Event Comment: The King's Company. Pepys, Diary: Being full of my desire of seeing my Lord Orrery's new play this afternoon at the King's house, The Black Prince, the first time it is acted; where though we come by two o'clock, yet there was no room in the pit, but we were forced to go into one of the upper boxes, at 4s. a piece, which is the first time I ever sat in a box in my life. And in the same box come, by and by, behind me, my Lord Barkeley and his lady; but I did not turn my face to them to be known, so that I was excused from giving them my seat; and this pleasure I had, that from this place the scenes do appear very fine indeed, and much better than in the pit. The house infinite full, and the King and Duke of York was there. By and by the play begun, and in it nothing Particular but a very fine dance for variety of figures, but a little too long. But, as to the contrivance, and all that was witty (which, indeed, was much, and very witty), was almost the same that had been in his two former plays of Henry the 5th and Mustapha, and the same points and turns of wit in both, and in this very same play often repeated, but in excellent language, and were so excellent that the whole house was mightily pleased with it all along till towards the end he comes to discover the chief of the plot of the play by the reading of a long letter, which was so long and some things (the people being set already to think too long) so unnecessary that they frequently begun to laugh, and to hiss twenty times, that, had it not been for the King's being there, they had certainly hissed it off the stage. But I must confess that, as my Lord Barkeley says behind me, the having of that long letter was a thing so absurd, that he could not imagine how a man of his parts could possibly fall into it; or, if he did, if he had but let any friend read it, the friend would have told him of it; and, I must confess, it is one of the most remarkable instances that ever I did or expect to meet with in my life of a wise man's not being wise at all times, and in all things, for nothing could be more ridiculous than this, though the letter of itself at another time would be thought an excellent letter, and indeed an excellent Romance, but at the end of the play, when every body was weary of sitting, and were already possessed with the effect of the whole letter, to trouble them with a letter a quarter of an hour long was a most absurd thing. After the play done, and nothing pleasing them from the time of the letter to the end of the play, people being put into a bad humour of disliking (which is another thing worth the noting), I home by coach, and could not forbear laughing almost all the way home, and all the evening to my going to bed, at the ridiculousness of the letter, and the more because my wife was angry with me, and the world, for laughing, because the King was there, though she cannot defend the length of the letter

Event Comment: The United Company. The date of the first production is not known, but Part II seems to have followed rather closely upon Part I. The Gentleman's Journal, June 1694 (which apparently appeared in mid-June) states: The first Part of Mr Durfey's Don Quixote was so well received, that we have had a second Part of that Comical History acted lately, which doubtless must be thought as entertaining as the first; since in this hot season it could bring such a numerous audience (p. 170). The Songs were advertised in the London Gazette, 5 July 1694, and Part II advertised in the same periodical 19-23 July 1694. The songs as listed in the separately printed Songs are as follows: Genius of England, the music by Henry Purcell, sung by Freeman and Mrs Cibber. I burn, I burn, the music by John Eccles, sung by Mrs Bracegirdle. Since times are so bad, the music by Henry Purcell, sung by Reading and Mrs Ayliff. Damon, let a friend, the music by Pack, sung by Mrs Hudson. Ye nymphs and sylvan gods, the music by John Eccles sung by Mrs Ayliff. If you will love me, composer and singer not named. In addition, Thesaurus Musicus, 1695, published Lads and lasses, blithe and gay, the music by Henry Purcell, sung by Mrs Hudson. Purcell also wrote the music for other songs for which the singer is not known. Preface, edition of 1694: The good success, which both the Parts of Don Quixote have had, either from their Natural Merit, or the Indulgence of my Friends, or both, ought sufficiently to satisfie me, that I have no reason to value tne little Malice of some weak Heads, that make it their business to be simply Criticizing....I think I have given some additional Diversion in the Continuance of the character of Marcella, which is wholly new in this Part, and my own Invention, the design finishing with more pleasure to the Audience by punishing that coy Creature by an extravagant Passion here, that was so inexorable and cruel in the first Part, and ending with a Song so incomparably well sung, and acted by Mrs Bracegirdle, that the most envious do allow, as well as the most ingenious affirm, that 'tis the best of that kind ever done before....I deserve some acknowledgment for drawing that Character of Mary the Buxom, which was intirely my own,...by making the Character humorous, and the extraordinary well acting of Mrs Verbruggen, it is by the best Judges allowed a Masterpiece of humour

