Event Comment: Letter from John Potter, Proprietor of the New Theatre in the Haymarket, to the author of the General Advertiser: As the resentment of the Town for the disappointment of the performance advertised to be exhibited at my theatre on Monday last, shall fall entirely upon me, I hope I may be allowed to acquaint the public with the nature of my case. [Suggests he should not be to blame for misbehavior of any person who hired his house, that he had some apprehensions in this case, but that the Bottle Conjurer paid the rent in advance and agreed to have a House officer in the box office to return the money if the audience was displeased.] All the caution above mentioned was taken, and the money locked up in the office, guarded by persons of reputation, who would have returned it, and publicly on the stage told them, that if the person did not appear, their money should be return'd. But instead of complying with that offer, my House was pulled down, the Office broken open, the money taken out, and the servants oblig'd to fly to save their lives. I hope therefore this may be deem'd a sufficient justification in my behalf, and all that could be reasonably expected from me; and that those gentlemen who are conscious of having injured me, will be so generous as to make me a reasonable Satisfaction, considering the damage I have suffer'd, which in a moderate computation will amount to upwards of four thousand pounds. This day is Publish'd, at 1s. Lethe, a Dramatic Satire, by David Garrick as it is perform'd at Drury Lane. By Paul Vaillant, facing Southampton Street in the Strand. [A letter from Samuel Foote to the Author of the General Advertiser clears himself from any imputation of confederacy in the Bottle Conjuror fraud. See also my Introduction, note 103.] Receipts: #100 (Cross); #119 2s. 6d. (Powel)

Event Comment: Benefit for Berry. Tickets at Pope's Peruke Maker Russell St. Rec'd Cash #93 3s., plus #92 11s. from tickets. Total #185 14s.; Paid Salary List #203 7s.; Norton 5 chorus #1 5s. (Treasurer's Book). To the Public, Gentlemen and Ladies, I am very sorry that a long, sharp, and severe fit of Illness prevents me the satisfaction of making my personal application to my friends as usual, against my Benefit; but finding myself every day rather worse than better, I hope you will be so kind as to take this notice, that the Stratagem, will be performed on Saturday the 21st of April; the part of Archer by Mr Garrick, for the benefit of Mr and Mrs Mills; with a Farce and all other usual Entertainments. From your most oblig'd Servant, William Mills. Mr Mills hopes his friends who intend to honour him with their company, will be so kind as to send to him for Places, Tickets, &c., or call upon him at Mr Gardner's Printing Office in Russel St., Covent Garden; or at Hobson's at the stage door (General Advertiser). Receipts: #180 (Cross); charges, #60 (Treasurer's Book)

Event Comment: A historical note about the patent for May Fair by Edward Shepherd. Daily Advertiser, 1 May: Whereas a Patent was granted by King Charles the First, and confirm'd by King James II, to the Proprietor of Great and Little Brookfield, then in the Parish of St. Martin in the Fields, now in the Parish of St. George, Hanover Square, to hold a Fair during the Space of fifteen Days, to begin the 1st Day of May next, and every May Day forever: the present Proprietor thinks it proper to apprize the Publick thereof, that it may not be thought that he attempts to do any thing but by Virtue of the said Patent, and no Ways to disturb the Publick Peace, or act in Contradiction to the Laws of the Realm. [Alluded to in 2 May news of the Daily Advertiser, as being proclaimed by Edward Shepherd.

