Event Comment: Benefit for Mrs Baker. The Citizen oblig'd to be deferr'd, on account of the Indisposition of Woodward. Charges #66 6s. 6d. Profit to Mrs Baker #21 12s., plus #112 11s. from tickets (Box 172; Pit 359; Gallery 157). Paid Buxton & Enderby (oyl merchants) #238 1s.; Bellamy & Settree (mercers) #36 10s. Receipts: #87 18s. 6d. (Account Book)

Event Comment: Benefit for Brown, Mainpiece: Acted but once these 20 years. Charges: #64 10s. Deficit to Brown #17 5s. 6d., cover'd by #38 12s. from tickets (Box 53; Pit 127; Gallery 63). Paid Woodward for a sage Green suit trim'd with Silver Olives &c. #13. Paid Hewson (turner) 14s.; Paid Farrington & Scarr (haberdashers) #17 15s.; Paid Mrs Paddick for cleaning feathers 12s. Receipts: #47 4s. 6d. (Account Book)

Event Comment: Benefit for Daguville (ballet master) and Helme (principal dancer). The Englishman in Paris deferr'd on account of Woodward's Indisposition

Event Comment: Catherine and Petruchio is oblig'd to be deferr'd on Account of Woodward's hoarseness

Event Comment: [The playbill announces Caractacus and Harlequin's Frolicks, but "Clarke being suddenly taken extremely ill, Caractacus is obliged to be changed to The Busy Body. Marplot by Woodward. After which, Comus [with full cast listed]" (printed slip attached to BM playbill 937. b. 4).] Receipts: #151 0s. 6d. (149.8.0; 1.12.6)

Event Comment: [In mainpiece the playbill omits Anna, but "Mrs Rock was a wretched Anna" (Thespian Magazine, Feb. 1793, p. 195). Miss Morris is identified in European Magazine, Jan. 1793, p. 69; and see 14, 16 Nov.] Afterpiece [1st time; P 2(?), author unknown. Text (i.e. synopsis of action), For the Booksellers, 1793. Larpent MS 964 contains Songs only]: Partly New, and partly a Selection of Scenery, Machinery, Tricks, and Business, from the most approved Pantomimic Productions of Lunn, Rich, Woodward, Messink, Rosamond [i.e. Rosoman], Lalauze, &c. The Music chiefly compiled [by Thomas Goodwin] from Pepusch, Galliard, Dr Arne, Vincent, Dibdin, Dr Arnold, Fisher, the rest by Shield. The selected Scenery and Machinery re-painted, and the several new ones designed and executed by Hodgins, Pugh, Walmsley, Lupino, &c. The Dances by Byrn, who will for the first time introduce a Burlesque Pas de Russe. With new Dresses, Machinery and Decorations. Books of the Songs to be had at the Theatre. [In afterpiece the playbill lists Follett, but he "having received an injury at the morning's rehearsal, afforded that excellent actor, Munden, the opportunity of giving the Public an additional proof of the versatility of his talents: -he undertook the part of the Clown [i.e. Clodpole ], and performed it so well that he will probably be obliged to retain it" (Morning Herald, 21 Dec.). He was probably omitted from the Vocal Characters (see 21 Dec.).] Receipts: #258 10s. 6d

Event Comment: Afterpiece [1st time; P 2 (?), by James Wild. MS: Larpent 1000]: The greatest part entirely new, with a few Select Scenes from the most approv'd Compositions. With new Scenery, Machinery, Dresses and Decorations. The Dresses entirely new. The new Music composed by Shield, the rest selected from Harington, Dr Arne, Eley, Reeve, Pepusch, Galliard, George Ware, Hook, &c. The Scenery and Machinery entirely new painted by Richards, Hodgins, Walmsley, Lupino, Pugh, Phillips and Malton. The Dances entirely new, composed by Byrn. Account-Book, 23 Apr. 1795: Paid James Wild in full for Dr Faustus #40. European Magazine, Jan. 1794, p. 49: Dr Faustus has afforded entertainment to three if not four generations. It was first produced at Drury-lane in 1723, by Mr Thurmond, a dancing-master, and was afterwards succeeded at Lincoln's inn-fields, in the same year, by Mr Rich's more splendid performance [entitled The Necromancer; or, Harlequin Doctor Faustus], which received improvement at different revivals of it. At the latter end of 1766 [at Covent Garden] Mr Woodward made some alterations, and it was revived with great success. It is again brought forward with applause, and recalls to the remembrance of those who formerly saw it with delight, the recollection of the most enchanting period of life. The opening scene of Tartarus . . . was first introduced in the speaking pantomime of The Mirror [at Covent Garden, 30 Nov. 1779). Receipts: #352 13s. 6d. (324/13/6; 28/0/0)