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Event Comment: Benefit for a Fund for the Relief of those who, from their Infirmities, shall be obliged to retire from the Stage. [Prologue by Thomas Hull.] Gazetteer, 19 May: Tickets to be had of Hull, Treasurer to the Institution, No. 31, Bow-street, Covent-Garden. The Fund at Covent Garden Theatre was instituted in the Year 1765, and confirmed by Act of Parliament, 1776. It has been almost entirely supported by the weekly Contributions of the respective Members, and no Application has been made ot the Public towards its Increase for the space of 19 Years. Notwithstanding the utmost Oeconomy has been practised to promote the Advancement of this Fund, the whole capital Sum hitherto amassed is now become so inadequate to the unavoidable annual Disbursements that the Committee hold it incumbent on them to solicit the Patronage and Encouragement of the Public, at the within specified Performance. "The capital of this fund, invested in various stocks, amounted to #27,710 in the year 1824" (Brayley, 14). Receipts: #128 11s. (104.15; 15.16; tickets: 8.0)

Performances

Mainpiece Title: The Dramatist

Afterpiece Title: The Highland Reel

Dance: As17900417

Entertainment: Monologue. Original Prologue to the Institution [of the Theatrical Fund]-Holman

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: No Song No Supper

Event Comment: Benefit for the young D'Egvilles, Johnstone, Nix & Dale. Morning Herald, 7 June: Tickets to be had of the young D'Egvilles, No. 18, Broad-street; of Johnston, No. 15, Martlet-court, Bow-street, Covent-Garden; of Nix, No. 8, Little Russel-street, Covent-garden; of Dale, No. 26, Stanhope-street, Claremarket. Receipts: #518 6s. (86.14.6; 29.1.0; 10.8.0; tickets: 392.2.6) (charge: #171 15s.)

Performances

Mainpiece Title: As You Like It

Afterpiece Title: Bon Ton

Dance: End: a new Dance, Provision for the Convent; or, The Fryars' Frolick-G. D'Egville, Hamoir, Miss Fanny D'Egville, Sophia D'Egville, Miss DeCamp

Song: As17911003

Ballet: End I: a new Dance, The Martial Nymph; or, The Conquered Scythian. The Scythian-George D'Egville; Nymphs-Miss DeCamp, Miss Fanny D'Egville; The Victorious Nymph-Miss Sophia D'Egville

Performances

Mainpiece Title: King Richard The Third

Afterpiece Title: Harlequin's Museum [and see17921220]

Performance Comment: Pantomimic Characters Harlequin-Boyce; Clodpole-Follett; Squire Foxchase-Farley; Paddy Rooney O'Gaffey-Rock; Sir Gregory Whimsey-Hawtin; Father Paul-Powel; Pudding Boy-Master Hodgins; Cook-Gaurion; Smuggler-King ; Cooper-Blurton; Jew-Wilde; Alderman-Rowson; Captain-Thompson; Starved Friar-Griffiths; Lover's Servant-Simmons; Waterman-Platt; Baker-Thompson [i.e. doubled Captain]; Fishwoman-Mrs Cross; Mother-Mrs Powell; Maid-Miss Leserve; Ladies at the Ship Launch[, Apollo Garden Scenes-Miss Paye, Mrs Masters, Miss Barnett, Mrs Rock; Colombine-Mme Rossi; [Principal Vocal Characters: Lieutenant-Incledon; Old England Forever!-Incledon; Shipwrights-Gray, Street, Linton; +God preserve his Majesty-Gray, Street, Linton; Cobler-Fawcett; Song-Fawcett; Punch-Munden; Punch's Song-Munden (each Song new and in Character); Skaiters-Gray, Linton; This bleak and frosty Morning-Gray, Linton; Mother Shipton (with songs)-Mr Darley.