Event Comment: To be seen a Person who performs the most surprizing Things...he presents you with a common Wine bottle, which any of the Spectators may first examine; this Bottle is plac'd on a Table in the Middle of the Stage, and he (without any Equivocation) goes into it in Sight of all the Spectators, and sings in it; during his Stay in the Bottle, any Person may handle it, and see plainly that it does not exceed a common Tavern Bottle. The Performance continues about Two Hours and a Half. These Performances have been seen by most of the Crowned Heads of Asia, Africa, and Europe, and never appear'd anywhere Public but once. Stage 7s. 6d. where Masks may be worn. Boxes 5s. Pit 3s. Gallery 2s. [The famous Bottle Conjurer hoax.] Theatre was crowded...by five o'clock; at seven the house was lighted up [but not music]...a Person came before the Curtain, and, bowing, promis'd if Mr Conjurer did not arrive in half an Hour, their Money should be return'd...after near an Hour...a Gentleman in the Box snatch'd a Candle lighted, and in Violence threw it on the Stage; this was the Signal for the Onset of Battle...the Boxes, Seats, Glasses, Scenes, Chairs, Machinery, and all the Furniture of the Play House, were in less than ten Minutes carried into the Street...an excellent Bonfire was made of Mr Foote's Auction Room...it may put a [pe]riod to the Auction, till the Theatre can be refitted.--Charles Adams to John Gilbert-Cooper, Theatre Notebook, XI (1957) p. 139. [Potter was still owner of this theatre.] Those opposed to a recent late book would have been gratified had the Conjurer jumped into the bottle and proved that miracles had not yet ceased."--Daily Advertiser, 17 Jan. Last Night a numerous Audience, among whom were several Persons of Quality, was at the New Theatre in the Haymarket, in wonderful Expectation of seeing the Miraculous Man creep into a Bottle, and do several other Miracles; but the only one he perform'd was, that he render'd himself invisible (without any Equivocation) to the no small Disappointment of the gaping Multitude; who, being told from behind the Curtain that the Performer had not yet appear'd, but that if they would stay until the next Night, instead of a Quart Bottle he should creep into a Pint, immediately grew outrageous, and in a Quarter of an Hour's Time broke to Pieces all the Boxes, Benches, Scenes, and everything that was in their power to destroy, leaving only the Shell of the House remaining. Surely this will deter anyone from venturing to impose on the public in the like manner for the future.--General Advertiser, 17 Jan. [See also dl Comment 18, 19, 20, 27 Jan.

Event Comment: The opening of the season was originally announced for 21 Dec. 1799, but on that day the Morning Chronicle carried the following notice: "The Nobility and Gentry, Subscribers to the Opera, and the Public, are most respectfully informed that the opening of this Theatre is unavoidably postponed to Saturday next, the 28th instant, on account of the indisposition of one of the principal Performers." But on the 28th the opening was again postponed to 4 Jan. On 6 Jan. a notice appeared in the Morning Herald, as follows: "King's Theatre, Saturday Evening, January 4, 1800. The Directors beg leave respectfully to inform the Nobility and Gentry (Subscribers) and the Public in general that the Theatre was advertised to be opened This Evening, with the concurrence and approbation of the Trustees, and it was not until this afternoon that they heard of an unforeseen difficulty having arisen with respect to issuing the License. It was then too late to advertise by means of the Public Newspapers the necessary postponement of the opening; but every effort was made on the part of the Direction to apprise the Subscribers, by sending to their respective houses, and by distributing a hand-bill in all the principal streets; notwithstanding which, they lament to find that many Ladies and Gentlemen were disappointed. The Directors humbly hope that on this statement of the fact they shall stand acquitted of all disrespect to the Subscribers and the Public, who shall have the earliest notice of the conclusion of all the arrangements for the immediate opening of the Theatre and performance of Operas for the season." See 11 Jan. A copy of the hand-bill referred to above, making mention of the "unforeseen circumstances," is attached to the Kemble playbill of dl, 4 Jan.

