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: Afterpiece [1st time; M. INT 1, by Thomas John Dibdin. Prologue by Richard Cumberland (see text)]: The Overture and Music composed by Attwood, with some favorite Selections from the Works of Dibdin and Mazzinghi. Books of the Songs, including a descriptive Sketch of the Ballet, to be had at the Theatre. Morning Herald, 5 Nov. 1798: This Day is published The Mouth of the Nile (1s.). Receipts: #309 3s. 6d. (303.0.6; 6.3.0)

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)

Event Comment: [Account-Book: Tickets delivered by Wells, Thompson (stage door keeper), Thomas, Clarke, Robson (pit door keeper), Ansell, Little, Bagley, Noble, Bonsor, Walls (constable), Townsend, Linton, Morris, Klanert, Ward, Coombs will be admitted.] Receipts: #329 16s. (18.3.0; 2.13.6; tickets: 308.19.6)

Event Comment: Afterpiece [1st time; MF 2, by Thomas John Dibdin. Larpent MS 1280; not published]: With New Music, Dresses and Decorations. The Music composed by Attwood. Books of the Songs to be had in the Theatre. Receipts: #354 16s. (347.18; 6.18)

Event Comment: Afterpiece [1st time; MF 2, by Thomas John Dibdin]: With appropriate music (composed and selected by Attwood), Scenery, &c. Books of the Songs to be had at the Theatre. Receipts: #256 17s. (251.10; 5.7)

Event Comment: Benefit for Lewis. 3rd piece [1st time; M. INT 1, by Thomas John Dibdin. Larpent MS 1288; not published]: Founded on a late Glorious Naval Achievement [the recapture by Capt. Edward Hamilton, on 25 Oct. 1799, of the British frigate Hermione, from the Spaniards]. The Music selected and composed by Attwood. Morning Chronicle, 1 Apr.: Tickets to be had of Lewis, No. 52, Great Queen-street, Lincoln's Inn Fields. Receipts: #361 17s. (263.2.0; 33.5.6; tickets: 65.9.6)

Event Comment: Benefit for the Humane Society. A new grand Commemorative Oratorio [1st time; in two parts], as originally performed by Busby, in aid of the Fund for the Naval Pillar, including the new Music [by Busby: Song and Chorus, From where the sun; Song, To thy brave sons; Recitative and Song, Peace to the soul, Around the ever-honoured urn], introduced in the Grand National Concert, performed the 28th of May, at the Opera House. Leader of the Band-Cramer. Organ-Russell. The performance to be conducted by Busby, who will preside at the Piano Forte. Tickets, at playhouse prices, to be had at all the principal music shops...and of Busby, No. 9, China Terrace, Vauxhall Road. The Doors to be opened at 6:00. To begin at 7:00. "The words [of Part I] are taken entirely from Gray's well-known Pindaric Ode, The Progress of Poesy," with six introductory lines written by John Gretton andthe concluding stanzas by Thomas Dutton; the text of Part II by Gretton (Dramatic Censor, II, 285-86)

Event Comment: Edition of 1662: Being a True Relation of the Honourable the City of Londons Entertaining Their Sacred Majesties Upon the River of Thames, and Welcoming them from Hampton-Court to White-Hall. Expressed and set forth in several Shews and Pageants, the 23 day of August 1662. According to the printed version, the management of the pageant was under the care of Peter Mills, Surveyor; Malin, Water Bayliff; Thomas Whiting, Joyner; Richard Cleere, Carver. The songs were set by John Gamble, one of His Majesty's Servants. Evelyn, Diary: I this day was spectator of the most magnificent Triumph that certainly ever floted on the thames, considering the innumerable number of boates & Vessels, dressed and adorned with all imaginable Pomp: but above all, the Thrones, Arches, Pageants, & other representations, stately barges of the Lord Major, & Companies, with various Inventions, musique, & Peales of Ordnance both from the vessels & shore, going to meete & Conduct the new Queene from Hampton Court to White-hall, at the first time of her Coming to Towne.... his Majestie & the Queene, came in an antique-shaped open Vessell, convered with a State or Canopy of Cloth of Gold, made in forme of a Cupola, supported with high Corinthian Pillars, wreathd with flowers, festoones & Gyrlands: Pepys, Diary: We got into White Hall garden, and so to the Bowling-green, and up to the top of the new Banqueting House there, over the thames, which was a most pleasant place as any I could have got; and all the show consisted chiefly in the number of boats and barges; and two pageants, one of a King, and another of a Queen, with her Maydes of Honour sitting at her feet very prettily; and they tell me the Queen is Sir Richard Ford's daughter. Anon come the King and Queen in a barge under a canopy with 10,000 barges and boats, I think, for we could see no water for them, nor discern the King nor Queen. And so they landed at White Hall Bridge, and the great guns on the other side went off

