Event Comment: Betterton's Company. The date of the premiere is not known. The Dedication to the play, written in Rome, is dated 20 Aug. 1695 N.S., and advertisement of the play in the London Gazette, No 3200, 9-13 July 1696, represent the limits on its production. In a letter, dated (probably) November 1695, Dryden refers to the forthcoming appearance of his son's play, and on 26 May 1696 he negotiates with Tonson for its publication (Letters of John Dryden, pp. 79, 82). Probably the play appeared early in 1696, and certainly not much later than April 1696. John Barnard, The Dates of Six Dryden Letters, Philological Quarterly, XLII (1963), 400-401, believes that Dryden's letter was written ca. 26 May 1695 and that the play was probably acted in late 1695

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 7-9 July 1696, suggests that it was first presented not later than June 1696. The cast also has a large number of relatively new players, suggesting a performance in the early summer, when the young actors had more opportunities to act. Several Songs, with the names of the singers, were published separately: Hark you, madam, can't I move you, set by John Eccles, and sung by Bowman and Mrs Bracegirdle; Shou'd I not lead a happy life, set by John Eccles and sung by Reading and M. Lee; From Aberdeen to Edinburgh, set by Ackeroyd and sung by Mrs Hudson; all in Deliciae Musicae, The Second Book of the Second Volume, 1696. Preface, Edition of 1696: I am almost asham'd to mention the extraordinary Success of a Play which I myself must condemn....Let me leave this ungrateful Subject to acknowledge my obligations to Mr John Eccles, who not only set my three Dialogues to most charming Notes, but honour'd the Words to Admiration. Downes, Roscius Anglicanus, p. 44: Love's a Jest, a Comedy, done by Mr Mateox; succeeded well, being well Acted, and got the Company Reputation and Money

Event Comment: Betterton's Company. The date of the first performance is not certain, but the evidence points toward this day. On Thursday 19 Nov. 1696, Robert Jennens reported that the two pieces had been acted four or five days together. If that day saw the fifth performance, the premiere probably occurred on 14 Nov. 1696. The Single Songs and Dialogue in Mars and Venus, set by John Eccles (Acts I and II) and Godfrey Finger (Act III), was published separately in 1697. The pieces for whom a performer is indicated are as follows: Prologue. The first Song Sung by Mrs Hudson, set by Finger: Come all, with moving songs [it is reproduced opposite page 300 in Wiley, Rare Prologues and Epilogues]. Love alone can here alarm me, sung by Mrs Ayloffe. Scorn tho' Beauty frowns to tremble, sung by Mrs Hudson. To double the sports, sung by Mrs Ayloffe. To treble the pleasures with regular measures, sung by Mrs Ayloffe. To meet her, May, the Queen of Love comes here, set by John Eccles and sung by Mrs Hudson. See Vulcan, Jealousie, Jealousie appears, set by Finger and sung by Mrs Hudson. Yield, no, no, sung by Mrs Bracegirdle and Bowman. Gildon, English Dramatick Poets, p. 115: This Play met with extraordinary Success having the Advantage of the excellent Musick of The Loves of Mars and Venus perform'd with it. Downes, Roscius Anglicanus, pp. 44-45: The Anatomist, or Sham Doctor, had prosperous Success, and remains a living Play to this Day; 'twas done by Mr Ravenscroft. A Comparison Between the Two Stages (1702), p. 20: I remember the success of that was owing to the Musick

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 11-13 May 1697, suggests that it was first acted about mid-April, a month before publication. For an account of the history of the play before its production, see Cibber, Apology, I, 217-18

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 8-10 June 1697, suggests a first performance in late May or the beginning of June. Preface: I [Motteux] write the Masque of Hercules, and Mr Eccles, having set it with his usual Success, and yet more masterly than my Mars and Venus, if possible, I prevail'd with the ingenious Mr J. Oldmixon to give me a short Pastoral, while I scribbled over a Farce after the Italian Manner, and an Imitation of part of a diverting French Comedy of one Act (for such Plays are very common in Foreign Parts). Then I wanted nothing but a Tragedy....At last I bethought myself of one already studied, called The Unnatural Brother, written by an ingenious Gentleman and acted 6 Months ago, tho not with the success it deserv'd. Yet the latter Part was extremely applauded: So I was persuaded to make bold with it, as I do....I could easily contract the most moving Part of the Story into the Compass of one Act, with some Additions....All this was done in a very short time, the warm Season threatening me with your Absence....The foregoing Lines were published as a Preface to that Masque, some few copies of which were printed for the use of the Audience, the first day of the Novelty's being Acted. A Comparison Between the Two Stages (1702), p. 20: Every Word stolen, and then Damn'd