Event Comment: RRylands MS: Old Cibber play'd Brute. [The preceding day's notice started this performance was By Command of his Royal Highness, The Prince of Wales, although no such notice appears in the day's Bill. But the following note is included on the day's bill in the London Daily Post and General Advertiser.] By His Majesty's Command, no persons to be admitted behind the scenes, nor any money to be return'd after the curtain is drawn up. [Fleetwood made an earnest attempt this year to clear the stage for action. All notices up to this day contain the prohibition of members of the audience behind scenes as stated on the bill of 15 Oct. Hereafter the prohibition is enforced by His Majesty's Command.] Receipts: #182

Event Comment: Mainpiece: Comedie in 5 Actes de Mr Baron. The alleged deposition of Wm Davison:...he on the 17th Day of November being the second Night of the French Strollers acting at the Theatre in the Haymarket, was at the Sign of the Globe, a Publick House about Nine of the Clock that Night, where this Deponent saw John Haines, one of the Waiters at the said Tavern, and several other Persons, to the Number of 16, dressed like Chairmen, each of which had a great Bludgeon in his Hand, which he put under his Coat, in order to hide the same, but in such a manner as this Deponent was capable of seeing said Bludgeons;...and was informed by several Persons of credit that they and others to the number of 30, were hired by Lord Trentham to protect the French Strollers from any Attempt that might be made to prevent their Acting [claims Haines had a list of their names and told them Lord Trentham would need them again on other nights] notarized before John Waple, 24 Nov. [Lord Trentham offered a fifty pound reward for the original copy of the above affidavit.] John Haynes...maketh Oath...that he...never had any Conversation directly or indirectly, with Lord Trentham, relating to the French Players, nor did the said Lord Trentham dine at the King's Arms on 17 Nov., nor did this Deponent see the said Lord Trentham on that Day, nor for several Days before, nor did the Deponent make use of the said Lord Trentham's name, in any conversation at the Globe Alehouse the said Lord Trentham was not in the least privy to this Deponent's going to the said little Theatre on the said 17th of Nov. with several Persons as mentioned in the affidavit or pretended affidavit of Wm Davison...Sworn the 26th Day of Nov., before me, H. Fielding. [This notice repeated in the General Advertiser for a week. The French players departed for France on 28 Dec.

Event Comment: [The French Company advertised that it would not perform this day in honor of the birth of the Princesse de Galles, but would present on 24 Nov. Moliere's Tartuffe and Arlequin Nulla. The General Advertiser also carried the following long note from Lord Trentham on the following day]: To the worthy inhabitants of the City and Liberty of Westminster, Gentlemen: His Majesty having been graciously pleased to appoint me one of the Commissioners for executing the Office Lord High Admiral, by which my seat in Parliament is vacated; and the shortness of time not permitting me to apply personally to you, I take this method of entreating your votes and interest to be re-elected your representative in Parliament, which will ever be acknowledged by Gentlemen, your oblig'd and humble servant, Trentham. N.B. the Election comes on Tomorrow the 24th instant at Covent Garden at nine o'clock in the Morning. N.B.B. Whereas it has been maliciously reported, in order to impose on the worthy inhabitants of the City and Liberty of Westminster, and to prejudice me in their opinion at this time, that I was active in the disturbance at the French Playhouse last Tuesday night; I do declare upon my honour, that I was neither in the Pit nor Gallery where the Disturbance happened during the time of the performance, nor drew my sword, nor made use of any weapon, either to strike or terrify any of the spectators; nor was I even present at the first and chief disturbance at that playhouse; nor have I been at any Representation at that playhouse since the first Night of the Performance, as has been falsely suggested. Trentham" In a few days will be publish'd A Particular Account of the Disturbance in the Haymarket Theatre, on Tuesday and Wednesday the 14th and 15th Instant; in which the behaviour of a noble Lord will be fully vindicated. By one of the French Comedians

Event Comment: Bills for Every Man in his Humour were posted to day--but Mr G. being taken very ill the Play was oblig'd to be chang'd & fresh Bills put up about Twelve o'clock (Hopkins Diary). [Also, according to Winston MS 10 the afterpiece was to have been Miss in Her Teens. See 8 Nov.] Paid Tallow Chandler's 1st bill #63 8s. 4d.; Mr Evans one year on Wardrobe Acct #10 10s.; half year Land and Window Tax for St Martin's to Michelmas last #46 8s. 7d.; Rec'd Stopages #12 17s. (Treasurer's Book). [Cast listed on playbill for afterpiece: Fribble (with song in character)-Dodd; Flash-$Palmer; Loveit-$J. Aickin; Puff-$Moody; Jasper-$Ackman; Tag-$Mrs Love; Miss Biddy-$Miss Pope.] Receipts: #165 7s. (Treasurer's Book)

