual, at Messrs Ransom, Morland and Hammersley, No. 57, Pall-Mall. All persons claiming admission into the Opera House by Silver Tickets or Renters' Shares are requested to send the same to the Treasurer's Office as early as may be, that they may be examined and properly certified, otherwise they cannot be admitted. The Doors to be opened at 6:30. To begin at 7:30 [same throughout opera season]

Performances

Mainpiece Title: La Cosa Rara

Performance Comment: Principal Characters by Borselli, Forlivesi, Fineschi, Delicati, Torregiani, Sga Graziani, Sga Borselli, Sga Delicati. Cast from libretto (C. Etherington, 1789): Lubino-Borselli; Prince of Spain-Giuseppe Forlivesi; Corrado-Fineschi; Lisargo-Delicati; Tita-Paolo Torregiani; Queen of Spain-Sga Clementina Graziani; Ghita-Sga Elisabetta Borselli; Lilla-Sga Margherita Delicati.

Dance: End I: a New Divertissement-Didelot, Mlle Adelaide, the two Miss Simonets, Sala, Saulnier, Mlle Emilie Colombe, Beaupre, Duquesney, Mlle Normand; End Opera: L'Embarquement pour Cythere [composed by Didelot]-Didelot, Mlle Emilie Colombe, Beaupre, Duquesney, Mlle Adelaide, the two Miss Simonets, Sala, Saulnier, Mlle Normand

Event Comment: Inkle and Yarico [advertised on playbill of 28 Jan.] is deferred on Account of the Indisposition of a Principal Performer. Account-Book, 2 Feb.: Received of Brunton [manager of the Norwich theatre] for [permission to act] Highland Reel #30. Receipts: #242 5s. (231.13; 10.12)

Performances

Mainpiece Title: The Highland Reel

Afterpiece Title: Aladin

Entertainment: Vaudeville As17890127

Event Comment: Benefit for the Manager

Performances

Mainpiece Title: L'olimpiade

Dance: As17890428

Song: In Opera: Brettagna Freggiata, composed by-Marchesi [on the night of his Benefit see17890402]

Event Comment: Benefit for Macklin. [This was his last appearance on the stage; his 1st was c. 1716. In the middle of his first scene his memory failed him, and Ryder, who had been asked by the manager to be prepared for this eventuality, finished the part (Public Advertiser, 9 May; William W. Appleton, Charles Macklin, 1960, 225-27).

Performances

Mainpiece Title: The Merchant Of Venice

Afterpiece Title: The Death of Captain Cook

Dance: End IV: Fortune's Favor-Byrn, Mrs Goodwin, Mrs Ratchford

Event Comment: Benefit for Mr and Mrs Bernard. 2nd piece [1st time in London; M. INT 2, by John Bernard, 1st acted at Bath, 18 Apr. 1786. Music by William Boyton. Larpent MS 732; not published]: By Permission of the Bath Managers [William Keasberry and William Wyatt Dimond]. Receipts: #189 15s. (76.9; 1.16; tickets: 111.10)

Performances

Mainpiece Title: The Winter's Tale

Afterpiece Title: The British Sailor; or, The Fourth of June

Afterpiece Title: The Quaker

Entertainment: Monologue End 2nd piece: Ned Shuter's Observations in a Post Haste Journey to Paris-Bernard

Event Comment: [Afterpiece in place of The Island of St. Marguerite, advertised on playbill of 2 Feb. Beginning with this night Kemble, as acting manager, rearranged the order of listing the dramatis personae on the playbills, i.e., not, as had hitherto been the universal custom, according to the importance of the character in the play or the importance of the actor, but according to the social rank of each character. See also Genest, VII, 57-58, who remarks, inter alia, that "the vast importance which actors attach to the situation of their names in the bills, and to some other points of theatrical etiquette, must appear ridiculous to every body but themselves."] Receipts: #126 17s. 6d. (89.18.0; 34.10.0; 2.9.6)

