Event Comment: Mainpiece: Altered into Three Acts. "All the comic part of the play is cut out" (Monthly Mirror, Dec. 1795, p. 123). Afterpiece [1st time; P 2, by William Pearce]: The Incidents principally selected from the legendary Ballads of the 13th Century. The Scenery, Machinery, Music, Dresses and Decorations entirely new, and in correct conformity to the Times. The Pantomime invented by Mr Lonsdale. The Songs written by Mr O'Keeffe. The Overture and the Music (with the exception of a few Antient Ballad Tunes) by Reeve. The Dances invented by Byrn. [The concluding Grand Scene regulated by Thomas Harris (Monthly Mirror, supra).] The Scenery painted by Hodgins, Lupino, Phillips, Thorne, Hollogan, Blackmore, and assistants. The Machinery by Sloper and Goosetree. The Dresses by Dick and Mrs Egan. Books of the Songs to be had at the Theatre. [For a further assignment of the Vocal Characters and for a more detailed synopsis, see 4 Jan. 1796.] Account-Book, 16 Jan. 1796: Paid Goosetree for the Keep and Hire of Horses for the Pantomime #15 13s. Receipts: #321 19s. (318.10; 3.9)

Event Comment: Benefit for Palmer. [1st piece originally acted in 1767 as Dido. Prologue by David Garrick.] 3rd piece [1st time; INT 1, consisting of 3 tales in verse inserted into a continuous verse narrative]: As intended for Representation at the Theatre Royal, Hay-market, by George Colman Ynger. Morning Herald, 3 Apr. 1797: This Day is Published My Nightgown and Slippers (2s. 6d.). True Briton, 25 Apr.: Tickets to be had of Palmer, No. 39, Great Pulteney-street, Golden-square. Receipts: #491 16s. (152.3; 77.16; 11.16; tickets: 250.1) (charge: #232 18s. 6d.)

Event Comment: Benefit for Mrs Siddons. 1st piece: Never acted in this Theatre. [Prologue by George Colman, elder. Monologue by Hester Lynch Piozzi (European Magazine, May 1797, p. 343).] True Briton, 12 Apr.: Tickets to be had of Mrs Siddons, No. 49, Great Marlborough-street. "The scenery destroyed much of the effect of the tragedy; for the characters are supposed to be 'steeped in poverty to the very lips;' and yet their apartments would have become a family in the meridian of wealth and prosperity. Mrs Siddons was also too well dressed for Mrs Wilmot" (Monthly Mirror, May 1797, p. 308). "In the scene in which [Mrs Siddons's] son having put into her hands a casket to keep, and she having touched a spring it opens and she sees jewels, her husband (Kemble) enters, and in despair exclaims, 'Where shall we get bread?' With her eyes fixed on the jewels, she runs to him, knocks the casket against her breast and exclaims, 'Here! Here!' In Mrs Siddons's tone and in her look there was an anticipation of the murder which was to take place" (Robinson, I, 39). Receipts: #618 2s. (386.8.6; 43.19.0; 2.4.0; tickets: 185.10.6) (charge: #211 1s.)

Event Comment: Under the Patronage of H. R. H. the Prince of Wales, H. R. H. the Duke of York, and H. R. H. the Duke of Clarence. Benefit for a Fund for the Relief of the Wounded Seamen, and also for the Widows and Orphans of the Brave Men who fell in the late Glorious Action, under Admiral Lord Viscount Duncan [see 16 Oct.]. The Tickets for the Boxes are issued under the Direction of a Committee consisting of the following Noblemen and Gentlemen, who have obligingly undertaken to attend to the arrangement of the Evening: The Duke of Leeds, The Duke of Bedford, The Earl of Guildford, The Earl of Thanet, The Right Honorable the Lord Mayor [Brook Watson], Mr Alderman Combe, M. P., Mr Alderman Skinner, John Julius Angerstein, Esq. Tickets and Places for the Boxes not disposed of by the Committee to be had of Fosbrook at the Box Office, Little Russell-Street, and at the Bar of Lloyds Coffee House. Ladies and Gentlemen having Privilege of the Theatre are requested by the Stewards to waive the use of it for this Evening. [Address by Richard Cumberland (European Magazine, Nov. 1797, p. 339). True Briton. 23 Nov. 1797, prints a letter from the Chairman of Committee of Subscribers to the performers of the theatre, thanking them for not "accepting the usual emolument on the night of performance."] Receipts: #631 8s. (357.17.6; 57.4.6; 1.11.0; money extra left at the doors: 2.14.6; tickets: 212.0.6) (charge: #161 0s. 6d.)