Event Comment: On the last of these days [Wednesday and Friday] the Jury will be discharged, the Process concluded, and the Judgment given. The Inquisitor will be deliver'd up to the public, when it is not doubted but the goodness of his Head and the Integrity of his Heart will be amply rewarded by a discerning munificent people. The Inquiry will be closed with an Address to the Public, gratefully acknowledging their indulgence and impartiality during the whole course of the trial

Event Comment: AAsh Wednesday. Publish'd this day. Price only 1s. Letters which have passed between John Beard Esq Manager of Covent Garden Theatre, and John Shebbeare, M.D. Wherefore I thus entreat with due Submission, Between the Bard and me you'd make decision, The whole now on your Approbation waits. Prologue to the Perplexities, sung by Mr Beard. Printed for G. Kearsly N.B. This Pamphlet is entered at Stationers Hall, whoever pyrates any part of it will be prosecuted. [This pamphlet of 50 pages is given a four-column review in the Gentleman's Magazine for March (p. 124). The controversy was over a play which Shebbeare submitted to Beard and which the latter finally rejected after holding it two seasons. Beard's letters are quoted. The reviewer is severe upon Shebbeare: Upon the whole for anything that has hitherto appeared, the managers of both theatre have rather been to blame for receiving some pieces that they should have rejected, than for rejecting any they should have received. No piece has yet been printed, by the rejection of which the managers have betrayed their trust, or neglected their duty to the public. There may be such pieces in manuscript, but, if there are, the most effective way of avenging the author on the manager is to print them, for the voice of the public would instantly and effecturally do justice to the writter...by compelling the representation.' Shebbeare was Joseph Pittard?]

Event Comment: [In mainpiece the playbill assigns Frederick to Murray, but on the playbill in the New York Public Library Theatre Collection his name is deleted and a MS annotation substitutes Francis's.] Boxes 3s. Pit 2s. Gallery 1s. To begin precisely at 7:00. The Public are respectfully informed that the Company will perform here but four or five Weeks longer, being engaged elsewhere. The Theatre is not only very commodious, but also remarkably cool. The Days of performing will be regularly Mondays, Wednesdays and Fridays

Event Comment: Benefit for King. [This was Smith's last appearance on the stage, from which he had officially retired on 9 June 1788.] Broadside in Kemble playbills announcing this benefit: Mr King most respectfully informs the Public that his Night is fixed for Friday the 18th of May, when will be presented The School for Scandal. Mr King has the pleasure to add that Mr Smith, who was so long and so worthily applauded by the Public, and was the original performer of Charles Surface in the above, distinguished Comedy, at the particular request of Mr King, backed by a strong assurance from many admirers and encouragers of the Drama that it will not only add to Mr King's emolument but highly gratify the Town, has kindly consented to return to the Theatre for one night, and resume his favourite Character. "We had been told that Smith pourtrayed the Manners of a finished gentleman with more delicacy and characteristic propriety than any actor of his day; but this did not appear to us to be his particular excellence; he stands too wide to be graceful, and his deportment gains no advantage from a perpetual application of his hand to the lower part of the waist. These habits are far from elegant. His Charles, however, is a favourable specimen of that sort of acting which commonly falls under the denomination of the old school: light, airy, and natural; which excites applause without any anxious endeavour to produce it; which suffers the points to tell of themselves, and does not place them as so many traps to ensnare the injudicious part of the audience" (Monthly Mirror, May 1798, p. 299). "He was received with the most heart-felt gratulations by an audience who did not expect any apology for such acting, though he saw fit to deliver one at the conclusion of the play" (Monthly Visitor, May 1798, p. 72). Times, 4 May: Tickets to be had of King at his house, New Store-street, Bedford-square. Receipts: #674 6s. (388.0.6; 55.17.6; 2.0.0); tickets: 228.8.0) (charge: #212 5s. 6d.)

