Event Comment: Mainpiece: Not acted these 3 years. Receipts: #153 12s. (146/10/6; 7/1/6)

Event Comment: Afterpiece [1st time; mf 2, by Isaac Jackman; music by William Shield. Authors of Prologue and Epilogue unknown]. Account-Book, 1 Apr. 1782: Paid Jackman in full for the Divorce #50. Receipts: #207 3s. 6d. (186/9/0; 20/3/6; 0/11/0)

Event Comment: Paid Chorus #11 10s.; Washing bill 11s 4d. Receipts: #171 0s. 6d. (117/3/0; 52/12/0; 1/5/6)

Event Comment: [Mainpiece in place of King Lear, announced on playbill of 10 Nov.] Receipts: #112 5s. 6d. (110/15/0; 1/10/6)

Event Comment: [Mainpiece: Epilogue by Miles Peter Andrews.] Receipts: #193 1s. 6d. (149/17/0; 40/15/0; 2/9/6)

Event Comment: Mainpiece [1st time; T 5, by Robert Jephson. Prologue by the author (Gentleman's Magazine, Jan, 1782, p. 36). Another Prologue, by the Right Hon. Luke Gardiner, "not arriving in London time enough for the first exhibition of the Count of Narbonne, was not spoken" (ibid.). Epilogue by Richard Josceline Goodenough, but beginning with 20 Nov. it was superseded by a new Epilogue written by Edmond Malone (see text)]: With new Scenery and Dresses. Public Advertiser, 1 Nov.: The Management of The Count of Narbonne is . . . under very good Care: Mr Horace Walpole, with a Fondness nothing less than fatherly, directs that part of the Affair which respects the Scenes and Dresses, while Henderson takes Charge of the Rehearsals and the casting of inferior Parts... [Henderson] is to wear a Dress which is lent him from among the Antiquities at Strawberry Hill. "I have been at the theatre, and compromised the affair of the epilogues: one is to be spoken to-morrow, the friend's on the author's night. I have been tumbling into trap-doors, seeing dresses tried on in the green-room, and directing armour in the painting-room" (Walpole [16 Nov. 1781], XII, 95). "I never saw a more unprejudiced audience, nor more attention. There was not the slightest symptom of disapprobation to any part ... It is impossible to say how much justice Miss Younge did to your writing. She has shown herself a great mistress of her profession, mistress of dignity, passion, and of all the sentiments you have put into her hands. The applause given to her description of Raymond's death lasted some minutes, and recommenced; and her scene in the fourth act, after the Count's ill-usage, was played in the highest perfection. Mr Henderson was far better than I excepted from his weakness, and from his rehearsal yesterday, with which he was much discontented himself. Mr Wroughton was very animated, and played the part of the Count much better than any man now on the stage would have done. I wish I could say Mr Lewis satisfied me; and that poor child Miss Satchell was very inferior to what she appeared at the rehearsals, where the total silence and our nearness deceived us. Her voice has no strength, nor is she yet at all mistress of the stage. I have begged Miss Younge to try what she can do with her by Monday. However, there is no danger to your play: it is fully established" (Walpole [to the author, 18 Nov. 1781], XII, 95-96). Public Advertiser, 28 Nov. 1781: This Day is published The Count of Narbonne (price not listed). Receipts: #164 10s. 6d. (163/0/6; 1/10/0)

Event Comment: Benefit for the Author [of afterpiece, who is named in the Account-Book, but not on the playbill]. Receipts: #193 19s. 6d. (127/13/0; 42/12/6; 1/4/0; tickets: 22/10/0) (charge: #105)

Event Comment: [Mainpiece in place of Every Man in His Humour, announced on playbill of 19 Nov.] Receipts: #128 13s. 6d. (101/13/0; 26/17/6; 0/3/0)

Event Comment: Benefit for the Author [of mainpiece]. Receipts: none listed (charge: #105)

Event Comment: Paid Carpenters #19 10s. 9d. Receipts: #192 5s. 6d. (153/13/0; 36/16/0; 1/16/6)

Event Comment: [As mainpiece the playbill announces the 8th night of King Arthur and as afterpiece the 8th night of The Divorce, but they were not acted. The substitute plays are listed in the Account-Book. King Arthur, "The Eight Night," was next acted on 11 Dec; The Divorce, "The 8th Night," on 17 Dec] Account-Book, 1 Dec.: Paid Billstickers, Change of Play, 1s. 6d. Receipts: #118 4s. (82/17; 34/12; 0/15)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. Receipts: none listed (charge: #105)