Dance: In afterpiece: the Burlesque Pas de Russe-Byrn, Miss Smith; Hornpipe-Holland; rest of the Dances-Byrn, Ratchford, Cranfield, Rayner, Platt, Jackson, Wilde, Mrs Watts, Miss Francis, Mrs Ratchford, Mrs Lloyd, Mrs Crowe, Mrs Bayzand, Mme Rossi

Performances

Mainpiece Title: The Fair Penitent

Afterpiece Title: Hercules and Omphale

Performance Comment: Morning Chronicle, 19 Nov., notes that the Principal parts-Incledon, Quick, Munden, Fawcett, Mrs Martyr, Mrs Mountain; Part I. The Piece commences with a View of Omphale's Palace; Omphale, Queen of Lydia, seated on her Throne, surrounded by Virgins--The Princes of Dacia and Mycoene send Ambassadors, each demanding her hand in marriage--then follows the Magnificent Entry of the Two Princes; Dacians: Dacian Soldiers bearing Spears, Trophies of Armour, Egyptians bearing Presents, Musician, Dacian Officers with Trophies, The Prince of Dacia borne in a Triumphal Car drawn by War-Horses in compleat Armour. Mycoeneans: Mycoenean Officers with Swords and Shields, Armour Bearer, Women bearing Presents, Numidians with Presents, Martial Music, The Prince of Mycoene drawn in a Triumphal Car by Horses richly caparisoned. The Procession over, a Pyrrhic Dance takes place, when Thunder is heard--Jove's Eagle descends, bearing a Festoon with this inscription, "Hercules is doomed the Slave of Omphale"--Hercules enters cloathed in the hide of Nemean Lion, attended by Iolaus--he offers Presents to Omphale--she receives them with tenderness-The Princes renew their suit, which she rejects, after which Omphale, Hercules, and the Princes retire different ways. Omphale in the absence of Hercules orders her +Nymphs to prepare for the Chace. This is succeeded by The Cave of Cacus. This famous Robber (a monster with three heads) who had desolated the adjacent country, hearing the sound of horns, lays in wait for his prey--the rival Princes are seen passing thro' the trees--Omphale and her train appear returning from the Chace--The Princes retire and plan to seize her-Cacus enters and forces her into the cave--the Princes with their Attendants attempt to seize Hercules, who for some time defends himself against their united force; nearly va quished he prays to Jupiter, when a Storm arises, thunder, lightning, hail, fire, and massey stones are seen to descend--Hercules gains the Mouth of the Cavern, and thus defends himself from the Storm and his Assailants--Screams are heard within the Cavern--the Prince of Dacia bearing off Omphale, the Prince of Mycoene forces her from him, and after slaying the Prince of Dacia, escapes with his conquest--the Tempest ceases--Hercules and Cacus come from the Cave, a Combat ensues, in which Hercules vanquishes the Robber--He then pursues the Prince of Mycoene, and is informed by Iolaus, that Omphale is shut up in the city of Mycoene--Catapultas, Battering Rams, are prepared, and the Scene changes to The Town and Fortifications of Mycoene. Hercules at the head of his Army summons it to surrender--the Prince brings Omphale on the Battlements bound in Chains-The Battering Ram and all the Implements of War are brought in Action against the City--the Besieged defend themselves by hurling huge stones on the heads of their Assailants--the Soldiers form the Tortoise back with their shields, by which Hercules mounts the walls--his Army enter the city with Firebrands--Hercules bears away the gates upon his shoulders--the City is seen in flames--Hercules pursues the Prince to the summit of a Mountain, seizes and dashes him into the Sea--he releases Omphale, and bears her off in triumph. Part II. A Magnificent Hall in Omphale's Palace. Hercules enters with Omphale, fatigued with the toils of Battle, she leaves him to repose--when asleep, Omphale returns, and kneeling to a Statue of Cupid, the Figure receives animation--She implores him to inspire the breast of Hercules with Love-Cupid changes the Club of Hercules for a Shepherd's Brook, his Arrows to Wreaths of Roses--Cupid calls on the Pleasures--their train surround the Sopha of Hercules, bearing Vases, Medallions, Baskets of Flowers, Wreaths of Roses--They form a groupe--when