Event Comment: Account-Book: Paid Orchestra #61 13s. a week; Peake #10 a week; Soldiers #5 5s. a week. Receipts: #151 4s. (81.13; 65.18; 3.13)

Event Comment: Music of Afterpiece entirely new Composed by Dibdin. [An adaptation of Goldoni's Il Filosofo di Campagna.] Book of Songs to be had at Theatre (playbill). The Wedg R. a Comic Opera of Two Acts wrote & composed by Mr Dibdin. The Music very pretty--as the Author was kept a Secret The Town fancy'd that is one of Mr Bickerstaff & call'd out to know who was the Author. Mr Garrick inform'd them that he had no power to declare who the Author was but he could assure them that it was not Mr Bickerstaffs this did not Satisfy them at last Mr Dibdin went on & declard himself to be the Author & made an Affidavit of it & then the Farce went on with Applause (Hopkins Diary). [Account of The Wedding Ring in Westminster Magazine for Feb. 1773.] Paid #4 4s. for licensing The Wedding Ring and Alonzo (Treasurer's Book). [Maria Macklin, in a MS letter to her father, 3 Feb. 1773, commented fully on this night's performance: "Written as it was suppos'd by Bickerstaffe. The music by Dibdin. I went with a party into the Gallery to see the event as there was a great riot expected, & indeed never did I see an audience more inflamed. They would not suffer them to begin the piece. At last Mr King came on with a written paper in his hand, which he said he was desir'd to read in the name of the managers. After a great noise they let him read it. He said just before the play began the managers had receiv'd a letter from Mr Dibdin in which he declared that Bickerstaff was not the author of that piece, that he had made oath of it, and was ready to do the same again, but that for very particular reasons the author could not be given up. Then they stopp'd him & roar'd out that the author should be given up then. He continued as loud as he possibly could, reading on that 'but that if Mr Dibdin did not very soon given up the author he never should be suffered to appear again on that stage or any other.' Very luckily that turn'd them as I believe the House would have come down. The piece then began. Before the end of the first act one of Bannister's songs were encor'd. The other party were against it and would not let it go on. They all stood up and insisted that the author should be known then. After some time the house being nothing but confusion, Dibdin was push'd upon the stage ready to drop with fright, and declared that he was the author himself. Then they were as noisy the other way. Made them finish the piece, but how you may guess in a storm. It is like the Padlock, but the songs not so good." (Brander Matthews, Actors and Actresses, extra illustrated, Vol. I. Harvard Theatre Collection.). Westminster Magazine this month included in parallel columns flattering "Characters of Mr Garrick and Mr Colman," the Rival managers. The article especially praised Garrick's acting.] Receipts: #252 3s. 6d

Event Comment: [The following puff appeared in the Public Advertiser: "Yesterday about twelve the Races began on the Bowling Green, Southwark. There were several started for the Plate called Public Approbation, amongst the Rest was a celebrated Theatrical Horse, and two or Three Racers belonging to the same Stable, and some young Colts and Fillies, lately bred in the Stud of an eminent Sportsman in the Haymarket. The dispute laid principally between the noted Don Quixote and the Little Female Minor. The contest was warm, and several Heats were ran [a number of performances during the day?] before it could be decided; which at length was given by a small Majority of the Subscribers and the Clerk of the Course, in favor of the latter. However, her Antagonists being Bloed, they have challenged her to run again, play or pay, for three Days sucessively; and she will start This Day, tomorrow and Monday next, exactly at Twelve. Bets are laid, the Little Minor against the Field; and Eight to Six that in the end she distances the famous Old Horse, and beats him absolutely hollow."

Event Comment: MMrs Cowper did Sylvia, for her first appearance here (she came from Bath, Richmond &c.)-Toll. Afterpiece as originally perform'd (Cross) [i.e., without the burlesque scenes of The Fair (see 6 Nov. 1752).] This piece [Harlequin Ranger] was now acted as originally written. It is surprising that Mr Garrick should be the first to introduce Pantomime Entertainments (this season) especially as his own universal talents are seconded by a good company of performers. We suppose he does it to gratify the taste of the town; but such Smithfield exhibitions should certainly be banish'd from all regular theatres; and as Mr Woodward is an excellent comedian, it would be more eligible in him if he chuses to wear the motley dress any more to appear in the character of a speaking Harlequin, after the manner of the Italian Comedy; and indeed it is not a little surprising that nothing of this kind has yet been admitted upon our stage (Gentleman's Magazine, Oct., p. 493, from Grays' Inn Journal, 13 Oct. 1753.). Receipts: #120 (Cross)