Performances

Mainpiece Title: Much Ado About Nothing

Afterpiece Title: The Deaf Lover

Dance: In II: As17891209; End: The Irish Bird Catchers, as17900123

Song: As17891209

Event Comment: Among the Instrumental Performers are G. Ashley (leader of the Band), Sperati, Sarjant, Patria, Reinagle, C. Ashley, Boyce, Mahon, Mountain, Holmes, Lyon, Schram, Kaye, the Leanders, &c. Double Drums by J. Ashley. The Organ on Fridays by Knyvett, and on Wednesdays by Greatorex. The whole conducted by Harrison and Ashley. The Band will consist of 150 Performers. Places for the Boxes to be taken of Brandon, at the Stage Door. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. No Money to be returned. Places may be taken in the Theatrical Orchestra at 5s. each [i.e. at the oratorios the instrumentalists sat on the stage]. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]. Books of the Performances, with the names of the performers to their respective songs, to be had at the Theatre. And to prevent imposition in the Streets, the Managers have directed that they should be sold in the Theatre, at 6d. each

Performances

Mainpiece Title: The Messiah, Preceded By god Save The King(coronation Anthems)

Performance Comment: Principal Singers-Harrison, Sale, Griffiths, Champness, Gore, Webb, Reynoldson, Saville, Miss Poole, Miss Mahon, Miss Dall (1st appearance), Miss Cantelo, with the Choristers of His Majesty's Chapel-Royal and Westminster-Abbey.

Music: End II: a concerto on the violin-Mme Gautherot (from Paris)

Performances

Mainpiece Title: None

Performance Comment: The Manager of the Italian Opera most respecfully acquaints the Public and the Nobility that this Theatre is going under an alteration for the ensuing winter, which will prevent the Opera taking place, as was intended for this Evening.
Event Comment: Among the Instrumental Performers are Messrs Ashley and Sons, Patria, Sarjant, Billington, Mahon, Boyce, Mountain, J. Mahon, the Leanders, Ware, Kaye, Rawlings, Sharp, Lyon, &c. &c. &c. Double Drums by J. Ashley. The Whole under the Direction of Harrison and Ashley. No Money to be returned. Places for the Boxes to be had of Brandon at the Theatre. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]. Books of the Performances, with the Names of the Performers to their respective Songs, to be had at the Theatre, Price Six-pence. And to prevent imposition in the Streets, the Manager's Books are printed with the following Words at the bottom of each Title Page: "Printed by H. Macleish, Duke's-Court, Drury-Lane.

Performances

Mainpiece Title: A Grand Selection 0 Of Sacred Music, From The Works Of Handel

Performance Comment: Principal Vocal Performers-Harrison, Incledon, Griffith, Sale, Miss Poole, Mrs Piele, Mrs Billington; Leader of the Band-G. Ashley; The Organ-Knyvett.
Cast
Role: Leader of the Band Actor: G. Ashley
Role: The Organ Actor: Knyvett.

Afterpiece Title: Grand Selection 1

Performance Comment: Part I Coronation Anthem,God save the King-; Overture-(Esther); Shall I in Mamre's fertile Plain-Sale; For all these Mercies-Chorus (Joshua); Rise Jephtha, Happy Iphis-Miss Poole; When his loud voice-Chorus (Jephtha); Total Eclipse-Harrison; O first created Beam-Chorus (Samson); Holy holy Lord-Mrs Billington (Redemption); He gave them Hailstones-Double Chorus (Israel in Egypt).

Afterpiece Title: Grand Selection 2

Performance Comment: Part II Fifth Grand Concerto-; Honour and Arms-Griffith; Ye Men of Gaza-Miss Poole; Hear Jacob's God-Chorus; Justly these evils, Why does the God of Israel sleep?-Incledon; Then round about the starry Throne-Chorus (Samson); O come let us worship-Harrison (Coronation Anthems); The Mighty Power-Chorus (Athalia); O worse than Death and Angels ever bright-Mrs Billington (Theodora); Gird on thy Sword-Chorus (Saul).