Cupid brings forth Omphale and places her by his side--He then waves his Bow and discovers The Garden of Love, in which Juno, attended by Mercury and Hymen, descend the Stage, and Clouds dispersing, discover The Temple of Juno. Juno joins the hands of Hercules and Omphale, and orders Hymen to prepare the Marriage Ceremony. This is succeeded by a Brand Hymeneal Procession: Four Amazons with Bows and Arrows, Four Nymphs bearing two Cornucopias, Four Giants bearing Rocks, Two White Bulls decorated for Sacrifice, Eight Priestesses bearing Instruments of Sacrifice, Twelve Children playing on Lutes, Harps, The Altar drawn by White Bulls richly decorated, Sixteen Priests of the Temple of Juno, The High Priest. After which the Ceremony commences--this is interspersed With Dances by Nymphs, Graces, Love. Hymen joins their Hands--the Cupids crown them with Wreaths, and the Piece concludes.
Cast
Role: the Prince brings Omphale on the Battlements bound Actor: The Battering Ram and all the Implements of War are brought in Action against the City--the Besieged defend themselves by hurling huge stones on the heads of their Assailants--the Soldiers form the Tortoise back with their shields, by which Hercules mounts the walls--his Army enter the city with Firebrands--Hercules bears away the gates upon his shoulders--the City is seen in flames--Hercules pursues the Prince to the summit of a Mountain, seizes and dashes him into the Sea--he releases Omphale, and bears her off in triumph. Part II. A Magnificent Hall in Omphale's Palace. Hercules enters with Omphale, fatigued with the toils of Battle, she leaves him to repose--when asleep, Omphale returns, and kneeling to a Statue of Cupid, the Figure receives animation--She implores him to inspire the breast of Hercules with Love-Cupid changes the Club of Hercules for a Shepherd's Brook, his Arrows to Wreaths of Roses--Cupid calls on the Pleasures--their train surround the Sopha of Hercules, bearing Vases, Medallions, Baskets of Flowers, Wreaths of Roses--They form a groupe--when Cupid brings forth Omphale and places her by his side--He then waves his Bow and discovers The Garden of Love, in which Juno, attended by Mercury and Hymen, descend the Stage, and Clouds dispersing, discover The Temple of Juno. Juno joins the hands of Hercules and Omphale, and orders Hymen to prepare the Marriage Ceremony. This is succeeded by a Brand Hymeneal Procession: Four Amazons with Bows and Arrows, Four Nymphs bearing two Cornucopias, Four Giants bearing Rocks, Two White Bulls decorated for Sacrifice, Eight Priestesses bearing Instruments of Sacrifice, Twelve Children playing on Lutes, Harps, The Altar drawn by White Bulls richly decorated, Sixteen Priests of the Temple of Juno, The High Priest. After which the Ceremony commences--this is interspersed With Dances by Nymphs, Graces, Love. Hymen joins their Hands--the Cupids crown them with Wreaths, and the Piece concludes.
Role: She implores him to inspire the breast of Hercules Actor: Cupid changes the Club of Hercules for a Shepherd's Brook, his Arrows to Wreaths of Roses--Cupid calls on the Pleasures--their train surround the Sopha of Hercules, bearing Vases, Medallions, Baskets of Flowers, Wreaths of Roses--They form a groupe--when Cupid brings forth Omphale and places her by his side--He then waves his Bow and discovers The Garden of Love, in which Juno, attended by Mercury and Hymen, descend the Stage, and Clouds dispersing, discover The Temple of Juno. Juno joins the hands of Hercules and Omphale, and orders Hymen to prepare the Marriage Ceremony. This is succeeded by a Brand Hymeneal Procession: Four Amazons with Bows and Arrows, Four Nymphs bearing two Cornucopias, Four Giants bearing Rocks, Two White Bulls decorated for Sacrifice, Eight Priestesses bearing Instruments of Sacrifice, Twelve Children playing on Lutes, Harps, The Altar drawn by White Bulls richly decorated, Sixteen Priests of the Temple of Juno, The High Priest. After which the Ceremony commences--this is interspersed With Dances by Nymphs, Graces, Love. Hymen joins their Hands--the Cupids crown them with Wreaths, and the Piece concludes.

