Event Comment: [Extra night] Benefit for the Fund, established for the Relief of those Performers who, through Infirmity, shall be obliged to retire from the Stage. The Theatrical Fund was established in 1765, under the auspices of the late Mr Beard and Mrs Rich; and received the sanction of Parliament in 1776. There are now, and have been for more than 20 years, several Annuitants supported by it, chiefly families and widows. Yet notwithstanding it has been so long set on foot, the interest arising from the Funded Capital has never been equal to defraying one half of the annual disbursements. The deficiencies have been continually supplied by progressive weekly contributions from the performers. When this is considered, it is respectfully presumed the generosity of a British Public will be exerted this night in favour of so liberal and beneficial an institution. Thomas Hull, Treasurer. Tickets to be had of Hull, Treasurer to the Institution, No. 7, Duke's-Court, near Dean's Yard, Westminster. Receipts: none listed

Event Comment: Benefit for Hull and Macready. 1st piece: In Act IV a Martial Procession with the Body of Marcus. 2nd piece [1st time: M. INT 1, author unknown. Larpent MS 1173; not published]: With appropriate Scenery and Dresses. The Music selected from Boyce, Purcell, Reeve and Shield. Morning Herald, 31 May: Tickets to be had of Hull, No. 7, Duke's-court, near Dean's-yard, Westminster; of Macready, No. 22, Charles-street, Tottenham-court-road. Receipts: #314 3s. (112.9.0; 4.14.6; tickets: 196.19.6, of which Hull sold 70.12.6, and Macready 126.7.0)

Event Comment: Benefit for Haymes. The Last Night of the Company's performing this Season. Account-Book, 28 June: Received for his Majesty's Box 13 nights #130; for the Princess's Box #65; 1 Aug.: Paid half a year's Land, Commutations, Window & House Taxes #193 19s. True Briton 1 June: Tickets to be had of Haymes, No. 8, Duke-street, St. James's. Receipts: #228 18s. 6d. (109.19.0; after-money not listed; tickets: 118.19.6)

Event Comment: By Permission of the Lord Chamberlain. Benefit for the Choral Fund, instituted for the Relief of their decayed Members, Widows and Orphans, under the Patronage of his Royal Highness the Duke of Clarence. The Band and Chorus will be select, and the Young Gentlemen of the Westminster Choir will assist. A New Organ, built by Lincoln, will be opened on this occasion. Boxes #S. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 5:30. To begin at 6:30. Tickets and Places for the Boxes to be had of Rice, at the Theatre

Event Comment: In the notebooks of John Ward, between 1 and 25 Sept. 1662, appears The Alchemist [by Ben Jonson]. See A. L. D. Kennedy-Skipton, "A Footnote to John Ward and Restoration Drama," Shakespeare Quarterly, XII (1961), 353. For an early cast, see Dec. 1660

Event Comment: The King's Company. This performance is on the L. C. list, 5@12, p. 17: King here. See also Nicoll, Restoration Drama, p. 344. See Noyes, Ben Jonson on the English Stage, p. 307, for a letter to Lady Sunderland on this performance, and, p. 308, for an anecdote from The Life of the Late Famous Comedian, Jo. Haynes, concerning Haynes and Hart in a scene. For another allusion to the action, see Henri Ferneron, Louise de Keroualle, Duchess of Portsmouth (London, 1807), p. 179n. Pepys, Diary: 15 Jan. 1668@9: It is about my Lady Harvy's being offended at Doll Common's [Mrs Corey's] acting of Sempronia, to imitate her; for which she got my Lord Chamberlain, her kinsman, to imprison Doll: when my Lady Castlemayne made the King to release her. Mrs John Evelyn to Mr Terryll, 10 Feb. 1668@9: There has not been any new lately revived and reformed, as Catiline, well set out with clothes and scenes (Diary and Correspondence of John Evelyn, ed. William Bray, IV, 14). See also 7 and 11 Dec. 1667

Event Comment: The King's Company. This play is on the L. C. list, 5@12, p. 17: The King here. See also Nicoll, Restoration Drama, p. 344. Mrs John Evelyn to Mr Terryll, 10 Feb. 1668@9: Horace, with a farce and dances between every act, composed by Lacy and played by him and Nell, which takes (John Evelyn, Diary and Correspondence, ed. William Bray, IV, 14). See 19 Jan. 1668@9

