Event Comment: By Permission of the Lord Chamberlain. Mainpiece [1st time; c 5 (?), author unknown; perhaps an alteration of Love at a Venture, by Susannah Centlivre. MS not in Larpent; not published. Authors and speakers of Prologue and Epilogue unknown]. Afterpiece: As it was originally performed at this theatre [on 15 Oct. 1770]. The Doors to be opened at 5:30. To begin at 6:30. The above entertainments have been a long time in rehearsal, and care has been taken in getting them well up, and to have the principal parts supported by veterans

Event Comment: Afterpiece [1st time; MF 2]: Written by the Author of The Poor Soldier [John O'Keeffe. Text 1st published in his Dramatic Works, Vol. IV (T. Woodfall, 1798)]. With new Scenes, Dresses, &c. The Airs partly compiled, the new Music, Overture, and all the Accompaniments composed by Shield. Books of the Songs to be had at the Theatre. Account-Book, 6 Apr.: Paid O'Keeffe in full for Love in a Camp #105. Receipts: #189 2s. 6d. (175/1/6; 14/1/0)

Event Comment: [As afterpiece the Account-Book lists, erroneously, Love and War, the next performance of which was on 13 Apr., for the 6th time.] Receipts: #218 11s. (209.9.6; 9.1.6)

Event Comment: By Command of Their Majesties. [Mainpiece in place of The Merchant of Venice; afterpiece of Love a-la-Mode, both advertised on playbill of 12 Feb.] Receipts: #315 15s. (304.2; 1.13)

Event Comment: [Dedication signed by John James Heidegger.] By Subscription. Never Perform'd before. Colman's Opera Register: Monr John James Heidegger managed both this & ye former Opera for ye Singers & ye Subscription was for Six Nights paying 10 Guin for 3 Tickets each Night, they not to give out above 400 Tickets a Night

Event Comment: [Dedication by John James Heidegger.] By Subscription. Stage Boxes 15s. Gallery 5s. Colman's Opera Register: By subscription for six times at ye usuall rate of 10 Guin for 3 Tickets

Event Comment: 2nd piece [1st time; T 3, by Henry James Pye. Authors of Prologue and Epilogue unknown]: With new Scenes, Dresses and Decorations. Morning Chronicle, IO June 1794: This day is published THE SIEGE OF MEAUX (1s. 6d.). Receipts: #125 9s. (117/2; 8/7)

Event Comment: [1st piece in place of THE FLITCH OF BACON, advertised on playbill of 25 July.] 3rd piece [1st time; CO 2, by Samuel James Arnold]: The new musick, with a Scottish Medley Overture, by Dr Arnold. New Scenery by Rooker. New Dresses and Decorations. Morning Chronicle, 28 Aug. 1794: This Day is published AULD ROBIN GRAY (1s)

Event Comment: 3rd piece [1st time: MF 2, by Samuel James Arnold. Larpent MS 1176; not published; synopsis of plot in Morning Herald, 27 June]: The Musick, with an Hibernian Medley Overture, by Dr Arnold. Books of the Songs to be had at the Theatre

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: The King's Company. This performance is known through a document summarized in The Theatrical Inquisitor and Monthly Mirror, July 1816, p. 25, and summarized in Fitzgerald, A New History, I, 145. Although this performance is the first certainly known, it is probably not the premiere, for the attendance (see below) was too small for the premiere of a new work by John Dryden. Since the play was entered in the Stationers' Register, January 1678, the first production was probably not long before this performance. The document in The Theatrical Inquisitor gives this information: The King's Box, no receipts; Mr Hayles' boxes, #3 (probably 15 spectators); Mr Mohun's boxes, #1 12s. (probably 8 spectators); Mr Yeats' boxes, 12s. (probably 3 spectators); James' boxes, #2 (probably 10 spectators). Mr Kent's pitt, 82 spectators, and Mr Britan's pitt, 35 spectators, a total of 117, paying #14 12s. 6d. Mr Bracy's gallery, 42 spectators; and Mr Johnson's gallery, 21 spectators; a total of 63 spectators, who paid #4 14s. 6d. Mr Thomson's gallery, 33 spectators, paying #1 13s. The total attendance appears to have been 249; the receipts were #28 4s. The house rent came to #5 14s. Downes (Roscius Anglicanus, p. 11) gives a cast which is identical except for omissions

Event Comment: Afterpiece: A comedy in 2 Acts not acted these 2 years. [See 30 April 1763.] The Relapse deferr'd on account of indisposition of Miss Elliot. James Bencraft Died at Covent Garden (Winston MS 9)

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.)

