Event Comment: At the Desire of several Ladies of Quality. Mainpiece: Written by the late Sir John Vanbrugh

Event Comment: Benefit Delane. At the particular Desire of several Persons of Quality. Mainpiece: Written by Shakespear. [Tickets at Delane's Lodgings (No. 6) in Wild Court, Wild Street, and at Mrs Delane's Lodgings, at the Fig-Tree, opposite Salisbury Street in the Strand.

Event Comment: At the Desire of several Persons of Quality. Benefit Bridgwater. As Written by Shakespear. Receipts: money #23 17s.; seals #64 19s. (Account Book); #100 (Rylands MS.). [Bridgwater was charged #50 for his benefit.

Event Comment: At the Desire of Several Persons of Quality. Receipts: #150

Event Comment: GGreat Theatrical Booth, Bowling Green. By Permission. Benefit of Legar and Boaman. A Concert, etc. At the particular Desire of several of the Subscribers. Stage 5s. Tickets for the Orphan will be taken

Event Comment: At the Desire of several Eminent Citizens. A concert, etc. Benefit for Stevens (bookseller). Mainpiece: Written by E. Young, author of the Midnight Thoughts. Boxes 5s. Pit 2s. 6d. Gallery 1s. 6d

Event Comment: Afterpiece [1st time in London; F 2, by John O'Keeffe, 1st acted at the Smock Alley Theatre, Dublin, 13 Apr. 1774. Prologue by George Colman elder (Prose on Several Occasions, III, 222)]. Public Advertiser, 16 Aug. 1780: This Day is published Tony Lumpkin in Town (1s.)

Event Comment: Benefit for Mrs Crouch. Public Advertiser, 30 Mar.: Tickets to be had of Mrs Crouch, No. 56, Tichfield-street, Oxford-street. Mainpiece: Not acted these 3 years.The original Music composed by William? Jackson, and several additional songs. Afterpiece: Not acted these 3 years [not acted since 14 May 1783]. Receipts: #226 9s. 6d. (76.14.0; 24.9.0; 2.11.6; tickets: 122.15:0) (charge: #109 12s. 5d.)

Event Comment: Mainpiece: In 5 Acts, altered from the Dramatic Romance by David Garrick, Esq. With a new Overture and new additional Musick by Storace [on 2 Jan. 1792 and thereafter, added: Shaw] and other Eminent Masters. Entirely new Scenery by Greenwood, and new Dresses, Decorations and Machinery. To conclude with a Grand Procession of the Hundred Knights of Chivalry, and the Representation of an Ancient Tournament. [These were included in all subsequent performances.] Books of the Songs to be had at the Theatre. Morning Post, 3 Jan. 1792, prints a full description of the Procession of over 100 persons: 1st, Anglo-Saxon Knights and banners; then ancient British knights, Norman knights, Indians, Turks, Scythians, Romans, a dwarf, a giant; at end, "soldiers drawing a superb picture of St. George, knights in chain mail, a cupid leading a knight covered with a silver net, Hymen, piping fauns, bands of cupids drawing an altar--flame burning, cupids hovering over it, and others feeding doves below, a troop of Arcadian shepherds drawing the car of Cymon and Sylvia, characters of the drama, and chorus." "At the conclusion of the procession, a tournament took place of both horse and foot, between several combatants in armour, who fought with lances, swords and battle-axes: three of Hughes' horses [from the Royal Circus] were introduced, and managed with much dexterity; the Prince of Wales' Highlander made one of the procession, and entered the lists as a champion, fighting with an enormous club; against him a small female warrior was opposed, by whom he was subdued. It was by far the grandest spectacle ever seen upon the stage. Many of the characters were taken from Sir Philip Sydney's Arcadia, in which the scene of the piece was laid; and the dresses of the knights, armour, &c. from the drawings and descriptions of the best antiquarians" (Oulton, 1796, II, 215). [This was Edmund Kean's 1st appearance on the stage; he was about four years old. He personated a cupid lying in Cymon and Sylvia's car (Kelly, Reminiscences, II, 21-22).] Account-Book, 13 Jan. 1792: Paid Hughes for his Horses #16 19s. 10d.; 23 Jan.: Paid Gough for his Greyhounds in Cymon #5 19s. 6d. Receipts: #420 6s. (385.0; 35.5; 0.1)