Event Comment: Never acted. [See Genest's comment (IV, 618) derived from Cumberland and the London Magazine-its appeal to the fashionable circles, its damnation at first performance because of the hanging of Harlequin in full view, and its modification thereafter. See 18 June and Horace Walpole to George Montagu [Arlington Street] July 28, 1761: I came to town yesterday through clouds of dust to see The Wishes, and went ac- [I, 381] tually feeling for Mr Bentley, and full of the emotions he must be suffering. What do [you] think in a house crowded was the first thing I saw! Mr and Madam Bentley perked up in the front boxes and acting audience at his own play--no, all the impudence of false patriotism never came up to it! Did one ever hear of an author that had couraee to see his own first night in public? I don't believe Fielding or Foote himself ever did--and this was the modest bashful Mr Bentley, that died at the thought of being known for an author, even by his own acquaintance! In the stage-box was Lady Bute, Lord Halifax and Lord Melcomb-I must say the two last entertained the house as much as the play-your King was prompter, and called out to the actors every minute to speak louder-the other went backwards and forwards behind the scenes, fetched the actors into the box, and was busier than Harlequin. The curious prologue was not spoken, the whole very ill-acted. It turned out just what I remembered it, the good parts extremely good, the rest very flat and vulgar-the genteel dialogue I believe might be written by Mrs Hannah. The audience was extremely fair. The first act they bore with patience, though it promised very ill-the second is admirable and was much applauded-so was the third-the fourth woeful-the beginning of the fifth it seemed expiring, but was revived by a delightful burlesque of the ancient chorus-which was followed by two dismal scenes, at which people yawned-but were awakened on a sudden by Harlequin's being drawn up to a gibbet nobody knew why or wherefore-this raised a prodigious and continued hiss, Harlequin all the while suspended in the air-at last they were suffered to finish the play, but nobody attended to the conclusion-modesty and his lady all the while sat with the utmost indifference-I suppose Lord Melcombe had fallen asleep [p. 382] before he came to this scene and had never read it. The epilogue was about the King and new Queen, and ended with a personal satire on Garrick-not very kind on his own stage-to add to the judge of this conduct, Cumberland two days ago published a pamphlet to abuse him. It was given out for tonight with more claps than hisses, but I think it will not do unless they reduce it to three acts." [p. 383]. Correspondence with George Montagu. Ed. W. S. Lewis & Ralph Brown. (New Haven: Yale University Press, 1941), I, 381-83] Note: (I, 381n): Bentley's play of The Wishes or Harlequin's Mouth Opened, was offered to Garrick and Rich the beginning of 1761, but wasrefused by both. His nephew Cumberland showed it to Lord Melcomb, who carried it to Lord Bute, with a compliment in verse to that Lord by Mr Cumberland. Lord Bute showed it to the King, who sent Bentley #200 and ordered the new summer company to play [it]. There was a prologue, flattering the King and Lord Bute which Foote refused to act. Two days before it was played, Cumberland wrote an anonymous pamphlet, addressed to Mr Bentley, and abusing Garrick, who had refused to act Cumberland's tragedy of Cicero's banishment, which he printed this year [1761], unacted. The Wishes were played for the first time July 27th, 1761; the 2d 3d and part of the 4th, acts were much applauded, but the conclusion extremely hissed. The Epilogue concluded with a satire on Garrick. It was acted five nights. About the same time he wrote a tragedy called Philodamus, which he was to read to Garrick, but the latter was so angry at their treatment of him, that he declared against seeing Mr Bentley" (MS account by HW of Bentley's writings, in the collection of Lord Waldegrave at Chewton Priory)

