Event Comment: Tickets deliver'd out by Miss Copin for the Merchant of Venice will be taken to the Conscious Lovers (General Advertiser). This day is publish'd, Price 1s., A Letter of Complaint to the Ingenious author of a Treatise on the Passions, so far as they regard the stage; with a critical Enquiry into the theatrical merit of Mr G-k, Mr Q-n, and Mr B-y, &c. With some further remarks on Mr M-n. And a few hints on our modern Actresses, particularly Mrs C-r and Mrs P-d. Magna est Veritas, & pravalebit. Printed for C. Corbett, over against St. Dunstan's Church, Fleet St. (General Advertiser). [Illuminating discussion of actors' abilities]: The Stage is much indebted to Mr M- for his incessant successful endeavours; he not only grac'd it with his own personal merits, but rais'd up several Branches who tho' they have not yet quite eclips'd Mr Giffard's Nursery from Goodman's Fields, will certainly in time prove stars of the first magnitude.--(p. 28). Touch Messrs. Giffard and Ryan and give them better voices; there is nothing else wanting. Help Mr Delane to a new manner and judgment to display the best pipe that ever was heard. Polish a little the rough Beauties of Mr L. Sparkes, give the sensible Mr Havard a few more spirits; and mend the Humour of Hippisley, Chapman, Barrington, and Blakes if you can. Poor Yates wants nothing but a front of brass, a necessary self-sufficient Manner of pushing himself upon a Publick.--(p. 31). If Mrs Giffard's Manner was equal to her understanding, she wou'd compell everybody to acknowledge her a surprising Performer. In Lady Macbeth she is excellent; and Hermione was very near eclipsing a much more popular actress; in short in every Part she performs, the severest of her enemies cannot but own she is more than decent.--(pp. 32-33). [Gives two pages each to discussion of Mrs Clive, Mrs Woffington, Mrs Cibber, and Mrs Pritchard.

Event Comment: [Benefit on one-half value of tickets basis to nine ticket holders. The General Advertiser notice lists beneficiaries as Harrington (Prompter); Stede, Carr, Mrs Bland, Mrs Rowley.] Tickets deliver'd by Mrs Daniel, Mrs Dumont, &c will be taken. /For Box Pit Gallery Value Half-Value/Harrington 7 29 22 #8 6s. #4 3s./Stede 7 52 59 #15 9s. #7 14s. 6d./Carr 6 53 46 #14 1s. #7 0s. 6d./Mrs Rowley 27 77 44 #22 14s. #11 7s./Mrs Dumont 36 31 32 #16 17s. #8 8s. 6d./Mrs Bland 9 56 91 #19 15s. #9 17s. 6d./Mrs Dupre 5 33 42 #10 8s. #5 4s./Mrs Daniel .. 45 109 #17 13s. #8 16s. 6d./Mrs Hitchcock 34 58 31 #20 6s. ........./Totals 131 434 476 #145 9s. #62 11s. 6d./ [Mrs Hitchcock seems to have received the full value of her tickets.] This Day is Publish'd A Treatis on the Passions so far as they regard the stage, with a critical inquiry into the Theatrical Merit of Mr G k, Mr Q n, and Mr B y, the first considered in the part of Lear, the last two oppos'd in Othello. By S. Foote, Esq

