Event Comment: This date of performance is not a certainty; for the evidence, see Spencer, Shakespeare Improved, p. 94. Neither is Shadwell's authorship of the alterations a certainty, for the contributions of other playwrights have never been fully determined. (See Nicoll, Restoration Drama, p. 43.) The instrumental music was composed by Matthew Lock, with new vocal music by James? Hart and Pietro Reggio. See Songs Set by Signior Pietro Reggio, 1680. And differing versions of the second Prologue and the second Epilogue are in BM Egerton MS. 2623, ff. 54-55. Downes (Roscius Anglicanus, pp. 34-35): The Year after in 1673. The Tempest, or the Inchanted Island, made into an Opera by Mr Shadwell, having all New in it; as Scenes, Machines; particularly, one Scene Painted with Myriads of Ariel Spirits; and another flying away, with a Table Furnisht out with Fruits, Sweetmeats and all sorts of Viands; just when Duke Trinculo and his Companions, were going to Dinner; all things Perform'd in it so Admirably well, that not any succeeding Opera got more Money

Event Comment: The Duke's Company. The Journal of Baron von Schwerin, [14 June 1674 NS (?)], 4 June 1674 OS: (translation) Attended an English play, [The Tempest], or the Enchanted Island, which because of the changing of the scenes was well worth seeing (in Gesandtschafts-Berichten des Ministers Otto von Schwerin [Berlin, 1837], p. XXII). See also 16 May 1674

Event Comment: The Duke's Company. The Diary of Robert Hooke (p. 108): To Hoskins with Sir Ch. Wren. By water with him to the Playhouse. Saw Tempest. Paid 3sh

Event Comment: The Duke's Company. The date of the first performance is not known, but the Preface implies that it was a vacation (summer) production. The play was entered in the Term Catalogues, February 1674@5. Preface, Edition of 1675: It happening to be in my hands in the long Vacation, a time when the Play-house are willing to catch at any Reed to save themselves from Sinking, to do the House a kindness, and serve the Gentleman [who had apparently composed much of the play] I begged leave of him to turn it into Prose

Event Comment: The Duke's Company. Sometime in September Nell Gwyn attended this play, but the document listing her attendance is mutilated and the exact date is lost. See William VanLennep, Nell Gwyn's Playgoing at the King's Expence, Harvard Library Bulletin, IV (1950), 406

Event Comment: The Duke's Company. Nell Gwyn attended this play on three occasions in September or October. See VanLennep, Nell Gwyn's Playgoing, p. 406

Event Comment: The Duke's Company. Nell Gwyn attended a performance of this play in September or October. See VanLennep, Nell Gwyn's Playgoing, p. 406

Event Comment: The Duke's Company. A performance of this play was attended by Nell Gwyn, but the date is uncertain. See VanLennep, Nell Gwyn's Playgoing, p. 406

Event Comment: The Duke's Company. Nell Gwyn attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 406. There is no certainty that this performance is the premiere, but the fact that it was entered in the Stationers' Register, 29 Nov. 1674, suggests that it was probably first produced in the autumn

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348. There is no indication as to whether this is the premiere

Event Comment: The Duke's Company. This performance was attended by Nell Gwyn. See VanLennep, Nell Gwyn's Playgoing, p. 406

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 116. See also Nicoll, Restoration Drama, p. 345. There is no certainty that this is the premiere, but the frequency of performance of The Tempest during September-October-November would make November 1674 a suitable time for a burlesque of this sort. A small quarto, The Songs & Masque in the New Tempest (in the Huntington Library, 122925), without a title page, contains what are apparently the songs and concluding masque of the play. It may have been issued during the run of the play and sold at the theatre. It does not name any performers. Langbaine (English Dramatick Poets, p. 177): This Play was to draw the Town from the Duke's Theatre, who for a considerable time had frequented that admirable reviv'd Comedy call'd The Tempest

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216: K: & Q:. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 406. BM Add. Mss. 27, 962v, f. 312 (a transcript of a newsletter by Salvetti), 14 Dec. 1674 (translation): On last Wednesday all the royal family were present at the theatre to hear the tragedy of Hamlet, which, for their greater entertainment, was adorned and embellished with very curious dances between the acts. [I am indebted to Professor George Hilton Jones, Kansas State University, for this item.

Event Comment: The Duke's Company. Nell Gwyn attended this performance. See VanLennep, Nell Gwyn's Playgoing, p. 406

Event Comment: [Evelyn, Diary: [I] was at the repetition of the Pastoral, on which [occasion] my friend Mrs Blagg, had about her neere 20.000 pounds worth of Jewells, of which one she lost, borrowed of the Countesse of Suffolck, worth about 80 pounds, which the Duke made good; & indeede the presse of people was so greate, that it was a wonder she lost no more. There is some doubt that this was a full performance of the work, for Evelyn refers to it as "the repetition" and other evidence points to 15 Feb. 1674@5 as the first complete production. See Boswell, Restoration Court Stage, pp. 180-81. It is probable that Mrs Blagge's loss of jewels occurred, not on this date, but on 15 Feb. 1674@5. For a more complete account of that incident, see The Life of Mrs Godolphin by John Evelyn of Wotton, ed. Samuel Lord Bishop of Oxford (London, 1874), pp. 97-101. See also 15 Feb. 1674@5

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216.See also Nicoll, Restoration Drama, p. 348

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216: K & Q:. See also Nicoll, Restoration Drama, p. 348

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended. See VanLennep, Nell Gwyn's Playgoing, p. 406

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 216: Sr Martin Marall K & Q. See also Nicoll, Restoration Drama, p. 348. It is possible that this performance was at court

Event Comment: On this date the masque was certainly acted, and the possible performance on 15 Feb. 1674@5 may have been a final rehearsal. Newdigate newsletters (Folger Shakespeare Library): This day the great maske at court is publiquely acted wch is intended to exceed all others of that Nature, the 2 young Princesses, the Duke of Monmouth & all ye principall persons of quality abt ye Court having parts in it (Wilson, Theatre Notes, p. 79). The Bulstrode Papers (1, 277): 15 Feb. 1674@5: To-morrow the great mask at Court is to be publickly acted in all its bravery and pompe, the like of whch was never yett seene, all the greatest persons of quality about Court having pts in it