Event Comment: The United Company. This performance is on the L. C. list, 5@145, p. 120: with ye Queene & a box for ye Maides of honor. [It is not certain in which theatre this play was given, but dl seems to have been preferred for drama, dg for operatic pieces. This play was reprinted in 1683.

Event Comment: The United Company. Newdigate newsletters, 28 Nov. 1682: This day was Acted a new play called the Duke of Guise by Mr Dryden it was formerly forbidd as reflecting upon the D of Monmouth but by ye supplication of ye Author its now allowed to be acted (Wilson, Theatre Notes from the Newdigate Newsletters, p. 81). The Prologue and Epilogue, separately printed, bear Luttrell's date of acquisition (Huntington Library) as 4 Dec. 1682, but above this date Luttrell has written: "30 Nov." The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 149-52. Dedication, Edition of 1683: In the Representation itself, it was persecuted with so notorious Malice by one side, that it secur'd us the Partiality of the other. In a report from the Abbe Rouchi, in London, 14 Dec. 1682, it is stated that the Duke of Guise was acted three times (Campana de Cavelli, Les Derniers Stuarts [Paris and London, 1871], I, 398). One song, Tell me Thyrsis all your anguish, with music by Captain Pack, is in the edition of 1683 and also in Choice Ayres and Songs, The Fourth Book, 1683

Event Comment: The United Company. This performance is on the L. C. list, 5@145, p. 120: with Ye Q: & a box for ye Maides of honor. See also Nicoll, Restoration Drama, p. 349. This play was reprinted in 1682, but without actors' names. Langbaine (English Dramatick Poets, 1691, p. 207) may refer to a performance around this period: Being acted with extraordinary applause at the Theatre in Dorset-Garden, and printed with the Alterations London. 40 1682

Event Comment: The United Company. The players received the customary fee of #20. See A Calendar of the Middle Temple Records, ed. Hopwood, p. 179. Newdigate newsletters, 3 Feb. 1682@3: Yesterday the Governors? of ye Temple Invited the Greate Lds: of [...] together with the Ld. Keeper to dinner where afterwards they were entertayned with variety of songs & a play was Acted before them Called the Chances by the Kings players (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59)

Event Comment: The United Company. Newdigate newsletters, 2 June 1683: The same day [31 May] their Royall highnesses... in ye afternoone Countenanced a new play with their presences (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59). Wilson proposes that this play is Dame Dobson, as the separately Printed Prologue bears Luttrell's acquisition date of 1 June 1683 (Bindley Collection, William Andrews Clark@Jr@Library). The separately printed Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 176-78

Event Comment: Langhans, New Restoration Theatre Accounts, pp. 124-25, believes that acting resumed on 8 Oct. 1683 and continued to 14 June 1684, with, probably, 47 performances in the summer of 1684

Event Comment: In L. C. 5@144, p. 510 (Boswell, Restoration Court Stage), is an order for changes to be made in the Court Theatre "for Mr Abel to represent his Musick." Nothing further is known of an intended concert

Event Comment: On this day Luttrell purchased a copy (Bindley Collection, William Andrew Clark@Jr@Library) of The Beggars Delight As it was Sung at the Theatre Royal, published in 1684 by J. Dean

Event Comment: The United Company. That the King saw a play on this evening is indicated by the Newdigate newsletters, but the reference to the play is not by title. The play which most closely fits the brief description is The Duke of Guise. Newdigate newsletters, 24 May 1684: [In] the Evening his Matye is Entertained with Mr Dryden s new play the subject of which is the last new Plott (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59)

