Event Comment: The United Company. This play was in rehearsal before the death of Charles II-see 6 Feb. 1684@5-and was staged shortly after the playhouse reopened. Luttrell's date of acquisition of the separately-printed Prologue and Epilogue is 9 May 1685 (in possession of Pickering and Chatto, Ltd., 1938), and the play may have been first given on that date or during the week preceding Saturday 9 May 1685. For Cibber's account of Mountfort as Sir Courtly, see Cibber, Apology, ed. Lowe, I, 129. The separately-printed Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 228-30. A separately-printed Three New Songs in Sir Courtley Nice (1685) contains three songs, with the music by Samuel Ackroyde and an unknown composer. In addition, two songs, As I grazed unaware and O be kind my dear be kind, both composed by R. King, are in The Theater of Music, Second Book, 1685. Downes (Roscius Anglicanus, pp. 40-41): The first new Comedy after King James came to the Crown, was Sir Courtly Nice, wrote by Mr Crown:...The Comedy being justly Acted, and the Characters in't new, Crown'd it with a general Applause: Sir Courtly was so nicely Perform'd, that not any succeeding, but Mr Cyber has Equall'd him. Note, Mr Griffin so Excell'd in Surly, Sir Edward Belfond, The Plain Dealer, none succeeding in the 2 former have Equall'd him, except his Predecessor Mr Hart in the latter. The Lover's Session; In Imitation of Sir John Suckling's Session of Poets (in Poems on Affairs of State, II [1703], 162): @Montrath was in Foppery conceiv'd another@Of Whitehall true Breed, Sir Nices Twin Brother:@None could tell, so alike all their Follies did seem,@Whether he acted Mumford, or Mumford him.

Event Comment: London Gazette, No 742, 26-30 Dec. 1672: These are to give Notice, that at Mr John Banister's House, now called the Musick School, over against the George Tavern in White Fryers this present Monday, will be Musick performed by Excellent Masters, beginning precisely at four of the Clock in the afternoon, and every afternoon for the future, precisely at the same hour. Roger North on Music: But how and by what stepps Musick shot up in to such request, as to croud out from the stage even comedy itself, and to sit downe in her place and become of such mighty value and price as wee now know it to be, is worth inquiring after. The first attempt was low: a project of old Banister, who was a good violin, and a theatricall composer. He opened an obscure room in a publik house in White fryars; filled it with tables and seats, and made a side box with curtaines for the musick. 1s. a peice, call for what you please, pay the reckoning, and Welcome gentlemen. Here came most of the shack [vagabond] performers to towne, and much company to hear; and divers musicall curiositys were presented, as, for instance, Banister himself, upon a flageolett in consort, which was never heard before nor since, unless imitated by the high manner upon the violin. But this lasted not long, nor another meeting of like kind neer Paul's (headed by one Ben. Wallington) for voices to an organ, where who would, that was gifted, might performe, and no payment, but the reckoning (ed. John Wilson [London, 1959], pp. 302-3)

Event Comment: The King's Company. For the identification of this play and details of its performance, see W. J. Lawrence, "Foreign Singers and Musicians at the Court of Charles II," Musical Quarterly, IX (1923), 217-25, and James G. McManaway, "Entertainment for the Grand Duke of Tuscany," Theatre Notebook, XVI (1961), 20-21. The Travels of Cosmo the Third [Monday 3 June 1669 NS; Monday 24 May 1669 OS]: In the afternoon his highness left home earlier than usual to make his visits, that he might be at the King's Theatre in time for the comedy, and a ballet set on foot and got up in honor of his highness by my Lord Stafford, uncle of the Duke of Norfolk. On arriving at the theatre, which was sufficiently lighted on the stage and on the walls to enable the spectators to see the scenes and the performances, his highness seated himself in a front box, where, besides enjoying the pleasure of the spectacle, he passed the evening in conversation with the Venetian ambassador, the Duke of Norfolk, Lord Stafford, and other noblemen. To the story of Psyche, the daughter of Apollo, which abounded with beautiful incidents, all of them adapted to the performers and calculated to express the force of love, was joined a well-arranged ballet, regulated by the sound of various instruments, with new and fanciful dances after the English manner, in which different actions were counterfeited, the performers passing gracefully from one to another, so as to render intelligible, by their movements, the acts they were representing. This spectacle was highly agreeable to his highness from its novelty and ingenuity; and all parts of it were likewise equally praised by the ladies and gentlemen, who crouded in great numbers to the theatre, to fill the boxes, with which it is entirely surrounded, and the pit, and to enjoy the performance, which was protracted to a late hour of the night (pp. 347-48). In BM Add. Mss. 10117, folio 230, Rugge's Diurnall states that towards the end of May 1669 Cosmo, Prince of Tuscany had several plays acted for him