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@142, p. 81. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance; see VanLennep, Nell Gwyn's Playgoing, p. 407. Nell Gwyn's attendance again on Friday 9 June suggests that she attended the premiere. On that assumption, this Calendar lists the probable ten performances which Downes (Roscius Anglicanus, p. 36) alludes to: And all the Parts being admirably Acted, it lasted successively 10 Days; it got more Money than any preceding Modern Tragedy

Event Comment: The Duke's Company. There is considerable uncertainty as to the date of production of this play. Because it was licensed for printing on 2 Aug. 1677, it was probably first acted not later than July 1677. Because some of the names in the cast represent younger actors, it has been thought to be a Lenten production (see Gray, Lenten Casts, pp. 789-90). It seems, however, that the play, because of its reference to performances by the French comedians (the Epilogue refers to "de French Troop at toder end o'Town ") and the offering of Rare en Tout on29 May 1677, probably was acted in June 1677. The Prologue also refers to the comedy as The Women's Play," suggesting that it was produced for the actresses' annual benefit

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's copy (Huntington Library) of the play bears the date of acquisition 3 June [1690, apparently], and the play was advertised in the London Gazette, No 2566, 12-16 June 1690. See Fredson Bowers, A Bibliographical History of the Fletcher-Betterton Play, The Prophetess, 1690, The Library, 5th Series, XVI (1961), 169-75. It seems likely that the opera was first given early in June 1690. An edition of The Vocal and Instrumental Musick of The Prophetess appeared in 1691. See Works of Henry Purcell, Purcell Society, IX. Downes (Roscius Anglicanus, p. 42): The Prophetess, or Dioclesian an Opera, Wrote by Mr Betterton; being set out with Coastly Scenes, Machines and Cloaths: The Vocal and Instrumental Musick, done by Mr Purcel; and Dances by Mr Priest; it gratify'd the Expectation of Court and City; and got the Author great Reputation. [See also R. E. Moore, Henry Purcell and the Restoration Theater (Cambridge, Mass., 1961), Chapter V; and E. W. White, Early Theatrical Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44.] The Muses' Mercury (January 1707, pp. 4-5): This prologue was forbidden to be spoken the second Night of the Representation of the Prophetess. Mrs Shadwell was the occasion of its being taken notice of by the Ministry in the last Reign: He happen'd to be at the House on the first Night, and taking the beginning of the Prologue to have a double meaning, and that Meaning to reflect on the Revolution, he told a Gentleman, He would immediately Put a stop to it. When that Gentleman ask'd, Why he wou'd do the Author such a Disservice? He said, Because while Mr Dryden was Poet Laureat, he wou'd never let any Play of his be Acted. Mr Shadwell informed the Secretary of State of it, and representing it in its worst Colours, the Prologue was never Spoken afterwards, and is not printed in Mr Dryden's Works, or his Miscellanies. Cibber, Apology (ed. Lowe, II, 13-14): A Prologue (by Dryden) to the Prophetess was forbid by the Lord Dorset after the first War in Ireland. It must be confess'd that this Prologue had some familiar, metaphorical Sneers at the Revolution itself; and as the Poetry of it was good, the Offence of it was less pardonable