Event Comment: Receipts: #138 10s. 6d. Paid three days salary at #85 1s. 11d. per diem, #255 5s. 9d. [Paid the following items which occur regularly each Saturday pay day during the 37 weeks of the 1773-74 season: Lampmen #2 12s.; Billstickers #3 12s.; Handbills 8s.; Candlemen #3 18s.; Carpenter's Bills #8 14s. 6d.; Taylor's Bill #8 11s. 8d.; Mantua Maker's Bill #5 6s.; J. Stevens 18s; Mrs Abington's Cloaths #1; Mr Carver 11 days #11; Mr Royer 2 weeks #9; Mr J. French on act #8 8s.; Supernumeraries and Kettle Drummers #3 14s. (Treasurer's Book). N.B. This pay day was based on a three-day acting week. The average paid out for each of these items over the season, and the total for each computed on this average was as follows. [No further mention will be made of these items this season.] @ Average per week Total for season@Lampmen #3 2s. #113 14s.@Billstickers #2 14s. #99 18s.@Handbills 12s. #22 4s.@Carpenter's #5 10s. #203 10s.@Taylor's #10 2s. #373 14s.@Mantua Maker's #2 10s. #92 10s.@J. Stevens 18s. #33 6s.@Mrs Abington Cloaths #1 12s. 4d. #60@Carver at 1 per diem #189@Royer #4 10s. #166 10s.@Sups and Kettle Drum at #3 10s. per diem #661@Candlemen #7 14s. #277 4s.

Event Comment: Mainpiece: A Comedy [by William Kenrick] never performed before. [The play failed to succeed. Kenrick accounts for the failure in his Preface to the 1773 edition by reference to the Macklin affair (See 23 Oct., 30 Oct. and 18 Nov.) He quotes from the Public Advertiser (22 Nov.): "On Saturday last a new comedy called the Duellist was performed, for the first time, at Covent Garden Theatre. Previous to the curtain being drawn up, the following written handbill was dispersed about the house. 'Mr Macklin has been pursued by a malicious party to such a pitch of rancour, that at last they have succeeded so far in their cursed designs, as to get him discharged this theatre, and thereby have deprived him of the means of a livelihood; therefore if the public have any spirit, they will not suffer the new play to begin till Mr Colman promises that Mr Macklin shall be engaged again.' This handbill found its way into the green-room, and had a very visible effect on the performers, as was plainly evident from their confusion. The piece was received with great marks of approbation, and given out again for Monday, which was attended with some hissing, but that was greatly overpowered by the general applause of the audience. The overture to Thomas and Sally being attended to with silence, the greatest part of the author's friends quitted the theatre; which being taken advantage of by a party in the gallery, a riot ensued, and the entertainment was not suffered to go on till another play was given out for Monday." Kenrick agrees with this account, then analyses several other objections which he dismisses, to wit, in the play (a) too lengthy a satire on lawyers, (b) an indelicate passage in Latin (omitted from the printed version); in the audience, a conspiracy of Garrick and Bickerstaffe against him; and lack of a claque of his own friends to carry through their suport of him. Macklin's name appears on the playroll this night, but only for a accumulated 4 days of pay #8 16s. (Account Book).] Receipts: #221 3s. 6d. (Account 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: This play was reviv'd instead of ye London Cuckolds by way of Compliment to the City--not lik'd at all--Mr Ross being ill Mr Mattocks did his part at 2 Day's Notice, wch at the end of the 4 Act Mr Woodward told the Audience, & tho Mr Mattocks was hiss'd before, when he next appear'd they gave him great Applause. Mattocks never play'd a principal part before in London (Cross). Mainpiece: Never Acted there. [Inspector No 206 reports a letter on the lack of wisdom of giving the London Cuckolds on Lord Mayor's Day, as the morals of the trading youth have been corrupted by it the writer rejoices to see the substitution of Eastward Hoe for it (Daily Advertiser and Literary Gazette).] Receipts: #130 (Cross)

Event Comment: [Afterpiece in 3 acts, altered from Garrick's original 5 acts by Richard Brinsley Sheridan.] The Music composed by Dibdin. With New Dresses. The Scenes, Machines, &c. invented by DeLoutherbourg. The Christmas Tale reduced to three Acts (by R. B. Sheridan esq.) was performed for the first time as a Farce--was received with very great Applause--it is too long, and must be shortened (Hopkins Diary). Public Advertiser, 22 Oct. 1776: This Day at Four o'Clock will be published A Christmas Tale (1s.) [For Baker see 28 Sept.] Receipts: #241 14s