Event Comment: Afterpiece: Never performed here. Written by [John] O'Keeffe; As it was performed at the Theatre Royal in the Haymarket [beginning with 4 Sept.], with the greatest Applause. The Overture and new Music composed by Dr Arnold. Books of the Songs to be had at the Theatre. Receipts: #205 7s. 6d.(203/6/6; 2/1/0)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. Receipts: none listed (charge: #105)

Event Comment: Mainpiece [1st time; T 5, by Samuel Jackson Pratt. Author of Prologue unknown. Epilogue attributed to the Hon. Richard Fitzpatrick (Crouch, 1, 125), and to Richard Brinsley Sheridan (I. A. Williams in The London Mercury, Aug. 1924, pp. 412-15)]: With New Scenes (see 29 Nov.), Dresses and Decorations. Public Advertiser, 12 Dec. 1781: This Day is published The Fair Circassian (1s. 6d.). Receipts: #149 19s. (126/19/0; 22/17/6; 0/2/6)

Event Comment: Mainpiece [1st time; CO 3, by John O'Keeffe; MS: Larpent 577; not published. The following season this was altered, and acted successfully as The Castle of Andalusia]: With new Scenes, Dresses and Decorations. A new Overture, and the whole of the Music under the Direction of Dr Arnold. Books of the Songs to be had at the Theatre. Public Advertiser, 29 Nov.: The admirable first scene, the subterraneous Receptacle of the Banditti, is the production of the ingenious Mr Richards. Receipts: #182 10s. (180/12/6; 1/17/6)

Event Comment: Benefit for the Author. Mainpiece: The scenery designed by De Loutherbourg, and executed under his direction. Receipts: #151 4s. 6d. (123/7/0; 27/12/6; 0/5/0; tickets: none listed) (charge: #105)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. Receipts: #207 (164/6/0; 42/11/6; 0/2/6; tickets: none listed) (charge: #105)

Event Comment: [In afterpiece the playbill lists Reinhold, but he "being too much affected with a cold to appear in the part of Arionelli, Bannister of Drury Lane Theatre, who originally performed it, was procured to supply his place" (London Courant, 6 Dec.).] Receipts: #158 9s. 6d. (152/3/6; 6/6/0)

Event Comment: Afterpiece: To conclude with a Grand Representation of a Regatta. Receipts: #146 16s. (119/2/0; 27/11/6; 0/2/6)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. Receipts: #129 14s. 6d. (100/10/0; 29/2/0; 0/2/6; tickets: none listed) (charge: #105)

Event Comment: "[Henderson] stands before me with the muster of his recruits legible in his eye, and I hear the fat and chuffy tones by which he added humour to the ludicrous terms of the poet's description . . . The bursts of laughter he excited by this, which he did not hurry, but seemed mentally to enjoy, as the images rose in succession, were beyond measure delightful. He made his audience for the time as intelligent as himself" (Boaden, Siddons, I, 124-25). Receipts: #170 15s. 6d. (168/8/6; 2/7/0)

Event Comment: Mainpiece [1st time; CO 3, by Richard Tickell, some of the songs attributed to Richard Brinsley Sheridan; synopsis of plot in Public Advertiser, 18 Dec. Songs (no pub., 1781) omits several [i.e. all the non-singing] characters. MS not in Larpent; not published]: With entirely new Music and a new Overture [by Thomas Linley Sen.]. To conclude with a View of St. Mark's Place, and a grand Representation of the Carnival. With new Scenes, Dresses, and Decorations, designed by De Loutherbourg, and executed under his Direction. Books of the Songs to be had at the Theatre. Public Advertiser, 19 Dec. 1781: This Day are published the Songs in The Carnival of Venice (6d.). Account-Book, 11 Jan. 1782: Received from Miss Giles for 1,550 Books of the Songs in the Carnival #31. Receipts: #225 18s. 6d. (216/4/0; 9/14/6; 0/0/0)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. Receipts: #191 19s. 6d. (173/6/0; 17/17/0; 0/16/6; tickets: none listed) (charge: #105)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. Receipts: #165 16s. (135/7; 29/14; 0/15; tickets: none listed) (charge: #105)