Event Comment: The King's Company. This day marks the resumption of acting by the King's Company after the disastrous fire at Bridges Street, Drury Lane; the players turned to the theatre in Lincoln's Inn Fields which the Duke's Company had recently left. The Prologue was printed in Covent Garden Drollery, 1672. Sloane MS. 4455 folio 26 verso: The Prologue of a Play entitled Witt without Money-Spoken at the Dukes old Theatre (after the Kings was burnt) by the King's players, Feb. 26 1671. The Curtaine being drawne up all the Actors were discover'd on the stage in Melancholick postures, & Moone [Mohun] advancing before the rest speaks as follows, addressing chiefly to ye King then [present]. Langbaine (English Dramatick Poets, p. 216): Wit Without Money: a Comedy which I have seen acted at the Old House in little Lincolns-Inn-Fields with very great Applause: the part of Valentine being Play'd by that compleat Actor Major Mohun deceas'd. This was the first Play that was acted after the Burning the King's House in Drury-lane: a New Prologue being writ for them by Mr Dryden

Event Comment: MMr Woodward has enter'd into partnership with Mr Barry in a new Theater in Ireland & has taken from us Mr Walker and Wife (Miss Minors that was) Mr Vernon, Mr Jefferson and Wife-from Mr Rich, Mr Arthur, Mr White, Mr Chambers, Mr Finny (his Scene-man) & others (Cross). Receipts: #120 (Cross); #128 15s. (Winston MS 8). Places for Boxes to be had of Mr Varney at the stage door. No admittance behind scenes, nor any money returned after the Curtain is drawn up. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. [This notice regularly occurs at foot of bill and will not be noted further this season. The box receipts recorded from Winston MS 8 seem to have been taken by him from the Huntington Library playbills (second set) annotated by J. P. Kemble from a Treasurer's Book.] Letter to Mr G@k on Opening of the Theatre, With Observations on Managers, Actors, Authors, and their Audiences and Particularly New Performers. 6d. Published by Cooke opposite Drury Lane Theatre. [It is a plea for more frequent appearances of Garrick, especially in lighter parts, now that Woodward has left; for especially good plays on Saturday nights; for striking from the repertoire all immoral, immodest and cruel plays; for being a sport about competition with Rich; for better regulation of the boxes, on a first-come, first-pay basis; for training up the most promising young actors gradually and not casting them in parts beyond their reaches; for more new plays; and for an advisory council in selecting them; for omission of personal satirical attacks in comedy.

Event Comment: Pepys, Diary: By and by with Lord Bruncker by coach to his house, there to hear some Italian musique: and here we met Tom Killigrew, Sir Robert Murray, and the Italian Signor Baptista, who hath composed a play in Italian for the Opera, which T. Killigrew do intend to have up; and here he did sing one one of the acts. He himself is the poet as well as the musician.... This done, T. Killigrew and I to talk: and he tells me how the audience at his house [Bridges St.] is not above half so much as it used to be before the late fire. That Knipp is like to make the best actor that ever come upon the stage, she understanding so well: that they are going to give her #30 a-year more. That the stage is now by his pains a thousand times better and more glorious than ever heretofore. Now, wax candles, and many of them; then, not above 3 l6s. of tallow: now, all things civil, no rudeness anywhere; then, as in a bear-garden: then, two to three fiddlers; now, nine or ten of the best: then, nothing but rushes upon the ground, and every thing else mean; and now, all otherwise: then, the Queen seldom and the King never would come; now, not the King only for state, but all civil people do think they may come as well as any....That he hath gathered our Italians from several Courts in Christendome, to come to make a concert for the King, which he do give #200 a-year a-piece to: but badly paid, and do come in room of keeping four ridiculous gundilows, he having got the King to put them away, and lay out money this way; and indeed I do commend him for it, for I think it is a very noble undertaking. He do intend to have some times of the year these operas to be performed at the two present theatres, since he is defeated in what he intended in Moorefields on purpose for it; and he tells me plainly that the City audience was as good as the Court, but now they are most gone