Event Comment: Mainpiece [1st time; CO 3, by Andrew Franklin]: The Scenery, Machinery, Dresses and Decorations entirely new. The Overture and Musick composed by Florio. The Scenes, designed by Greenwood, and painted by him, Banks, and assistants. The Machinery, Dresses and Decorations designed by Johnston, and executed by him, Gay, and Underwood. The Female Dresses designed and made under the direction of Miss Rein. Books of the Songs to be had at the Theatre. "With thy exception of Pizarro, this is one of the most magnificent spectacles the stage has for some time produced. The dresses...are attended with particular accuracy to the costume of the country...and the scenery is locally correct" (Monthly Mirror, Mar. 1800, p. 173). "As a singer [Mme Mara's] powers are indisputable; but as a performer she exhibits herself in a light which alternately provokes our ridicule and pity. Her delivery is an absolute libel on the profession. To the defects of a foreign pronunciation she joins a natural impediment of speech, which partakes too strongly of a lisp to warrant her bearing part in the prose dialogue of a play. What could possibly induce her to appear before the public under such disadvantages, unless she did it in compliment to the composer, we are at a loss to conjecture; nor less are we puzzled to account for the supineness of an audience which can patiently tolerate such puny efforts" (Dramatic Censor, I, 347-48). Morning Chronicle, 14 June 1800: This day is published The Egyptian Festival (2s.). Receipts: #320 18s. 6d. (277.6.6; 42.8.0; 1.4.0)

Event Comment: A new short Introductory Piece before a play [The Meeting of the Company]. This new Prelude call'd The Meeting of the Company or Bayes' Art of Acting by D. G. Esq--it is full of fine Satyr & an Excellent Lesson to all performers, it was receiv'd with very great Applause (Hopkins Diary). [MacMillan's note from Kemble differs slightly in the wording. The salaries this season were #94 7s. 8d. per day; #566 6s. per week. Kemble's note as to total receipts is short by 8 pence.] Prices: Box 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. [Unfavorable review of Meeting of the Company in The Westminster Magazine (Sept., p. 472). The actor Aickin referred to this season is J. Aickin. Francis Aickin left dl before the beginning of this season. He was dismissed by Garrick in May. See Booden, Private Correspondence of David Garrick, I, 651-55.] Paid Renters #8; Advanced Mr Watson (box office keeper) #10; Ditto to Mr Mortimer (box office keeper) #15 (Treasurer's Book). [The funds to the box office keepers was operating cash which was returned 29 May 1775. Payment to Renters was same for each acting night until the eighty-eighth night (9 Jan. 1775) when it dropped to #4 nightly, since half of the stock holders (the Old Renters) were paid up by that time. The remaining 100 nights of the season plus 11 Oratorio nights yielded #448 to the Renters. No further mention of this item of expense will be made this season.] Total to Renters #1,152. Receipts: #212 14s. 6d. (Treasurer's Book)

Event Comment: This play is alter'd by Mr Cumberland was very well receiv'd Mr & Mrs Barry play'd very well Alcibiades was perform'd by Mr Crofts being his first appearance upon any Stage bad figure bad voice & Play'd bad (Hopkins Diary). New Scenes, Decorations &c. Mr Crofts-a stationer in the Temple (Winston MS 10). Theatrical Review, 4 Dec.: We think ourselves oblig'd to declare that this gentleman (Crofts), by no means answered the expectations we had formed, from the accounts we had heard of him.--His voice is not bad, though it is not much above the level of common conservation; --his deportment is aukward and void of grace to an extreme; and he labors under the disadvantage of having a face destitute of expression. His gestures are extremely ungraceful, and the whole of his execution is glaringly untutored, and misconceived. His persons is very ill formed, and therefore it makes greatly against him, especially as he is the representative of Alcibiades, who was the handsomest man in all Athens, and we never remember any one's attempting to set out as a capital performer with so few requisites for the support of such an undertaking as this gentleman appears to have. Paid Dr Nares & Mr Cooke's 8 boys in the Garter, 12 nights (30th ult. incl.) #36; Master Brown 7 nights (2nd inst. incl.) #2 12s 6d.; Licence for Timon, #2 2s. (Treasurer's Book). [Larpent MS 328 of Cumberland's Timon, is one of the earliest to include scenic descriptions: "A Hall in Timon's House. The Flat Scene represents stately Folding Doors. Scene two, the Back scene is hastily drawn back and discovers a magnificent Levee Room or Salon. &c."] Receipts: #243 1s. (Treasurer's Book)