Event Comment: Mrs John Evelyn to Mr Terryll: The censure of our plays comes to ee at the second hand. There has not been any new lately revived and reformed, as Catiline, well set out with clothes and scenes; Horace, with a farce and dances between every act composed by Lacy and played by him and Nell, which takes; one of my Lord of Newcastle's, for which printed apologies are scattered in the assembly by Briden's order, either for himself who had some hand in it, or for the author most; I think both had right to them (The Diary and Correspondence of John Evelyn, ed. Bray, IV, 14)

Event Comment: London Gazette, No 742, 26-30 Dec. 1672: These are to give Notice, that at Mr John Banister's House, now called the Musick School, over against the George Tavern in White Fryers this present Monday, will be Musick performed by Excellent Masters, beginning precisely at four of the Clock in the afternoon, and every afternoon for the future, precisely at the same hour. Roger North on Music: But how and by what stepps Musick shot up in to such request, as to croud out from the stage even comedy itself, and to sit downe in her place and become of such mighty value and price as wee now know it to be, is worth inquiring after. The first attempt was low: a project of old Banister, who was a good violin, and a theatricall composer. He opened an obscure room in a publik house in White fryars; filled it with tables and seats, and made a side box with curtaines for the musick. 1s. a peice, call for what you please, pay the reckoning, and Welcome gentlemen. Here came most of the shack [vagabond] performers to towne, and much company to hear; and divers musicall curiositys were presented, as, for instance, Banister himself, upon a flageolett in consort, which was never heard before nor since, unless imitated by the high manner upon the violin. But this lasted not long, nor another meeting of like kind neer Paul's (headed by one Ben. Wallington) for voices to an organ, where who would, that was gifted, might performe, and no payment, but the reckoning (ed. John Wilson [London, 1959], pp. 302-3)

Event Comment: A Second Musical Entertainment Perform'd on St. Cecilia's day, November XXII. 1684. The Words by the late ingenious Mr John Oldham, Author of the Satyrs Against the Jesuits. Set to Music in two, three, four, and five Parts, by Dr John Blow, Master of the Children, and Organist of His Majesty's Chappel-Royal. [This work was published in 1685.

Event Comment: The United Company. The date of the first performance is not known. The edition of 1687 states on the title page: This may be printed, April 23. 1686. It was entered in the Stationers' Register, 8 May 1686, under the title: The Disappointed Marriage; or, Ye Generous Mistris. It was probably first given before mid-April 1686, with the publication delayed, a delay accounting for the fact that Mrs Percival, who did not marry Mountfort until 2 July 1686, appears in the cast as Mrs Mountford. A song, O love that stronger art than wine, the music by John Blow, the verse by Ousley, and sung by John Bowman, is in The Theater of Music, The Fourth Book, 1687