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the London Gazette, No. 3140, 12-16 Dec. 1695, to be published 17 Dec. 1695, suggests that its first appearance was not later than November 1695. According to the Edition of 1695, the music was set by the late Henry Purcell, Courteville, Samuel? Aykerod, and other composers. For Purcell's music, see Purcell's Works, Purcell Society, XVI (1906), xxix-xxxi. The songs were sung by Miss Cross and Mrs Verbruggen. Preface, Edition of 1696: I must inform the Reader, that this Third Part before it came upon the Stage was acknowledg'd and believ'd by all that saw it, and were concern'd (as well those that heard it read, as those that were Actors, who certainly, every one must own, are in their Affairs skilful enough to know the value of things of this Nature) to be much the best of all the Three Parts;...tho prepar'd by my indefatigable Diligence, Care, Pains, nay, the variety which I thought could not possibly miss the expected Success, yet by some Accidents happening in the Presentment, was disliked and explored; The Songish part which I used to succeed so well in, by the indifferent performance the first day, and the hurrying it on so soon, being streightned in time through ill management--(tho extreamly well set to Musick, and I'm sure the just Critick will say not ill Writ) yet being imperfectly performed, was consequently not pleasing; and the Dances too, for want of some good Performers, also disliked; all which, tho impossible for me to avoid, and not reasonably to be attributed any way to a fault in me, yet the noisy Party endeavour'd to use me as ill as if it were, till the generous Opposition of my Friends gave me as much reason to thank them for their Justice, as to despise the others Malice.... As to the Poppet Shew in the Fourth Act, the Accident of its being plac'd so far from the Audience, which hindred them from hearing what either they or the Prolocutor said, was the main and only reason of its diverting no better. A Comparison Between the Two Stages (1702) p. 17: Sullen: The third Part of Don Quixote. Ramble: Oh the ever-running Streams of Helicon! by all that's Poetical, my Friend Durfey; good lack! I thought I shou'd meet with him before we got half way: Well, in the name of Impudence, what luck? Sullen: Damn'd, Damn'd to all intents and purposes. Ramble: His first and second Part did well

Event Comment: Betterton's Company. The date of the premiere is not known, but Dryden, on 14 Dec. 1699, indicated that the run of the play had been completed by that day. A copy in the Folger Shakespeare Library has a notice of its publication. Downes, Roscius Anglicanus, p. 45: Iphigenia a Tragedy, wrote by Mr Dennis, a good Tragedy and well Acted; but answer'd not the Expences they were at in Cloathing it. [In The Life of Mr John Dennis (London, 1734) the author states that Colonel Codrington prevailed on all his friends to take tickets for the dramatist's third night.] Preface, Edition of 1700: And from the first representations I expected all the success that I could reasonably desire. I never in my life at any Play took notice of a more strict attention, or, a more profound silence. And there was something like what happen'd at the Representation of Pacuvius his Tragedy. For upon Orestes discovering his passion to Iphigenia in the fourth Act, there was a general murmur through the Pit, which is what I had never seen before. But after three or four representations, several people, who during that time had wholly abandon'd themselves to the Impression which Nature had made on them, began to study how to be discontented by Art; and repented heartily at having been pleas'd with what Athens and Rome and Paris had been pleas'd before. A Comparison between the Two Stages (1702), p. 23: Critick: I must needs Complement him [Dennis] with the Success of his laborious Iphigenia: Ay, here's a Tragedy with a witness--show a more tragick Poet if you can--'twas a smart Epilogue. But I marvel a Man of Mr Dennis's Penetration wou'd suffer, nay beg his Friend to Burlesque him at that unreasonable rate: But the Author was conscious the Audience might mistake it for a Comedy, and so he gets Colonel C-(he was sure his Word wou'd be taken) to tell 'em it was not a Comedy but a Tragedy: The hint was good and necessary, for o' my word very few knew what to make of it before, tho' there were many Tremendous things in't. [The dialogue continues to examine Dennis' Preface, and Dennis's assertions there concerning his play.

Event Comment: Mainpiece: Written by the Author of Pasquin. Afterpiece: Giving an Account of the Rise, Progress, Greatness, and Downfall of Mr Pillage, the Author; his Followers and Friends at his Levee; his Friend Who begs to be excus'd from coming there; his Schemes to cram down Farces, and raise Prices; with his excellent Company shewn in a proper Distribution of Parts; a fine Love-Scene between him and his Muse; his crawling up the Pinnacle upon All-Fours; the terrible Hissing and Cat-calling of his favourite Face; with the dreadful Consequences and Catastrophe of the whole, Note, The Play will not begin till Half an Hour past Six