Event Comment: Mainpiece: A New Comic Opera [by R. B. Sheridan] never perform'd. The Music partly New and partly selected from the most eminent composers. With a New Overture, Scenes, Dresses, and Other Decorations. Books of the songs in the Opera to be had at the Theatre. [This note repeated on subsequent bills.] Afterpiece: Not acted these 10 years. [See 19 May 1767.] [Reviewed in the Westminster Magazine for Nov. which commented on the witty dialogue and effectiveness of the music. It was "puffed" gently in the Public Advertiser 22 Nov.: "Receiv'd with every mark of approbation that could be given. It will be repeated tomorrow evening with the Farce of the Apprentice."

Event Comment: Benefit for the Author of the Alterations (Hopkins Diary). [On this day Garrick wrote to Mrs Abington, relative to his practice in casting new plays: "That I may hear no more of this or that part in Mr Murphy's play, I now again tell you that every author since my management distributed his parts as he thinks will be of most service to his interest, nor have I ever interfered, or will interfere, unless I perceive that they would propose something contrary to common sense" (Harvard Theatre Collection, Autograph Letter Signed). Charges: #84 (Treasurer's Book)

Event Comment: Mainpiece: Not acted these 5 years [acted 3 May 1774]. Receipts: #181 14s. 6d. (148.17.0; 32.9.0; 0.8.6)

Event Comment: The last time of the Company's performing this Season. Account-Book, 26 May: Received of Their Majesties for this season #40. Receipts: #183 13s. (after-money not listed)

Event Comment: Afterpiece [1st time; B 3, by Richard Brinsley Sheridan. Prologue by the Hon. Richard Fitzpatrick (Public Advertiser, 3 Aug. 1781)]: With a Procession. [This was included in all subsequent performances. For the Sea Fight see 20 Nov.] With New Scenes, Dresses and Decorations. The Scenery designed by DeLoutherbourg, and executed under his direction. The Doors to be opened at 5:15. To begin at 6:15 [same for rest of season, except on 1 May 1780]. "The House was so crowded that there were many disturbances, one so great that Smith when he had nearly finished 'To be or not to be' was obliged to leave the Stage, and when the noise subsided, to return and begin the soliloquy again... As The Critic took up two hours and a half in performance, it must of necessity be considerably shortened" (Morning Chronicle, 1 Nov.). "The scene of the battle with the Armadav [was] executed in the most masterly manner. The Motion of the sea, the engaging of the ships, and the destruction occasioned by the fire-ships were happily contrived and accurately represented" (London Chronicle, 1 Nov.). Account-Book, 9 Nov.: Paid R. B. Sheridan on Acct. of Critic #320. Receipts: #241 19s. 6d. (222.11.0; 19.3.6; 0.5.0)

Event Comment: Afterpiece [1st time; P 2 (?), by Charles Dibdin and James Messink; synopsis of plot in London Chronicle, 30 Dec.]: To conclude with a Procession of the principal Grand Masters, from the Creation to the present Century, dressed in the Habits of their respective Ages and Countries. With new Music [by Charles Dibdin], Scenes, Dresses, Pageants, and Decorations. The paintings executed by Richards, Carver, Hodgins, and assistants. Books of the Songs, with an Explanation of the Pageants, to be had at the Theatre. Nothing under full Price will be taken. "To give magnificence a meaning, and unite antiquarian knowledge with polite entertainment, was a task hitherto unattempted by the contrivers of our Pantomime exhibitions. Such praise, however, the acting manager of Covent Garden theatre may justly claim, on the score of Harlequin Free-Mason, which is now representing before greater crowds than perhaps were ever attracted by Perseus and Andromeda [in 1730], the Rape of Proserpine [in 1727], or the celebrated Sorcerer [i.e. The Magician, in 1721]. The beauty of the first scene, in which a setting sun is admirably contrived, the Dutch winter piece, with numberless skate[r]s moving in the most natural attitudes, and, above all, the imperfect building, finished in a moment at the command of Harlequin, can be exceeded only by the pomp of the historic procession which closes the whole, and offers the richest and most intelligent spectacle that ever yet appeared on an English stage" (Gentleman's Magazine, Feb. 1781, pp. 58-59, which also prints a detailed description of the pageant). Account-Book, 1 Feb.: Paid Dibdin for music of Harlequin Free-Mason #70. Receipts: #236 2s. (230.3; 5.19)

Event Comment: Benefit for Brereton. Public Advertiser, 10 Apr.: Tickets to be had of Brereton, No. 14, Catherine-street, Strand. 2nd piece: Not acted these 6 years [not acted since 13 May 1773]. 3rd piece: Not acted these 8 years [acted 22 Dec. I775]-Receipts: #249 17s.(84/14540/3; 0/8; tickets: 124/12)(charge: #110 7s. 10d.)

