Event Comment: Benefit for Davis, Hallam, Mrs Dyer. None admitted behind Scenes. Afterpiece: Not acted these three years. [See 2 May 1763.

Event Comment: Benefit for Wignell, Stoppelaer. None Admitted behind Scenes. Mainpiece: Not acted these three years. [See 31 Dec. 1760.

Event Comment: A new Comedy in three acts. Boxes 5s. Pit 3s. Gallery 2s. To begin at 7 p.m. [Notice repeated.

Event Comment: By Command of their Majesties. [Sga Spagnolla had been ill and missed a number of performances. For singers and dancers see following letter.] Sir: I am one of those to whom an Oratorio or an Opera (whether Italian or English) gives exquisite delight; and am therefore glad that, as the town is now full, those entertainments will, very probably, be crowded; and thus amply repay the several managers, for the great risk they run, as to their property, as well as for the vast pains they take to amuse us; for the labour employed, on those occasions, is infinitely greater than is usually imagined. The Italian opera has suffered considerably, this season, by the inability of Sga Spagnoli to exert her musical talents, owing to a most severe cold; but as she has now recovered her voice, 'tis presumed that she will be a source of as great pleasure, among us, to persons of a musical ear, and who have a true taste for that species of dramas, as she was in her native country, where she was always heard with great applause. I myself find great charms in the entertainments, as now exhibiting at the King's Theatre: for, besides Sga Spagnoli's taste I do not perceive the least diminution in Sg Elisi's voice or action, both of which pleased us so much two or three years ago. Ciprandi appears to me a fine player as well as singer; and with regard to Sg Savoi, he is generally thought to have a pleasing voice. [Comments on competence of the Orchestra.] The principal dancers are likewise acknowledged to have considerable merit. The gracefulness and the ease of Sg Adriani are very pleasing, as is the elegant agility of Sga Fabris Monari....Sg Sodi has so often diverted us by his compositions as Ballet master that it were superfluous to bestow any encomiums on him in this place. [Long comment on agreeable performance of Sofonisba, Scenery, etc. A puff by Musidorus in Public Advertiser.

Event Comment: Benefit for Holland. Part of Pit laid into Boxes. Afterpiece: Not acted these three years. [See 8 Oct. 1763.

Event Comment: A new Comic Opera. The Music composed by several celebrated Composers. All Boxes put together, and no Persons admitted without Tickets, which will be delivered this Day at the Office at Half a Guinea each; First Gallery 5s. Second Gallery 3s. By His Majesties Command no Person whatsoever to be admitted behind the Scenes or into the Orchestra. 6:30 p.m. Vivant Rex et Regina. [Repeated in all bills.] [A pasticchio similar to La Schiava (The Humorists). See Nicoll, III, 361. Advertisement for the company of performers at the Opera had been given in the Public Advertiser three months earlier, 6 August: 'Drummond, Vincent and Gordon,Proprietors and Managers of the Opera at the King's Theatre in the Haymarket beg leave to announce that they have engaged the best Company that could be got in Italy...and are expected in London this month. The company are as follows: Serious-the celebrated Guarducci, first man; Signora Aunuciati, first woman; Savoi, second man; Miss Young, second woman; Grassi, Signora Piatti, third woman. Comic-Lovattini, first man, tenor; Signora Zamperini, first woman; Savoi, first man, serious; Miss Young, first woman; Signor Moriggi (the old man) bass; Signora Piatti, second woman; Zamperini second man; Signora Gibbetti [Gibelli in the Gazetteer] third woman."

Event Comment: VViscomica to the Printer of the Public Advertiser: As burlettas have been laid aside some years, and they are a species of entertainment I am particularly fond of, as there is vivacity in the music, and great humour and satire in the performance, I was much pleased with the thoughts of being as well entertained as I had heretofore been; and more so when I found I could gain admittance to so good a place for hearing, for the trifling sum of three shillings; a place in which I never dared to shew my face before, not being on a footing with the riotous company that used to be admitted there, to attend their several masters' call; a nuisance, from which I rejoice the managers have at length, after so many hints and solcitations, found out a method to deliver their audience. I remember to have seen a darkish way down a flight of steps to a dismal winding staircase, which I was told led to the footman's gallery, and, supposing that the road I was to take on this occasion, was very agreeably undeceived by being shewn up about halfway to the five shilling gallery, and by a turn through an arch introduced to a new and convenient staircase leading to this region of the gods, where I was surprised to find myself arrived before I thought I was half-way up. The managers have indeed made this place very neat and commodious, by rendering the descent much less steep, lowering and matting the benches, painting and lighting the whole place; so that I found myself as much at my ease there, as in any other part of the house, and much better situated than I had expected; likewise, by their following Mr Garrick's example, in removing the pendant lustres, and lighting after the foreign manner, you have a full view of the whole stage; by which the magnificance appears greatly increased. The performance was beyond my expectations, as I think the performers excel any in their way which have appeared in this country; but I need not expatiates upon a subject the town in general have been, or I dare say will be, as good judges of as yours, &c

