Event Comment: Afterpiece: In one Act. [For Miss Leak's 1st appearance as Sally see HAY 24 Feb.] Powell: Thomas & Sally rehearsed at 1 0; The Inconstant at 11; The Jew at 12.30 (for Suett and Miss Tidswell). Receipts: #540 (462/7/6; 76/7/0; 1/5/6)

Event Comment: Mainpiece: Never performed. Founded [by Thomas Hull] on a Play wrote by the late Sir Samuel Tuke [Adventures of Five Hours]. The Afterpiece: A Masque (perform'd but once) [by Thomas Hull], With New Music, Dresses and Scenery. The Music by Mr Bach. Books of the Masque to be had at the Theatre. Paid for The Perplexities #2 2s. (Account Book). Receipts: #226 16s. (Account Book)

Event Comment: Benefit for Mrs Smith. The Farce was much hiss'd (Hopkins Diary). The overture and Songs in it entirely new, composed by Theodore Smith. The farce by Thomas Hull. Paid 1!2 years Poor's rate to Xmas last #32 9s. 6d. Receipts: #98 6s. Charges: #70 6s. Profits to Mrs Smith: #28 (Treasurer's Book)

Event Comment: Benefit for Hull. Mainpiece [a tragedy by Thomas Hull, based upon the version by William Hawkins, 1749, suggested by William Shenstone, and instigated by the presence of Mrs Hartley among the actresses at cg]: Never acted before. Characters to be dressed in the Habits of the Times (playbill). Charges #64 5s. Profit to Hull #50 13s. 6d., plus #75 6s. from Tickets (Box 165; Pit 171; Gallery 84) (Account Book). Receipts: #114 18s. 6d

Event Comment: The United Company. The date of the first performance is not known, but Luttrell dated his copy of the separately-printed Prologue and Epilogue 5 April 1684 (J. W. Dodds, Thomas Southerne, p. 48). Very probably the play first appeared during the week of 31 March-5 April, immediately following Easter. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 191-94. This may have been the last new role William Smith undertook for some years; see Cibber, Apology, ed. Lowe, 1, 78-79, for the incident which prompted Smith's leaving the stage for awhile. One song, I never saw a face till now, with music by Captain Pack, is in The Theater of Music, the First Book, 1685; and another, O why did e'er my thoughts aspire, the music by R. King, is in the same collection. A third song, See how fair Corinna lies, the music by Captain Pack, is in A Collection of Twenty-Four Songs, 1685

Event Comment: Mainpiece: [By Thomas Odell.] A New Farce. Afterpiece: [By Thomas Odell.] A new Opera

Event Comment: Afterpiece [1st time; MD 3, by Samuel Birch, adapted from Camille; ou, Le Souterrain, by Benoit Joseph Marsollier des Vivetieres, and from Les Victimes Cloitrees, by Jacques Marie Boutet de Monvel; the songs written by Thomas John Dibdin. Larpent MS 1236; not published. The playbill states that this was "Taken from the German," but London Chronicle, 12 Dec., says that its source is the same as that of The Captive of Spilburg (see dl, 14 Nov.). An examination of the MSS of these two pieces (Larpent 1230 and 1236) proves that such is unmistakably the case]: With entire new Scenes, Machinery, Dresses & Decorations. The Music composed and selected by Steibelt and Attwood. The Action of the Chorusaes, Finales, &c. under the Direction of Farley, and the Action of the Overture by Bologna Jun. A new Descriptive Overture, composed by Steibelt, on a Plan never before introduced on the English Stage, accompanied by Action. "The overture is...nothing more than music adapted to pantomime; and, in the present instance, the dumb shew is an unnecessary anticipation of the procession with which the piece opens" (Monthly Mirror, Dec. 1798, p. 369). The Scenery painted by Richards, Phillips, Lupino, Hollogan, Blackmore, &c. The Dresses by Dick and Mrs Egan. Books of the Songs to be had at the Theatre. Receipts: #338 17s. 6d. (325.14.6; 13.3.0)

Event Comment: The Duke's Company. Nell Gwyn attended this performance. See VanLennep, Nell Gwyn's Playgoing, p.408. It is not certain that this was the premiere, but, as the play was licensed for publication on 20 Nov. 1676, the first performance may well have been on this day. A song, Away with the causes of riches and cares, with music by Matthew Lock, is in Catch that Catch Can, No. 64, 1685. Another, Beneath a shady willow, with music by William Turner, is in A New Collection of Songs and Poems...by Thomas D'Urfey, 1683. Edition of 1677: That its only good Fortune was, in being the Subject of the Courts Diversion, where their Noble Clemency and Good Nature were extremely requisite, in covering its defects from the too Censorious; His Majesty, according to His accustomed Royal and Excellent Temper, was pleas'd to descend so far, as to give it a particular Applause, which was seconded by your Grace [The Duke of Ormond]