Event Comment: Lethe is reviv'd with Alterations & a New Character-very well receiv'd & great Applause-Mr Garrick play'd with great Spirit & was much Applauded (Hopkins Diary). [MacMillan notes lack of Fribble parts in Larpent MS. Yet Theatrical Review, 11 Jan., describes briefly the alterations, suggesting, The character of the Fine Gentleman in the former Lethe had some strong allusions to the behaviour of Gentlemen behind the scenes at the playhouses, which custom being abolished of late years, the character had lost its importance, on which account it is altered to a Fribble, and consequently entirely new written." A methodist taylor, an Irishman, Mr & Mrs Carbine (originally Mr & Mrs Tatoo) are also new. See account also in Town and Country Magazine (Theatre NO. XXXIII).] Paid Salary list, #502 3s. 6d.; Mrs Abington's cloaths acct #2; Mr S. French 6 days #1 10s.; Rec'd, Stopages. #11 13s. (Treasurer's Book). Receipts: #245 11s. (Treasurer's Book)

Event Comment: This play was wrote by Mr Moor but as he had some Enemies, came out under ye Name of Mr Spence--went off well, except some few Words & a Song wch are since omitted--Mr Havard not being able to play the part design'd for him The following advertisement was put at ye Bottom of ye Bills for he first 2 Days: N.B. The Managers being engag'd to act two New Plays this Winter, cou'd not longer defer this Tragedy in waiting for Mr Havard's Recovery; Mr Davies at a very short Warning, has willingly undertaken the Character which Mr Havard was to have acted, and humbly hopes for the Indulgence of the Public (Cross). [This N.B. note from the Cross Diary is printed verbatim on the playbill]. Never Acted before. Tis hoped no Gentlemen will desire to be admitted behind the Scenes, this night. Receipts: #217 (Cross)

Event Comment: For Mainpiece New Scenes, Dresses, Music, Machinery, and Decorations (playbill). This piece was written by Mr G. which he wrote in a hurry & on purpose to Shew Some fine Scenes which were design'd by Mons DeLoutherberg particularly a Burning Palace &c. which was extremely fine & Novel. Mr Weston Play'd very well, The Music by Mr Dibdin. the worst he ever Compos'd. The Piece was very well receiv'd (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording.] Paid for supernumary soldiers #1 12s. (Treasurer's Book). [The afterpiece reviewed, but not well liked by the Westminster Magazine.] Receipts: #219 11s. 6d. (Treasurer's Book)

