Event Comment: A Comic Opera. Tickets at half a Guinea. [Latilla's comic opera; but music for this production by Pietro Auletta. See Loewenberg, Annals of Opera, Cols. 187-88.] Books will be delivered this morning at Mrs Sylvester's (Daily Advertiser)

Event Comment: A new Comic Opera. [Leo's Amor Vuol Sofferenza. See Loewenberg, Annals of Opera, I, 195.] By His Majesty's Command no Person whatsoever to be admitted behind the Scenes

Event Comment: An Italian Comic Opera by some performers just arriv'd from Paris. Went off pretty well, -a Girl greatly admir'd (Cross). [The girl seems to have been Sga Spiletta.] She plays off with inexhaustible spirits all muscular evolutions of the face and brows; while in her eye wantons a studied archness, and pleasing malignity. Her voice has strength and scope sufficient; has neither too much of the feminine, nor an inclining to the male. Her gestures are ever varying; her transitions quick and easy. Some over-nice critics, forgetting, or not knowing the meaning of the word Burletta, cry that her manner is outre. Wou'd she not be faulty were it otherwise? The thing chargeable to her is (perhaps) too great a luxurience of comic tricks; which (an austere censor would say) border on unlaced lasciviousness, and extravagant petulance of action (Paul Hiffernan, The Tuner, No 1). [Spiletta was the name of the character to whom Sga Nicolina Giordani gave such life that the name stuck to her. See Saxe Wyndham, Annals of Covent Garden Theatre.] [A Comic Opera by G. Giordani, Music by G. Cocchi-Nicoll, English Drama, III, p. 349.] Nothing less than the full price will be taken during the Performance. Printed books of the opera sold at the theatre. Tomorrow, Venice Preserved. [Murphy commented in Gray's Inn Journal (22 Dec.): "A great deal of whatever humour this production may contain, is certainly lost to an English audience; and the manner of acting, being a burlesque upon what people here are not very well acquainted with, is not universally felt. But notwithstanding these disadvantages, there is one among them, Sga Nicolina Giordani, who displayed such lively traces of Humour in her countenance, and such pleasing variety of action, and such variety of graceful deportment, that she is generally acknowledged to be, in that Cast of playing, an excellent comic actress."

Event Comment: A New Opera Composed by Hasse. [Revived with Alterations (Loewenberg, Annals of Opera).

Event Comment: A New Opera. First performance in England. The Musick composed by Jomelli; text-Metastasio (Loewenberg, Annals of Opera, p. 112)

Event Comment: Play a New Italian Burletta. The first performance in England. Libertto by Goldoni; Music by Galuppi (Loewenberg, Annals of Opera, p. 107). Books of the Opera will be sold at the theatre. Ladies send servants by half past three. Nothing but full prices will be taken during the performance

Event Comment: [Possibly a pasticchio, as Galuppi's name is not mentioned. (See Loewenberg, Annals of Opera, p. 101).

Event Comment: [Music-Galuppi; first performance in England. Text from Metastasio but altered by F. Vanneschi; additional airs by F. Giardini (Loewenberg, Annals of Opera, p. 106.

Event Comment: First performance in England. A new comic Opera. Music-Bertoni, author of the favourite song Ah se un Cuor Barbaro, in Demetrio. [Libretto by Goldoni (Loewenberg, Annals of Opera, p. 110.)

Event Comment: Afterpiece: A pastoral never performed on any Stage, Words set to the music of eminent masters. Books of the Pastoral to be sold at the Theatre. [See Theatrical Review; or, Annals of the Drama, 1763, pp. 20-22.

Event Comment: Mainpiece: Never acted before, a New Dramatic Opera [Bickerstaffe] the Music by Handel, Boyce, Arne, Howard, Baildon, Festing, Geminiani, Galluppi, Giardini, Paradies, Agus, Abos; with a New Overture composed by Mr Abel. Full Prices. Books of the Opera sold at theatre. [See Theatrical Review; or, Annals of the Drama, 1763, pp. 22-36: Compares Bickerstaff's opera at length with Charles Johnson's Village Opera.

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: [See Theatrical Review; or, Annals of the Drama, 1 April, pp. 146-49.] Oratorio is a "Sacred Ode by Dr Brown. Adapted (by the Author of the Ode) to select Airs, Duets and Chorusses from Handel, Marcello, Purcell and other eminent composers" (Public Advertiser)

Event Comment: Benefit for Mrs Clive. Mainpiece: By Particular Desire.Afterpiece: Never perform'd before. Ladies and Servants by 3 o'clock. Part of Pit laid into boxes; No Building on Stage. [See Theatrical Review; or, Annals of the Drama, 1763, 1 April, pp. 142-46, for critique of the Sketch of a Fine Lady's Return from a Rout. Rather damns the writing and the performance on all counts, Moody's part being so bad, to save his face he commenced Hibernian in his dialogue" to amuse the ears of his audience. The parts are listed in Larpent MS 220: Sir Gregory Jenkings, Mr Nettle (a Lawyer), 1st Clerk, 2nd Clerk, Porter, Footmen, Lady Jenkings, Nancy Jenkings, Fanny Jenkings, Jane (Lady's Maid).

Event Comment: Benefit for Havard. [See Theatrical Review; or, Annals of the Drama, 1 May 1763 for a critique on the afterpiece (pp. 196-99).