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

Event Comment: Betterton's Company. The date of this performance, which coincides with the opening of the playhouse in Lincoln's Inn Fields by Betterton's Company, is established by Downes, Roscius Anglicanus, pp. 43-44: [Betterton, Mrs Bracegirdle, Mrs Barry, and others] set up a new Company, calling it the New Theatre in Lincolns-Inn-Fields; and the House being fitted up from a Tennis-Court, they Open'd it the last Day of April 1695, with a new Comedy: Call'd, Love for Love....This Comedy being Extraordinary well Acted, chiefly the Part of Ben the Sailor, it took 13 Days Successively. Three songs in the play were published separately: I tell thee, Charmion, the music by Finger, sung by Pate and Reading, is in Thesaurus Musicus, 1696, The Fifth Book. A Nymph and a Swain, the music by John Eccles and sung by Pate; and A Soldier and a Saylour, the music by John Eccles, and sung by Dogget, are in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 196-97: After we had stolen some few Days March upon them, the Forces of Betterton came up with us in terrible Order: In about three Weeks following, the new Theatre was open'd against us with veteran Company and a new Train of Artillery; or in plainer English, the old Actors in Lincoln's-Inn-Fields began with a new Comedy of Mr Congreve's, call'd Love for Love, which ran on with such extraordinary Success that they had seldom occasion to act any other Play 'till the End of the Season. This valuable Play had a narrow Escape from falling into the Hands of the Patentees; for before the Division of the Company it had been read and accepted of at the Theatre-Royal: But while the Articles of Agreement for it were preparing, the Rupture in the Theatrical State was so far advanced that the Author took time to pause before he sign'd them; when finding that all Hopes of Accomodation were impracticable, he thought it advisable to let it takes its Fortune with those Actors for whom he had first intended the Parts. A Comparison Between the Two Stages (1702), p. 10: Ramble: You know the New-house opened with an extraordinary good Comedy, the like has scarce been heard of. Critick: I allow that Play contributed not a little to their Reputation and Profit; it was the Work of a popular Author; but that was not all, the Town was ingag'd in its favour, and in favour of the Actors long before the Play was Acted. Sullen: I've heard as much; and I don't grudge 'em that happy beginning, to compensate some part of their Expence and Toil: But the assistance they receiv'd from some Noble Persons did 'em eminent Credit; and their appearance in the Boxes, gave the House as much Advantage as their Contributions. Ramble: Faith if their Boxes had not been well crowded, their Galleries wou'd ha' fallen down on their Heads. Sullen: The good Humour those Noble Patrons were in, gave that Comedy such infinite Applause; and what the Quality approve, the lower sort take upon trust. Gildon, The Lives and Characters (ca. 1698), p. 22: This Play, tho' a very good Comedy in it self, had this Advantage, that it was Acted at the Opening of the New House, when the Town was so prepossess'd in Favour of the very Actors, that before a Word was spoke, each Actor was clapt for a considerable Time. And yet all this got it not more Applause than it really deserv'd. An Essay on Acting (London, 1744), p. 10: The late celebrated Mr Dogget, before he perform'd the Character of Ben in Love for Love, took Lodgings in Wapping, and gather'd thence a Nosegay for the whole Town

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, No. 3151, 20-23 Jan. 1695@6, and entered in the Term Catalogues, February 1695@6, suggests that it was probably acted not later than December 1695. According to the Edition of 1696, the music was set by John Eccles: Come, Thyrsis, come was sung by Reading and Mrs Hodgson; the other songs in the edition lack the names of the singers. In addition, Rich mines of hot love are rooted here, sung by Bowman, was in Deliciae Musicae, The First Book of the Second Volume, 1696; and Let us revel and roar, set by John Eccles and sung by Curco and Reading, was published in Thesaurus Musicus, The Fifth Book, 1696. Downes, Roscius Anglicanus, p. 44: Lovers Luck, a Comedy, Wrote by Captain Dilks, which fill'd the House 6 Days together, and above 50# the 8th, the Day it was left off. A Comparison Between the Two Stages (1702), p. 20, lists it among the plays under the heading: Damn'd

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 25-28 April 1696, suggests that it was acted not later than the period preceding Passion Week (6-11 April 1696). In addition, the large number of minor performers in the cast suggests a Lenten performance by the young actors. In Act I, Scene i, there is an Entertainment of Instrumental Musick, Compos'd by Signior Finger: Then a Song, set by Mr John Eccles, and Sung by Young La Roche. In III, iii: A Dialogue set by Seignior Baptist. The play is an adaptation of John Webster's Cure for a Cuckold. A Comparison Between the Two Stages (1702): The City Bride, by another Player, Damn'd

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the Dedication of the play is dated 15 Jan. 1696@7 suggests that it was probably first acted not later than December 1696. The play was advertised in the Post Man, 21-23 Jan. 1696@7. The music was set by John Eccles. Dedication, Edition of 1697: I make you a Present of a Play, that miscarri'd on the first Nights Performance; tho' afterwards, without any farther Discouragement, it kept it self alive till the third day was over, and then I must confess the City Lady expir'd....This I am confident on, that the like Unfortunate Accidents which attended this Comedy, wou'd have been sufficient to have Dam'd a much better Play. The tedious waiting to have the Curtain drawn, after the Prologue was spoke, occasion'd by Mr Underhill's violent Bleeding, put the Audience out of Humour, and made it susceptible of the least Disgust; and when once the Torrent of its Displeasure break bounds, nothing cou'd put a stop to his Vehemence. After Mr Underhill was no longer able to come upon the Stage, scarce any thing was done but by Halves, and in much Confusion; in the midst of which, I think my self oblig'd to applaud the Justice I receiv'd from the Incomparable Mrs Barry. I very well know that the Ode in the third Act seems to be introduc'd something unseasonably. It was made and set long since, in hopes of having it perform'd before the King, at his return from Flanders; and the Music being so finely compos'd by Mr John Eccles, I was loath it shou'd be wholly lost to the Town. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Betterton's Company. John Coke (see below), writing on 16 March 1696@7, referred to a "new farce" appearing at this theatre on this day, but no "new farce" is known at this period; on the other hand, an edition of Mountfort's farce published in 1697 indicates a revival in this season and is a likely possibility for this date. John Coke to Thomas Coke, 16 March 1696@7: Saturday a new farce was acted at the new house, which did not take. The Mourning Bride was acted till Saturday, and was full to the last (HMC, 12th Report, Part II, Cowper MSS., II, 368). Robert Shirley to Thomas Coke, 13 March 1696@7: I am, dear Sir, indebted to you in sending me so ingenious an account of Mr Congreve's tragedy, which I hear on all sides far exceeded what the world expected from him in that part of dramatic poetry (ibid)