Performances

Mainpiece Title: Speculation

Afterpiece Title: Harlequin's Treasure 0; or, Jewels New Set

Afterpiece Title: Harlequin's Treasure 1

Performance Comment: Part I. A View of the Desarts of Arabia , with the passing of the Caravan.; The Banditti- (from The Magic Cavern) painted by Richards, the music by Shield.; A Garden-; song-Mrs Clendining composed by Shield.; The Hotel-; (from The Choice of Harlequin) with the Views of the Temple of Virtue and Pleasure painted by Richards, Dall, and Smirk; the music by Michael Arne; The Hazard Club (from The Choice of Harlequin)-; Come pass the Box composed by M. Arne,-Bowden, Townsend, Richardson, Haymes, Linton, Street, Spofforth, Williamson, Holland; The Building Scene and Falling Scaffold- (from The Sorcerer) invented by Rich. The Outside of Pantaloon's House-the Mandarine-the Inside-the Magic Candles-; Harlequin from the Tea Urn-, invented by Messink and Martinelli.; The Dog Kennel and Pigeon House- invented by Rich.; Outside of Bagnio- (from The Choice of Harlequin); -The Jew-the Quaker-the Sailor-the Miser. Omnia Vincet Amor! The Inside of the Bagnio-the Change to the Prison-the Punishment of Vice-; with a Hornpipe in Fetters-Byrn.
Cast
Role: A Garden Actor:

Afterpiece Title: Harlequin's Treasure 2

Performance Comment: Part II. An exact Representation of the Telegraphe-, in which is shewn the Manner of conveying Intelligence, demanding Questions, and receiving Answers.; A View of Dover, with the Fleet prepared for Sea-The arrival of an Express from the Admiralty by the Telegraphe-the Sailing of the Fleet; new song by Spofforth-Haymes; Park Wall changes to a Public House; The Trick Tea Chest; Harlequin's Leap and Transformation; The Kitchen Scene- by Messink.; Harlequin changes to a Lobster.; A Landscape-; painted by Lambert.; A new Drinking Song and Chorus by Spofforth-Bowden; The Wash@House Scene- (from The Sorcerer) invented by Rich. Pantaloon's House and Garden Wall-a Venetian Window changes to a Ladder-with the Clown's Disaster in the Horse Trough. Outside of Pantaloon's House-the art of making Punch-the Transformation of Punch to a Wheel-Barrow invented by Rich.; The Statuary Yard- invented by Messink-the formation of the Stone Figure invented by Delpini.; A Dark Wood-;Harlequin and Columbine, guarded by Virtue, are shewn the Cavern of Vice, in which are personified Intemperance, Deceit, Avarice, Gaming, Drunkenness, Lust, and Murder. This is succeeded by the Temple of Virtue, in which the Vices give place to Prudence, Justice, Temperance, Fortitude, Faith, Hope, and Charity. Harlequin and Columbine are united at the Altar by Hymen, and the Piece concludes with a Finale-; Grand Dance-Byrn, Holland, Mlle St.Amand.
Event Comment: Benefit for Lewis. 1st piece [1st time: C 3, by John O'Keeffe, altered by him from his The Toy]. [2nd piece in place of The Irish Mimick, advertised on playbill of 17 Mar.] Oracle, 15 Mar.: Tickets to be had of Lewis, No. 6, Bow-street, Covent-Garden. Receipts: #384 18s. (272.4; 12.8; tickets: 100.6)

