Event Comment: Know all men by these presents, that Colley Cibber, Esq; of the Parish of St/James's in the County of Middlesex, for and in consideration of the sum of Eighty Pounds of lawful Mony of Great Britain to him in hand paid by John Watts of London, Stationer, he the said Colley Cibber, Esq; hath bargained, sold and assigned, and set over, and by these presents doth bargain, sell, assign and set over all that the full and sole right and title, of, in and to the copy of a Tragedy, intitled, Papal Tyranny in the Reign of King John, written by the said Colley Cibber, Esq; to have and to hold the said copy of the said tragedy unto the said John Watts, his heirs and assigns for ever, notwithstanding any act or law to the contrary: In witness whereof the said Colley Cibber, Esq; hath hereunto sett his hand and seal this twentieth day of February, 1744/5. [Signed] C. Cibber. [Witnesses] James Webster, John Mark Bimson. [Original Document in Folger Shakespeare Library, validated by three Sixpence stamps, and Cibber's seal. Case No. 993 among Cibber documents.

Event Comment: FFog's, 24 March: Colley Cibber, Esq; one of the Patentees of [dl], being now possessed of a more commodious Post, has sold his entire Share of the Cloaths, Scenes, and Patent, to John Highmore, Esq; and at the End of this Season he is, we hear, to quit the Stage

Event Comment: At the Desire of several Ladies of Quality. Mainpiece: Written by the late N. Rowe, Esq. Afterpiece: Written by the late Barton Booth, Esq; Set to Musick by Mr Arne

Event Comment: Paid to Sun Fire Office Insurance #15; Paid for a poker and shovel 5s. (Treasurer's Book). [This policy was doubltless similar to No 109085 dated 29 July 1747 issued to James Lacy and David Garrick Esq. Patentees of His Majesties Company of Comedians of the Theatre Royal Drury Lane, for #4,000: "On the Goods and Furniture, Wardrobe Apparel, Machines and Scenes, not valued as pictures, in the House, Dressing Rooms, Wardrobe, and Scene Rooms, of the said Theatre Royal, adjoining togethe r and situate in Drury Lane aforesaid and not elsewhere, not exceeding #4,000...Note: Except such Loss and Damage as may happen by any Fire occasioned by means of any representation in any Play or Farce or in any Rehearsal of the same." (From copy of original policy, by courtesy J. A. Miller, Esq. General Manager, Sun Insurance Office Ltd., sent me in ltr. dated 5 July 1951.)] Receipts: #110 (Cross). #104 5s. (Treasurer's Book)

Event Comment: Mainpiece: By Particular Desire. Paid Mr Vincent for 3 sets of Abels Symphonies #2 5s. (Account Book). Receipts: #116 11s. (Account Book). This was the last time Mr Beard appeared on the stage. John Beard Esq Buried in the vault (at Hampton) 12 Feb. 1791. This celebrated actor was bred up at the King's Chapel, and was afterwards one of the singers at the Duke of Chandos's Chapel at Canons, where he took a part in Handel's Oratorio of Hester. His first appearance on the stage was 30 August 1737, in the character of Sir John Loverule [Devil to Pay], at Drury Lane. In 1739 he married Lady Henrietta Herbert, daughter of James, Earl of Waldegrave, and Widow of Lord Edward Herbert. Upon this event he quitted the Stage. After a few years he returned to it again, and continued to be a great favourite with the public both as an actor and a vocal performer till 1767, when he finally retired from the theatre. Lady Henrietta Beard died in 1753; and in 1759 Mr Beard married a Daughter of John Rich Esq Patentee of Covent Garden Theatre. On this occasion he removed a second time to that theatre, where he had acted from 1744 to 1748; and on the death of his father-in-law in 1761, was appointed Manager. Mr Beard, who was as much esteem'd in private life as he was admired on the stage, was for many years an Inhabitant of Hampton. See Lysons's Middlesex Parishes, p. 89 and 80. Mr Beard died 4 Feb. 1791, aged 74 years. See his Epitaph, ibidem. See Lady Beard's Epitaph in St Pancreas Churchyard (Hopkins MS Notes)

Event Comment: Benefit for Dodd. Afterpiece: Not acted these 9 years. [See 26 March 1763.] Married at Marylebone Church-W. Lacy, Esq one of managers of Drury Lane to Miss Orpen, daughter of an eminent hatter (Winston MS 10). Married: Willoughby Lacy, Esq to Miss Orpen of St Mary-le-bon (Gentleman's Magazine, 1744, p. 141). Receipts: #166 16s. Charges: #64 12s. Profits to Dodd: #102 4s. (Treasurer's Book)