Event Comment: Mainpiece: Not acted this season. Afterpiece: A New Pantomime (2 scenes excepted). Paid one Year's assurance at the Royal Exchange for #3000 to 15 Dec. 1767, #6. Paid Duke of Bedford's half year's ground rent for theatre due Mich. last #50 minus half year's land tax of #8 6s. 8d.; total #41 13s. 4d. Paid ditto for the New Buildings adjoining the theatre #15 minus half year's land tax of #2 10s. Total #12 10s. (Account Book). [The newness of the pantomime seems, according to the Larpent MS 259, to have consisted in three new songs.] Receipts: #191 7s. (Account Book)

Event Comment: A New Comic Opera never perform'd before. Music by Niccolo Piccini. Intended to be performed only on Mondays, Wednesdays and Fridays. By Mr Toms from La Buona Figliuola (Biographia Dramatica). [N.B.: The license for this opera was obtained just the day before, yet it must have been in rehearsal for about three weeks.] Receipts: #221 18s. (Account Book)

Event Comment: New Scenes, Dresses, Machinery and other Decorations. Book of the Entertainment to be had at 1s. 6d. at Theatre. A Dramatic Romance by David Garrick, Music composed by Michael Arne. Gave King's Footmen and Chairmen #4 4s.; Queen's ditto; Dukes of York and Gloucester ditto (Treasurer's Book). [A memorandum dated 22 August 1766 (Folger Library, Garrick Album, 520 MS, Cage) explains that Michael Arne was to compose the Music for Cymon, and as compensation shall be intitled to and receive one third part of the profits of the three first nights which the author shall take for his own Benefits." Zachariah Stephens was witness. See 15 Jan. 1767.] Receipts: #196 5s. 6d. (Treasurer's Book)

Event Comment: Benefit for Miss Poitier. Afterpiece: Alter'd from Addison. The Music entirely new set by Mr Arnold. [Original three acts reduced to two.] To be performed for this night only. Charges #75 14s. [Profit to Mrs Thompson #59 7s. 6d. plus #48 9s. from tickets (Box 135; Pit 98) (Account Book). As indicated by the name Mrs Thompson in the Account Book, Miss Poitier was already married by this time, although she does not appear in the Bills under the name Mrs Thompson until 16 Sept. 1767. She was first married to Vernon, the singer at Drury Lane.] Receipts: #135 1s. 6d. (Account Book)

Event Comment: A Tragedy for Warm Weather. Written after the manner of the Worst, as well as the Best of the English Poets, containing amongst a Variety of Particulars, curious, entertaining, and pathetic, the Rebellion of the Journeymen Taylors on the Score of Wages, etc. Neville MS Diary: Half past Six went to ye Haymarket Theatre but could not get into ye Pit or first Gallery, so stood on ye last row of the shilling Gallery, tho' I could see little, to see how ye Taylors, a new tragedy for warm weather, would go off, being the first night of its performance. 3rd Act hiss'd-ye Gods in ye shilling Gallery called for ye Builder's Prologue-hissed off ye part of ye Old Maid twice and Davies who came to make an excuse. The Gentlemen, many of whom were there, cried No Prologue" but to no purpose. At last Foote said if he knew their demands he would be ready to comply with them. The noise ceasing, after some time he was told the Builder's Prologue was desired. He said he had done all in his power to get the performers, having seen them. After some time he came and informed them he had got the performers together, and if the House would be pleased to accept of ye Prologue in our dresses as we are you shall have it." This was followed by great clapping which shows the Genius of our English mobility ever generous after victory. Left ye House after ye Farce began. [Flints were journeymen tailors who refused to comply with the masters' terms and the regulations of the magistrate, in contradistinction to those who submitted and were in derision stiled Dungs. The term dates from 1764-OED. An extract from the Occasional Prologue (the Builder's Prologue) in prose on the opening of the Theatre Royal in the Haymarket, by Foote published in the London Magazine July 1767, p. 351. Foote, Scaffold, and Prompter are the three participants. Foote tells Scaffold he will be paid by the audience. Scaffold notes that the audience must in that case be pleased at all times. Foote promises no long processions [will] crowd my narrow scenes." He assumes that any of the reforms he plans will but echo the public voice. The Prompter then calls the actors on.