Event Comment: The United Company. The date of the first performance is not precisely known, but by 9 May 1693 it had been acted four times (see Dryden's letter, below); on the other hand, the Gentleman's Journal, February 1692@3 (issued in March) had stated that D'Urfey's new farce would not appear until after Easter. Hence, it may well have been the first new play after Passion Week. A dialogue, Behold, the man with that gigantick might, the music by Henry Purcell and sung by Mr Reading and Mrs Ayliff, is in Orpheus Britannicus, 1690. See Purcell's Works, Purcell Society, XXI (1917), viii-x. A dialogue, By these pigsnes eyes that stars do seem, the music by John Eccles and sung by Dogget and Mrs Bracegirdle, is in Joyful Cuckoldom, ca. 1695. Another, Stubborn church division, folly, and ambition, to a Ground of Mr Solomon Eccles, is in Thesaurus Musicus, 1694. And Maiden fresh as a rose, the verse by D'Urfey and sung by Pack, but not printed in the play, is in The Merry Musician, I (1716), 56-57. This last song may have been for a later revival. Gentleman's Journal, April 1693 (issued in May 1693): Since my last we have had a Comedy by Mr Durfey; 'tis called the Richmond Heiress or a Woman once in the right (p. 130). Dryden to Walsh, 9 May 1693: Durfey has brought another farce upon the Stage: but his luck has left him: it was sufferd but foure dayes; and then kickd off for ever. Yet his Second Act, was wonderfully diverting; where the scene was in Bedlam: & Mrs Bracegirdle and Solon [Dogget] were both mad: the Singing was wonderfully good, And the two whom I nam'd, sung better than Redding and Mrs Ayloff, whose trade it was: at least our partiality carryed it for them. The rest was woeful stuff, & concluded with Catcalls; for which the two noble Dukes of Richmond and St@Albans were chief managers (The Letters of John Dryden, pp. 52-53)

Event Comment: The United Company. The date of the first production is not known, but Part II seems to have followed rather closely upon Part I. The Gentleman's Journal, June 1694 (which apparently appeared in mid-June) states: The first Part of Mr Durfey's Don Quixote was so well received, that we have had a second Part of that Comical History acted lately, which doubtless must be thought as entertaining as the first; since in this hot season it could bring such a numerous audience (p. 170). The Songs were advertised in the London Gazette, 5 July 1694, and Part II advertised in the same periodical 19-23 July 1694. The songs as listed in the separately printed Songs are as follows: Genius of England, the music by Henry Purcell, sung by Freeman and Mrs Cibber. I burn, I burn, the music by John Eccles, sung by Mrs Bracegirdle. Since times are so bad, the music by Henry Purcell, sung by Reading and Mrs Ayliff. Damon, let a friend, the music by Pack, sung by Mrs Hudson. Ye nymphs and sylvan gods, the music by John Eccles sung by Mrs Ayliff. If you will love me, composer and singer not named. In addition, Thesaurus Musicus, 1695, published Lads and lasses, blithe and gay, the music by Henry Purcell, sung by Mrs Hudson. Purcell also wrote the music for other songs for which the singer is not known. Preface, edition of 1694: The good success, which both the Parts of Don Quixote have had, either from their Natural Merit, or the Indulgence of my Friends, or both, ought sufficiently to satisfie me, that I have no reason to value tne little Malice of some weak Heads, that make it their business to be simply Criticizing....I think I have given some additional Diversion in the Continuance of the character of Marcella, which is wholly new in this Part, and my own Invention, the design finishing with more pleasure to the Audience by punishing that coy Creature by an extravagant Passion here, that was so inexorable and cruel in the first Part, and ending with a Song so incomparably well sung, and acted by Mrs Bracegirdle, that the most envious do allow, as well as the most ingenious affirm, that 'tis the best of that kind ever done before....I deserve some acknowledgment for drawing that Character of Mary the Buxom, which was intirely my own,...by making the Character humorous, and the extraordinary well acting of Mrs Verbruggen, it is by the best Judges allowed a Masterpiece of humour

