Event Comment: The United Company. Newdigate newsletters, 4 March 1685@6: This day a new play called The Devil of a Wife was Acted with great Applause at that formerly called the Ds Playhouse (Wilson, Theatre Notes from the Newdigate Newsletters, p. 82). See also 6 March 1685@6

Event Comment: The United Company. The date of the premiere is not known, although a reference in the text to 1690 suggests that the play may have been produced in that year; but the fact that it was not advertised in the London Gazette until 6-9 April and not entered in the Term Catalogues until May 1691 suggest that it posaibly appeared early in 1691. This play was discussed in Wit for Money, or Poet Stutter; A Dialogue between Smith, Johnson, and Poet Stutter; containing Reflections on some late Plays, and particularly on Love for Money, or The Boarding School. The British Museum copy of this pamphlet has a manuscript date of 23 April 1691. Downes, Roscius Anglicanus, p. 42: The Boarding School; Wrote by Mr Durfy, it took well being justly Acted. Earl of Ailesbury, mid-January 1690@1: My Lady Fenwick was a great intriguer, and had always castles in the air in her imagination to that degree, that I was present at a play where she was brought in. If I mistake not it was The Boarding School, and the famous comic, Mr Lee, in woman's clothes represented her to the life, and so exactly had her features and complexion that one could hardly have distinguished one from the other (Memoirs, [London, 1890], II, 390-91)

Event Comment: The United Company. The date of the first performance is not known, but according to the Gentleman's Journal, May 1694, it followed Have at All: the other call'd The married Beau, or the Curious Impertinent, by Mr Crown, already acted many times (p. 134). The manuscript of a song composed by John Eccles and sung by Doggett is in Bodleian, School of Music Collection, c. 95, f 102. One by Henry Purcell, See, where repenting Celia lyes, sung by Mrs Ayliff, is in Thesaurus Musicus, 1695. See also Purcell's Works, Purcell Society, XX (1916), xvii-xviii

Event Comment: The United Company. The date of the first performance is not known, but a notice in the Gentleman's Journal, October@November 1694, suggests that it was pro6ably acted in September or October: I have only jusy room to tell you, that we have had a new Comedy by Mr Ravenscroft, 'tis call'd, The Canterbury Jests, or a Bargain Broken (p. 276). Tne play was advertised in the London Gazette, No 3037, 17-20 Dec. 1694. A song, Good neighbor, why do you look away, set by Henry Purcell, is in Thesaurus Musicus, 1695. See also Purcell's Works, Purcell Society, XVI (1906), xiii-xv

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, No. 3151, 20-23 Jan. 1695@6, and entered in the Term Catalogues, February 1695@6, suggests that it was probably acted not later than December 1695. According to the Edition of 1696, the music was set by John Eccles: Come, Thyrsis, come was sung by Reading and Mrs Hodgson; the other songs in the edition lack the names of the singers. In addition, Rich mines of hot love are rooted here, sung by Bowman, was in Deliciae Musicae, The First Book of the Second Volume, 1696; and Let us revel and roar, set by John Eccles and sung by Curco and Reading, was published in Thesaurus Musicus, The Fifth Book, 1696. Downes, Roscius Anglicanus, p. 44: Lovers Luck, a Comedy, Wrote by Captain Dilks, which fill'd the House 6 Days together, and above 50# the 8th, the Day it was left off. A Comparison Between the Two Stages (1702), p. 20, lists it among the plays under the heading: Damn'd

Event Comment: Rich's Company. The date of the first performance is uncertain, and the play has been sometimes assigned to December 1695. There are indications, however, that the play first appeared at a later time, but certainly not later than 14 March 1695@6, the date attached to the Dedication. The Epilogue has some allusions which suggest mid-February, for it refers to the "Fasting time" of Lent and to "Dancing at Drapers-Hall last Masquerade" (a masquerade ball was held there on 4 Feb. 1695@6). Dedication, Edition of 1696: This Play was given to my Care by a Friend: I promis'd him not to neglect it in the Difficulties it was to pass through. It has had hitherto but an unpleasant Journey; and I knew no better way to make Amends, than by taking up its Rest with you [Sir John Smith]; where I am assured its Reception will be the best a truly Noble and Generous Soul can give. I beg not your Protection, Sir, from those wide-mouth'd Curs, the Criticks: But since they have had their Ends in running it down, 'tis under the Shelter of your Name I desire a poor maim'd Thing, that did its best to shew them Sport, may lye secure from farther Danger....H. Horden. A Comparison Between the Two Stages (1702), p. 18: Damn'd

Event Comment: Betterton's Company. The date of the first performance is not certain, but the fact that the play was advertised in the London Gazette, 6-11 May 1696, suggests that it was first acted not later than April 1696. A song, Come, Hodge, come, Robin, set by John Eccles and sung by Wiltshire and Mrs Hudson, was printed in Deliciae Musicae, The Second Book of the Second Volume, 1696. Dedication, Edition of 1696: Which I wrote three Years ago....nor the Displeasure of the Judicious, who I hope will not condemn this Play from the appearance it had upon the Stage, where it suffer'd in the Acting....Tho. Dogget. A Comparison Between the Two Stages (1702), pp. 16-17: Ramble: Oh that's Dogget's: The Players have all got the itching Leprosie of Scribling as Ben. Johnson calls it; twill in time descend to the Scene-keepers and Candle-snuffers: Come, what came on't? Sullen: Not then directly Damn'd, because he had a part in't himself, but it's now dead and buried

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 11-13 May 1697, suggests that it was first acted about mid-April, a month before publication. For an account of the history of the play before its production, see Cibber, Apology, I, 217-18