Event Comment: [Longley is identified in European Magazine, Dec. 1797, p. 410, but Monthly Visitor, Jan. 1798, p. 64, says that he was Clarke, "from the Shakesperian Theatre at Tottenham Court Road." Afterpiece in place of The Shipwreck, advertised on playbill of 24 Nov.] "[Longley] is not inferior to some Falstaffs we have seen upon the London stage, and he possesses all the traditionary shrugs, winks and bye-play usual in the representation of the part" (True Briton, 27 Nov.). Receipts: #140 18s. (101.15; 38.3; 1.0)

Event Comment: Mainpiece [1st time; D 5, by Benjamin Thompson, altered from Menschenhass und Reue, by August Friedrich Ferdinand von Kotzebue. Prologue by William Linley; Epilogue by Matthew Gregory Lewis (European Magazine, Mar. 1798, p. 260)]: With new Scenes, Dresses, &c. With Musick [by Thomas Shaw]. "Mrs Siddons was succesful in all the impassioned parts; but she cannot sustain a mixed character. She is the Muse of Tragedy herself, and when she descends from her lofty state to the level of familiar dialogue, she instantly ceases to astonish and we to admire" (Monthly Mirror, Apr. 1798, p. 234). "The dialogue must be considerably abridged, as well for the purpose of preserving the interest of the piece, as for shortening the time of representation, which is at least an hour too long, it being half past ten before the curtain dropt" [see 26 Mar.] (Morning Herald, 26 Mar.). Receipts: #420 7s. 6d. (378.11.6; 40.18.0; 1.8.0)

Event Comment: Benefit for King. [This was Smith's last appearance on the stage, from which he had officially retired on 9 June 1788.] Broadside in Kemble playbills announcing this benefit: Mr King most respectfully informs the Public that his Night is fixed for Friday the 18th of May, when will be presented The School for Scandal. Mr King has the pleasure to add that Mr Smith, who was so long and so worthily applauded by the Public, and was the original performer of Charles Surface in the above, distinguished Comedy, at the particular request of Mr King, backed by a strong assurance from many admirers and encouragers of the Drama that it will not only add to Mr King's emolument but highly gratify the Town, has kindly consented to return to the Theatre for one night, and resume his favourite Character. "We had been told that Smith pourtrayed the Manners of a finished gentleman with more delicacy and characteristic propriety than any actor of his day; but this did not appear to us to be his particular excellence; he stands too wide to be graceful, and his deportment gains no advantage from a perpetual application of his hand to the lower part of the waist. These habits are far from elegant. His Charles, however, is a favourable specimen of that sort of acting which commonly falls under the denomination of the old school: light, airy, and natural; which excites applause without any anxious endeavour to produce it; which suffers the points to tell of themselves, and does not place them as so many traps to ensnare the injudicious part of the audience" (Monthly Mirror, May 1798, p. 299). "He was received with the most heart-felt gratulations by an audience who did not expect any apology for such acting, though he saw fit to deliver one at the conclusion of the play" (Monthly Visitor, May 1798, p. 72). Times, 4 May: Tickets to be had of King at his house, New Store-street, Bedford-square. Receipts: #674 6s. (388.0.6; 55.17.6; 2.0.0); tickets: 228.8.0) (charge: #212 5s. 6d.)

