Event Comment: [Mrs Gilbert was from the Birmingham theatre. Epilogue to 2nd piece not listed on playbill, but "The Epilogue was vociferously called for, and spoken by Vapid" (Oracle, 24 Sept.).] Receipts: #215 3s. 6d. (198.10.0; 16.13.6)

Event Comment: "Nothing reduces acting to so miserable a show of mechanism as the constant applause at particular speeches...Mrs Siddons labours under a disadvantage [in dl theatre]. that she is not everywhere heard. To be so she would strain her voice unnaturally. She does not choose to make the sacrifice, and preserves her excellence with the near, whatever she may lose to the remote" (Oracle, 27 Sept.). Receipts: #372 0s. 6d. (280.13.0; 89.18.6; 1.9.0)

Event Comment: Afterpiece: Never [previously] performed at this Theatre [1st acted by the dl Company at king's, 18 Oct. 1792]. The new Scenes by Greenwood. The Musick composed principally by Attwood; rest from Mozart and Sarti. Receipts: #363 9s. (262.10; 99.2; 1.17)

Event Comment: Afterpiece [1st time; CO 2. but printed in 3, by John O'Keeffe]: Taken [by its author]. with various Alterations, from the Opera of The Lad of the Hills [see 9 Apr. 1796]. The Music partly compiled, and the Overture, new Music and the Accompaniments to the National Airs, composed by Shield. Books of the Songs to be had in the Theatre. Account-Book. 3 Oct.: Paid O'Keeffe for the Alteration of the Lad of the Hills and the Golden Pippin [see 5 Nov.] #100. Receipts: #220 19s. 6d. (209.15.6; 11.4.0)

Event Comment: [Dowton was from the Tunbridge Wells theatre.] Receipts: #292 18s. 6d. (198.10.6; 90.4.0; 4.4.0)

Event Comment: Mainpiece: Not acted these 20 years [never previously acted at this theatre]. Receipts: #462 8s. 6d. (340.18.0; 118.12.6; 2.18.0)

Event Comment: [Denman was from the Margate theatre.] Receipts: #218 0s. 6d. (149.10.6; 65.12.6; 2.17.6)

Event Comment: [This was Holland's 1st appearance in London; he was from the Bath theatre (see Thespian Dictionary, 1805, and hay, 23 Dec. 1793). Afterpiece in place of The Devil to Pay, advertised on playbill of 29 Oct.] Receipts: #400 11s. (335.6.6; 65.0.6; 0.4.0)

Event Comment: Afterpiece [1st time; MF 2, by John Cartwright Cross. MSS: Larpent MS 1139 (as licensed for the hay in Aug. 1796, but, although advertised for performance on 31 successive nights, not acted there), and Larpent MS 1142 (as licensed for dl); not published; synopsis of plot in Morning Herald. 7 Nov.]: The Overture and Musick by Reeve. Books of the Songs to be had in the Theatre. Receipts: #320 4s. (213.14.6; 104.10.0; 1.19.6)

Event Comment: Mainpiece [1st time: CO 3, by Joseph George Holman. Text: George Cawthorn, 1796]: The new Music composed by Shield. The Selections from Gretry, Giornovichi, Jackson, and Mahon. The new Scenery painted by Richards. Books of the Songs to be had in the Theatre. Oracle, 7 Dec. 1796: Tomorrow will be published Abroad and at Home (2s.). Receipts: #220 9s. (219.2; 1.7)

Event Comment: Afterpiece [1st time; CO 2, by Samuel James Arnold]: The Overture and Musick by Dr Arnold. Books of the Songs to be had in the Theatre. Receipts: #224 7s. 6d. (121.19.0; 99.9.0; 2.19.6)

Event Comment: 2nd ballet: Revived, and brought forward under the direction of Barre. The Music, with additional Airs, by Mazzinghi. The Scenery entirely new, painted by Greenwood and assistants under his Direction. The Dresses new by Sestini. "This dance is the composition of the celebrated Noverre, and it is totally different from the ballet under the same title, brought out at Paris under Gardel...The torches and swords of fire in hands of Furies produced so tremendous an effect that a part of audience seemed petrified at agonies of Psyche. Much of this effect was produced by the strong reflection from glass pannels of boxes" (Morning Chronicle, 19 Dec.). The frequenters of Opera are respectfully acquainted that Posts with Chains are placed all along front of Theatre to prevent Carriages from driving upon the foot way, so that Chairs can in future come by great door in the Haymarket with perfect safety

Event Comment: A New, Grand, Serious Opera, with Chorusses (1st time [in London; 1st performed at Paris, 1788, as Arvire et Evelina]). The Music by Sacchini (being his last Work). With entirely new Scenes (painted by Greenwood), Dresses and Decorations. Books of the Opera may be had at the Office of the Theatre

Event Comment: In consequence of the very frequent abuses discovered to be practised at this Theatre, in respect to transferable Tickets of Admission, it has become indispensably requisite to adopt the former Regulation of having those Tickets left at the Doors on the Evening of Performance, and returned next day to the Owners of them

Event Comment: By Authority of the Lord Chamberlain. Mainpiece: 2nd Time [see 28 Mar. 1796. Prologue by the author (see text)]. The Music composed by Callcott. The Doors to be opened at 5:30. To begin at 6:30. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Tickets to be had of Wilkinson, No. 16, Lisle-street, Leicester-square. Books of the Tragedy to be had at the Theatre