Performances

Mainpiece Title: Othello, Moor Of Venice

Afterpiece Title: Harlequin's Treasure; or, Jewels New Set

Performance Comment: Pantomimic Characters. Persian Merchant and Lover-Farley; Harlequin-Simpson; Clown-Follett; Pantaloon-Hawtin; Fop's Servant-Simmons; Punch-Rayner; Cooper-Blurton; Lemon Merchant-Wilde; Landlord-Thompson; Cook-Mrs Henley; Columbine-Mlle St.Amand; [Vocal Characters. Gamblers-Bowden, Townsend, Haymes, Philipps; Pleasure-Mrs Martyr; Virtue-Mrs Mountain; Arabian Girl-Mrs Clendining; Glees and Chorusses-Linton, Street, Gray; [Part I A View of Desarts of Arabia, with passing of Caravan. The Banditti (from The Magic Cavern, painted by Richards, the music by Shield); A Garden@song-Mrs Clendining; [composed by Shield. The Hotel (from The Choice of Harlequin), with Views of Temple of Virtue and Pleasure Painted by Richards, Dall, and Smirk; the music by Michael Arne. The Building Scene and Falling Scaffold (from The Sorcerer) invented by Rich. The Outside of Pantaloon's House-the Mandarine-the Inside-the Magic Candles-Harlequin from the Tea Urn, invented by Messink and Martinelli. The Dog Kennel and Pigeon House invented by Rich. The Hazard Club (from The Choice of Harlequin) Come pass the Box(, composed by [M.] Arne) -Bowden, Townsend, Haymes, Philipps, Linton, Street, Gray; [Prison Scene-with a Hornpipe in Fetters-Blurton; [Part II. An exact Representation of the Telegraphev. in which is shewn the manner of conveying Intelligence, demanding Questions, and receiving Answers. A View of Doverv. with the Fleet prepared for Sea-The arrival of an Express from an Admiralty by the Telegraphe-the Sailing of the Fleet, with Rule Britannia-Townsend, Chorus [Park Wall, changes to a Public House. The Trick Tea Chest, Harlequin's Leap and Transformation. The Kitchen Scenev by Messink. Harlequin changes to a Lobster. A Landscapev painted by Lambert, which changes to the Wash-House Scenev (from The Sorcerer) invented by Rich. Pantaloon's House and Garden Wall-a Venetian Window changes to a Ladder-with the Clown's Disaster in the Horse Trough. Outside of a Pantaloon's House-the art of making Punch-the Transformation of Punch to a Wheel-Barrow invented by Rich. The Statuary Yard invented by Messink-Harlequin Gladiator. A Dark Wood-Harlequin and Columbine, guarded by Virtue. are shewn the Cavern of Vice, in which are personified Intemperance, Deceit, Avarice, Gaming, Drunkenness, Lust, and Murder. To conclude with a Representation of the Temple of Virtuevv, in which the Vices give place to Prudence, Justice, Temperance, Fortitude, and Charity. And Harlequin and Columbine are united at the Altar of Hymen.

Performances

Mainpiece Title: Such Things Are

Afterpiece Title: Starboard Watch

Afterpiece Title: Harlequin and Faustus; or, The Devil will have his Own

Performance Comment: The following is a short Description of part of the Scenery, Machinery and Decorations: I. A Representation of Tartarus, exhibiting the Punishments of Sisyphus, Tantalus, Ixion, Flagetus (designed and executed by Richards; music by Shield), in which scene is introduced The Serpentv (invented by Rich). Pillardoc-Clarke; Asmodous-Gray; Lucifer-Dyke; Orchus-Blurton; Belial-Linton; Ades-Street; II. The Study of Faustus (painted by Hodgins). Dr Faustus-Farley; Zany-Simmons; III. Landscape and Water-Mill (painted by Walmsley). Harlequin-Simpson; Pierrot-Follett; Miller-Hawtin; Miller's Wife-Miss Leserve; Colombine-Mlle St.Amand; Philidel (the Celestial Spirit)-Miss Wheatley. IV. A View of a Country Inn. Trick Bull and Dog. V. View of Smithfield on a Market Day. VI. The Garden of Faustus (painted by Pugh). Festoons of Flowers ascend. A Dance of Statues. VII. A Street. Two Trick Sedan Chairs (invented by Hodgins). VIII. A Farm Yard, which changes to a Chinese Bridge, in which will be introduced the celebrated Piece of Machinery, The Peacockv (conducted by Sloper). IX. A Tobacco Warehouse, which changes to a Golden Equestrian Figure (by Roubiliac). X. The Infernal Regions, and a Shower of Fire. XI. The Temple of Glory.