Event Comment: Benefit for Simpson, Powel, Rees & Mrs Henley. 3rd piece [1st time; P 1]: Selected from The Rape of Proserpine, Lord Mayor's Day, Harlequin's Museum, Harlequin Skeleton, Harlequin Sorcerer, Aladin, &c. In the course of the Compilation will be introduced: The Birth and Emancipation of Harlequin from the Egg-shell-the Dying Scene-the Skeleton-His Renovation-the celebrated Gladiator Scene, &c. In particular, among many surprising Escapes, the Jump through the Tea-chest; Flight from one Balcony to the other; a Leap over twelve Soldiers with fixed Bayonets; the Flight back and Jump through a Tamborine-and (for that night only) Simpson will run perpendicular up the Wall of a House, 30 Feet High. To conclude with a View of the Grotto of Magic. There are some imitations which almost identify the originals, but [Rees's as Dromio] was a vile caricature, which would never have been recognized but for the specification in the play bills" (Monthly Mirror, June 1798, p. 371). Receipts: #269 19s. 6d. (48.19.0; 20.17.6; tickets: 200.3.0, of which Simpson took #72 5s. 6d., Powel #27 10s. 6d., Rees #36 11s., Mrs Henley #61 16s., leaving #2 to be accounted for)

Event Comment: Mainpiece [1st time; C 5, by Richard Cumberland, 1st published (without assignment of parts) in his Posthumous Dramatic Works, 1813, Vol. I, as The Passive Husband. Prologue and Epilogue by the author (Thomas Holcroft, Life, ed. Elbridge Colby, 1925, II, 205)]. Receipts: #253 8s. 6d. (189.12.6; 60.7.6; 3.8.6)

Event Comment: Afterpiace [1st time; M. ENT 2, by William Linley. Larpent MS 1277; not published; synopsis of plot in Dramatic Censor, I, 124-25]: Altered [by the author] from The Pavilion. With new Scenes, Dresses, and Decorations. The Overture and Musick entirely new, composed by [William] Linley. Books of the Songs to be had in the Theatre. [And see 16 Nov. 1799.] Receipts: #270 15s. 6d. (185.2.0; 1.13.0)

Event Comment: At Drapers' Hall. (See J. Paine Collier, Monk and the Restoration,' Gentleman's Magazine, New Series, XXXVI (1851), 347-52. See also 13 April 1660.

Event Comment: The King's Company. Pepys, Diary: After dinner I went to the new Theatre and there I saw The Merry Wives of Windsor acted, the humours of the country gentleman and the French doctor very well done, but the rest but very poorly, and Sir J. Falstaffe as bad as any

Event Comment: Pepys, Diary: I with Lord Brouncker (who was this day in an unusual manner merry, I believe with drink), J. Minnes, and W. Pen to Bartholomew-Fair; and there saw the dancing mare again, which, to-day, I find to act much worse than the other day, she forgetting many things, which her master beat her for, and was mightily vexed; and then the dancing of the ropes, and also the little stage-play, which is very ridiculous

Event Comment: See 27 Feb. and 4 March. Pepys, Diary: [Sir W. Coventry] told me the matter of the play [The Rehearsal] that was intended for his abuse, wherein they foolishly and sillily bring in two tables like that which he hath made, with a round hole in the middle, in his closet, to turn himself in; and he is to be in one of them as master, and Sir J. Duncomb in the other, as his man or imitator: and their discourse in those tables, about the disposing of their books and papers, very foolish. But that, that he is offended with, is his being made so contemptible, so that any should dare to make a gentleman a subject for the mirth of the world; and that therefore he had told Tom Killigrew that he should tell his actors, whoever they were, that did offer any thing like representing him, that he would not complain to my Lord Chamberlain, which was too weak, nor get him beaten, as Sir Charles Sidly is said to do, but that he would cause his nose to be cut