Event Comment: To the Author of the General Advertiser, Sir: I have frequently observ'd particular Notice has been taken in your paper of particular Merit, I hope therefore you'll allow room for this short Epistle--I am a great Lover of Public Diversions, especially such as can agreeably amuse, or afford the highest Mirth, without offense to Sense of Decency; Of this kind are the two new dances compos'd by Salomon, and perform'd by him, Mr Cook, Mr Muilment, Madem Violette, Sga Padouana, and the young little Salomon, and others. To say they are excellent in their way is barely doing 'em justice; but in these Dances they may be said to have excell'd themselves. The first, tho' a kind of Serious Pastoral Ballet afforded the Audience great Pleasure; and I believe never did three dancers in a Pas Trois, altogether equal the Execution of Sg Salomon, Madem Violette, and Mr Cook; there was an Elegance peculiar to herself that shone thro' her whole performance. The other Entertainment is the representation of a Fair, to which People of all degrees and nations are suppos'd to resort, it may not improperly be stil'd a very High Piece of Low Humour; and caused as much laughter and applause as the strongest Farce ever produc'd, without offending the Modesty of the Ladies. We have had many performers from abroad, but Sg Salamon and Violette so inimitably express their characters in this entertainment, that I think they excel what we have hitherto seen; and very much deserve the Encouragement of the Town, I am, &c

Event Comment: [Macklin dismissed after this night. See the account in The Genuine Arguments of the Council, with the Opinion of the Court of the King's Bench, &c., By a Citizen of the World, (London, 1774). Extracts in E. R. Page, George Colman, the Elder (New York, 1935). See notes for 23 and 30 Oct. and the subsequent action in note for 20 Nov. He did not return until 18 May 1775. This night was aparently, except for #4 5s. which was not recorded on the books of the theatre until 18 June well after the season closed. Macklin's suit in court against the rioters was judged 24 Feb. 1775. A column and a half account of the trial appeared in the Public Advertiser, Saturday 13 May 1775, giving the testimony of the witnesses accused of starting the riot, the lawyers, and the judge. The accused were Leigh, Miles, James, Aldus, and Clarke. The first four were convicted of a conspiracy and a riot, the last of a riot only. During the Course of the Business Lord Mansfield took Occasion to observe, that the Right of Hissing, and Applauding in a theatre was an unalterable Right, but there was a wide Distinction between expressing the natural Sensations of the Mind as they arose on what was seen and heard, and executing a pre-concerted Desagn, not only to hiss an Actor when he was playing a Part in which he was universally allowed to be excellent, but also to drive him from the theatre, and effect his utter ruin." See also William W. Appleton, Charles Macklin, An Actors Life (Cambridge, Mass., 1960), Chapter X.

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 116. See also Nicoll, Restoration Drama, p. 345. There is no certainty that this is the premiere, but the frequency of performance of The Tempest during September-October-November would make November 1674 a suitable time for a burlesque of this sort. A small quarto, The Songs & Masque in the New Tempest (in the Huntington Library, 122925), without a title page, contains what are apparently the songs and concluding masque of the play. It may have been issued during the run of the play and sold at the theatre. It does not name any performers. Langbaine (English Dramatick Poets, p. 177): This Play was to draw the Town from the Duke's Theatre, who for a considerable time had frequented that admirable reviv'd Comedy call'd The Tempest

Event Comment: By Command. Afterpiece: Written by Mr Garrick. Acted by children. Prince of Wales & 4 more went off very well (Cross). New Scenes, Habits and Decorations. Full prices. Prologue-writ by Garrick, spoken by Woodward; Epilogue-Lady Flimnap. [The run of seventeen performances of the afterpieces seems to contradict the judgement of the author of the Theatrical Examiner (1757, p. 89): Lilliput is, I think, the most petit, trifling, indecent, immoral, stupid parcel of rubbish, I ever met with; and I can't help judging it a scandal to the public, to suffer such a thing to pass a second night, which at best was alone calculated to please boys and girls, and fools of fashion; it may gratify them; the manager to debauch the minds of infants, by putting sentiments and glances in their breasts and eyes, that should never be taught at any years, which are sufficiently bad when naturally imbibed. The question of Gulliver, in answer to the infant lady's gross adresses, is horrid, if we allow an audience a common share of delicacy, what should we do with her? and what the devil does it mean. Finally where is the instruction, or even tolerable language, to gild the dirt over. O tempora! O mores!"] Receipts: #210 (Cross)