Afterpiece Title: Grand Selection 3

Performance Comment: Part III Ye Sons of Israel-Chorus (Joshua); Rendi il sereno al Ciglio-Harrison (Sosarme); O Lord in thee have I trusted-Incledon, Chorus (Te Deum); O had I Jubal's Lyre-Miss Poole (Joshua); From the censer-Chorus (Solomon); Ye sacred Priests, Farewell ye limpid springs-Mrs Billington (Jephtha); The Lord shall reign-Chorus; For the Horse of Pharaoh-Harris; The Horse and his Rider-Mrs Billington, Double Chorus (Israel in Egypt).
Event Comment: [The playbill retains Sga Calvesi, but Morning Post, 14 Apr., prints a letter from her dated 13 Apr., stating that "she returns her most grateful thanks to the Subscribers and the Public for their indulgence in dispensing with her performance yesterday evening. She was one of the many unfortunate performers who were left unpaid in the year of 1783 by Mr Taylor. Deprived of resources, she naturally contracted debts, for one of which (yesterday evening going to obey her duty to the Public) she was arrested, and so expeditiously and secretly hurried away as to deprive her of the assistance of the Manager or her Friends to liberate her 'till an hour too late for Performance." The name of the singer who took her place is not known.

Performances

Mainpiece Title: La Bella Pescatrice

Dance: End I: Amphion et Thalie, as17910409

Ballet: End Opera: Telemachus in the Island of Calypso

Event Comment: Benefit for Mr and Mrs Bernard. Afterpiece [1st time; CO 2, author unknown. Larpent MS 909; not published]: With proper Scenery, Dresses, and Decorations. The Music entirely new, composed by M. P. King. Morning Chronicle, 20 May: Tickets to be had of Bernard, No. 35, Bow-street. Receipts: #299 2s. 6d. (120.10.6; 11.8.0; tickets: 167.4.0)

Performances

Mainpiece Title: Which Is The Man

Related Works
Related Work: The Man of Mode; or, Sir Fopling Flutter Author(s): Sir George Etherege

Afterpiece Title: Primrose Green; or, Love in the Country

Performance Comment: Principal Characters-Incledon, Blanchard, Munden, Bernard, Williamson, Wilson, Mrs Harlowe, Miss Williams, Mrs Warrell. [Larpent MS lists the parts: Sir Jeremiah Laurel, Abram, Standard, Scipio, Rural, Collin, Lucy, Peggy, Maria.]Larpent MS lists the parts: Sir Jeremiah Laurel, Abram, Standard, Scipio, Rural, Collin, Lucy, Peggy, Maria.]
Related Works
Related Work: Primrose Green; or, Love in the Country Author(s): Matthew Peter King

Dance: After Monologue: The Jockies, as17910507

Song: End II: Black Eyed Susan-Incledon

Entertainment: Monologue. End: Dissertation on Hobby@Horses: The Statesman's Hobby; The Soldier's Hobby; The Beau's Hobby; The Lady's Hobby; The Fidler's Hobby; Mrs Mountain's Hobby; The Manager's Hobby; and His Own Hobby-Bernard

Performance Comment: End: Dissertation on Hobby@Horses: The Statesman's Hobby; The Soldier's Hobby; The Beau's Hobby; The Lady's Hobby; The Fidler's Hobby; Mrs Mountain's Hobby; The Manager's Hobby; and His Own Hobby-Bernard.
Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Performances

Mainpiece Title: The Country Girl

Cast
Role: Alithea Actor: Mrs Ward

Afterpiece Title: No Song No Supper

Cast
Role: Grandmother Actor: Mrs Booth.
Event Comment: [This is the only occasion in the 18th century when a play was acted in London on this date. "The performance at the Haymarket on the 30th of January has been noticed by his Majesty in a manner which is still a topic of conversation in the higher circles...There will be no more theatrical performances on the 30th of January" (London Chronicle, 28 Feb.). On 3 Feb. the Lord Chamberlain wrote to Sheridan as follows: "Sir--Information has been received at this Office that Theatrical Entertainments were exhibited at the Theatre, under your direction, in St. James's Haymarket on the 30th of Last Month, contrary to all precedent, and repugnant to Decency, being the Anniversary of the Martyrdom of King Charles the First. I do not know by what Authority such a Step was taken but, as Chamberlain of His Majesty's Household, think it my Duty to desire that you will be pleased to Cause the Practice to be discontinued in future. I am, Sir, Your Obedient, Humble Servant, Salisbury" (MS Letters to Sheridan from Various Correspondents,II, 64, in Harvard Theatre Collection). The Morning Chronicle on 31 Jan. offered another opinion: "It gave us infinite pleasure that last night we happily broke through one of the most absurd fasts in the calendar. The Managers of Drury Lane, with proper regard to the public, rescued them from the common dullness of a 30th of January." But the absurd fast remained in force until 1843.] Receipts: #339 18s. (291.4; 40.0; 8.11; ticket not come in: 0.3)