Event Comment: NNeville MS Diary: The last three he [Foote] has not done for some time. I like Woodward better in young Philpot. Both add some crochets of their own. I don't think he took off Mr Whitefield well. Cole, Shift and Smirk he does inimitably. He has a great command of features in the ludicrous way, not such as that of Garrick

Event Comment: Went into the Pit to see Garrick do Abel Drugger. Read three acts of the play. Subtle, Face and Dapper are well played by Burton, Palmer and Dodd. Love and Mrs Pritchard excellent as usual. Mrs Love did Tag in Miss in her Teens (Neville MS Diary)

Event Comment: [T+Theatrical Monitor, No VI appeared this day with a blast, in the form of an occasional Epilogue, at the morals, language and plan of the Oxonian in Town. This was the first performance of Macklin's afterpiece in London. It had been played in Dublin. "Its curious idiom, half-brogue, and half Cockney, puzzled the audience, as did its highly topical Irish allusions. With his usual candor, Macklin observed: 'I believe the audience are right. (The play was withdrawn after this single performance.) There's a geography in humor as well as in morals, which I had not previously considered--'" Cooke, Macklin, p. 270. According to Kirkman, in his curtain speech Macklin "courageously admitted: 'Ladies and Gentlemen, I am very sensible tha there are several passages in this play which deserve to be probated and I assure you that they shall never offend your ears again!' As soon as Mr Macklin had finished this address, the audience testified their approbation of his determination, by loud and reiterated plaudits" (Kirkman, Memoirs of the Life of Macklin, II, 3). See Also Charles Macklin: An Actor's Life by William W. Appleton (Cambridge, Mass., 1960), p. 141.

Event Comment: Mainpiece: Not acted for three years. [See 24 Jan. 1766.

Event Comment: A new comedy of three acts. Places to be taken of Mr Jewell at the Theatre. No Admittance behind the Scenes. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. No money to be returned after the Curtain is drawn up. Pit and Galleries to be open at 5:30 p.m.; Boxes at 6 p.m. To begin exactly at seven. Vivant Rex et Regina. [Repeated in the bills.

Event Comment: Benefit for Condell, Potter and Eddis (playbill). [Account Book lists only Condell and Potter.] Charges #81 10s. Deficit to Condell and Potter #49 10s. 6d. covered by #97 10s. to Condell from tickets (Box 248; Pit 194; Gallery 64) and #73 14s. to Potter from Tickets (Box 159; Pit 157; Gallery 104). Paid Richard Richardson for the Purchase of the Fee Farm of three Houses on the West Side of Bow St. subject to 40s. a year payable to the Duke of Bedford...#1800. Receipts: #31 19s. 6d. (Account Book)

Event Comment: This comic opera of two acts [Padlock] was written by Mr Bickerstaffe and is a very compleat, pretty piece,--the music very striking.--Mrs Dorman was hissed at first, but the piece went off very well, and much applauded (Hopkins Diary). New Scenes, Dresses, Music and other Decorations. Doors opened at half past 4. Play to begin exactly at 6 o'clock. [A three column retelling of the plot of the padlock appeared in Lloyd's Evening Post, for Oct. 5-7.

Event Comment: [The Young Gentleman who played Zaphna was Wroughton. "His real name was Rottan, but altered euphonia gratia. He was designed for a surgeon and served his apprenticeship at Bath. The following playbills show that he met with approbation on the stage. He remained with Covent Garden from this time till the end of the season 1785-86. He then played in Ireland one Winter, and was engag'd at Drury Lane Theatre in the beginning of the season 1787-88. This was the occasion of Mr Wroughton's leaving Covent Garden, I mean it was thus conjectured. Mr Lewis had been appointed manager of that theatre for Mr Harris. Mr Lewis and Mr Wroughton lived next door neighbors in Broad Court at the top of Bow Street, and were sworn friends:--they laughed together, lived together--In the season 1784-85 two new performers Mr Holman and Mr Pope, appeared on the Covent Garden Stage--these young men were great favorites with Mr Harris; Mr Holman, attracting at this time very crowded audiences, stood so particularly high in his regard, that his partiality made him guilty of some injustice to older and abler actors in the theatre. Mr Henderson had really cause to complain of neglect; and Mr Wroughton thought himself equally oppressed. At this time we had a Club and met every Wednesday fortnight during Lent at the Long Room in Hamstead at dinner. Our Club consisted of a certain number of us belonging indifferently to either theatre, and two or three other gentlemen who were not actors. Mr King, Mr Quick, Mr Farren, Mr Mattocks, myself, etc., etc. When the bottle had a little warmed Mr Wroughton he threw out some sarcasms on his Friend Mr Lewis's management; Mr Lewis retorted; Their tempers grew hot, their words grew aggravating; Mr Wroughton struck Mr Lewis; Mr Lewis returned the blow. They were parted; all the pleasures of the day were over, and the Club broke up in confusion. I was not present this day, but have related what Mr Siddons told me of this Quarrel, and I imagine that Mr Wroughton's attack on Mr Lewis sprang from a suspicion that he was too willing to execute Mr Harris's designs in favour of Mr Holman. Be this as it may, Mr Wroughton was discharged from cg at the expiration of his Articles with Mr Harris."--Hopkins MS Notes.] Receipts: #186 3s. (Account Book)

Event Comment: [Mainpiece: new comedy in three acts by Bickerstaffe; but Act I, ii, written by Foote. Afterpiece: new musical farce by Bickerstaffe; music by Dibdin and others. An alteration from Dryden's Don Sebastian.