Event Comment: Afterpiece [1st time; CO 2, by Prince Hoare, based partly on Le Comte D'Albert et sa Suite, by Michael Jean Sedaine. Larpent MS 1153; not published; synopsis of plot in Monthly Visitor, Feb. 1797, p. 164]: The Musick partly new and partly selected [by Michael Kelly; overture by Stanislas Champein (BUC 567)]. Books of the Songs to be had in the Theatre. Receipts: #321 14s. (184.18.6; 134.14.6; 2.1.0)

Event Comment: 2nd piece [1st time; M. ENT 1, but printed in 2, by George Nugent Reynolds]: With new and appropriate Scenery by Phillips, &c. The new Music by Reeve. Books of the Songs and Chorusses to be had in the Theatre. [This piece is based on the attempt of the French navy to make a landing in Bantry Bay on 24 Dec. 1796.] Receipts: #293 5s. 6d. (284.5.6; 9.0.0)

Event Comment: Among the Principal Instrumental Performers are G. Ashley, Leader of the Band; C. Ashley, Principal Violoncello; Wm. Parke, Sarjant, J. Mahon, Boyce, Bridgtower, Parkinson, Lavenu, Taylor, W. Ware, Flack, Dressler, Gwilliam, Nicks, [the] Munros, I. Sharp, W. Sharp, M. Sharp, J. Sharp, Archer, Cobham, Jackson, Wood, Coyle, Cornish, Purney, Leffler, Woodham, Piele, [the] Cantelos, Skillern, Beale, Lloyd, Franki, Simpson, Jenkinson, &c.; J. Ashley, Organ; R. Ashley, Double Drums (used at Westminster Abbey). The Chorusses will be numerous and complete. The whole under the Direction of Ashley. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Brandon at the Office in Hart-street. The Doors to be opened at 6:00. To begin at 7:00 [same throughout oratorio season]. Books of the Performance (with the imprimatur of E. Macleish) to be had at the Theatre. [Sga Galli did not sing in The Messiah when it was originally performed in Dublin in 1742, or in London in 1743, in which year the cg oratories under Handel were established.] "I had the curiosity to go, and heard [Sga Galli] sing, 'He was despised and rejected of men' in the Messiah. Of course her voice was cracked and trembling, but it was easy to see her school was good; and it was pleasing to observe the kindness with which she was received, and listened to; and to mark the animation and delight with which she seemed to hear again the music in which she had formerly been a distinguished performer. The poor old woman had been in the habit of coming to me annually for a trifling present; and she told me on that occasion that nothing but the severest distress should have compelled her so to expose herself, which after all did not answer its end, as she was not paid according to her agreement" (Mount-Edgcumbe, pp. 19-20). [At the rehearsal, 1 Mar., I know that my Redeemer liveth sung by Mme Mara; Comfort ye my people by Braham; But@thou didst not leave by Miss Poole (Morning Herald, 2 Mar.).] "The chorusses are not such as would give satisfaction to a musical amateur: in this department we must endeavour to be content with noise and bawling, instead of sense and science:--they are not, however, worse than usual" (Monthly Visitor, Mar.1797, p. 262)

Event Comment: Mainpiece [1st time; C 5, by Elizabeth Inchbald. Author of Prologue unknown]: With new Dresses, Scenery, &c. Morning Herald, 4 Apr. 1797: This Day is published Wives as they Were, and Maids as they Are (2s). "The Manager of Covent Garden Theatre gives Mrs Inchbald #500 for her new Comedy" (True Briton, 13 Mar.). Receipts: #302 13s. 6d. (295.9.0; 7.4.6)

Event Comment: Afterpiece [1st time; BALL. P 2]: Composed by Charles? Farley; Founded chiefly on a principal Episode ["The History of Don Raymond," Vol. I, chaps. III, IV] in the Romance of The Monk [by Matthew Gregory Lewis]. With entire new Music, Scenes, Dresses, and Decorations. The Music by Reeve. The Scenery designed by Phillips, and executed by him, the assistance of Hollogan, Blackmore, Thorne, Byrn, &c. The Machinery by Cresswell and Sloper. The Dresses and Decorations by Dick, Goostree and Mrs Egan. Books of the Songs and Chorusses [T. N. Longman, 1797] to be had at the Theatre. Receipts: #377 17s. (364.3.6; 13.13.6)

Event Comment: Mainpiece [1st time; CO 3, by Prince Hoare. Larpent MS 1159; not published; synopsis of plot in Universal Magazine, May 1797, p. 364]: Overture and rest of Music composed and selected by Shield. Harp by Weippert. The new Scenery by Richards. Books of the Songs to be had in the Theatre. Receipts: #172 10s. 6d. (169.6.6; 3.4.0)

Event Comment: Benefit for Mrs Siddons. 1st piece: Never acted in this Theatre. [Prologue by George Colman, elder. Monologue by Hester Lynch Piozzi (European Magazine, May 1797, p. 343).] True Briton, 12 Apr.: Tickets to be had of Mrs Siddons, No. 49, Great Marlborough-street. "The scenery destroyed much of the effect of the tragedy; for the characters are supposed to be 'steeped in poverty to the very lips;' and yet their apartments would have become a family in the meridian of wealth and prosperity. Mrs Siddons was also too well dressed for Mrs Wilmot" (Monthly Mirror, May 1797, p. 308). "In the scene in which [Mrs Siddons's] son having put into her hands a casket to keep, and she having touched a spring it opens and she sees jewels, her husband (Kemble) enters, and in despair exclaims, 'Where shall we get bread?' With her eyes fixed on the jewels, she runs to him, knocks the casket against her breast and exclaims, 'Here! Here!' In Mrs Siddons's tone and in her look there was an anticipation of the murder which was to take place" (Robinson, I, 39). Receipts: #618 2s. (386.8.6; 43.19.0; 2.4.0; tickets: 185.10.6) (charge: #211 1s.)