Event Comment: Benefit for Rooker, and Saunderson (machinist). No Building on Stage. [The Theatrical Review; or, Annals of the Drama (Volunteer Manager section for 1 May 1763, p. 212) comments upon a stage tradition of having the Mouse Trap" Play presented on stage with the players' backs to Claudius and Gertrude. The author wishes Garrick and Beard to revise this absurdity and bring the whole in more accord with reality. The same paper criticises Mrs Cibber as Ophelia. "I hope you will not let so flagrant an outrage to the decorum of the stage as the following pass unnoticed. As [Mrs Cibber] sat upon the stage, with Hamlet at her feet, in the third act, she rose up three several times, and made as many courtiess, and those very low ones, to some ladies in the boxes. Pray good Sir, ask her in what part of the play it is said that the Danish Ophelia is acquainted with so many British Ladies?" See similar comment on her Belvidera, 17 March 1760.

Event Comment: Afterpiece: Never performed before. Written by Milton, the Music entirely New (playbill). Music by William Jackson (Wyndham, Annals of Covent Garden, I, 178). As condolence on Death of Duke of York (Genest, V, 186). Paid for licensing Lycidas #1 1s. (Account Book). Receipts: #251 11s. (Account Book)

Event Comment: The last night of the Subscription. A new comic Opera; Music-Fischietti [and V. Pallavicino; text by Goldoni (Loewenberg, Annals of Opera, p. 116), first performance in England.

Event Comment: A new Serenata, the Music by Dibdin. Admittance 2s. 6d. each person, coffee and tea included. The house will continue to be opened on Mondays, Wednesdays and Fridays until further notice. N.B. There will be an armed guard on horseback to patrol the roads. [The serenata was added to "the usual entertainment." Words by Bickerstaff, this was an Englished La Serva Padrona (Loewenberg, Annals of Opera, Vol. 1, Col. 175. Rev. Ed., 1955).

Event Comment: Mainpiece [1st time; C 5, by Mariana Starke. Prologue by George Colman, elder. Epilogue by George Colman, ynger (see text)]: With new Dresses, Decorations, &c

Event Comment: In L. C. 5@139, p. 373, is a list of plays allowed to the Duke's Company: The Poetaster [by Ben Jonson]. Cupids Reuenge [by Francis Beaumont and John Fletcher. See 17 Aug. 1668]. Timon of Athens [by William Shakespeare]. Troyolus and Grisseida [by William Shakespeare]. Three parts of H. ye 6 [by William Shakespeare]. The honest mans fortune [by John Fletcher and others]. Woemen pleas'd [by John Fletcher]. Witt at Seuerall Weapons [by Francis Beaumont and John Fletcher]. The Woemen Hater or The hungry Courtier [by Francis Beaumont]. All fooles [by George Chapman]. Birons Conspiracy [by George Chapman]. Broken heart [by John Ford]. Bird in a Cage [by James Shirley]. Chabot Admirall of ffranse [by James Shirley, with George Chapman]. ffaithful Shepherd [possibly Guarini's Il Pastor Fido]. Herod and Antipater [by Gervase Markham with William Sampson]. Humor out of breath [by John Day]. Jealous Louers [by Thomas Randolph]. Loues Melancholy [Lover's Melancholy, by John Ford]. Muliasses the Turke [by John Mason]. Queene of Arragon [by William Habington]. Revenge of Bussy D'Ambois [by George Chapman]. Revenge for Honor [or The Parricide, by Henry Glapthorne]

Event Comment: TThe Jovial Crew, as advertised for this Day cannot be perform'd on account of the indisposition of Miss Brent. Positively the last time of the company's performing this season. Boxes #5 17s. 6d. Paid Younger a bill for writing parts #2 12s. Paid Ross in full to make his sallery #300 for the season: #60. The Account Book indicates a deficit this night of #1240 12s. 4d. after all salaries are paid. This deficit was reduced by #301 18s. 8d. on May 27 by deductions from the annual salaries of 23 actors and dancers for 19 nights on account of "the death of His Late Majesty King George the Second." A little more than 10 per cent was taken from the salary of each: From Miss Macklin's salary of #300, was deducted #31 16s. 10d., &c. The others who were similary taxed were: @Name Salary Deduction@Ross #300 #31 16s. 10d.@Maranesi & Mrs Maranesi[Wife #270 #28 13s. 2d.@Sparks #250 #26 10s. 8d.@Dyer & Mrs Dyer[Wife #250 #26 10s. 8d.@Beard #210 #22 5s. 9d.@Ridout #180 #19 2s. 1d.@Poitier Jr #150 #15 18s. 6d.@Miss Capdeville #150 #15 15s. 5d.@Barrington #100 #10 12s. 3d.@Bencraft #100 #10 12s. 3d.@LaLauze #100 #10 12s. 3d.@Poitier Sr #80 #8 9s. 9d.@Leppie #80 #8 9s. 9d.@Mrs Jansolien #60 #6 7s. 4d.@Mrs Viviez #60 #6 7s. 4d.@Rotchford #50 #5 6s. 1d.@Mrs Marianne #50 #5 6s. 1d.@Hussey #35 #3 14s. 3d.@Mrs Welsch #35 #3 14s. 3d.@Mrs Crawford #35 #3 14s. 3d.@ On 30 May the deficit was further reduced by receipts from 26 actors for advances, one-half value of tickets for their benefit performances, &c., plus #200 from John Rich, in the amount of #506 6s. 5d. (Account Book).] Receipts: #43 7s. 6d. (Account Book)

Event Comment: Mainpiece [1st time; C 5, by John O'Keeffe; text (1st authorized) published in Cumberland's British Theatre, xxxvii. Prologue and Epilogue by George Colman, the elder (Colman, Prose, iii, 244, 246, which give names of speakers)]: With new Scenes and Dresses. "It had four new scenes to decorate it, and those extremely well painted. In one of them a portrait of Captain Ambush is exhibited, which presented a very happy likeness of Williamson, by Alefounder" (Universal Magazine, Aug. 1783, p. 76)