Event Comment: [By Thomas Walker.] With Rich New Habits

Event Comment: Mainpiece [1st time; T 5, by Thomas Hull; also ascribed to Samuel Jackson Pratt. Author of Prologue unknown. Epilogue by S. J. Pratt. {Miscellanies, 1785,1,271). MS: Larpent 603; not published]: With a grand Masquerade Scene, and Decorations incident to the Piece. Receipts: #234 17s. (223/13/0; 11/1/6; 0/2/6)

Event Comment: [By Thomas Moore.] With Musick Vocal and Instrumental, Dances, and other Decorations proper to the same. Victor, History of the Theatres, II, 144: Three or four Years after the Performance of this famous Tragedy, I had the following account from several of the Actors who performed in it: That Sir Thomas gave them many good Dinners and Suppers during the Rehearsals of the Play, which they all laugh'd at as ridiculous; but as the Company was, at that Time, composed chiefly of young Actors, and got but small Encouragement from the Public; it may be justly said, their Necessities compelled them to perform this strange Tragedy, which stood some chance to divert from its Absurdities

Event Comment: Afterpiece: A new Ballad Opera of one Act. [By Thomas Gataker,]

Event Comment: The Duke's Company. There is no indication of the first date of performance, but a licensing date of 19 Feb. 1676@7 suggests a December 1676 or January 1677 production.Downes (Roscius Anglicanus, p. 38): Titus and Berenice, Wrote by the same Author [Thomas Otway], consisting of 3 Acts: With the Farce of the Cheats of Scapin at the end: This Play, with the Farce, being perfectly well Acted; had good Success

Event Comment: The Duke's Company. There is no certainty as to the date of the first production; but as this play was entered in the Term Catalogues November 1679, it was certainly first acted by October 1679, possibly in September 1679. A musical number, The Loyal Protestant, the music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Event Comment: The Duke's Company. The date of the first performance is not known; an entry in L. C. 5@145, p. 120, lists it for 1 March, but leaves the year in question. See also Nicoll, Restoration Drama, p. 349. Because the Prologue upbraids the audience for deserting Dorset Garden to see The Female Prelate at Drury Lane (beginning 31 May 1680) and because the Epilogue refers to railing at the Penny Post, a service inaugurated on 1 April 1680, a performance in mid-June 1680 seems the likely first production. If so, the L. C. entry for 1 March probably represents a revival for 1 March 1680@1. A song, Bonny lass gin thou wert mine, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681. For Leigh as Sir Jolly and Nokes as Sir Davy, see Cibber, Apology, ed. Lowe, I, 147-48. Downes (Roscius Anglicanus, p. 36): These two Comedies [The Soulder's Fortune and D'Urfey's The Fond Husband] took extraordinary well, and being perfectly Acted; got the Company great Reputation and Profit

Event Comment: Benefit for Scrase, Mozeen, Ackman, Harrison. Afterpiece: A new farce written by Mr Mozeen (Indiff) (Cross). Ellis Ackman, Henry Scrase, Harrison, Thomas Mozeen advertised the above new piece for their benefit performance being founded on fact (Winston MS 8). Receipts: #170 Cross)

Event Comment: Benefit for Hull. Afterpiece: Translated (with alterations) from Detouches. Never perform'd before. Translation by Thomas Hull (Biographia Dramatica)

Event Comment: Benefit for Mrs Bellamy. Mainpiece: Never Acted There. [Thomas Southerne's play adapted by Garrick. See bill 4 May.] Afterpiece: With New Introduction and Conclusion [see Harlequin Statue or the Jealous Farmer Outwitted, 20 May 1765] but with Music, Scenes and Decorations adapted to the whole. Charges #65 6s. Balance to Mrs Bellamy #53 6s. plus #113 4s. from tickets (Box 316; Pit 228) (Account Book). Receipts: #118 12s

Event Comment: By Permission [of the Lord Chamberlain]. Benefit for a Gentlewoman. Mainpiece: Not acted these 7 years. [Author of Prologue unknown.] Afterpiece: Written by Thomas King, Esq. The Doors to be opened at 5:00. To begin at 6:30. The Public may be assured that the principal Performers in the above play and farce are Persons accustomed to the Stage, and that the utmost Attention will be paid to the credit of Performance. Tickets delivered by Mrs Lefevre and Blackburn will be admitted

Event Comment: Mainpiece [1st time; C 5 by Thomas Holcroft. Prologue and Epilogue by the author (London Chronicle, 21 Feb.)]. Morning Herald, 29 Feb. 1792: This day is published The Road to Ruin (1s. 6d.). Receipts: #233 5s. (231.1; 2.4)

Event Comment: Benefit for Knight. 2nd piece [1st time; F 1, by Thomas John Dibdin. Larpent MS 1252; not published]. 3rd piec : Not acted these 9 years. [Miss A. DeCamp had appeared as a dancer with the dl Company at king's in the season of 1792-93.] Morning Chronicle, 22 Apr.: Tickets to be had of Knight, No. 38, King-street, Covent Garden. Receipts: #392 3s. (185.12.6; 3.18.0; tickets: 202.12.6)