Event Comment: Mainpiece [1st time; D 5, by Elizabeth Inchbald, adapted from Das Kind der Liebe, by August Friedrich Ferdinand von Kotzebue. Prologue by John Taylor; Epilogue by Thomas Palmer (see text)]. Afterpiece [1st time; MF 2, by Charles Smith]: The Music composed by Attwood. The Overture accompanied on the Harp by Weippert. Morning Herald, 28 Nov. 1798: This Day is published Lovers' Vows [sic] (2s.). Times, 26 Oct. 1798: This Day is published A Day at Rome (1s.). Receipts: #197 15s. 6d. (194.3.6; 3.12.0)

Event Comment: The King's Company. The date of the first performance is not known, but the premiere probably occurred during this month. The Preface states: This Play, as it was wrote in less than a moneth, and was the last Play that was Acted at the King's Theatre in Covent-Garden, before the fatal Fire there. [The Preface may mean that this was the last new play acted before the fire.] Two songs for this play, with music by Robert Smith, are in Choice Songs and Ayres, The First Book, 1673

Event Comment: The United Company. The date of the premiere is not known, although a reference in the text to 1690 suggests that the play may have been produced in that year; but the fact that it was not advertised in the London Gazette until 6-9 April and not entered in the Term Catalogues until May 1691 suggest that it posaibly appeared early in 1691. This play was discussed in Wit for Money, or Poet Stutter; A Dialogue between Smith, Johnson, and Poet Stutter; containing Reflections on some late Plays, and particularly on Love for Money, or The Boarding School. The British Museum copy of this pamphlet has a manuscript date of 23 April 1691. Downes, Roscius Anglicanus, p. 42: The Boarding School; Wrote by Mr Durfy, it took well being justly Acted. Earl of Ailesbury, mid-January 1690@1: My Lady Fenwick was a great intriguer, and had always castles in the air in her imagination to that degree, that I was present at a play where she was brought in. If I mistake not it was The Boarding School, and the famous comic, Mr Lee, in woman's clothes represented her to the life, and so exactly had her features and complexion that one could hardly have distinguished one from the other (Memoirs, [London, 1890], II, 390-91)