Event Comment: Mainpiece [1st time: MD 5, by James Boaden]: With new Musick [by Michael Kelly], Dresses, and Decorations. [Scenery by Capon (Theatre Notebook, XIX, 14).] Morning Chronicle, 16 Jan. 1799: This Day is published Aurelio and Miranda (2s.). Receipts: #271 16s. (218.15.0; 51.19.6; 1.1.6)

Event Comment: Benefit for Brereton. [Afterpiece not printed. Larpent MS lists characters: Widow Watchem, Harriet, Maria, Bluster, Swallow, Truman, Juggle (MacMillan).] This Farce was written by Mr Andrews it was receiv'd with Applause (Hopkins Diary). Paid tallow chandler's 8th Bill #37 13s. 2d.; half years Land & Window Tax to Lady Day last for St Martin's #38 4s. 4d.; Easter Offering 10s. 6d.; Chorus 2 nights (this incl.) #3 11s. (Treasurer's Book). Receipts: #216 8s. Charges: #67 6s. 6d. Profits to Brereton: #149 1s. 6d. (Treasurer's Book)

Event Comment: Mainpiece: Not acted these 3 years. [See 7 Oct. 1768.] Mr Clinch made his first appearance in the part of Alexander tolerable figure & Voice a Little too much upon the Brogue, he is very wild & Aukward-but was receiv'd with Applause (Hopkins Diary). [Macmillan note from Kemble differs slightly.] Paid Dr Arne as per order #31 8s.; Mr Stacie for drawing leases, #3 3s. Tallow chandler's first bill #29 13s. 3d.; Mr Jefferson on note, #200 (Treasurer's Book). [Reviewer for Town and Country Magazine more favorable to Clinck's performance than is Hopkins.] Receipts: #149 19s. (Treasurer's Book)

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The King and Queene & a Box for ye Maydes of Honor at the Opera. See also Nicoll, Restoration Drama, p. 350, and 1 Jan. 1684@5. The opera was certainly given on 3 June, probably on 10 June, and probably on 13 June, the day that the news of the Duke of Monmouth's landing reached London; as Downes states that it was acted six times, there were three additional performances between 3 and 13 June 1685. Downes (Roscius Anglicanus, p. 40): In Anno 1685. The Opera of Albion and Albanius was perform'd; wrote by Mr Dryden, and Compos'd by Monsieur Grabue: This being perform'd on a very Unlucky Day, being the Day the Duke of Monmouth, Landed in the West: The Nation being in a great Consternation, it was perform'd but Six times, which not Answering half the Charge they were at, Involv'd the Company very much in Debt. Roger North: The first full opera that was made and prepared for the stage, was the Albanio of Mr Grabue, in English, but of a French genius. It is printed in full score, but proved the ruin of the poor man, for the King's death supplanted all his hopes, and so it dyed (Roger North on Music, ed. John Wilson [London, 1959], p. 311). The Prologue and Epilogue, published separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 244-46. The score and the libretto were published in 1687 (licensing date of 15 March 1686@7): Albion and Albanius; An Opera; Or, Representation in Musick. Set by Lewis Grabu, Esq; Master of His late Majesty's Musick

Event Comment: Account Book: @Receiv'd of Vincent for Music Forfeits this season #21 11s. 10d.@Rece'v'd for stage forfeits this season #14 4s. 2d.@Receiv'd of Mrs Carne for ends of Candles & Oyl #70 6s. 7d.@Receiv'd of Proprietors of Public Advertiser #50@Receiv'd of Proprietors of Daily Gazetteer #50@Paid Vincent for Music Books #4 5s. 2d.@9 June@Rec'd Assurance on 50 Renter's Old Shares at 4s. 10d. each #12 1s. 8d.@Rec'd Assurance on 50 Renter's New Shares at 2s. 6d. each #6 5s.@15 July@Rec'd of His Majesty by Mr Mathias #40@Rec'd of Madam Schellenbergen by Ditto #9@Total Income 1768-69: #30,759 16s. 2 1!2d.@Total Expense 1768-69: #24,035 8s. 3d.@31 May: Paid Arnold Composer #50 13s.@2 June: Paid Kirkman for tuning #20@