Event Comment: Betterton's Company. The date of the first performance is not known, but the Prologue refers to The World in the Moon, suggesting a premiere during (or shortly after) the run of that opera. Since The Innocent Mistress was advertised in the Post Boy, 29-31 July 1697, this fact points also to a late June premiere. A song, When I languished and wished, set by John Eccles and sung by Mrs Hodgson, is in Wit and Mirth, Second Edition, 1707. Gildon, English Dramatick Poets, p. iii: This is a diverting Play, and met with good Success, tho' acted in the hot Season of the Year. A Comparison Between the Two Stages (1702), p. 20: Tho' the Title calls this Innocent, yet it deserves to be Damn'd for its Obscenity

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 18-21 Dec. 1697, suggests that the premiere occurred not later than late November. This play was originally given to the company in Drury Lane, but withdrawn. See G. Thorn-Drury, An Unrecorded Play Title, Review of English Studies, VI (1930), 316-18. Edition of 1698: A Dialogue in the fourth Act, between Mr Bowman and Mrs Bracegirdle; The words by Mr Durfey and set by Mr Eccles: When will Stella kind and tendre. A Dialogue in the fifth Act, between a Boy and a Girl, and an Old Man, Written by Mr Motteux, set to the Musick by Mr J. Eccles. Preface: I look upon those that endeavour'd to discountenance this Play as Enemys to me

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, 17-21 Feb. 1697@8, suggests that it was first given not later than January 1697@8. Downes, Roscius Anglicanus, p. 44: Heroick Love, Wrote by Mr George Greenvil, Superlatively Writ; a very good Tragedy, well Acted, and mightly pleas'd the Court and City. A Comparison Between the Two Stages (1702), p. 20: The Language is very correct: But with submission to him [Granville], his Fable is not well chosen; there's too little Business in't for so long a Representation: But if Mr G. had taken the Story at a greater length, and contriv'd the Incidents to surprize, he had made it an admirable Tragedy

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, 18-20 June 1698, suggests that its first performance occurred in late April or early May 1698. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, 4-7 July 1698, suggests that the first performance occurred not later than late May or early June 1698

Event Comment: Betterton's Company. The date of the first production is not known, but the Songs were advertised in the Flying Post, 6-8 Dec. 1698, and the play in the London Gazette, 19-22 Dec. 1698; hence, the premiere was certainly not later than early December and was probably not later than November. In fact, on 5 Dec. 1698 Dr. William Aglionby wrote Matthew Prior, referring to Dennis, "a poor poet who has made us a fine entertainment of Rinaldo and Armida" (quoted in The Works of John Dennis, II, 489). In a dialogue written by John Oldmixon (Reflections on the Stage [London, 1699], p. 101) Savage, referring to Rinaldo and Armida, states: I have seen it 3 or 4 times already, but the Musick is so fine, and the Play pleases me so well, that I shall not think it a burthen [to see it again] (in The Works of John Dennis, I, 479). The Musical Entertainments in the Tragedy of Rinaldo and Armida (1699) is reprinted, with an introduction by Herbert Davis, in Theatre Miscellany (Luttrell Society Reprints, No 14, Oxford, 1953), pp. 103-15. One song, Ah queen, ah wretched queen, give o'er, sung by Gouge, is in Mercurius Musicus, 1699; and another, Jolly breeze that comes whistling, sung by Gouge, is in Twelve New Songs, 1699. A Comparison between the Two Stages (1702), p. 22: Critick: At last, (as you say) the old Stagers moulded a piece of Pastry work of their own, and made a kind of Lenten Feast with their Rinaldo and Armida; this surpriz'd not only Drury-lane, but indeed all the Town, no body ever dreaming of an Opera there; 'tis true they had heard of Homer's Illiads in a Nut-shel, and Jack in a Box, and what not?...Sullen: Well, with this Vagary they tug'd a while, and The Jolly-Jolly breeze-came whistling thro'-all the Town, and not a Fop but ran to see the Celebrated Virgin in a Machine; there she shin'd in a full Zodiack, the brightest Constellation there; 'twas a pleasant Reflection all this time to see her scituated among the Bulls, Capricorns, Sagittaries, and yet the Virgo still remain itacta....Critick: But this merry Time lasted not always; every thing has an end, and at length down goes Rinaldo's inchanted Mountain; it sunk as a Mole-hill seen on't: What a severity was this? that the Labour of such a gigantick Poet, nay Critick, shou'd give up the Ghost so soon: The renown'd Author thought himself immortal in that Work, and that the World was to last no longer than his Rinaldo; and tho' he stole every thing from the Italian, yet he said, what the Italian did was but Grub-street to his. See also 5 Jan. 1698@9 for a letter written by Mrs Barry, in part concerning Rinaldo and Armida