Event Comment: Mainpiece: Not played for 20 years. Afterpiece: By Desire. The Play very dull Little Applause (Hopkins Diary). Benefit for Reddish. Theatrical Review, 28 March: The plot of this piece is taken from a well known passage in history, which, however, is too barren of incidents for the support of a piece of 5 acts, on which account it is rather languid and tedious, notwithstanding the language in general is tolerable poetical. What could induce Mr Reddish to revive so dull a performance, after it had been neglected for 20 years, we cannot conceive, unless it was with a view of having an opportunity to rant a few speeches in favor of liberty; but (as the piece was miserably represented except in the characters of Timoleon and Eunesia) we think Mr Reddish extended his liberty a little too far with the public; for which neither his Occasional Prologue, the Solemn Sacrifice, nor the Epilogue spoken by Miss Younge, made sufficient atonement. Paid 4 days salary #333 19s.; Mrs Abington's Cloaths Acct #1; Mr S. French 6 days #1 10s. (Treasurer'sBook). Receipts: #205 16s.; Charges: #67 6s. 6d.; Profit to Reddish: #138 10s. 6d. (Treasurer's Book)

Event Comment: Mainpiece [1st time; T 5, by William Henry Ireland; incidental music by William Linley. Prologue by Sir James Bland Burges; Epilogue by Robert Merry (see text)]: With new Scenes, Dresses & Decorations. The Scenes designed and excuted by Greenwood and Capon. The Dresses by Johnston, Gay & Miss Rein. Printed slip attached to Kemble playbill: A malevolent and impotent attack on the Shakspeare MSS. [i.e. those forged by W. H. Ireland, of which this play was one] having appeared, on the Eve of representation of Vortigern, evidently intended to injure the interest of the Proprietor of the MSS., Mr Samuel? Ireland [W. H. Ireland's father] feels it impossible, within the short space of time that intervenes between the publishing and the representation, to produce an answer to the most illiberal and unfounded assertions in Mr Malone's enquiry [i.e. Edmond Malone, An Inquiry into the Authenticity of certain Papers attributed to Shakspeare, Queen Elizabeth, and Henry, Earl of Southampton, 1796]. He is therefore induced to request that Vortigern may be heard With that Candour that has ever distinguished a British Audience. The Play is now at the Press, and will in a very few days be laid before the Public. [But it was not issued until 1799 (see below). See also Bernard Grebanier, The Great Shakespeare Forgery, London, 1966.] 4 Apr., states that the first three acts were listened to with patience, but beginning with the fourth act the play was damned, when "one tremendous yell of indignation from the pit burst simultaneously." "At four o'clock the doors of the theatre were besieged; and, a few minutes after they were opened, the pit was crowded solely with gentlemen. Before six not a place was to be found in the boxes, and the passages were filled...The audience betrayed symptoms of impatience early in the representation; but, finding its taste insulted by bloated terms, which heightened the general insipidity, its reason puzzled by discordant images, false ornaments, and abortive efforts to elevate and astonish, pronounced its sentence of condemnation at the conclusion of the play" (Gentleman's Magazine, Apr. 1795, pp. 346-47). "Irelands play of Vortigern I went to. Prologue spoken at 35 minutes past 6 [see 29 Mar.]: Play over at 10. A strong party was evidently made to support it, which clapped without opposition frequently through near 3 acts, when some ridiculous passages caused a laugh, mixed with groans-Kemble requested the audience t o hear the play out abt. the end of 4th act and prevailed.-The Epilogue was spoken by Mrs Jordan who skipped over some lines which claimed the play as Shakespeares. Barrymore attempted to give the Play out for Monday next but was hooted off the stage. Kemble then came on, & after some time, was permitted to say that "School for Scandal would be given," which the House approved by clapping. Sturt of Dorsetshire was in a Stage Box drunk, & exposed himself indecently to support the Play, and when one of the stage attendants attempted to take up the green cloth [i.e. a carpet which, by custom, was laid on the stage during the concluding scene of a tragedy], Sturt seized him roughly by the head. He was slightly pelted with oranges" (Joseph Farington, Diary, 1922, I, 145). Account-Book, 4 Apr.: Paid Ireland his share for the 1st Night of Vortigern #102 13s. 3d. Morning Chronicle, 29 Mar. 1799: This Day is published Vortigern and Henry the Second (4s.). Receipts: #555 6s. 6d. (528.6.0; 26.9.6; 0.11.0)