Event Comment: Eleventh and Last time of performing Mainpiece this season. Afterpiece: By Particular Desire. Othello and The Irish Widow, to have been performed this evening for Mr Barry's Benefit, oblig'd to be deferr'd till further notice (playbill). Mr Barry being Ill his Benefit which was to have been this Night is oblig'd to be deferr'd (Hopkins Diary). [So, according to Hopkins, the profits went to the house.] Receipts: #171 19s. 6d. To the Public Advertiser: Sir, I spent an agreeable evening lately with a Country Friend at the Primitive Puppet Show, and was not displeased at the ridicule pointed at the dull, spiritless stuff, which composes modern Sentimental Comedy. I was entertained too with the manner in which some of the Actors were taken off; But I cannot think mimicry worthy to furnish an Evening Entertainment for a Polite British Audience, or suited to the happy ridicule and pointed wit of Aristophanes. The old Roman comedy, as it was called, was designed for nobler purposes: it was directed to improve the head and mend the heart. The keen manly satire of that Comedy was pointed at Upstart, Braggart, Vice, and to expose the dangerous unfeeling craft of innocent Villainy, or to use the words of Mr Pope--Brand the bold front of shameless, guilty man. Such was, and such ought to be, the salutary Direction of Wit, and Satire by exhibiting characters in their genuine colours, when the mask, which disguises and conceals them from the eyes of the Weak the Credulous, and the Ignorant, is drawn off. The words of Horace are--Detrabere et pellam, mitidus qua quisque per ora Cederet, introrsum turpis. Yours, Dramaticus. Poetry for the Public Advertiser. Epigram on the New Tragedy Alonzo. @No wonder that each female voice@Resounds Alonzo's praise;@A sure foundation of Applause,@The crafty Author lays.@ @Against the Virtue of his Wife@A Husband, if he's wise@According to the Gallant HOME,@Should not believe his eyes.

Event Comment: Benefit for Aickin and Mrs Lee. House Charges #33 8s. Rec'd stopages #2 13s. (Treasurer's Book). Tickets deliver'd by Sg Giorgi and Miss Berkley will be admitted. Neville MS Diary: Went to ye Pit to see 2nd part of Henry IV. [Comments on performances of individual characters in general.] Falstaff very well by Love. This last uses his eyes with great propriety in this and many other characters....Pistol by Baddeley (King should have played it)

Event Comment: Benefit for a Family Under Misfortunes (Public Advertiser). Benefit for Mrs Lewis. Receipts: #54 3s. 6d. Income from Tickets #82 17s. (boxes 195; pit 146; gallery 122). Charges #84. Paid Hardgreaves (Smith) for grates, &c. for the dancing room, #6 11s. 6d. (Account Book)

Event Comment: Mainpiece: Never Performed There. On account of the Additional Airs, contracted into 3 Acts. [Public Advertiser, 30 Dec., notes that the principal omission was the conspiracy of Alonzo, Antonio, &c., and that the Masque in Act IV was removed to the concluding scene of the play.] With New Dresses, Scenery and Decorations. The Music by Purcell, John Christopher? Smith, Dr Arne and Fisher. [In afterpiece the playbill retains Delpini as Pierrot, but "[Hull] made an apology for the illness of Delpini, telling the audience that the Signor had hurt himself so much the preceding evening in performing the part of Pierrot that he could not come out of his room; the managers therefore hoped that the audience would accept of Wewitzer in the character" (Morning Chronicle, 28 Dec.). The playbill also adds Wewitzer as the Gardener; this part was perhaps omitted.] Paid Enderby, Oil Merchant, #258 17s. Receipts: #245 18s. (244.15; 1.3)

Event Comment: Opera [1st time; Past 3, author unknown]. The music [to Part I] composed by Giovanni Battista? Bianchi, [to Part II by] Rauzzini, [to Part III by] Giordani. With Grand Chorusses. With new Decorations devised and painted by Novosielski, and new Dresses. The Side-boards, with a cold Collation and all sorts of Wines, at 12 o'clock. The Performance under the direction of Vestris Sen., and to conclude with a Ball. Tickets, at 2 Guineas each, are ready to be delivered at the Office in Union-court, where Boxes may be taken. No Masks will be admitted. The Doors will be opened at 9:00, and the Performance to begin at 10:00. Books of the Performance will be given out (gratis) at the Theatre. Morning Herald, 7 June: The Omaggio, or homage paid by the vassals and tenants to their Lord, is naturally calculated to give free scope to lively, and sentimental music. In the former stile Bianchi and Giardini [sic] were equally succesful; and in the latter Rauzzini was surprisingly great, both as composer and performer...Slingsby would, in our opinion, have come out with as great a share of applause as the best of them, having to go through an English dance in his own stile, but by some unaccountable accident...the music-band stopped short when he was in the very climax of his exertions. The scenes are in the rural stile, with the addition of natural trees, flowering shrubs, &c., set in the neatest order...The company did not begin to move till about four, and by five the rooms were cleared. Public Advertiser, 7 June: The Vestris' gave incontrovertible proof of the variety of their powers...They did more, they shewed what this country had never seen-the possibility of presenting to the eye a large and extensive stage filled with dancers all in motion at the same time