Event Comment: Betterton's Company. The date of the premiere is not known. The Dedication is dated 20 April 1699, and the play was advertised in the Post Boy, 25-27 April 1699; hence, it is likely that the play was first given between mid-February and mid-March, certainly before Easter, which fell on 9 April 1699

Event Comment: Betterton's Company. The date of the first production is not know, but the fact that the play was advertised in the Post Boy, 20-23 May 1699, suggests that the premiere was probably not later than April, possibly just after Easter

Event Comment: Betterton's Company. This performance is known by a letter of John Dryden to Mrs Steward, 7 Nov. 1699: There is this day to be acted a New tragedy, made by Mr Hopkins, & as I believe in rhime. He has formerly written a play in verse calld Boadicea, which you fair Ladyes likd: & is a poet who writes good verse without knowing how, or why; I mean he writes naturally well, without art or learning, or good sence (The Letters of John Dryden, p. 124). The Dedication to the play is dated 1 Nov. 1699, but the play was not advertised until, apparently, in the Post Man, 17-20 Feb. 1699@1700

Event Comment: Betterton's Company. The date of the premiere is not known, but Dryden, on 14 Dec. 1699, indicated that the run of the play had been completed by that day. A copy in the Folger Shakespeare Library has a notice of its publication. Downes, Roscius Anglicanus, p. 45: Iphigenia a Tragedy, wrote by Mr Dennis, a good Tragedy and well Acted; but answer'd not the Expences they were at in Cloathing it. [In The Life of Mr John Dennis (London, 1734) the author states that Colonel Codrington prevailed on all his friends to take tickets for the dramatist's third night.] Preface, Edition of 1700: And from the first representations I expected all the success that I could reasonably desire. I never in my life at any Play took notice of a more strict attention, or, a more profound silence. And there was something like what happen'd at the Representation of Pacuvius his Tragedy. For upon Orestes discovering his passion to Iphigenia in the fourth Act, there was a general murmur through the Pit, which is what I had never seen before. But after three or four representations, several people, who during that time had wholly abandon'd themselves to the Impression which Nature had made on them, began to study how to be discontented by Art; and repented heartily at having been pleas'd with what Athens and Rome and Paris had been pleas'd before. A Comparison between the Two Stages (1702), p. 23: Critick: I must needs Complement him [Dennis] with the Success of his laborious Iphigenia: Ay, here's a Tragedy with a witness--show a more tragick Poet if you can--'twas a smart Epilogue. But I marvel a Man of Mr Dennis's Penetration wou'd suffer, nay beg his Friend to Burlesque him at that unreasonable rate: But the Author was conscious the Audience might mistake it for a Comedy, and so he gets Colonel C-(he was sure his Word wou'd be taken) to tell 'em it was not a Comedy but a Tragedy: The hint was good and necessary, for o' my word very few knew what to make of it before, tho' there were many Tremendous things in't. [The dialogue continues to examine Dennis' Preface, and Dennis's assertions there concerning his play.