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Man, 24-26 June 1697, suggests that it was probably first acted not later than May 1697, and there is no specific indication of a premiere earlier than May. In Songs Compleat, 1719, the music for one song is attributed to Croft

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 26-28 July 1698, suggests that the premiere occurred probably in mid-June or late June 1698. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Rich's Company. The date of the premiere is not known, but Dryden, writing on 14 Dec. 1699, indicates that this play had had its first performance by that date. The Dedication is dated 10 Jan. 1699@1700, and the play was advertised in the Post Boy, 20-23 Jan. 1699@1700. Preface, Edition of 1700: Another difficulty this Play labour'd under, was its being acted at a time when the whole Town was so much, and so justly diverted by the Trip to the Jubilee. When the play was revised and reprinted in 1714, the new edition--The Victim; or Achilles and Iphigenia in Aulis--indicates that The Invocation to Diana in the last act was set by Gottfreid Finger, the first verse being sung by Freeman, the second verse by Mrs Erwin, and the third verse by W. Pate. Advertisement, Edition of 1714: The following Tragedy...having been translated into English [from Racine], with considerable Additions, by Mr Boyer, and pass'd the Correction and Approbation of the late famous Mr Dryden, and several other Persons distinguish'd as well by their Wit and Learning, as by their Taste and Discernment, was acted with general Applause, towards the End of the Year 1699, and Beginning of 1700. The Reasons why this Excellent Play stopt, on a sudden, in a full Career, are, in some Measure, accounted for in Mr Boyer's Preface: To which he might have added, That the Dutchess of Marlborough, who at that Time bore an irresistable Sway, bespoke the Comedy then in Vogue [The Constant Couple], during the Ruin of Iphigenia in Aulis; And that this Tragedy receiv'd no small Prejudice, from the Person that acted Eriphyle [Mrs Wilkins], who sunk under the Weight of so great a Part. A Comparison Between the Two Stages (1702), pp. 24-25: Sullen: Then comes the second Iphigenia in all her Charms, and like a superious Mistress was resolv'd to eclipse her Rival: No cast was spar'd by the Masters, nor toil by the Actors; the Town was bespoke in its favour, and all the Friends of this new Fletcher and Beaumont were ingaged to clap it. She appear'd, but what pity 'twas (as the Prefacer says) that a Play which had such a glorious run shou'd in four Days disappear, never to rise again. Oh! says Mr D@@, mine was acted six Days; and I'll hold you a hundred Pound--just what I got by't--How's that?, says Boyer--I say, Sir, that I'll hold you, or any Man, a hundred Pound, 'twill be acted again ten times this Winter. With that B@@ fell a laughing, and replies, Sir, says he, I'll stake my French Dictionary against your Criticisms on Blackmore, and that I think is odds enough--I say,"I'll hold you that Bet, that you did not get fifty Shillings by't, and that the House lost a hundred Pound. This had like to ha' made sad work; but all was well, for neither of 'em have been acted since, for they both sleep in everlasting Tranquillity. [See also pp. 23-25 for other remarks about the two Iphigenia plays.

Event Comment: Betterton's Company. It is not certain that this play was given at this time, but Vanbrugh, writing on 25 Dec. 1699, states that Thomas Dogget, who had been acting in Norwich, was in London "last Week," and acted six times, presumably on 18, 19, 20, 21, 22, 23 Dec. 1699. The Amorous Widow is a likely play for this week, as Barnaby Brittle was one of Dogget's best roles. In addition, the Inner Temple, which usually requested popular plays, selected it for its revels on 3 Feb. 1699@1700. Nearly all the individuals in the cast in the 1710 edition acted in London during this season, with two exceptions: Fieldhouse and Mrs Hunt. Their roles may have been played by them or by other performers if they were not in the company at this time. I owe the suggestion that this was the play in which Dogget appeared to Professor Lucyle Hook

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Boy, 16-18 April 1700, suggests that the first production came before Easter, March 31. A song, Delia tired Strephon with her flame, with music by John Eccles and sung by Bowman, is in Wit and Mirth, 1706

Event Comment: Benefit the Author [Nicholas Rowe]. At the Desire of several Persons of Quality. [Announced as the last new farce, it had been originally scheduled for the week of 6-11 Nov. (Diverting Post, 4 Nov.), but postponed. It probably was acted before 25 Nov., for the Diverting Post of that date published the Prologue.] Thomas Davies: Did not the tragic Rowe write The Biter, a comedy; and was he not the only person of the audience that laughed during the acting of it [Dramatic Miscellanies, I, 94]

Event Comment: [By Colley Cibber. Premiere. For Cibber's account of the play, see Cibber, I, 308-9, and dedication ot 1705 edition.

Event Comment: Never acted before. [By Owen MacSwiney. See also 22 March.] Preface: The Town were a little Surpriz'd, to find an Entertainment forbid upon the Day it was to be Represented; it seems...this Play was to be stiffl'd, because the other House were to Act one upon the same Subject! [See 22 March.

Event Comment: Never Acted before. [By Richard Steele. In Daily Courant, 21 March, the title had been given as The City Nymphs; or, The Accomplished Fools.

Event Comment: At the Desire of several Ladies of Quality. All the chief parts being new drest

Event Comment: At the Desire of several Persons of Quality. Written by the famous Ben. Johnson

Event Comment: [Text by Joseph Addison. Music by Thomas Clayton.] A new Opera never yet perform'd. By Subscription. None to be admitted into the Boxes or Pit but by the Subscribers' Tickets. [Both A Critical Discourse upon Operas (1709) and Jacobs (I, 3) refer to the unsatisfactory nature of the music; as a result, according to Jacobs, "It had not the Success due to its Merit."

Event Comment: With all the Risings, Sinkings, and Flyings of the Witches, as they were Originally perform'd