Event Comment: Author's night. Afterpiece: Not acted in 2 years. [See 16 May 1769.] Theatrical Review, 29 Feb.: A tolerable representation of the ceremony of drawing the tickets, at Guildhall, is introduc'd, and the whole together is rendered a very diverting performance. Rec'd Stopages, #11 6d.; Paid salary list #500 18s. 6d.; Mrs Abington's cloaths acct, #2; Mr S. French 6 days #1 10s. (Treasurer's Book). This day publish'd (From the Subscription Quarto, a neat pocket edition) Dramatic Genius, in Five Books...Printed for T. Becket. Receipts: #252 11s.; Charges: #73 10s.; Profit to Murphy: #179 1s. (Treasuer's Book)

Event Comment: The United Company. The date of the first performance is stated in Luttrell, A Brief Relation, II, 435, 28 April 1692: On Monday will be acted a new opera, call the Fairy Queen: exceeds former playes: the clothes, scenes, and musick cost 3000#. [According to Some Select Songs As they are Sung in the Fairy Queen (1692) tne singers were Mrs Ayliff, Mrs Dyer, Freeman, Mrs Butler, and Pate. See Purcell's Works, Purcell Society, XII (1903), ii; E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59 ), 45; and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter IV.] Downes, Roscius Anglicanus, pp. 42-43: The Fairy Queen, made into an Opera, from a Comedy of Mr Shakespeare s: This in Ornaments was Superior to the other Two [King Arthur and The Prophetess]; especially in Cloaths, for all the Singers and Dancers, Scenes, Machines and Decorations, all most profusely set off; and excellently perform'd, chiedly the Instrumental and Vocal part Compos'd by the said Mr Purcel, and Dances by Mr Priest. The Court and Town were wonderfully satisfy'd with it; but the Expences in setting it out being so great, the Company got very little by it. Gentleman's Journal, May 1692: The Opera of which I have spoke to you in my former hath at last appear'd, and continues to be represented daily: it is call'd, The Fairy Queen. The Drama is originally Shakespears, the Music and Decorations are extraordinary. I have heard the Dances commended, and without doubt the whole is very entertaining. [As the May issue of the Gentleman's Journal was licensed on 14 May, the statement that The Fairy Queen continued to be acted daily may indicate consecutive performances from 2 May to at le ast 14 May 1692.

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: For the House. Mainpiece: By Particular Desire. [Sometime after May, and during 1770 was published Paul Hiffernan's Dramatic Genius in Five Books, dedicated to Garrick (with a 2nd edn., 1772). Book I, delineates a plan for a permanent Temple to be erected to the memory of Shakespeare, in classical taste; Book II, details the invention of the drama, its rise to perfection, and gives a "candid disquisition of the rules laid down by the critics"; Book III, a treatise on the art of acting; Book IV, requisites for dramatic genius, in composition, and in acting; Book V, an essay on Architecture, Painting and the other arts as they relate to theatrical representation. Contains flattering comments on theatrical managers.

Event Comment: The Travels of Cosmo the Third (Thursday 25 April 1669 NS; Thursday 15 April OS): After dinner, he recommenced his visits to the ladies; going towards evening to the King's Theatre, to hear the comedy, in his majesty's box. This theatre is nearly of a circular form, surrounded, in the inside, by boxes separated from each other, and divided into several rows of seats, for the greater accommodation of the ladies and gentlemen, who, in conformity with the freedom of the country, sit together indiscriminately; a large space being left on the ground-flobr for the rest of the audience. The scenery is very light, capable of a great many changes, and embellished with beautiful landscapes. Before the comedy begins, that the audience may not be tired with waiting, the most delightful symphonies are played; on which account many persons come early to enjoy this agreeable amusement. The comedies which are acted, are in prose; but their plots are confused, neither unity nor regularity being observed; the authors having in view, rather than any thing else, to describe accurately the passions of the mind, the virtues and the vices; and they succeed the better, the more the players themselves, who are excellent, assist them with action, and with the enunciation of their language, which is very adapted for the purpose, as being a variation, but very much confined and curtailed, of the Teutonic idiom; and enriched with many phrases and words of the most beautiful and expressive description, taken both from ancient and modern languages (London, 1821, pp. 190-91)