Event Comment: The People flock'd about the doors by Two o'clock. there never was a greater Overflow-Mr G. was never happier in Lear -the Applause was beyond description 3 or 4 loud Claps Succeeding one another at all his exits and many Cry'd out Garrick for Ever &c., &c. House (Hopkins Diary). [Kemble's note differs slightly.] Paid Mr Short, Chorus Singer #1 10s. (Treasurer's Book). Hannah More wrote to Mrs Gwatkin: The eagerness of the people to see Garrick is beyond anything you can have an idea of. You will see half a dozen duchesses and countesses a night in the upper boxes: for the fear of not seeing him at all, has humbled those who used to go, not for the purpose of seeing but being seen; and they now courtsy to the ground for the worst places in the house" (Hampden, Journal). [Letter to David Garrick, Esq on his appearance in Lear last night 13 May: The correspondent who signs himself Stock Fish and who claims to have been one of the survivors of the Black Hole of Calcutta, and who took a young lady from the country to see Garrick's last performance, blames him for endangering the lives of his majesties subjects for not providing proper bars, lanes, and queue lines to handle the crowds: "I went with intention to get into the Pit as the most eligible Part of the House (for your Boxes are always engag'd) and we got to the Door in Vinegaryard about five o'clock. Here the Passage to the first Door was too full for me to entertain any Hopes of getting in that Way, we therefore made for Catharine-street but the Multitudes of People waiting for the Opening of the Gallery-doors, rendered it impossible for us to get along through the Court; we therefore made a Circuit, and at length arrived opposite the Door in Catharine-street, where it was with Difficulty we could keep our Stands on a Foot Pavement....You will be absolutely inexcusable, if after this Warning you neglect to adopt some Method for the Security of the Lives of his Majesties Subjects on similar Occasions.--What think you of the following Scheme, viz. To keep the outer Doors next the Street shut, till the inner ones are opened ; and then, by a Proper bar, to prevent more than one at a Time entering, who shall there pay Entrance-money, and receive the Tickets of Admission through the inner Doors' (Public Advertiser 18 May).] Receipts: #308 1s. (Treasurer's Book)

Event Comment: Mainpiece [1st time; C 5, by Hannah Cowley.] Miss Younge had a song [Wake, thou son of dullness] composed by Michael Arne. Authors of Prologue and Epilogue unknown]: New Scenes and Dresses. Account-Book, 16 June: Paid Mrs Cowley for suspending the publication of the Belle's Stratagem #100. Public Advertiser, 1 Apr. 1782: In a few Days will be published The Belle's Stratagem. A spurious Copy having been published in Ireland [in 1781] make[s] it necessary to observe that the above is the genuine Comedy, as performed at Covent Garden Theatre. Ibid., 9 Apr. 1782: This Day is published The Belle's Stratagem (1s. 6d.). Receipts: #213 19s. (212.15.6; 1.3.6)

Event Comment: Afterpiece [1st time; B 3, by Richard Brinsley Sheridan. Prologue by the Hon. Richard Fitzpatrick (Public Advertiser, 3 Aug. 1781)]: With a Procession. [This was included in all subsequent performances. For the Sea Fight see 20 Nov.] With New Scenes, Dresses and Decorations. The Scenery designed by DeLoutherbourg, and executed under his direction. The Doors to be opened at 5:15. To begin at 6:15 [same for rest of season, except on 1 May 1780]. "The House was so crowded that there were many disturbances, one so great that Smith when he had nearly finished 'To be or not to be' was obliged to leave the Stage, and when the noise subsided, to return and begin the soliloquy again... As The Critic took up two hours and a half in performance, it must of necessity be considerably shortened" (Morning Chronicle, 1 Nov.). "The scene of the battle with the Armadav [was] executed in the most masterly manner. The Motion of the sea, the engaging of the ships, and the destruction occasioned by the fire-ships were happily contrived and accurately represented" (London Chronicle, 1 Nov.). Account-Book, 9 Nov.: Paid R. B. Sheridan on Acct. of Critic #320. Receipts: #241 19s. 6d. (222.11.0; 19.3.6; 0.5.0)

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)

Event Comment: Mainpiece [1st time; C 5, by Lady Eglantine Wallace. Prologue by Joseph Jekyll (World, 14 Apr.). Epilogue by Thomas Morris, with five lines added by Edward Topham (Public Advertiser, 15 Apr.)]: With new Scenes and Dresses. Public Advertiser, 26 Apr.: This Day is published The Ton (18d.). "On the next representation we hope the other performers will not give the audience reason to believe that the prompter has a part in the play from his frequent audibility" (Public Advertiser, 9 Apr.). Receipts: #295 18s. 6d. (294.9.0; 1.9.6)