Performances

Mainpiece Title: Cymon

Afterpiece Title: The Englishman in Paris

Event Comment: Oratorio: Written by Milton. Set to Music by Handel. Among the instrumental performers are Messrs Ashley andSons, Patria, Sarjant, Billington, Mahon, Boyce, Mountain, Howard, Lavenu, Simpson, Gwilliam, Purney, Munro, Leander, Kaye, Sharp, Lyon, &c. Double Drums by J. Ashley. The whole under the direction of Harrison and Ashley. At Play-house Prices. No money to be returned. Places for the Boxes to be had of Brandon at the Theatre. The Doors to be opened at 5:30. To begin precisely at 6:30 [same throughout oratorio season]. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Books of the Performance, with the names of the performers to their respective songs, price 6d., may be had at the Theatre, and to prevent imposition in the streets, the Manager's books are printed with the following words at the bottom of each title-page, "Printed by H. Macleish, Duke's court, Drury-Lane.

Performances

Mainpiece Title: L'allegro Ed Il Pensieroso 0

Performance Comment: Principal Vocal Parts-Harrison, Bartleman, Page, Champness, Mrs Second, Mrs Addison, Mrs Billington; Leader of the Band-G. Ashley; Organ-Knyvett.
Cast
Role: Leader of the Band Actor: G. Ashley

Afterpiece Title: L'Alegro ed il Pensieroso 1

Performance Comment: First Grand Concerto-; Hence! loathed melancholy-Harrison; Hence! vain deluding joys-Mrs Billington; Come thou Goddess fair and free-Harrison; Come rather Goddess sage and holy-Mrs Billington; Haste thee nymph-Page, Chorus; Come and trip it as you go-Mrs Addison, Chorus; Come pensive nun, Come but keep thy wonted state-Mrs Billington; Join with thee calm peace-Chorus; Mirth admit me of thy crew-Mrs Second; Sweet bird-Mrs Billington; accompanied on the violin-G. Ashley; Mirth admit me of thy crew [repeated]-Bartleman; Oft on a plat of rising ground-Harrison; Let me wander not unseen-Mrs Billington; And young and old-Chorus.

Afterpiece Title: L'Allegro ed il Pensieroso

Performance Comment: Hence vain deluding joys, But O! sad virgin-Mrs Billington; Populous cities please me then-Bartleman, Chorus; There let Hymen oft appear-Mrs Second; Me when the sun, Hide me from day's garish eye-Mrs Billington; I'll to the well@trod stage anon-Page; And ever against eating cares-Mrs Second; As steals the morn upon the night-Mrs Billington, Harrison; These delights if thou canst give-Page, Chorus.

Afterpiece Title: Grand Miscellaneous Act

Performance Comment: Overture-(Ariadne); Wise men flattering-Mrs Addison (Judas Maccabaeus); Rendi il sereno-Harrison (Sosarmes); Nightingale Chorus-(Solomon); Praise the Lord-Mrs Second; accompanied on the organ-Knyvett (Esther); When storms the proud-Bartleman; O Judah! boast his matchless law-Chorus (Athalia); Let the bright seraphim-Mrs Billington; accompanied on the trumpet-Sarjant; Let their celestial concerts all unite-Chorus (Samson).
Event Comment: The Careless Husband [advertised on playbill of 8 Nov.] is obliged to be deferred on account of the Indisposition of a Principal Performer. [This was F. Aickin's last appearance in London. Subsequently he acted for several years at the Liverpool theatre, of which he was the manager.] Receipts: #349 11s

Performances

Mainpiece Title: Macbeth

Afterpiece Title: Hartford Bridge

Song: As17921029

Event Comment: 2nd ballet: With entirely new Scenery, Machinery, Dresses and Decorations. The Music entirely new, composed by Millerd, composer for the ballets at the Opera at Paris. In the course of the performance the Grand Procession of Iphiginia into Aulide. The Scenery, Machinery, &c. designed by Marinari, and executed by him and his assistants. The decorations by Johnston, the dresses by Sestini. [Scenario published by J. Hammond [1793].] The Managers beg leave particularly to request that no Gentleman will come behind the Scenes, as the number of people engaged in the ballet, and the variety of scenery and machinery, render such admission highly inconvenient. Morning Herald, 24 Apr,: The story [of the ballet] is perhaps not very intelligibly told; but the shew and the dance are admirable. It begins and concludes with magnificent processions, the last of which brings Iphiginia to the altar, where she is saved just as the holy knife is raised for the sacrifice. At this instant the chariot of the Sun, the brilliancy of which is much beyond any former representation of the sort, passes over the stage, and is, for some time, suspended over the altar, while the whole corps de ballet offer their adorations