Event Comment: On this day Charles II died. Although the order to close the theatres was not issued until 20 Feb. 1684@5 (L. C. 5@145, p. 153), acting Probably ceased on Thursday 5 Feb. 1684@5. At this time John Crowne's Sir Courtly Nice was in rehearsal. John Dennis gives a dramatic account of the last day of rehearsing: The Play was now just ready to appear to the World; and as every one that had seen it rehears'd was highly pleas'd with it; every one who had heard of it was big with the Expectation of it; and Mr Crown was delighted with the flattering Hope of being made happy for the rest of his Life, by the Performance of the King's Promise; when, upon the very last Day of the Rehearsal, he met Cave Underhill coming from the Play-House as he himself was going towards it; Upon which the Poet reprimanding the Player for neglecting so considerable a Part as he had in the Comedy, and neglecting it on a Day of so much Consequence, as the very last Day of Rehearsal: Oh Lord, Sir, says Underhill, we are all undone. Wherefore, says Mr Crown, is the Play-House on Fire? The whole Nation, replys the Player, will quickly be so, for the King is dead. At the hearing which dismal Words, the Author was little better; for he who but the Moment before was ravish'd with the Thought of the Pleasure, which he was about to give to his King, and of the Favours which he was afterwards to receive from him, this Moment found, to his unspeakable Sorrow, that his Royal Patron was gone for ever, and with him all his Hopes. The King indeed reviv'd from his Apoplectick Fit, but three Days after dyed, and Mr Crown by his Death was replung'd in the deepest Melancholy (John Dennis, Original Letters, 1721, I, 53-54). [It is not clear whether the last sentence refers to the day on which Crowne had seen the King and had assurances from His Majesty, the King dying three days later, or whether there was a false rumor of the King's death on 3 Feb. 1684@5.

Event Comment: The United Company. The date of the first performance is not precisely known, but a broadside copy of the Epilogue, in the Bodleian Library, has a licensing date of 20 Aug. 1685, a MS date of 24 Aug. 1685. The play was licensed on 11 Sept. 1685. These dates suggest a premiere in mid-to late-August 1685. For Anne Bracegirdle as Clita and speaker of the Epilogue, see Lucyle Hook, Anne Bracegirdle's First Appearance, Theatre Notebook, XIII (1959), 135. The Prologue and Epilogue, separately printed, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 239-41. The broadside Prologue has a more detailed heading than that in the edition of 1686: Prologue To A Commonwealth of Women, Spoke by Mr Haynes, Habited like a Whig, Captain of the Scyth-men in the West, a Scythe in his Hand. Two songs, set by Samuel Ackroyde, are in The Theater of Musick, The Third Book, 1686

Event Comment: Sir Robert Southwell to Edward Southwell, 26 Aug. 1685 (in Morley, Bartholomew Fair, pp. 224-26): I think it not now so proper to quote you verses out of Persius, or to talk of Caesar and Euclide, as to consider the great theatre of Bartholomew Fair....You wou'd certainly see the garboil there to more advantage if Mr Webster and you wou'd read, or cou'd see acted, the play of Ben Jonson, call'd Bartholomew Fair:...The main importance of this fair is not so much for merchandize, and the supplying what people really want; but as a sort of Bacchanalia, to gratify the multitude in their wandring and irregular thoughts. Here you see the rope-dancers gett their living meerly by hazarding of their lives, and why men will pay money and take pleasure to see such dangers, is of separate and philosophical consideration. You have others who are acting fools, drunkards, and madmen, but for the same wages which they might get by honest labour, and live with credit besides. Others, if born in any monstrous shape, or have children that are such, here they celebrate their misery, and by getting of money forget how odious they are made

Event Comment: The documents analyzed by Langhans, New Restoration Theatre Accounts, pp. 120, 126-27, leave uncertain the date of resuming daily performances in the autumn of 1685. The Company acted regularly to 5 June 1686 and then acted 23 times between 7 June and 27 Sept. 1686

Event Comment: The United Company. This performance, which is out of the chronological order, is on L. C. list, 5@147, p. 68; the list does not indicate which Part of this play was given. See also Nicoll, Restoration Drama, p. 350, and page 380, for an order (L. C. 5@147, p. 1) for rehabilitation of the seats in the theatre

Event Comment: The United Company. Newdigate newsletters, 4 March 1685@6: This day a new play called The Devil of a Wife was Acted with great Applause at that formerly called the Ds Playhouse (Wilson, Theatre Notes from the Newdigate Newsletters, p. 82). See also 6 March 1685@6

Event Comment: The United Company. This performance is on L. C. list, 5@147, p. 260: The King & Queene & a Box for ye Maydes of honor. See also Nicoll, Restoration Drama, p. 351. Langhans, New Restoration Theatre Accounts, pp. 127-28, thinks that acting resumed on 27 Sept. 1686 and continued to 25 June 1687, with 30 Performances from 25 June to 12 Oct