Event Comment: Benefit for Mattocks. Morning Herald, 12 Apr.: Tickets to be had of Mattocks at his house, Charlotte-street, Rathbone-place. Mainpiece: Not acted these 7 years [not acted since 26 Dec. 1774]. Afterpiece: Not acted these 3 years [not acted since 22 May 1778]. Receipts: #175 3s. 6d. (151/9/6; tickets: 23/14/0) (charge: #105)

Event Comment: Benefit for Suett and Wright. Morning Herald, 3 May: Tickets to be had of Suett at his house, No. 20, Gloucester-street, Queen's-square, Bloomsbury; of Wright at his house, No. 21, Bennett-street, Westminster. [Afterpiece: Prologue by David Garrick.] Receipts: #232 10s. (67/13/0; 30/16/6; 0/12/6; tickets: 133/8/0) (charge: #115 10s.)

Event Comment: Benefit for Miss Blower. The last time of the Company's performing this Season. Public Advertiser, 23 May: Tickets to be had of Miss Blower, No. 12, Bedford-street, Covent-garden. Account-Book, 14 June: Paid various renters #19 16s. apiece. Receipts: #118 9s. (60/17; 28/4; 0/10; tickets: 28/18) (charge: none listed)

Event Comment: Benefit for Williames and Spencer. Gazetteer, 5 May: Tickets to be had of Williames, No. 32, St. Martin's-street, Leicester-fields [Spencer not listed]. 3rd piece: Not acted these 3 years. To conclude with a Waterfall, as it was originally performed. Receipts: #188 5s. 6d. (27/12/0; 12/6/6; 1/14/0; tickets: 146/13/0) (charge: #115 10s.)

Event Comment: Benefit for Mrs Martyr. Public Advertiser, 7 May: Tickets to be had of Mrs Martyr, No. 32, St. Martin's-strcet, Leicester-fields. 1st piece [1st time; CO 2, by Horatio Edgar Robson. MS: Larpent 657; not published. Composer of music unknown]: The Music partly new and partly compiled. With a New Overture. Receipts: #181 i5s. (99/16; tickets: 81/19) (charge: #105)

Event Comment: [This was Bonnor's last appearance on the stage.] The last Time of the Company's performing this Season

Event Comment: Benefit for Mrs Mountain. Mainpiece: Not acted these 7 years. Gazetteer, 7 May: Tickets to be had of Mrs Mountain, No. 9, Bow-street, Covent-Garden. Receipts: #251 11s. 6d. (95.12.6; 4.1.0; tickets: 151.18.0)

Event Comment: Benefit for R. Palmer. 2nd piece [1st time; INT I(?), author unknown; not in Larpent MS; not published]. Public Advertiser, 12 May: Tickets to be had of R. Palmer, No. 14, East Place, Lambeth. Receipts: #302 (104.8.0; 18.16.6; 1.6.6; tickets: 177.9.0) (charge: #106 17s.)

Event Comment: Benefit for Mrs Mountain. 3rd piece: Not acted these 2 years [not acted since 24 Apr. 1788]. Oracle, 14 May: Tickets to be had of Mrs Mountain, No. 9, Bow-street, Covent-Garden. Receipts: #171 1s. (71.6; 7.0; tickets: 92.15)

Event Comment: It having appeared to be the Sense of a considerable Part of the Audience on Monday Night that the One Shilling Gallery should be restored, the Proprietor has already given Directions that their Wishes may be obeyed with all possible Expedition. With respect to the other Point, upon which some difference of Opinion still continued throughout the Performance, it is necessary to declare, that without absolute Ruin to the Property, this Theatre cannot be opened at lower Prices of Admission. The Proprietor therefore relies with Confidence on the Justice and Protection of the Public should any Attempt be made again to interrupt the Performance upon this Ground. [The new Upper, or One-Shilling, Gallery was constructed within two weeks, and opened on 1 Oct. The audience accepted The argument for the necessity of raising the prices of admission, which, as they now stood, remained in effect for the remainder of the century. 2nd piece in place of The Suspicious Husband, advertised on playbill of 17 Sept.] Receipts: none listed

Event Comment: Benefit for Sedgwick. Morning Herald, 20 May: Tickets to be had of Sedgwick at Mr Gibson's, jeweller, Charlotte-street, Rathbone-place. Receipts: #156 17s. (100.16; 54.4; 1.17; tickets: none listed) (charge: #212 16s.)