Event Comment: Benefit for Macklin. Afterpiece: A Comedy in 2 acts written by Foote, with Prologue and Epilogue by him. Miss Macklin did Calista and a part in the farce,-all went well (Cross). A Comedy in answer to the French Farce A Frenchman in London, with a Dialogue Prologue, spoken by Macklin & his wife. Epilogue spoken by Miss Macklin. All by Foote. Part of Pit laid into the boxes, with an amphitheatre on stage, all at 5s. Full Prices (Winston MS 8). The Englishman at Paris has been better recev'd that I expected. Garrick, &c., &c....say kinder things of it than modesty will permit me to repeat. Upon the whole it was damnably acted, Macklin miserably imperfect in the words and in the character (a stain to Comedy). You might have seen what I meant,--an English Buck, by the power of dulness instantaneously transformed into an Irish chairman. Miss Roach, accompany'd by some frippery French woman occupy'd, to the no small scandal of the whole house, the Prince's box, whilst the duchess of Bedford &c., &c. were oblig'd to take up with seats upon the stage. The piece will be printed the 25th instant, which I will enclose to you (Samuel Foote to Mr Delaval, MS in Folger Shakespeare Library, written either 24 March, or, perhaps more likely, 24 April, since Foote states later in the letter he is leaving for foreign parts the first of May)

Event Comment: Pepys, Diary: So back to the Cockpitt [Whitehall], and there, by the favour of one Mr Bowman, he [Creed] and I got in, and there saw the King, and Duke of York and his Duchess (which is a plain woman, and like her mother, my Lady Chancellor). And so saw The Humersome Lieutenant acted before the King, but not very well done. But my pleasure was great to see the manner of it, and so many great beauties, but above all Mrs Palmer, with whom the King do discover a great deal of familiarity. Sometime before the Coronation of Charles II, on 23 April 1661, there may have been acted The Merry Conceited Humours of Bottom the Weaver. An edition of 1661 refers to its being "often publikely acted by some of his Majesties Comedians" and the Dedication suggests that it would make a good entertainment at the mirthful time of the Coronation. The edition lists no actors' names, no prologue, no epilogue

Event Comment: The True News; or, Mercurius Anglicus, 4-7 Feb. 1679@80: On Munday night last happened a great dispute in the Duke's Play-house, some Gentlemen in their Cupps entring into the Pitt, flinging Links at the Actors, and using several reproachfull speeches against the Dutchess of P. and other persons of Honour, which has occasioned a Prohibition from farther Acting, till his Majesties farther pleasyre. A letter written by the Dowager Countess of Sunderland to Henry Sidney, dated 6 Jan. 1679@80 [possibly misdated] refers to disorders which are similar to those recorded in The True News: You must needs hear of the abominable disorders amongst us, calling all the women whores and the men rogues in the playhouses--throwing candles and links--calling my Lord Sunderland traitor, but in good company; the Duke of York?, rascal; and all ended in "God bless his Highness, the Duke of Monmouth. We will be for him against the world." I am told they may be fined a great deal if they are prosecuted. Two of these are knights of shires, Sir Scroope How, and my Lord Wharton's@eldest son; the only sufferer yet is Porter. They are ashamed, I hear, and afraid (R. W. Blencowe, Diary of the Times of Charles the Second by the Honourable Henry Sidney [London, 1843], I, 237)

Event Comment: Benefit for one Barry a Jeweller (Cross). A Charity Play, recommended by the City of London for Barry, Jeweller in Salisbury Court (being in great distress). Tickets at Grigsby's, Shadwell's, Janeway's and Sam's Coffee Houses by the Royal Exchange; Peele's, Nando's Anderton's and Temple Exchange in Fleet St., Marsh's Coffee House in Silver St., and at the stage door. Stage will be form'd into an Amphitheatre (General Advertiser). Mr Reinhold dy'd (Cross). A man no less admired for his private character than his publick performance. He has left behind him a Wife and Four small children in great distress; for the relief of whom the Managers of Drury Lane, and the actors have agreed to perform a play Gratis, some time next week; when it is hop'd the good nature of the publick will favour the intention of the performers. Tickets to be had of Mr Beard, at his house in North St., Red Lion Square, and at the theatre (General Advertiser, 16 May). Receipts: #60 (Cross)