Event Comment: London Gazette, 25-29 Nov. 1686: Whereas Mr Thomas Otway some time before his death made Four Acts of a Play, whoever can give Notice in whose Hands the Copy lies, either to Mr Thomas Betterton, or Mr William Smith, at the Theatre Royal, shall be well Rewarded for his pains

Event Comment: The United Company. Lord Ashburnham's Diary: I waited on my Mother home and afterwards I went into the play (the Maiden Queen) There was a great deale of company, I came home before 8 at night, I am now not charm'd with Playes &c. (Ashburnham MS 932, East Sussex County Record Office, County Hall, Lewes, Sussex; I owe this entry and the subsequent ones from this MS to the kindness of Professor George Hilton Jones, Kansas State University). This is an unusual example of the revival of a play at the public theatre the day before its presentation at court

Event Comment: The United Company. This performance is known from a playbill. See Eleanore Boswell, A Playbill of 1687, Library, 4th Series, XI (1931), 499-502, and Cecil Price, A Playbill, c. 1686, Notes and Queries, Vol. 194 [1949), p. 519. The bill Price saw is in the State Papers James II, 31@3, ff. 215-16, among documents referring to 1686, but the date and day of the week point to 1687. The bill reads: At the Theatre Royall this present Tuesday being the Twenty second day of February will be presented, A Play called, A King, and No King. Beginning Exact...t Four of the Clock....their Majesties Servants. VIVAT REX

Event Comment: This score of Albion and Albanius was licensed for publication, 15 March 1686@7, and sold at the Theatre Royal (Drury Lane) entrance. Possibly a revival occurred at this time

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 361. See also Nicoll, Restoration Drama, p. 351. The date of the first performance of this revision is not known. As it is somewhat unlikely that a play would have its premiere at court, the first production possibly appeared earlier in the month. See 6 Nov. 1668 for an earlier revision of this work. The title-page of the edition of 1687 states: As it is Acted at the Theatre-Royal. Reviv'd with Alterations

Event Comment: On this day the news of the death of the Duchess of Modena was brought to Windsor, and newsletters stated that the Court was to go into mourning the following Sunday. Acting at the theatres may have been curtailed during the late summer

Event Comment: The data in Langhans, New Restoration Theatre Accounts, pp. 128-29, suggest that acting may have resumed by this day and continued to 9 June 1688. Because of the 1688 revolution, the circumstances of summer acting in 1688 are not clear

Event Comment: The United Company. The date of the first performance is not certain, but it was very likely this day. Writing on 12 May 1688, Peregrine Bertie states that it had been acted nine days successively. If the ninth performance fell on Friday 12 May, the premiere probably occurred on Wednesday 3 May. The Prologue and Epilogue, printed separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 261-63. Downes (Roscius Anglicanus, p. 41): This Play by its Excellent Acting, being often Honour's with the presence of Chancellor Jeffereies, and other great Persons had an Uninterrupted run of 13 Days together. Note, The Poet receided for his third Day in the House in Drury Lane at single Prizes 130 l. which was the greatest Receipt they ever had at that House at single Prizes. Dedication, Edition of 1688: This, I must confess, made me hope for success upon the Stage, which it met with, but so great, as was above my expectation (in this Age which has run mad after Farces) no Comedy, for these many years, having fill'd the Theatre so long together: And I had the great Honour to find so many Friends, that the House was never so full since it was built, as upon the third day of this Play; and vast numbers went away, that could not be admitted. For Leigh as Belfond Sr, see Cibber, Apology, ed. Lowe, I, 147-48; and for Underhill as Lolpoop, I, 154-55. For further comment upon the play, see 12 May 1688

Event Comment: A troupe of French Comedians played at theatre in Windsor Castle. On 25 July 1688 a warrant (L. C. 5@17, pp. 60, 65, in Boswell, Restoration Court Stage, pp. 61, 127) ordered the playhouse there to be made ready for the foreign company. According to L. C. 5@17, in Nicoll, Restoration Drama, p. 65, the French players arrived on 11 Aug. and remained at Windsor until 22 Sept