Event Comment: House (Hopkins Diary). Afterpiece: For the last time this season. [Public Advertiser, 20 April: The following Accident happened at Drury Lane on Thursday in the Entertainment of the Jubilee. As Mr Hurst and Mr Palmer were representing the characters of Posthumus and Iachimo in the Fighting Scene where they were engag'd with extreme violence, the former narrowly escaped losing his eye from a severe wound in the temple."] Paid Richard Barnard for detecting a pickpocket 10s. 3 extra trumpets #1 2s. 6d. Receipts: #121 5s. 6d. (Treasurer's Book)

Event Comment: Mainpiece: For the first time here (by permission of the Manager of the Theatre Royal, Hay Market). [Author of Prologue unknown.] Paid Messrs Hammersley & Co.'s Trust Account for Renters, Theatre Rent, Patent Rent, Taxes, Insurance, and other certain Charges for 12 nights Paid each night #100: #1,200. Receipts: #235 9s. 6d. (174.9.0; 59.12.0; 1.8.6)

Event Comment: Mainpiece [1st time; C 5, by Miles Peter Andrews and Frederick Reynolds; based on Le Dissipateur; ou, L'Honnete Friponne, by Philippe Nericault, dit Destouches. Prologue by the Duke of Leeds; Epilogue by Miles Peter Andrews (see text)]: With new Scenes, Dresses and Decorations. The Scenery designed and executed by Greenwood. Gazetteer, 18 Nov.: At the rehearsal of the new comedy on Tuesday the Duke of Leeds, Major Scott, Mr Angerstein [the banker] and Mr Boswell were in the boxes. Mr Boswell said an epigrammatic thought had struck him...and he brought the following Impromptu into life: Andrews, your play is safe enough; For noble Leeds endures it; Boswell and Scott are pledged to puff, And Angerstein ensures it. World, 13 Dec. 1790: To-morrow will be published Better Late than Never (1s. 6d.). Receipts: #240 14s. (206.7; 32.6; 2.1)

Event Comment: Rec'd Stopages #18 14s. Paid Salary list--#496 18s. 6d; Mrs Abington on cloaths acct #2; Paid balance of Mr D. Garrick's Night 2nd inst. #118 14s. 6d. (Treasurer's Book). Receipts: #183 7s. (Treasurer's Book)

Event Comment: Benefit for the Lying In Hospital, Aldersgate St. Receipts: #76 15s. Income from Tickets #80 11s. (boxes 114; pit 273; gallery 111). Charges #84 (Account Book). Tomorrow the First Part of King Henry IV. [A long plea for attendance at this performance appeared in the Public Advertiser: "It affords me the greatest satisfaction when I peruse your paper, and find so many advertisements for charitable Benefits at the Theatres; which must greatly add to the Entertainment of the Stage, when we are sensible that the profits are to be appropriated towards the relief and support of the Indigent and distress'd; for the refief of whom, it must (at the same time it gives us secret pleasure) raise the astonishment of foreigners to see so many charitable piles raise their benevolent roofs in and about this great Metroplis. Amongst which I must beg leave to recommend to the Public, the City of London Lying In Hospital in Aldersgate Street (for the Benefit of which the Play of the Conscious Lovers will be performed this evening at Covent Garden); whose charitable doors have been opened for the relief of a much greater Number since the late dearth of Provisions, than its Annual Income (being supported by voluntary contributions) can possibly support, without further aid from the Public." The plea continues by emphasizing the need for expert and tender care for pregnant women, and by pointing out the satisfaction British sailors will have in knowing their wives may be delivered in this hospital.] [The Occasional Prologue (Written by Mr Lockman, Secretary to the Society of Free British Fisheries) was published in the Public Advertiser on 16 Dec.: @"Not sweeter Joy the wond'ring Indian feels,@When his far dazzling Glory Sol reveals@Than warms my heart at this auspicious Sight,@The splendid Audience of this cheerful night."@ Much emphasis on the misery of child-bearing, yet the need for a large population "to a commercial land." Also included was the Epilogue, by Lockman, "Intended for Mrs Hamilton," ending, "May each youth, here, breathe Bevil's gen'rous flame@Each virgin merit Indiana's fame."