Event Comment: The King's Company. For the identification of this play and details of its performance, see W. J. Lawrence, "Foreign Singers and Musicians at the Court of Charles II," Musical Quarterly, IX (1923), 217-25, and James G. McManaway, "Entertainment for the Grand Duke of Tuscany," Theatre Notebook, XVI (1961), 20-21. The Travels of Cosmo the Third [Monday 3 June 1669 NS; Monday 24 May 1669 OS]: In the afternoon his highness left home earlier than usual to make his visits, that he might be at the King's Theatre in time for the comedy, and a ballet set on foot and got up in honor of his highness by my Lord Stafford, uncle of the Duke of Norfolk. On arriving at the theatre, which was sufficiently lighted on the stage and on the walls to enable the spectators to see the scenes and the performances, his highness seated himself in a front box, where, besides enjoying the pleasure of the spectacle, he passed the evening in conversation with the Venetian ambassador, the Duke of Norfolk, Lord Stafford, and other noblemen. To the story of Psyche, the daughter of Apollo, which abounded with beautiful incidents, all of them adapted to the performers and calculated to express the force of love, was joined a well-arranged ballet, regulated by the sound of various instruments, with new and fanciful dances after the English manner, in which different actions were counterfeited, the performers passing gracefully from one to another, so as to render intelligible, by their movements, the acts they were representing. This spectacle was highly agreeable to his highness from its novelty and ingenuity; and all parts of it were likewise equally praised by the ladies and gentlemen, who crouded in great numbers to the theatre, to fill the boxes, with which it is entirely surrounded, and the pit, and to enjoy the performance, which was protracted to a late hour of the night (pp. 347-48). In BM Add. Mss. 10117, folio 230, Rugge's Diurnall states that towards the end of May 1669 Cosmo, Prince of Tuscany had several plays acted for him

Event Comment: Henry Savile to the Earl of Rochester, 17 Dec. 1677: I had allmost forgott for another argument to bring you to towne that a French troop of comaedians bound for Nimeguen were by adverse winds cast into this hospitable port and doe act at Whitehall soe very well that it is a thousand pittyes they should not stay, especially a young wench of fifteen, who has more beauty and sweetnesse than ever was seen upon the stage since a friend of our left it (HMC, Bath MSS., 1907, II, 161). W. J. Lawrence (Early French Players in England, pp. 148-49) identifies the French actress as Francoise Pitel, later Mlle Raisin

Event Comment: During February and March 1678@9 two plays, titles unknown, were acted before the King. See an order: To Edward Griffin, Esq. Treasurer of the Chamber, to be paid over to John Lacy, assigne of Charles Killigrew, Mastr of the revells, for two plays acted before his said Majestie in Feb'ry and March 1678@9 (Moneys Received and Paid for Secret Services, ed. J. Y. Akerman, Camden Society, LII 1851, 34)

Event Comment: On this day Luttrell purchased a copy (Bindley Collection, William Andrew Clark@Jr@Library) of The Beggars Delight As it was Sung at the Theatre Royal, published in 1684 by J. Dean

Event Comment: Cardell Goodman, the actor, was brought to court for complicity in a poisoning case. See Luttrell, A Brief Relation, I, 318, and J. C. Jeaffreson, A Young Squire of the Seventeenth Century (London, 1878), II, 143-44

Event Comment: On this date a payment was made to the foreign performers who had come in the spring: To Francis Duperier, for the charge and expences of ye French players attending his Majestie at Windsor and Winchester, and returning to London (Moneys Received and Paid for Secret Services, ed. J. Y. Akerman, Camden Society, LII [1851], 93)

Event Comment: Christopher Jeaffreson to Colonel Hill, 29 Oct. 1684: Sir James Hackett, lieutenant-colonell to the Lord Dunbarton's regiment, was wounded in the thigh by one Mr Potter in the Playhouse; of which woud he has since died. He is much lamented by his Majesty, and all that knew him (J. C. Jeaffreson, A Young Squire of the Seventeenth Century [London, 1878], II, 143-44)

Event Comment: Luttrell, A Brief Relation: The 18th, upon the water before Whitehall, in a great barge, was performed an exercise of musick, vocall and instrumental, by the kings musick (I, 445). B. M. Sloane MS 3929, newsletter, 23 June 1688: on Monday night a great performance was upon the water of Vocal and Instrumental Musique in a Barge borrowed from one of the Companies of London stuck around with lighted fflambeaux, and many of the Nobility and Gentry invited thereto (transcribed by Professor John Harold Wilson). J. Pulver, A Biographical Dictionary of Old English Music (London, 1927), under John Abell: The Barge was decorated and illuminated by numerous torches....The performers, vocal and instrumental, amounted to one hundred and thirty....Nobility and company that was upon the water gave three shouts to express their joy and satisfaction; and all the gentlemen of the musick went to Mr Abell's house, which was nobly illuminated and honoured with the presence of a great Company of the nobility