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the Songs were advertised in the Post Boy, 29-31 March 1698, and performance probably occurred in early March. One song, All things seem deaf to my complaints, set by John Eccles and sung by Mrs Bowman, was published in The A'lamode Musician, 1698. According to the Post Boy, 17-19 March 1697@8, another song, Fair Amoret is gone Astray, had its words written by Congreve, and, according to the Post Boy, 29-31 March 1698, the music set by John Eccles. A Comparison Between the Two Stages (1702), p. 20: Damn'd. Gildon, English Dramatick Poets, p. 173: I have little to say to this Play, for 'tis not fair to attack a Man that's down, tho' I do not think (considering what Plays have pleas'd) that this ought to have met with so severe a Fate

Event Comment: James Brydges, Diary: I set Mr Bullock down at ye Playhouse, & came home (Huntington MS St 26). John Dryden wrote to Mrs Steward on 23 Feb. [1699@1700, but possibly 1698@99, as the letter concerns theatrical affairs of the autumn and winter of 1698-99]: The Poem of The Confederates [see The Island Princess, November 1698] some think to be Mr Walsh: the copies are both lik'd. And there are really two factions of ladyes, for the two play-houses. If you do not understand the names of some persons mention'd I can help you to the knowledge of them. You know, Sir Tho. Skipwith is master of the play-house in Drury-Lane; and my Lord Scarsdale is the patron of Betterton's house, being in love with somebody there [presumably Anne Bracegirdle] (The Letters of John Dryden, p. 133)

Event Comment: Betterton's Company. John Dryden to Mrs Steward, 4 March 1698@9: This Day is playd a reviv'd Comedy of Mr Congreve's called the Double Dealer, which was never very takeing; in the play bill was printed, Written by Mr Congreve; with Severall Expressions omitted: What kind of Expressions those were you may easily ghess; if you have seen the Monday's Gazette, wherein is the King s Order, for the reformation of the Stage: but the printing an Authours name, in a Play bill, is a new manner of proceeding, at least in England (Letters of John Dryden, 112-13)

Event Comment: Betterton's Company. This performance is known by a letter of John Dryden to Mrs Steward, 7 Nov. 1699: There is this day to be acted a New tragedy, made by Mr Hopkins, & as I believe in rhime. He has formerly written a play in verse calld Boadicea, which you fair Ladyes likd: & is a poet who writes good verse without knowing how, or why; I mean he writes naturally well, without art or learning, or good sence (The Letters of John Dryden, p. 124). The Dedication to the play is dated 1 Nov. 1699, but the play was not advertised until, apparently, in the Post Man, 17-20 Feb. 1699@1700

Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and three in the Box at Marryage hater. 16s. See Hotson, Commonwealth and Restoration Stage, p. 378. John Dryden to Mrs Steward, 14 Dec. 1699: Both the Iphigenias have been played with bad Success; & being both acted, one against the other, in the same week, clashed together, like two rotten ships, which cou'd not endure the shock; & sunk to rights (The Letters of John Dryden, p. 131)

Event Comment: Lady Marow to Arthur Kay, 12 March 1699@1700: The Way of the World, Congreve's new play doth not answer expectation, there being no plot in it but many witty things to ridicule the Chocolate House, and the fantastical part of the world (HMC, 15th Report, Appendix, Dartmouth MSS., Part I, p. 145). John Dryden to Mrs Steward, 12 March: Congreves New Play has had but moderate success; though it deserves much better (Letters of John Dryden, p. 134)