Event Comment: Afterpiece [1st time; MD 2, by Andrew Franklin. Larpent MS 1224; not published; synopsis of plot in Universal Magazine, Oct. 1798, pp. 275-76]: The Overture and Musick composed by Florio. Books of the Songs to be had at the Theatre. Account-Book, 8 July 1799: Paid Florio for the Outlaws #20. Receipts: #258 5s. 6d. (163.10.0; 92.16.6; 1.19.0)

Event Comment: By Command of their Majesties. The great concourse of people at this theatre before the usual time of opening the doors, having been so great as to overpower the persons who were placed to receive the tickets; and as many were forced into the Theatre without an opportunity of paying for their admittance, Mr Giardini is under the greatest concern lest offence should be taken by those not being able to get in, who had sent for tickets to this office. He has given orders that those tickets shall be admitted tomorrow, as the opera of Siroe (by particular desire) is to be performed (Public Advertiser, 23 Jan.). [Pickpockets, including one former soldier, took three diamond earrings, and one hair-ornament set with brilliants, from members of the audience on this night (Daily Advertiser). Found, a new Silver Sword in the Opera House Lobby on S. 21 Jan.; the Owner, by describing the Sword-Knot, may, on applying to the Orange-Woman at the House, have it restored (Daily Advertiser, 24 Jan.).] Lost on going to the Opera a Brilliant Diamond Cross composed of nine brilliants, by Lord Conyngham. Reward of 10 Guineas for Return (Public Advertiser, 23 Jan.)

Event Comment: Mainpiece [1st time; CO 3, by John O'Keeffe. Beginning with 8 Dec. reduced to an afterpiece of 3 short acts. Prologue by the author (World, 7 Nov.)]: With new Scenes, Dresses, &c. The Music by Handel, Rizzio, J. C.? Bach, Gretry, Corri, and Shield [who compiled the music of the other composers]. Books of the Songs to be had at the Theatre. Afterpiece: In I act. [Miss Fontenelle is identified on playbill of 22 Nov.] Account-Book, 17 Mar. 1789: Paid O'Keeffe in full for Highland Reel #67 10s. Receipts: #263 11s. 6d. (257.1.6; 6.10.0)

Event Comment: Doors open at 5 o'clock. Play to begin at 6 o'clock. Prices: Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places to be had of Mr Johnston at the Stage door. [Customary note, repeated.] Rec'd Mrs Groath's one year's rent to Xmas last #3; Paid Renters #8 (Treasurer's Book). This regular expenditure was made nightly for the 189 acting nights of the season, as well as for the 11 nights on which Oratorio's were given in the Spring. The total amount came to #1600. No further note will be made of this item this season. The Westminster Magazine this month, reiterated its doleful cry "that the stage is on its decline." In a long article on "Stage Effect, or Dramatic Cookery," it concluded that our "Theatrical managers and even our Theatrical Critics seem to have resolved all the merit of dramatic composition into stage trick, and rest their criterion of Dramatic Genius on the knowledge of what they are pleased to call Stage effect." The "Theatre" article for the month remarked upon the boldness of Garrick's opening with the Beggar's Opera, "notwithstanding he was requested by the Bench of Justices at Bow-Street, to suppress it, as they were of opinion it had done a great deal of mischief among the low class of people." Lloyd's Evening Post, 17 Sept., included extracts from letters against playing the Beggar's Opera, "because every performance makes from one two twenty thieves." Sir John Fielding and his associates had addressed a letter to Garrick requesting him not to perform the opera for the same reason. The Morning Chronicle, 23 Sept., praised Garrick for not complying with the Justices' request. Wm Augustus Miles published a Letter to Sir John Fielding occasioned by his extraordinary Request to Mr Garrick for the suppression of the Beggar's Opera (44 pp.). In this he vindicated the moral effect of the opera.] Receipts: #158 (Treasurer's Book). [Note: For perform ance at hay 18 and 20 September, see Season of 1772-1773, p. 1740