Event Comment: Benefit for R. Palmer and Russell. [Palmer's 1st recorded appearance as Hamlet was at Canterbury, 16 Feb. 1780.] Morning Herald, 31 May: Tickets to be had of R. Palmer, No. 28, Eaton-street, Pimlico; of Russell, No. 250, High Holborn. Receipts: #157 18s. (110.16; 43.10.6; 1.19.0; tickets: none listed; odd money: 1.12.6) (charge: #212 3s.)

Event Comment: Benefit for Mrs Mattocks. 1st piece: In 3 Acts. [In 1st piece the playbill assigns Welford to Holman, and in 3rd piece Don Carlos to the same. But "An uncle of Holman expired suddenly on Saturday morning. An apology was made for Holman in the evening, and Macready took the Parts he was to have performed in the Play and Farce" (True Briton, 8 May). In 1st piece Cheaterly is assigned to Macready; who took his place is not stated.] True Briton, 22 Apr.: Tickets to be had of Mrs Mattocks, No. 8, Great Russell-street, Covent-Garden. Receipts: #223 12s. 6d. (118.10.0; 4.2.0; tickets: 101.0.6)

Event Comment: Mainpiece [1st time; D 5, by Benjamin Thompson, altered from Menschenhass und Reue, by August Friedrich Ferdinand von Kotzebue. Prologue by William Linley; Epilogue by Matthew Gregory Lewis (European Magazine, Mar. 1798, p. 260)]: With new Scenes, Dresses, &c. With Musick [by Thomas Shaw]. "Mrs Siddons was succesful in all the impassioned parts; but she cannot sustain a mixed character. She is the Muse of Tragedy herself, and when she descends from her lofty state to the level of familiar dialogue, she instantly ceases to astonish and we to admire" (Monthly Mirror, Apr. 1798, p. 234). "The dialogue must be considerably abridged, as well for the purpose of preserving the interest of the piece, as for shortening the time of representation, which is at least an hour too long, it being half past ten before the curtain dropt" [see 26 Mar.] (Morning Herald, 26 Mar.). Receipts: #420 7s. 6d. (378.11.6; 40.18.0; 1.8.0)

Event Comment: By Desire of his Excellency the Turkish Ambassador [Ismail Ferrouh Effendi]. Benefit for Mrs Martyr. [In 1st piece the playbill retains Fawcett as Trudge, but "Munden, in the absence of Fawcett, sustained the part of Trudge in a manner that gave the audience no cause to regret the change" (Morning Herald, 10 May).] Times, 25 Apr.: Tickets to be had of Mrs Martyr, No. 16, Martlett-court, Bow-street. Receipts: #425 4s. (211.6.6; 14.10.0; tickets: 199.7.6)

Event Comment: Benefit for Miss Pope. [Mrs Jordan's 1st appearance as Lady Bell was at this theatre, 21 Apr. 1789.] 3rd piece: To conclude with a Prospect of the Infernal Regions, and a Rain of Fire. Times, 4 May: Tickets to be had of Miss Pope, No. 63, Great Queen-street, Lincoln's-Inn-Fields. Receipts: #318 11s. 6d. (78.0.6; 84.18.0; 4.12.6; tickets: 151.0.6) (charge: #216 8s. 1d.)

Event Comment: Benefit for Mr and Mrs Knight. Mainpiece: Not acted these 20 years [acted 1 Oct. 1779]. Times, 1 May: Tickets to be had of Mr and Mrs Knight, No. 47, Rathbone-place. Receipts: #270 11s. 6d. (138.19.6; 4.9.6; tickets: 127.2.6)

Event Comment: Benefit for Barrymore and Sedgwick. Times, 22 May: Tickets to be had of Barrymore, Judd Place West, Sommer's Town; of Sedgwick, No. 18, Clement's Inn. Receipts: #518 17s. (88.2.0; 67.11.0; 1.19.6; tickets: 361.4.6) (charge: #213 12s. 3d.)