Event Comment: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov

Event Comment: To the Author of the General Advertiser. Sir: Having read an advertisement of a performance call'd Concerto Spirituale, for the Benefit of Mr Geminiani, on Friday 6 April next, I could not avoid making a few remarks to the public on the occasion, which, if you will favour with a place in your Paper it may perhaps be of service to his undertaking, and will greatly oblige, Sir your humble Serv't, J. B. When Mr Geminiani came first over here, the great excellence of the Violin was unknown in this kingdom, and the great improvement our countrymen have made on that instrument is entirely owing to him. The valuable works he has produc'd in the instrumental way, are greater indications of his merit, as an author, than any I can offer in his behalf; this is the only Benefit he ever made, therefore I persuade myself that the Public (who are justly famous for their Generosity on such laudable occasions) will give him the encouragement his Merit deserves

Event Comment: Benefit J. Roberts. By Desire. For the Entertainment of the Ancient and Honourable Society of Non-Common Pleas, Mainpiece: Written by the Author of George Barnwell. Second and Third Pieces: Both written by the Author of Pasquin. To begin exactly at Half an Hour after Six, and all will be over by Half an Hour after Nine. Tickets (containing the Prologue to the Register, by way of Ode to the New Year, with the Musick engrav'd on a Copper Plate) may be had of Mr Henry Roberts, Engraver, at the Star over-against the Vine Tavern in Holborn, and at the Theatre in the Hay-Market. Daily Advertiser, 2 May: Sir, As at every one of our Theatres this Day there is a Benefit for Persons under Misfortunes, 'tis humbly hop'd that the more humane Pursuers o Pleasure will suspend their Curiosity for Vaux Hall for one Day, (out of a hundred) in Favour of so many Unfortunate, who have but the Chance of one single Night to relieve them from Afflictions which perhaps they have long labour'd under. And, as I have somewhere read, So humane Worth to God like Heights they'll raise, For the Preserver shares the Maker's Praise. I believe it is fully known, without troubling you with farther Particulars, that among the Number above mention'd, is included, Sir, Your very humble Servant, John Roberts

Event Comment: A Musical Drama, in Two Parts...with Dances and other Decorations Entirely new. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be delivered this Day, at the Opera Office in the Haymarket, at Half a Guinea each. Gallery 5s. By His Majesty's Command, No Persons whatsoever to be admitted behind the Scenes. The Gallery to be open'd at Four o'Clock. Pit and Boxes at Five. To begin at Six o'clock. A New Opera [composed by Gluck; text by F. Vanneschi]. The Subscribers to the Opera are desired to make the last Payment of their Subscription Money to the Treasurer, at the Opera Office in the Haymarket, where Attendance will be given this and every Day, from Ten till Two, to receive the same, and deliver out the Silver Tickets. [Repeated until 28 Jan.] The new Musical Italian Drama; entitled La Caduta de Giganti, or the Fall of the Giants, writ on Occasion of the expulsion of the Rebels, was perform'd last Night at King's Theatre in the Haymarket. The performance was received and carried on with great Attention, Tranquility, and Applause: and not a little enliven'd by the Presence of his Royal Highness the Duke of Cumberland.--Daily Advertiser, 8 Jan

Event Comment: By His Majesty's Command (General Advertiser). Present The King and The Princess Amelia. Rec'd by overcharge in Woodfall's Bills Jan. 14: 5s. and 17 days at 1s. per day of Miss in Her Teens: #1 2s. Receipts: #188 5s