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, No. 3151, 20-23 Jan. 1695@6, and entered in the Term Catalogues, February 1695@6, suggests that it was probably acted not later than December 1695. According to the Edition of 1696, the music was set by John Eccles: Come, Thyrsis, come was sung by Reading and Mrs Hodgson; the other songs in the edition lack the names of the singers. In addition, Rich mines of hot love are rooted here, sung by Bowman, was in Deliciae Musicae, The First Book of the Second Volume, 1696; and Let us revel and roar, set by John Eccles and sung by Curco and Reading, was published in Thesaurus Musicus, The Fifth Book, 1696. Downes, Roscius Anglicanus, p. 44: Lovers Luck, a Comedy, Wrote by Captain Dilks, which fill'd the House 6 Days together, and above 50# the 8th, the Day it was left off. A Comparison Between the Two Stages (1702), p. 20, lists it among the plays under the heading: Damn'd

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the Dedication of the play is dated 15 Jan. 1696@7 suggests that it was probably first acted not later than December 1696. The play was advertised in the Post Man, 21-23 Jan. 1696@7. The music was set by John Eccles. Dedication, Edition of 1697: I make you a Present of a Play, that miscarri'd on the first Nights Performance; tho' afterwards, without any farther Discouragement, it kept it self alive till the third day was over, and then I must confess the City Lady expir'd....This I am confident on, that the like Unfortunate Accidents which attended this Comedy, wou'd have been sufficient to have Dam'd a much better Play. The tedious waiting to have the Curtain drawn, after the Prologue was spoke, occasion'd by Mr Underhill's violent Bleeding, put the Audience out of Humour, and made it susceptible of the least Disgust; and when once the Torrent of its Displeasure break bounds, nothing cou'd put a stop to his Vehemence. After Mr Underhill was no longer able to come upon the Stage, scarce any thing was done but by Halves, and in much Confusion; in the midst of which, I think my self oblig'd to applaud the Justice I receiv'd from the Incomparable Mrs Barry. I very well know that the Ode in the third Act seems to be introduc'd something unseasonably. It was made and set long since, in hopes of having it perform'd before the King, at his return from Flanders; and the Music being so finely compos'd by Mr John Eccles, I was loath it shou'd be wholly lost to the Town. 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 Songs were advertised in the Post Boy, 29-31 March 1698, and performance probably occurred in early March. One song, All things seem deaf to my complaints, set by John Eccles and sung by Mrs Bowman, was published in The A'lamode Musician, 1698. According to the Post Boy, 17-19 March 1697@8, another song, Fair Amoret is gone Astray, had its words written by Congreve, and, according to the Post Boy, 29-31 March 1698, the music set by John Eccles. A Comparison Between the Two Stages (1702), p. 20: Damn'd. Gildon, English Dramatick Poets, p. 173: I have little to say to this Play, for 'tis not fair to attack a Man that's down, tho' I do not think (considering what Plays have pleas'd) that this ought to have met with so severe a Fate

Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and three in the Box at Marryage hater. 16s. See Hotson, Commonwealth and Restoration Stage, p. 378. John Dryden to Mrs Steward, 14 Dec. 1699: Both the Iphigenias have been played with bad Success; & being both acted, one against the other, in the same week, clashed together, like two rotten ships, which cou'd not endure the shock; & sunk to rights (The Letters of John Dryden, p. 131)

Event Comment: Receipts: #170 9s. 6d. Probable attendance: boxes, 236 paid; stage, 44 paid; balcony, 2 paid; Pit, 290 Paid and 3 orders; slips, 47 paid and 1 order; first gallery, 419 paid and 1 order; second gallery, 189 paid. For a comment on the play by Thomas Edwards, see V. M. Gilbert, Unrecorded Comments on John Gay, Henry Travers, and Others, Notes and Queries, August 1953, pp. 337-38