Event Comment: [Advertised as performed but once, but see 18 Jan. Sheridan in Preface to Edition of 1775 (2nd) refers to withdrawing the piece to remove those imperfections in the first representation which were too obvious to escape reprehension, and too numerous to admit of hasty correction." He blames his inexperience and want of judgment in theatrical effects, the extreme length of the play act by act, and haste in writing. From the Westminster Magazine Feb., which outlined the plot in five columns: The present state of the Rivals is widely different from that in which we found it on the first night's representation. Sir Lucius O'Trigger being re-touched, has now the appearance of a character; and his assigning Beverley's reflection on his country as the grounds for his desire to quarrel with him, is a reasonable pretence, and wipes off the former stigma undeservedly thrown on the sister Kingdom. An alteration of a principal incident gave a very favorable turn to the fable and the whole piece: that where young Acres now delivers his challenge to his friend Absolute, begging him to carry it to his Rival Beverly, not knowing the two characters composed but one man; its being at first given to Sir Lucius, the person who indited it, was highly inconsistent...we should be induced from many evident traits of literary genius to pronounce the Rivals a good comedy."

Event Comment: Benefit for Mrs Woodman, late of Covent Garden, left a Widow with five Children. By Permission of the Lord Chamberlain. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. To begin at 6:00 p.m. [Public Advertiser, 21 Feb., contained a long letter concerning the small attendance on this occasion: "One of the finest Female Singers this Country has for many years produced is now, through a Series of Misfortunes as unavoidable as unforeseen, in a State of Wretchedness scarcely credible. [Her husband, a schoolteacher, died.] Alas! she had five helpless innocent to drink of the same bitter Cup, to harrow up all the Heartstrings of a Mother, and to tear her Soul unavailingly for that Support, of which she herself was depriv'd by the Death of their Father. [The expenses of the benefit performance exceeded the receipts of the house.] Calamity became heaped upon Calamity, and she is now weeping in a Prison, over her unhappy little ones, for a Sum not exceeding #50." Appeal is made for gifts to relieve her. On 23 May, Mrs Woodman released from prison, gave a Benefit Concert at the Crown and Anchor Tavern, concluding with an Occasional Musical Address to the Town called The Grateful Acknowledgment, written and the music compiled from a most eminent Master by Adam Smith, sung by Mrs Woodman.

Event Comment: Afterpiece: A Pantomime Entertainment not acted these eight years. [See 20 Oct. 1768.] New Scenes, Dresses and other Decorations. Doors open at 5 o'clock. To begin exactly at 6 o'clock. Theatrical intelligence, Covent Garden: Mrs Hunter, lately returned from Ireland was very well receiv'd in Mrs Oakly, and to do her justice she played the part throughout better than it has been performed for some time at either house. The labourings of Mr Wroughton's jealousy in Oakly reminded us of the progressive workings of a fatt of small beer, when inflated with powerful yeast....Orpheus and Eurydice was reviv'd after the play-the dullest of all dull Pantomimes (Harlequin's Jacket excepted). The two additional scenes we were summoned by the bills to behold, are two of the late memorable regatta:-The first is a perspective of Ranelagh Gardensv to the water, illuminated with party-coloured lamps, which terminates with the temporary obelisk erected on that occasion:-Behind this we just catch the streamers of the barges and etc., supposed to be rowing up to the stairs, and landing their company, to martial music and under the discharge of cannon, imitated by the unnatural slamming of one of the Green Room doors. This scene, however, had a tolerable appearance, but being on too confined a scale, its intended effect must have been lost. The other represented the inside of as much of the Temple of Neptunev as was possible to give the spectators in a theatre:-we cannot extol it by any means as a perfect representation:-and to prevent it coming too near the original, Harlequin, Perot, Pantaloon, and etc. were made to lounge in the orchestra instead of its being occupied by a good band of music:-in short the whole pantomime went off rather flat. It is recommended to the managers here never to suffer the scene shifters to appear again in such garb as they did; old greasy plush waistcoats, with red-stocking sleeves!-such a habit may be in keeping with a blacksmaith's forge, but not for a theatre royal in the metropolis of a polished country (Folger News Clipping)