Event Comment: By Command of the King (Cross). This day a new tragedy, entitiled Constantine the Great was read here to the actors for the first time. This piece is written by the reverend Mr Francis, from whose valuable translation of Horace it may be inferred that he is such a judge of all the graces of Language and every beautiful turn in writing, that it is not to be doubted but he will give the public a production abounding in elegancies. [See 23 Feb.

Event Comment: Music of Afterpiece entirely new Composed by Dibdin. [An adaptation of Goldoni's Il Filosofo di Campagna.] Book of Songs to be had at Theatre (playbill). The Wedg R. a Comic Opera of Two Acts wrote & composed by Mr Dibdin. The Music very pretty--as the Author was kept a Secret The Town fancy'd that is one of Mr Bickerstaff & call'd out to know who was the Author. Mr Garrick inform'd them that he had no power to declare who the Author was but he could assure them that it was not Mr Bickerstaffs this did not Satisfy them at last Mr Dibdin went on & declard himself to be the Author & made an Affidavit of it & then the Farce went on with Applause (Hopkins Diary). [Account of The Wedding Ring in Westminster Magazine for Feb. 1773.] Paid #4 4s. for licensing The Wedding Ring and Alonzo (Treasurer's Book). [Maria Macklin, in a MS letter to her father, 3 Feb. 1773, commented fully on this night's performance: "Written as it was suppos'd by Bickerstaffe. The music by Dibdin. I went with a party into the Gallery to see the event as there was a great riot expected, & indeed never did I see an audience more inflamed. They would not suffer them to begin the piece. At last Mr King came on with a written paper in his hand, which he said he was desir'd to read in the name of the managers. After a great noise they let him read it. He said just before the play began the managers had receiv'd a letter from Mr Dibdin in which he declared that Bickerstaff was not the author of that piece, that he had made oath of it, and was ready to do the same again, but that for very particular reasons the author could not be given up. Then they stopp'd him & roar'd out that the author should be given up then. He continued as loud as he possibly could, reading on that 'but that if Mr Dibdin did not very soon given up the author he never should be suffered to appear again on that stage or any other.' Very luckily that turn'd them as I believe the House would have come down. The piece then began. Before the end of the first act one of Bannister's songs were encor'd. The other party were against it and would not let it go on. They all stood up and insisted that the author should be known then. After some time the house being nothing but confusion, Dibdin was push'd upon the stage ready to drop with fright, and declared that he was the author himself. Then they were as noisy the other way. Made them finish the piece, but how you may guess in a storm. It is like the Padlock, but the songs not so good." (Brander Matthews, Actors and Actresses, extra illustrated, Vol. I. Harvard Theatre Collection.). Westminster Magazine this month included in parallel columns flattering "Characters of Mr Garrick and Mr Colman," the Rival managers. The article especially praised Garrick's acting.] Receipts: #252 3s. 6d

Event Comment: 1st piece [1st time; PREL I, by George Colman, the elder]. "The ground-work was the apologies received from the great actors, who all preferred their suburban shades to the temperature of the Haymarket...The prompter enters to apologize to the audience and return the money, but his plea is rendered nugatory by certain oratorical and mimetic personages stationed in the pit and boxes, who not at first being recognized by the house as professional people, a great confusion was produced. When Mrs Webb arose to address the audience, the joke became apparent, and a prodigious interest was excited' (Boaden, Siddons, 1,208). [In 2nd piece the playbill lists Baddeley, but "Previous to the beginning of the Play, Palmer came forward...and acquainted [the audience] that Baddeley then lay speechless [as the result of a stroke], and Hitchcock, the prompter, would, with their permission, read Baddeley's Part" (London Chronicle, 31 May). The Doors to be opened at 6:00. To begin at 7:00 [same throughout season]. Places for the Boxes to be taken of Rice at the Theatre. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Public Advertiser, 6 July 1780: This Day is published The Manager in Distress (1s.)