Song: In course: The High Mettled Racer (composed by Dibdin)-Incledon; Patents all the Rage-Munden; The Beggar, as17980525; Duetto-Mrs Martyr, Mrs Mountain; The Wind blew fresh and fair-Townsend

Music: In course of Evening: solo on the Union Pipes-Murphy; accompanied on the Harp-Weippert

Entertainment: Vaudeville.In 3rd piece: [By Permission of the Proprietors of the Royal Circus [Charles Dibdin and Charles Hughes] [the celebrated Smith will ge thro' his wonderful Performances on the Slack Rope-Smith

Event Comment: Benefit for Hull, Mrs Litchfield & Waddy. 1st piece [1st time; C 5, by Thomas Hull. Larpent MS 1215; not published]: Altered from [The Bashful Lover, by] Massinger. [In it the playbill assigns Hortensio to Pope, but he was ill, and in his "stead Johnston read the part of Hortensio" (European Magazine, June 1798, p. 396). Prologue by John Taylor Poems (I, 60).] Morning Herald, 29 May: Tickets to be had of Hull, Duke's Court, Dean's-yard, Westminster; of Mrs Litchfield, James-street, Covent-Garden; of Waddy, No. 214, opposite Southampton-street, High Holborn. Receipts: #261 2s. 6d. (53.9.6; 4.16.6; tickets: 202.16.6; of which Hull took #72 7s.; Mrs Litchfield #60 17s., Waddy #69 12s. 6d.)

Performances

Mainpiece Title: Disinterested Love

Afterpiece Title: The Highland Reel

Entertainment: Monologue.Preceding 1st piece: a new Occasional Prologue-Holman

Event Comment: Pepys, Diary: Thence to see an Italian puppet play, that is within the rayles there [Covent Garden], which is very pretty, the best that ever I saw, and great resort of gallants

Performances

Mainpiece Title: Puppets

Event Comment: Pepys, Diary: After it [Wit in a Constable] was done, my wife and I went to the puppet play in Covent Garden, which I saw the other day, and indeed it is very pleasant

Performances

Mainpiece Title: Puppets

Event Comment: Edition of 1662: Being a True Relation of the Honourable the City of Londons Entertaining Their Sacred Majesties Upon the River of Thames, and Welcoming them from Hampton-Court to White-Hall. Expressed and set forth in several Shews and Pageants, the 23 day of August 1662. According to the printed version, the management of the pageant was under the care of Peter Mills, Surveyor; Malin, Water Bayliff; Thomas Whiting, Joyner; Richard Cleere, Carver. The songs were set by John Gamble, one of His Majesty's Servants. Evelyn, Diary: I this day was spectator of the most magnificent Triumph that certainly ever floted on the thames, considering the innumerable number of boates & Vessels, dressed and adorned with all imaginable Pomp: but above all, the Thrones, Arches, Pageants, & other representations, stately barges of the Lord Major, & Companies, with various Inventions, musique, & Peales of Ordnance both from the vessels & shore, going to meete & Conduct the new Queene from Hampton Court to White-hall, at the first time of her Coming to Towne.... his Majestie & the Queene, came in an antique-shaped open Vessell, convered with a State or Canopy of Cloth of Gold, made in forme of a Cupola, supported with high Corinthian Pillars, wreathd with flowers, festoones & Gyrlands: Pepys, Diary: We got into White Hall garden, and so to the Bowling-green, and up to the top of the new Banqueting House there, over the thames, which was a most pleasant place as any I could have got; and all the show consisted chiefly in the number of boats and barges; and two pageants, one of a King, and another of a Queen, with her Maydes of Honour sitting at her feet very prettily; and they tell me the Queen is Sir Richard Ford's daughter. Anon come the King and Queen in a barge under a canopy with 10,000 barges and boats, I think, for we could see no water for them, nor discern the King nor Queen. And so they landed at White Hall Bridge, and the great guns on the other side went off