Event Comment: Betterton's Company. The date of the first performance is not certain, but the evidence points toward this day. On Thursday 19 Nov. 1696, Robert Jennens reported that the two pieces had been acted four or five days together. If that day saw the fifth performance, the premiere probably occurred on 14 Nov. 1696. The Single Songs and Dialogue in Mars and Venus, set by John Eccles (Acts I and II) and Godfrey Finger (Act III), was published separately in 1697. The pieces for whom a performer is indicated are as follows: Prologue. The first Song Sung by Mrs Hudson, set by Finger: Come all, with moving songs [it is reproduced opposite page 300 in Wiley, Rare Prologues and Epilogues]. Love alone can here alarm me, sung by Mrs Ayloffe. Scorn tho' Beauty frowns to tremble, sung by Mrs Hudson. To double the sports, sung by Mrs Ayloffe. To treble the pleasures with regular measures, sung by Mrs Ayloffe. To meet her, May, the Queen of Love comes here, set by John Eccles and sung by Mrs Hudson. See Vulcan, Jealousie, Jealousie appears, set by Finger and sung by Mrs Hudson. Yield, no, no, sung by Mrs Bracegirdle and Bowman. Gildon, English Dramatick Poets, p. 115: This Play met with extraordinary Success having the Advantage of the excellent Musick of The Loves of Mars and Venus perform'd with it. Downes, Roscius Anglicanus, pp. 44-45: The Anatomist, or Sham Doctor, had prosperous Success, and remains a living Play to this Day; 'twas done by Mr Ravenscroft. A Comparison Between the Two Stages (1702), p. 20: I remember the success of that was owing to the Musick

Event Comment: The Duke's Company. This performance is on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage," p. 18: Love in a Tubb. Downes, Roscius Anglicanus, p. 32: [After Sir Martin Marall] Next was Acted Love in a Tub, it was perform'd 2 Days together to a full Audience

Event Comment: The King's Company. This play appears on Herbert's List, following the entry for 26 Oct. 1661. (See William VanLennep, "Thomas Killigrew prepares his Plays for Production," J. Q. Adams Memorial Studies (Washington, D. C., 1948, p. 803.) Pepys, Diary: W. Pen and I to the Theatre, but it was so full that we could hardly get any room, so he went up to one of the boxes, and I into the 18d. places, and there saw Love at first sight, a play of Mr Killigrew's and the first time that it hath been acted since before the troubles, and great expectation there was, but I found the play to be a poor thing, and so I perceive every body else do. BM Add. Mss. 34217, fol. 31b, in Hotson Commonwealth and Restoration Stage, p. 246: @First then to speake of his Majestys Theatre@Where one would imagine Playes should be better@Love att the first sight did lead the dance@But att second sight it had the mischance@To be so dash'd out of Countenance as@It never after durst shew itts face@All though its bashfullnesse as tis thought@Be far from being the Authors ffault.

Event Comment: The Duke's Company. Pepys, Diary: Mr Moore and I to Love in a Tubb, which is very merry, but only so by gesture, not wit, at all, which methinks is beneath the House

Event Comment: The Duke's Company. Pepys, Diary: I away before to White Hall and into the new play-house there, the first time I ever was there, and the first play I have seen since before the great plague. By and by Mr Pierce comes, bringing my wife and his, and Knipp. By and by the King and Queene, Duke and Duchesse, and all the great ladies of the Court; which, indeed, was a fine sight. But the play being Love in a Tub, a silly play, and though done by the Duke's people, yet having neither Betterton nor his wife, and the whole thing done ill, and being ill also, I had no manner of pleasure in the play. Besides, the House, though very fine, yet bad for the voice, for hearing. The sight of the ladies, indeed, was exceeding noble; and above all, my Lady Castlemayne. The play done by ten o'clock. I carried them all home, and then home myself, and well satisfied with the sight, but not the play

Event Comment: The Duke's Company. This performance is in the L. C. list, 5@139, p. 125: Love in a Tub. See also Nicoll, Restoration Drama, p. 346

Event Comment: The King's Company. Pepys, Diary: I to the King's playhouse, to fetch my wife, and there saw the best part of The Mayden Queene, which, the more I see, the more I love, and think one of the best plays I ever saw, and is certainly the best acted of any thing ever the House did, and particularly Becke Marshall, to admiration