Event Comment: Mainpiece: Not acted these 12 years. [See 24 Jan. 1758.] Prologue written by Paul Whitehead. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant (only) at the Stage-Door. No persons can be admitted behind scenes, nor any Money returned after curtain is drawn up. To begin exactly at 6 o'clock. [Customary note in succeeding bills.] Receipps: #190 14s. (Account Book). @The New Occasional Prologue@As when the merchant to increase his store@For Dubious seas, advent'rous quits the shore;@Still anxious for his freight, he trembling sees@Rocks in each buoy, and tempest in each breeze@The curling wave to mountain billow swells,@And every cloud a fancied storm fortells:@Thus rashly launch'd on this Theatric main,@Our All on board, each phantom gives Us pain;@The Aatcall's note seems thunder in our ears,@And every Hiss a hurricane appears;@In Journal Squibs we lightning's blast espy,@And meteors blaze in every Critic's eye.@Spite of these terrors, still come hopes we view,@Hopes, ne'er can fail us--since they're plac'd--in you.@Your breath the gale, our voyage is secure,@And safe the venture which your smiles insure;@Though weak his skill, th' adventurer must succeed,@Where Candour takes th' endeavor for the deed.@For Brentford's state, two kings could once suffice;@In ours, behold! four kings of Brentford rise;@All smelling to one nosegay's od'rous savor@The balmy nosegay of--the Public favor.@From hence alone, our royal funds we draw,@Your pleasure our support, your will our law.@While such our government, we hope you'll own us;@But should we ever Tyrant prove--dethrone us.@Like Brother Monarchs, who, to coax the nation@Began their reign, with some fair proclamation,@We too should talk at least--of reformation;@Declare that during our imperial sway,@No bard shall mourn his long-neglected Play;@But then the play must have some wit, some spirit,@And We allow'd sole umpires of its merit.@For those deep sages of the judging Pit,@Whose taste is too refin'd for modern wit,@From Rome's great Theatre we'll cull the piece,@And plant on Britain's stage the flow'rs of Greece.@If some there are, our British Bards can please,@Who taste the ancient wit of ancient days,@Be our's to save, from Time's devouring womb,@Their works, and snatch their laurels from the tomb.@For you, ye Fair, who sprightlier scenes may chuse,@Where Music decks in all her airs the Muse,@Gay Opera shall all its charms dispense,@Yet boast no tuneful triumph over sense;@The nobler Bard shall still assert his right,@Nor Handel rob a Shakespear of his night,@To greet the mortal brethren of our skies [upper galleries]@Here all the Gods of Pantomime shall rise:@Yet midst the pomp and magic of machines,@Some plot may mark the meaning of our scenes;@Scenes which were held, in good King Rich's days,@By sages, no bad epilogues to plays.@If terms like these your suffrage can engage,@To fix our mimic empire of the stage;@Confirm our title in your fair opinions,@And crowd each night to people our dominions.@--(Poems and Miscelaneous Compositions, Ed. Capt. Edward Thompson, 1777) Covent Garden opened with the Rehearsal with alterations. I was in the Pit. Powell, from Drury Lane, one of the new managers who have bought the patent from Rich's heirs, spoke an occasional Prologue. Shuter did Bayes pretty much to my liking, adding many crochets of his own.... Entertainment The Mock Doctor,...Young Jasper pretty well by one Massey, being his first appearance on that stage (Neville MS Diary)

Event Comment: great applause to the Play (Hopkins Diary). Mainpiece: A tragedy never before acted [by Mrs Celisia]. Prologue (by Whitehead)-Reddish; Epilogue (by Garrick)-Mrs Barry. New Scenes, Dresses and Decorations (Winston MS 10). [The Gentleman's Magazine for Feb. reviewed the mainpiece in great detail, concluding: "A combat between two knights in the days of chivalry and honour, not to determine whether a person accused is innocent or guilty, but whether a person under the infamy of acknowledged guilt shall suffer, is, as the Scotch peasant says emphatically of his pupil, a phenomenon. It is, however, but justice to Mrs Barry, to say, that in performing the part allotted her in this piece, she rises like perfection out of chaos, and therefore those who have not yet seen it represented should by no means be deterred by these strictures on the composition, supposing them to be just."

Event Comment: [This evening] a cause came on to be tried in the Court of Common Pleas at Westminster, in which Mr William Bates, Music Master, was Plaintiff and Spranger Barry, Esq the celebrated tragedian, defendent, upon a demand made by the plaintiff for a large sum of money due to him from the Defendent, for the performance of Miss Slack, the Plaintiff's apprentice, at the Theatre in Cork...After a short hearing a verdict was given in favour of the Plaintiff (Lloyd's Evening Post, 25-28 Nov.)