Performances

Mainpiece Title: Aqua Triumphalis

Event Comment: See Boswell, Restoration Court Theatre, pp. 56-57, for a stage which may have been used for the puppets, and also Speaight, English Puppet Theatre, p. 73. Pepys, Diary: To my Lord's again, thinking to speak with him, but he is at White Hall with the King, before whom the puppet plays I saw this summer at Covent-garden are acted this night

Performances

Mainpiece Title: Puppets

Event Comment: Pepys, Diary: And taking my wife up, carried her to Charing Cross, and there showed her the Italian motion, much after the nature of what I showed her a while since in Covent Garden. Their puppets here are somewhat better, but their motions not all

Performances

Mainpiece Title: Puppets

Event Comment: Pepys, Diary: Thence to Lincoln's Inn Fields; and it being too soon to go to dinner, I walked up and down, and looked upon the outside of the new theatre, now a-building in Covent Garden, which will be very fine

Performances

Event Comment: The Duke's Company. Pepys, Diary: So resolved to take my wife to a play at court to-night, and the rather because it is my birthday....While my wife dressed herself, Creed and I walked out to see what play was acted to-day, and we find it The Slighted Mayde. But, Lord! to see that though I did know myself to be out of danger, yet I durst not go through the street, but round by the garden into Tower Street. By and by took coach, and to the Duke's house, where we saw it well acted, thought the play hath little good in it, being most pleased to see the little girl [Moll Davis] dance in boy's apparel, she having very fine legs, only bends in the hams, as I perceive all women do

Performances

Mainpiece Title: The Slighted Maid

Event Comment: Pepys, Diary: By and by with Lord Bruncker by coach to his house, there to hear some Italian musique: and here we met Tom Killigrew, Sir Robert Murray, and the Italian Signor Baptista, who hath composed a play in Italian for the Opera, which T. Killigrew do intend to have up; and here he did sing one one of the acts. He himself is the poet as well as the musician.... This done, T. Killigrew and I to talk: and he tells me how the audience at his house [Bridges St.] is not above half so much as it used to be before the late fire. That Knipp is like to make the best actor that ever come upon the stage, she understanding so well: that they are going to give her #30 a-year more. That the stage is now by his pains a thousand times better and more glorious than ever heretofore. Now, wax candles, and many of them; then, not above 3 l6s. of tallow: now, all things civil, no rudeness anywhere; then, as in a bear-garden: then, two to three fiddlers; now, nine or ten of the best: then, nothing but rushes upon the ground, and every thing else mean; and now, all otherwise: then, the Queen seldom and the King never would come; now, not the King only for state, but all civil people do think they may come as well as any....That he hath gathered our Italians from several Courts in Christendome, to come to make a concert for the King, which he do give #200 a-year a-piece to: but badly paid, and do come in room of keeping four ridiculous gundilows, he having got the King to put them away, and lay out money this way; and indeed I do commend him for it, for I think it is a very noble undertaking. He do intend to have some times of the year these operas to be performed at the two present theatres, since he is defeated in what he intended in Moorefields on purpose for it; and he tells me plainly that the City audience was as good as the Court, but now they are most gone

Performances

Event Comment: The King's Company. The date of the first performance is not known; Pepys does not suggest that this day was the premiere. Pepys, Diary: Sir W. Pen...and I by coach to the King's playhouse, and there saw The Mad Couple, which I do not remember that I have seen; it is a pretty pleasant play. Thence home, and my wife and I to walk in the garden, she having been at the same play with Jane, in the 18d. seat, to shew Jane the play

Performances

Mainpiece Title: All Mistaken; Or, The Mad Couple

Event Comment: The Duke's Company. The Prologue, by John Dryden, is in Covent Garden Drollery (1672). Pepys, Diary: To the Duke's playhouse, and there saw Albumazar, an old play, this the second time of acting. It is said to have been the ground of B. Jonson's Alchymist: but, saving the ridiculousnesse of Angell's part, which is called Trinkilo, I do not see any thing extraordinary in it, but was indeed weary of it before it was done. The King here, and, indeed, all of us, pretty merry at the mimique tricks of Trinkilo