Event Comment: The People flock'd about the doors by Two o'clock. there never was a greater Overflow-Mr G. was never happier in Lear -the Applause was beyond description 3 or 4 loud Claps Succeeding one another at all his exits and many Cry'd out Garrick for Ever &c., &c. House (Hopkins Diary). [Kemble's note differs slightly.] Paid Mr Short, Chorus Singer #1 10s. (Treasurer's Book). Hannah More wrote to Mrs Gwatkin: The eagerness of the people to see Garrick is beyond anything you can have an idea of. You will see half a dozen duchesses and countesses a night in the upper boxes: for the fear of not seeing him at all, has humbled those who used to go, not for the purpose of seeing but being seen; and they now courtsy to the ground for the worst places in the house" (Hampden, Journal). [Letter to David Garrick, Esq on his appearance in Lear last night 13 May: The correspondent who signs himself Stock Fish and who claims to have been one of the survivors of the Black Hole of Calcutta, and who took a young lady from the country to see Garrick's last performance, blames him for endangering the lives of his majesties subjects for not providing proper bars, lanes, and queue lines to handle the crowds: "I went with intention to get into the Pit as the most eligible Part of the House (for your Boxes are always engag'd) and we got to the Door in Vinegaryard about five o'clock. Here the Passage to the first Door was too full for me to entertain any Hopes of getting in that Way, we therefore made for Catharine-street but the Multitudes of People waiting for the Opening of the Gallery-doors, rendered it impossible for us to get along through the Court; we therefore made a Circuit, and at length arrived opposite the Door in Catharine-street, where it was with Difficulty we could keep our Stands on a Foot Pavement....You will be absolutely inexcusable, if after this Warning you neglect to adopt some Method for the Security of the Lives of his Majesties Subjects on similar Occasions.--What think you of the following Scheme, viz. To keep the outer Doors next the Street shut, till the inner ones are opened ; and then, by a Proper bar, to prevent more than one at a Time entering, who shall there pay Entrance-money, and receive the Tickets of Admission through the inner Doors' (Public Advertiser 18 May).] Receipts: #308 1s. (Treasurer's Book)

Event Comment: Afterpiece [1st time; F 2, by Thomas Vaughan, based on Il Servitor di due Padroni, by Carlo Goldoni. Prologue by the author (Town and Country Magazine, Dec. 1776, p. 663)]: With New Dresses. Public Advertiser, 2 Dec. 1776: This Day at Noon is published The Hotel (1s.). Receipts: #182 1s

Event Comment: Benefit for Mrs Lessingham. Mainpiece: Not acted these 2 years. The Characters dressed in the Habits of the Country. Afterpiece [1st time; C 2, ascribed to Charles Stuart. Author of Address unknown]. Public Advertiser, 24 Mar.: Tickets to be had of Mrs Lessingham at her House, the corner of Percy-street, Rathbone Place. Receipts: #224 1s. 6d. (151.19.6; tickets: 72.2.0) (charge: #65 13s. 6d.)

Event Comment: Benefit for Mrs Jackson. Mainpiece: Not acted these 3 years. The Characters to be dressed in the Habits of the Country. Public Advertiser, 3 May: Tickets to be had of Mrs Jackson, Great Piazza, Covent Garden. Receipts: #189 14s. (87.7; tickets: 102.7) (charge: #64 10s.)

Event Comment: Mainpiece: The Characters new dressed in the Habits of the Country. Receipts: #160 3s. (159.1; 1.2)

Event Comment: 1st piece [1st time; CO I, by Charles Dibdin, based on Rose et Colas, by Michel Jean Sedaine]. 3rd piece [1st time; CO I, by Charles Dibdin, based on Les Femmes Vengees, by Michel Jean Sedaine]: With new Scenery [Public Advertiser, 19 Sept.: by Richards] and Decorations. Both the Musical Pieces, with new Overtures, composed by Dibdin. Books of the new Musical Pieces to be had at the Theatre. Places for the Boxes to be taken of Brandon (only) at the Stage Door. No Money to be taken at the Stage Door, nor any Money to be returned after the Curtain is drawn up. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. The Doors to be opened at 5:15. To begin at 6:15 [see 21 Sept.]. Public Advertiser, 18 Sept.: This Afternoon at Three will be published Rose and Colin and The Wives Revenged (each 6d.). "At this season of the year the little company upon the Ton, who are in town, seldom rise from the table till after the beginning of the play; in order, therefore, to obviate the disturbance that the fracas in the boxes usually makes towards the close of the first act, or the beginning of the second, this comic opera [Rose and Colin] was prefaced. It at the same time affords these late comers an opportunity of seeing the play [i.e. the mainpiece] complete" (Town and Country Magazine, Sept. 1778, p.453)

Event Comment: Mainpiece [1st time; CO 3, by William Kenrick, based on The Country Lasses, by Charles Johnson]: With new Scenery, Dresses and Decorations. The Overture and the rest of the Music composed by Hook. Books of the Songs to be had at the Theatre. Public Advertiser, 2 Dec. 1778: This Day at Noon is published The Lady of the Manor (1s. 6d.)

Event Comment: Afterpiece [1st time; F 2, by William Kenrick, based on The Country Lasses, by Charles Johnson. Not published; synopsis of plot in London Chronicle, 23 Dec. Prologue by the author (ibid)]