Event Comment: Receipts: #115 1s. 6d. Sent Mrs Ward by order of Rich #10; Paid for a Pompadour Cloath Coat & Breeches, Waistcoat button holes & binding gold #10 10s.; for a suit embroider'd with silver #8 8s.; for a Blue coat for Hull #1 3s.; for a Coat and waistcoat loop'd and bound with gold #7 7s. Advanc'd to Beard #60

Event Comment: Receipts: #118 16s. Paid Gum carpenter's bill #12. Paid Hull 16 nights from 24 Sept. at 6s. 8d. per night: #5 6s. 8d. Paid Mr Sanders 6 nights from the 13th inst. at 13s. 4d. per night: #4. [By this date Rich shows an income of #1,809 and an expenditure of #1, 541, holding a profitable balance of #268.

Event Comment: Receipts: #151 15s. 6d. Sent Mrs Ward by order of Rich #10. Paid Messrs Powell & Co for Miss White #3 12s

Event Comment: Receipts. #132 18s. 6d. British Chronicle: Rich has cleared #5000 besides his Expenses by the run of The Beggar's Opera (Winston MS 8)

Event Comment: Benefit for Mrs Dyer, Miss Helm, Mrs Viviez, Mrs Leppie. Tickets delvier'd out by Redman, Chapman, and others will be taken. Receipts #23 14s. 6d. plus 1!2 value of tickets. @Tickets Mrs Dyer Box 8@Pit 35@Gallery 29@Value #10 3s.@1!2 Value #5 1s. 6d.@Tickets Miss Helm Box 3@Pit 20 Gallery 20@Value #7 5s.@1!2 Value #3 12s. 6d.@Tickets Mrs Viviez Box 15@Pit 42@Gallery 71@Value #17 3s.@1!2 Value #8 11s. 6d.@Tickets Mrs Leppie Box 6@Pit 38@Gallery 34@Value #10 12s.@1!2 Value #5 6s.@Tickets Redman Box -@Pit 40@Gallery 44@Value #9 16s.@1!2 Value #4 18s.@Tickets Chapman Box 52@Pit 150@Gallery 79@Value 43 8s.@1!2 Value #21 14s.@Tickets Jarvis Box 3@Pit 77@Gallery 55@Value #18 8s.@1!2 Value #9 14s.@Tickets Cockayne Box 2@Pit 19@Gallery 7@Value #4 1s.@1!2 Value #2 6d.@Tickets Dumay Box 17@Pit 31@Gallery 36@Value #12 10s.@1!2 Value #6 5s.@Tickets Mrs Granier Box -@Pit 18@Gallery 16@Value #4 6s.@1!2 Value #2 3s.@Tickets Miss Davis Box 23@Pit 27@Gallery 13@Value #11 2s.@1!2 Value #5 11s. (Gratis)@Tickets Paddock Box 1@Pit 24@Gallery 26@Value #6 9s.@1!2 Value #3 4s. 6d.@Tickets Hitchcock Box 17@Pit 42@Gallery 3@Value #10 17s.@1!2 Value #5 8s. 6d. (Gratis)@Total Box 147@Pit 573@Gallery 433@Value #166@1!2 Value #83 Money #23 14s. 6d.@#106 14s. 6d. #9 12s.; Paid Blackmore a bill for the theatre, #71 12s. 6d.; A Bill for Rich #30 0s. 6d

Event Comment: Benefit for Miles, Mrs Baker, Miss Young. Tickets delivered out by Miss Ferguson will be taken. Receipts: #7 15s. 4d. covered by income from tickets. @Tickets Miles Box 15@Pit 178@Gallery 62@Value #36 13s.@Tickets Mrs Baker Box 86@Pit 124@Gallery 67@Value #46 16s.@Tickets Miss Young Box 18@Pit 75@Gallery 80@Value #23 15s.@Tickets Miss Ferguson Box 9@Pit 57@Gallery 39@Value #14 14s.@Total Box 128@Pit 434@Gallery 248@Value #121 12s.@ Paid Rich on account #21. Paid Meares 3s. [The house is now running a deficit of #371.