Performances

Mainpiece Title: Albumazar

Event Comment: The King's Company. Pepys, Diary: Thence called Knepp from the King's house, where going in for her, the play being done, I did see Beck Marshall come dressed, off of the stage, and looks mighty fine, and pretty, and noble: and also Nell Gwyn?, in her boy's clothes, mighty pretty. But, Lord! their confidence! and how many men do hover about them as soon as they come off the stage, and how confident they are in their talk! Here I did kiss the pretty woman newly come, called Pegg Hughes?, that was Sir Charles Sidly's mistress, a mighty pretty woman, and seems, but is not, modest. Here took up Knepp into our coach, and all of us with her to her lodgings, and thither comes Bannister with a song of her's, that he hath set in Sir Charles Sidly's play [The Mulberry Garden] for her, which is, I think, but very meanly set; but this he did, before us, teach her, and it being but a slight, silly, short ayre, she learnt it presently. But I did get him to prick me down the notes of the Echo in The Tempest, which pleases me mightily. Here was also Haynes, the incomparable dancer of the King's house, and a seeming civil man, and sings pretty well

Performances

Mainpiece Title: The Virgin Martyr

Event Comment: Newsletter, 7 April: Last evening their Majesties were diverted with a comedy acted at St James's by the little young ladies of the Court, who appeared extraordinarily glorious and covered with jewels (HMC, Fleming MSS. 12th Report, VII, 70). This may have been a performance of The Faithful Shepherdess which was entered by Richard Boyle, Earl of Burlington, in his diary, 2 April 1670 [error for 6 April (?)]: I saw Lady Mary, daughter of the Duke of York, and many young ladies act the Faithful Shepherdess very finely (Diary, Volume V, in Chatsworth. I owe this entry to Professor Kathleen Lynch). In Covent Garden Drollery, 1672 (ed. G. Thorn-Drury), p. 68, is an Epilogue spoken by the Lady Mary Mordaunt, before the King and Queen at court, to the Faithful Shepherdess. As Lady Mary was then about twelve, this Epilogue seems to confirm the possibility that the play was The Faithful Shepherdess acted by amateurs

Performances

Event Comment: The Duke's Company. This performance is on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage", p. 17. There is no indication as to whether this is the premiere. The play was licensed 6 March 1670 [1671]. Downes (Roscius Anglicanus, p. 27) refers to it as being the first "new Play" acted at Dorset Garden in 1666, an error as to both place and time of presentation. Downes adds: All the other Parts, being perfectly well Acted, Succeeded six Days with a full Audience. It seems unlikely that Cambyses was given six days consecutively at this time. A performance of The Forc'd Marriage on Monday 9 Jan. 1670@1 and one of The Humorists on Saturday 14 Jan. 1670@1 do not permit six uninterrupted days for Cambyses at this time

Performances

Mainpiece Title: Cambyses, King Of Persia

Event Comment: The Duke's Company. The date of the first performance is quite uncertain, but the fact that the Prologue was spoken at Lincoln's Inn Fields and refers to that theatre as "a damn'd House," appropriate to its status before the Company's removal to Dorset Garden (9 Nov. 1671), would place it in the early autumn. The presence of unfamiliar names in the cast and the statement in the Dedication to its "hasty Representation" suggest a summer or early autumn performance before the principals had resumed their places in the Company. See Nicoll, Restoration Drama, p. 424, for other complications in the dating of this play

Performances

Mainpiece Title: Herod And Mariamne

Event Comment: Downes (Roscius Anglicanus, p. 8) gives a cast for Julius Caesar [by William Shakespeare] which includes Richard Bell, who died in the Drury Lane fire at the end of this month. It is not known when a performance of this play occurred, but a Prologue to Julius Caesar is in Covent Garden Drollery, 1672. Downes lists: Julius Caesar-$Bell; Cassius-$Major Mohun; Brutus-$Hart; Anthony-$Kynaston; Calphurnia-$Mrs Marshal. [Downes adds Portia-$Mrs Corbet, but this probably refers to a later performance.

Performances