Event Comment: [Theatrical Review, 6 Dec.: re afterpiece: "Thomas is well supported by Mr Vernon who...is the best acting singer on the stage...Mr Davies appeared for the first time in the character of the squire, and discovered no inconsiderable degree of merit.--Dorcas by Mrs Love--This character is better played here by Mrs Dorman. [Both surpassed by Mrs Thomson at cg.] Mrs Scott does justice to the songs, being an accomplished singer, but as an actress she is insufferably insipid and inanimate."] Paid Mr Russell for men's cloaths #30; Paid Mr Follett on note #10 10s.; 2 Clarinets 6 nights (2nd incl.) #9 9s. (Treasurer's Book). Receipts: #243 19s. (Treasurer's Book)

Event Comment: The Duke's Company. This play in on the L. C. list, 5@139, p. 125. See also Nicoll, Restoration Drama, p. 346. It is possible that this is a delayed third performance and that the conjectured one for 7 Oct. did not occur. Pepys, Diary: My wife and I and Willet to the Duke of York's house, where, after long stay, the King and Duke of York come, and there saw The Coffee House, the most ridiculous, inspid play that ever I saw in my life, and glad we were that Betterton had no part in it

Event Comment: Benefit for Scrase and Miss Thomas. Tickets of Scrase at Mr Cross's in Crown Court, Russel St., Covent Garden; of Miss Thomas at the Ring and Pearl, Duke's Court, Bow St., and at stage door. No Building on Stage. Receipts: #130 (Cross)

Event Comment: By Permission of the Lord Chamberlain. Benefit for Miss Thomas. Tickets to be had of Miss Thomas, No. 41, Great Portland-street; and of Rice at the Theatre, where places for the Boxes may be taken. To begin at 6:45. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Servants to keep places are requested to be at the Theatre at half past Five o'Clock

Event Comment: Mainpiece [1st time, i.e. as an alteration of Richard Savage's play; T 5, by William Woodfall. Prologue by Richard Brinsley Sheridan. Epilogue by Richard Cumberland (see text)]: with New Scenes and Dresses. Public Advertiser, 13 Feb. 1777: Sir Thomas Overbury (the Publication of which was unavoidably postponed) will be ready this Morning, at Ten o'Clock (1s. 6d.). Receipts: #212 4s. 6d. (210.7.6; 1.17.0)

Event Comment: Benefit for Mrs Martyr. 2nd piece [1st time; O 1, by John Wolcot. Larpent MS 770; not published]: Being a Translation from the French Opera of that name [Nina; ou, La Folle par Amour, by Benoit Joseph Marsollier des Vivetieres], now performing at Paris with universal applause. With the original Music [by Nicolas Dalayrac, adapted by William Shield and William Thomas Parke. Two other versions of this opera, both unacted, were published this year: one anonymous, and one by George Monck Berkeley]. Receipts: #300 8s. 6d. (150.0.0; 2.18.0; tickets: 147.10.6)

Event Comment: The Duke's Company. As the play was not printed until 1689, the date of composition is uncertain. In Act I, however, a reference to the death of the Earl of Rochester (26 July 1680) suggests that the play probably followed that even rather closely. On the other hand, the latest likely date for the first production seems set at late 1682 by the fact that Thomas Farmer's music for the play in BM Add. Mss. 19183-19185 is dated December 1682. The play has been placed in September 1680 as the earliest likely date (the presence of an experienced cast makes somewhat unlikely a production in mid-summer 1680). A song, All other blessings are but toys, with music by Thomas Farmer, is in Choice Ayres and Songs, The Fourth Book, 1683. A song, Lovely Selina, innocent and free, with music by John Blow, is in the same collection; and another, Weep all ye nymphs, with music by John Blow, is in The Theater of Music, The First Book, 1685

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@145, p. 120. See also Nicoll, Restoration Drama, p. 349. There is no certainty that this is the first performance, but a licensing date of 28 Jan. 1677@8 and Mrs Behn's statement in the Preface that she hurried the play into print suggest a premiere not far from this date. Edition of 1678: To the Reader: I Printed this Play with all the impatient haste one ought to do, who would be vindicated from the most unjust and silly aspersion, Woman could invent to cast on Woman; and which only my being a Woman has procured me, That it was Bawdy, the least and most Excusable fault in the Men Writers, to whose Plays they all crowd, as if they came to no other end then to hear what they condemn in this: but from a Woman it was unnaturall. One song, Sitting by yonder river side, with music by Thomas? Farmer, is in Choice Ayres and Songs, The Second Book, 1679

Event Comment: The Duke's Company. The date of the first performance is uncertain, but the fact that the play was entered in the Stationers' Register on 14 April 1679 suggests a premiere not later than April 1679. A song, Can life be a blessing, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681