Event Comment: Mainpiece [1st time in London; DR. POEM 5, by William Mason, 1st acted at Crow Street Theatre, Dublin, 30 Mar. 1764]: Written on the Model of the ancient Greek Tragedy. The Overture and all the Music composed New by Dr Arne. With a New Scene designed and executed by Dahl [recte Dall]. The Dresses, Decorations, &c. all entirely New. Books of the Lyrical Part of the Drama to be had at the Theatre. 'But I had rather talk of Caractacus; I agree that he will not suffer by not being sputtered by Barry, who has lost all his teeth. Covent Garden is rather above Drury Lane in actors, but both sets are exceedingly bad, so bad-that I almost wish Caractacus was not to appear. Very seldom do I go to the play, for there is no bearing such strollers" (Walpole [to the author, 8 Oct. 1776], IX, 419-20). "I attended Caractacus last winter, and was greatly interested, both from my friendship for Mr Mason and from the excellence of the poetry. I was out of all patience; for though a young Lewis played a subordinate part very well, and Mrs Hartley looked her part charmingly, the Druids were so massacred, and Caractacus so much worse, that I never saw a more barbarous exhibition" (Walpole [13 July 1777], X, 81-82). Public Advertiser, 7 Dec. 1776: This Day is published the Lyrical Part of Caractacus (6d.). [The publisher, J. Wilkie, states that he also has the "whole Drama, as altered by the Author, 18d." Ibid., 9 Dec., contains an advertisement from Mason stating that this version is unauthorized.] Ibid., 12 Dec.: This Day is published [by A. Ward of York] a new Edition of Caractacus, now altered for Representation at the Theatre-Royal in Covent Garden (1s. 6d.). Receipts: #163 10s. (163.6; 0.4)

Event Comment: Benefit for Woodward. With two New Scenes in the Afterpiece painted by Richards and Dahl. Mr Woodward, at the particular request of several persons of Quality has changed from the Fair Quaker to The Busy Body. Tickets deliver'd for Fair Quaker will be admitted. House charges with candles and extras #65 15s. Balance to Woodward #102 7s. plus #58 5s. for 233 Box tickets (Account Book). [Public Advertiser, 12 Dec. 1767: "Speedily will be published the Battle of the Wigs, an additional canto to Dr Garth's poem The Dispensary. Occasioned by the Disputes between the Fellows and licentiates of the College of Physicians in London. By B. T. and M. B."] Receipts: #168 2s. (Account Book)

Event Comment: Benefit for Watson, Roberts, Kaygill and Palmer. House charges #84. [Deficit to beneficiaries #50 6s.] Bower's and Veal's deficiency of benefit received #61 5s. 6d. Rec'd from Mr Rowland 1 year's rent to Lady Day last (taxes and bills deducted) #30 6s. 1d. Paid Ridley Dorman for attending practices #10 10s.; Mr Larbor for attending Guidetti #2 2s. Mr Williams for 2 nights in Musical Lady #1 1s. (Treasurer's Book). Receipts: #33 14s. (Treasurer's Book)

Event Comment: A New Pantomime of Mr Messinks went off with great Applause (Hopkins Diary). Music By Dibdin. New Scenes, Habits, and Machines. Nothing under Full Prices will be taken. [Repeated.] Paid 4 days salary list at #85 12s. 11d., #342 11s. 8d.; Miss Mansell on acct #5 5s.; Mr Clinch ditto, #6 6s.; Dr Arne for Mrs Bradley 2 nights per order #5 5s.; Stopages nil (Treasurer's Book). [Full description of the New Pantomime is given in the Westminster Magazine (January 1773): Harlequin born to the Pigmies comes to manhood, gets a job from the Register Office in a Nobleman's family where he meets Colombine. They love, and elope, a chase ensues through several noted places in London, which are detailed in the review. The union of the lovers is finally consended to, and all closes with dancing. "Some of the paintings in the scenery are well executed; and the generality of Mr Dibdin's music deserves equal praise." In it Mrs Wrighten gives a ludicrous imitation of Miss Catley's manner of singing. The reviewer's general thesis about the London stage of this period, given first in the preliminary number, 1 Jan. 1773 continues: "The Stage seems now buried in universal darkness...The Publick for several weeks, has been fed with the lean carcass of two villainous pantomimes."] Receipts: #162 13s. 6d. (Treasurer's Book)