Performances

Mainpiece Title: Le Nozze Di Dorina

Dance: End I: Les Epoux du Tempe- [See17930205]

Ballet: End Opera: the Grand Historical Ballet in 4 Parts, which has been so long in preparation, Iphiginia in Aulide; or, The Sacrifice of Iphiginia composed by Noverre. Iphiginia-Mlle Hilligsberg; Clytemnestra-Mlle Millerd; Agamemnon-D'Egville; Achilles-Nivelon; Egisthus-Favre Gardel; Young Orestes-Mlle Menage; Lesbian-Gentili; Warriors, Lesbian Slaves, High Priests, Priests, Priestesses-the Corps de Ballet

Performance Comment: Iphiginia-Mlle Hilligsberg; Clytemnestra-Mlle Millerd; Agamemnon-D'Egville; Achilles-Nivelon; Egisthus-Favre Gardel; Young Orestes-Mlle Menage; Lesbian-Gentili; Warriors, Lesbian Slaves, High Priests, Priests, Priestesses-the Corps de Ballet.
Event Comment: Afterpiece: By Permssion of the Manager of the Theatre Royal, Haymarket. The Overture and Music by Dr Arnold. Powell: Children in the Wood rehearsed at 10 (Bannister, Dignum, Mrs Powell, Mrs Bland absent); No Song No Supper at 11 (for Starace, Kelly, Leak, Dignum, Sedgwick); Distressed Mother at 12. Receipts: #385 7s. (310/1/6; 64/10/6; 10/15/0)

Performances

Mainpiece Title: As You Like It

Performance Comment: Duke-Aickin; Frederick-Packer; Amiens (with songs)-Dignum; Jaques-Palmer; Le Beu-Benson; Oliver-Whitfield; Jaques de Bois-C. Kemble; Orlando-Barrymore; Adam-Moody; Touchstone-King; Corin-Waldron; Sylvius-Bland; William-Burton; Charles-Phillimore//Rosalind (with the Cuckoo Song)-Mrs Goodall; Celia-Mrs Kemble; Phebe-Miss Collins; Audrey-Miss Pope (1st appearance in that character). Prologue, Epilogue as17940421.

Afterpiece Title: THE CHILDREN IN THE WOOD

Song: In Act V of mainpiece a song by Mrs Bland

Event Comment: Powell: Whitfield absent 1st Act of Macbeth (leave from the Manager), Barrymore spoke the Part. The Quaker rehearsed at 10 (for Dignum); The Jew at 11 (for Miss Farren); Lodoiska read at 1. Receipts: #569 2s. (491/6/0; 72/9/6; 3/19/6; tickets not come in: 1/7/0)

Performances

Mainpiece Title: Macbeth

Afterpiece Title: THE CHILDREN IN THE WOOD

Song: As17940428

Event Comment: The whole under the direction of Viotti, who is engaged as Acting Manager at this Theatre

Performances

Mainpiece Title: Zenobia In Palmira

Dance: As17941220

Performances

Mainpiece Title: The Telegraph

Afterpiece Title: The Comedy of Errors

Afterpiece Title: The Miser

Afterpiece Title: The Devil to Pay

Performance Comment: Jobson (for that night only)-Hughes (Manager of the Theatre Royal, Weymouth); Sir John Loverule (with Old Towler)-Incledon (1st appearance in that character); Butler-Townsend; Coachman-Rock; Cook-Rees; Lady Loverule-Mrs Fawcett; Lucy-Miss Stuart; Lettice-Miss Leserve; Nell-Mrs Mattocks (1st appearance in that character).
Related Works
Related Work: The Devil to Pay; or, The Wives Metamorphos'd Author(s): Theophilus Cibber

Song: III 2nd piece: song in character-Mrs Clendining