Event Comment: Paid Mr Chapman for horsekeeping [for Jubilee] #12 6s. (Treasurer's Book). [Published this month A Letter to David Garrick, Esq. on his conduct as Principal Manager and Actor at Drury Lane. Printed for S. Bladon. Accuses Garrick of controlling the press, save for two papers, and thus getting more favourbale treatment than his position and actions deserve. "You are a mere actor. You affect to feel where you do not, and imitate tones, looks and gestures, while your heart is at ease. This should heighten our opinion of you as an artist, whatever we might think of you as a man. I believe you are not generally judged of in this manner. It is not difficult to impose on the world." The author (David Williams?) deprecates Garrick's supposed handling of the actors of his company, and desires to see more Shakespeare. Suggests Garricks' acting perfection lies in the extreme, in exaggerated gesture, and sudden bursts of passion." Suggests he is getting old and should try his hand at Shylock.] Receipts: #271 (Treasurer's Book)

Event Comment: The King's Company. It is difficult to determine the run of the play, as all the known performances fall on Mondays, Wednesdays, and Fridays, but, except for 30 January, a Fast Day, it may well have been performed daily. L. C. 5@138, f. 15: A Warrant to the Master of the Great Wardrobe to prouide and deliuer to Thomas Killigrew Esq. to the value of forty pounds in silkes for to cloath the Musick for the play called the Indian Queen to be acted before their Maties Jan. 25th 1663 (Nicoll, Restoration Drama, p. 354)

Event Comment: Henry Muddiman, 29 Nov. 1666: The Players have upon great proffers of disposing a large share to charitable uses prevailed to have liberty to act at Both Houses, which they begin this day (CSPD, Charles II, clxxcii, 6, in Hotson, Commonwealth and Restoration Stage, p. 250). A manuscript prologue for the opening of the theatre in Bridges Street is in J. Payne Collier's MS Restoration Stage History, Part I, p. 106, in the Houghton Library, Harvard. The Diary of John Milward, Esq., ed. Caroline Robbins (Cambridge, 1938), p. 49: This day at my coming to the House [of Commons] it moved that plays might be tolerated and acted in the common theatres, and whether any members of the House of Commons should be admitted to go to acts of the playhouses, but it was not resolved

Event Comment: During February and March 1678@9 two plays, titles unknown, were acted before the King. See an order: To Edward Griffin, Esq. Treasurer of the Chamber, to be paid over to John Lacy, assigne of Charles Killigrew, Mastr of the revells, for two plays acted before his said Majestie in Feb'ry and March 1678@9 (Moneys Received and Paid for Secret Services, ed. J. Y. Akerman, Camden Society, LII 1851, 34)

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The King and Queene & a Box for ye Maydes of Honor at the Opera. See also Nicoll, Restoration Drama, p. 350, and 1 Jan. 1684@5. The opera was certainly given on 3 June, probably on 10 June, and probably on 13 June, the day that the news of the Duke of Monmouth's landing reached London; as Downes states that it was acted six times, there were three additional performances between 3 and 13 June 1685. Downes (Roscius Anglicanus, p. 40): In Anno 1685. The Opera of Albion and Albanius was perform'd; wrote by Mr Dryden, and Compos'd by Monsieur Grabue: This being perform'd on a very Unlucky Day, being the Day the Duke of Monmouth, Landed in the West: The Nation being in a great Consternation, it was perform'd but Six times, which not Answering half the Charge they were at, Involv'd the Company very much in Debt. Roger North: The first full opera that was made and prepared for the stage, was the Albanio of Mr Grabue, in English, but of a French genius. It is printed in full score, but proved the ruin of the poor man, for the King's death supplanted all his hopes, and so it dyed (Roger North on Music, ed. John Wilson [London, 1959], p. 311). The Prologue and Epilogue, published separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 244-46. The score and the libretto were published in 1687 (licensing date of 15 March 1686@7): Albion and Albanius; An Opera; Or, Representation in Musick. Set by Lewis Grabu, Esq; Master of His late Majesty's Musick

Event Comment: The United Company. The date of the first production is not known, but the Gentleman's Journal, February 1692@3 (issued in March) makes clear that it followed Congreve's play: We have had since a Comedy, call'd, The Wary Widow, or Sir Noisy Parrot, by Henry Higden Esq; I send by here the Prologue to it by Sir Charles Sedley, and you are too great an Admirer of Shakespeare, not to assent to the Praises given to the Fruits of his rare Genius (p. 61). The play was announced in the London Gazette, No. 2875, 29 May-June 1693. The music for one song, All hands up aloft, was by Berenclow, and the song appears in D'Urfey, Wit and Mirth, 1699. Dedication, edition of 1693: But now it is forced to beg for your Protection from the malice and severe usage it received from some of my Ill natured Friends, who with a Justice peculiar to themselves, passed sentence upon it unseen or heard and at the representation made it their business to persecute it with a barbarous variety of Noise and Tumult. Gildon, The Life of Mr Thomas Betterton (p. 20): The actors were completely drunk before the end of the third act, and being therefore unable to proceed with this "Pleasant Comedy," they very properly dismissed the audience

Event Comment: For the Entertainment of the Lords Spiritual and Temporal, And the Honourable House of Commons. Undertaken by $Cavendish Weedon, Esq.