Event Comment: [In mainpiece the playbill retains Mrs Wells, but she "was so ill last night that she could not perform the part of Jane Shore. It was undertaken by Mrs T. Kennedy" (Public Advertiser, 21 Dec.).] Afterpiece [1st time; P 2, by John O'Keeffe]: The Pantomime, and the whole of the Scenery, Machinery, Dresses, &c. designed and invented by Loutherbourg, and executed under his superintendance and direction by Richards, Carver, Hodgins, Catton Jun., Turner, assisted by two other celebrated artists [all subsequent playbills have "a celebrated artist"; he was the Rev. Matthew William Peters (Public Advertiser, 16 Dec.)]. The Music entirely new, composed by Shield. Books containing a short account of the Pantomime, as well as the Recitatives, Airs, Duets, Trios and Chorusses, and a Description of the Procession, to be had at the Theatre. Nothing under Full Price will be taken. [This was the last theatrical piece for which De Loutherbourg designed the scenery. For a detailed account of it see "De Loutherbourg and Captain Cook", by Ralph G. Allen, Theatre Research, IV, 195-211.] Account-Book, 17 Oct.: Paid De Loutherbourg on acct. #120; 20 Dec.: Paid Goodwin for copying Music #10 14s.; 14 Feb. 1786: Paid O'Keeffe in full for Omai #40. Receipts: #309 19s. (302/7; 7/12)

Event Comment: [The Public Advertiser published a long New Historical Epilogue, intended by the Author as a proper sequel to the Tragedy of the Brothers. It speaks of the authentic history in the play, and of the effective moral lesson, closing: @As public woes a Prince's crimes pursue,@So public blessings are his Virtues' due.@Shout Britons, shout!--auspicious Fortune Bless!@And cry, Long live--OUR title to success!@ This was followed by a Letter from Mr Booth in the Shades to Dr Young, on his Tragedy call'd the Brothers (an elaborate puff). In it Booth forgives Young for withdrawing the play from rehearsal thirty years earlier, and thus precluding his playing the part of Demetrius: "And I the more readily pardon you, as you have not disgraced me by giving the part to any of my successors, till this Garrick appeared, whose reputation, I can assure you, is by no means confined to your world, and who, I am told, hath more than supply'd my place, hath rendered the loss even of Betterton himself very supportable." He then lets Young in on a secret that there will be a performance of his play in the shades by all the old actors as soon as Curll can steal a copy of it for them.] We are assured that on Thursday the 22nd instant will be publish'd a Comedy in 2 acts, call'd The Rehearsal; or, Bayes in Petticoats, witten by Mrs Clive, and to be performed that evening, after the Mourning Bride, for her Benefit at Drury Lane. Mr Yates's Benefit will be on Thursday the 5th of April, when the tragedy of the Gamester will be played, being the twelfth day. A new farce will be added to it, the preparing of which has oblig'd Yates to defer his Benefit till the above day. Receipts: #150 (Cross)

Event Comment: Author's night. Afterpiece: Not acted in 2 years. [See 16 May 1769.] Theatrical Review, 29 Feb.: A tolerable representation of the ceremony of drawing the tickets, at Guildhall, is introduc'd, and the whole together is rendered a very diverting performance. Rec'd Stopages, #11 6d.; Paid salary list #500 18s. 6d.; Mrs Abington's cloaths acct, #2; Mr S. French 6 days #1 10s. (Treasurer's Book). This day publish'd (From the Subscription Quarto, a neat pocket edition) Dramatic Genius, in Five Books...Printed for T. Becket. Receipts: #252 11s.; Charges: #73 10s.; Profit to Murphy: #179 1s. (Treasuer's Book)