Event Comment: Written by Shakespear, and since revis'd with several Alterations. The whole Play being new dress'd

Event Comment: See Herbert, Dramatic Records, p. 116. The King's Company. An edition of this play, published in 1661, lists no cast, no prologue, no epilogue

Event Comment: The United Company. This performance, which is out of the chronological order, is on L. C. list, 5@147, p. 68; the list does not indicate which Part of this play was given. See also Nicoll, Restoration Drama, p. 350, and page 380, for an order (L. C. 5@147, p. 1) for rehabilitation of the seats in the theatre

Event Comment: As 26 Jan. Receipts: #42 15s. Daily Journal, 27 Jan.: A New Tragedy, call'd, Friendship Betray'd; Or, the Injured General, was to have been Acted on Tuesday next...but is deferred, on Account of Mrs Bullock's hourly Expectation of being brought to Bed, she having the Principal Part in the Play

Event Comment: Benefit Charles, the Merry Trumpeter of Oxford. At Lee's Great Booth on the Bowling Green. ...and tis well if it takes If not, the Trumpet breaks; And they that are my Friends, that come to see my Play, If it happens to rain, shall have a Coach to carry 'em away

Event Comment: Text--Goldoni; first performance in England. Music by Sg Vinceni Ciampi. Play a New Italian Burletta. Printed books of the opera will be sold at the theatre. Ladies send servants at half three. [The Epilogue (Larpent MS 117) suggests lovemaking in crowded theatres (see 8 Jan. 1755)]: @Close pack'd they sit and woo with secret squeeze,@Attracting elbows, sympathetic knees...

Event Comment: The Characters New Dressed. Play never acted before. [See Three Original Letters to a Friend in the Country on the Cause and Manner of the late Riot at the Theatre Royal in Drury Lane. See also two letters in The Theatrical Review; or, Annals of the Drama, 1 March 1763. This number includes (pp. 117-25) a critique on the Discovery. Critic found it a piece of much merit particularly in the perusal," but on stage frequently tedious and heavy owing to a scarcity of incident and an uncommon lengthening of the acts."

Event Comment: MMr Marr's part in the Play cut out (Hopkins). [i.e., messenger in Philaster, but Marr still listed in the bill.] Receipts: #191 7s. (MacMillan)

Event Comment: Afterpiece: A New Masque [by Capt. Edward Thompson] never perform'd. With New Music, Dresses, Scenery, and Decorations. The Music composed by Fisher. The Scenes painted by Dall and Carver. Books of the songs to be had at the Theatre. [The Westminster Magazine for March also lists Boreas -Reinhold; Carlos -DuBellamy; Traverse -Mahon; Druid -L'Estrange, and tells the story of the play. The reviewer did not approve of the piece, since for him it lacked unbounded fire of fancy, originality of idea, language, and character. He approved of Fisher's music.

Event Comment: Mainpiece [1st time; C 3, by Sarah Gardner. Prologue by the author (London Chronicle, 11 Aug.). Larpent MS 435; not published; synopsis of plot in London Magazine, Aug. 1777, p. 433. For a description of the difficulties attending the reception of this play, from a recently discovered MS by Mrs Gardner, see Theatre Notebook, VII, 76-81]

Event Comment: "The Ring, to talk of [Mrs Siddons in] this Scene, would be Actum agere--almost every Body has seen it, and every one who has seen it must have felt, to their Heart's Core. As much ought to be said of some other Parts of the Play, viz. the Look at the Child, when she gives her Hand to Villeroy!, Her expressive Deportment at the Banquet!, Her Fainting!, Her Death! To all and each of these we desire the Printer not to omit, what they so potently demand, the Note of Admiration!!!" (Public Advertiser, 15 Nov.). Receipts: #249 2s. 6d. (228/7/0; 19/17/0; 0/18/6)

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)