Event Comment: TThe Mistake names as mainpiece in Rich's Register (Winston MS 9)

Event Comment: NNeville MS Diary: To Ranelagh to hear a grand Jubilee Entertainment; it is the most elegant public room in the world and must give foreigners a high idea of the riches of our nation. It is circular and the fireplace is under a circular Portico in the middle, round which are tables at which the company are served with tea and coffee, and there are two sets of boxes at the side one above another for the same purpose. The landing room from the river which projects a little into the water commands a fine view of the river and country...Saw the Tripoline ambassador in the dress of his country. Took notice of a Miss Spencer and a Miss Johnson, two pretty ladies of the town, the latter had one of the prettiest faces I ever saw. Brunswick, Cumberland...Tripolian Ambassador...Miss Spencer and a Miss Johnson, two pretty ladies of ye town... were there...Began to use an Opera glass

Event Comment: Paid Mr Rich the Balance due New Lying In Hospital, 22d Dec. last #21 7s. (Account Book). Receipts: #176 1s. (Account Book)

Event Comment: The Afterpiece a New Pantomime [by Henry Woodward, satirizing Garrick's Jubilee] with New Music by Fisher. New Scenes painted by Messrs Dahl and Richards. Nothing under Full Prices will be taken. [Full Prices notice throughout the run of the pantomime this season. Town and Country Magazine (from Theatre No XIII) comments: "In the Pageant scene several of the characters that walk at Drury Lane are highly ridiculed, particularly Mark Antony and Cleopatra, who dance off with their black retinue to the playing of casquets." The scene closes with the descent of the statue of the late Mr Rich under the name of Lun, and the Harlequins all pay him honour.] Receipts: #250 6s

Event Comment: LLalauze stated he had been 42 years an inhabitant of this country,--retained by Rich 32 years, who promis'd him an annuity of #50 a year whenever he was incapable of performing. This was not in his Will but the Executors allowed it him 3 years. Having sold the property they discontinued it; The new parties engag'd him last year but they would not this season. So Foote gave him the House of 14 Feb. at Haymarket gratis (Winston MS 10). Paid Henry Williams for performing the Bells 4 nights #1 10s. Paid Wm Gard 4 nights in the Lyon 10s.--and Thos Singleton for same 10s. (Account Book). Receipts: #188 13s

Event Comment: Benefit for Mrs Siddons. Mainpiece: Not acted these 3 years. Part of the Pit will be laid into the Boxes. To prevent Confusion Ladies are desired to send their Servants by half past Four o'clock. [Mrs Siddons's 1st appearance as Lady Randolph was at Manchester, 5 Feb. 1777.] "The Siddons, younger and more rich in natural Gifts, certainly offers much to the Mind, and yet much more to the Eye. The Crawford, by some means or other, offers more to the Heart" (Public Advertiser, 24 Dec). Receipts: #303 8s. 6d. (156/2/0; 10/13/0; 0/13/6; tickets: 136/0/0) (charge: free)

Event Comment: [In mainpiece the playbill omits Anna, but "Mrs Rock was a wretched Anna" (Thespian Magazine, Feb. 1793, p. 195). Miss Morris is identified in European Magazine, Jan. 1793, p. 69; and see 14, 16 Nov.] Afterpiece [1st time; P 2(?), author unknown. Text (i.e. synopsis of action), For the Booksellers, 1793. Larpent MS 964 contains Songs only]: Partly New, and partly a Selection of Scenery, Machinery, Tricks, and Business, from the most approved Pantomimic Productions of Lunn, Rich, Woodward, Messink, Rosamond [i.e. Rosoman], Lalauze, &c. The Music chiefly compiled [by Thomas Goodwin] from Pepusch, Galliard, Dr Arne, Vincent, Dibdin, Dr Arnold, Fisher, the rest by Shield. The selected Scenery and Machinery re-painted, and the several new ones designed and executed by Hodgins, Pugh, Walmsley, Lupino, &c. The Dances by Byrn, who will for the first time introduce a Burlesque Pas de Russe. With new Dresses, Machinery and Decorations. Books of the Songs to be had at the Theatre. [In afterpiece the playbill lists Follett, but he "having received an injury at the morning's rehearsal, afforded that excellent actor, Munden, the opportunity of giving the Public an additional proof of the versatility of his talents: -he undertook the part of the Clown [i.e. Clodpole ], and performed it so well that he will probably be obliged to retain it" (Morning Herald, 21 Dec.). He was probably omitted from the Vocal Characters (see 21 Dec.).] Receipts: #258 10s. 6d

Event Comment: Mainpiece [1st time; C 5, by Frederick Reynolds. Prologue by William Thomas Fitzgerald. Epilogue by Miles Peter Andrews (see text)]: With new Scenes and Dresses. [In mainpiece the playbill lists Mrs Esten, but "Previous to the play an apology was made in behalf of Mrs Davis, who had undertaken Mrs Esten's character in consequence of the indisposition of the latter lady. [After considerable objection] Mrs Davis was well received in the part" (Thespian Magazine, June 1793, p. 4).] Public Advertiser, 3 May 1793: This Day is published How to Grow Rich (1s. 6d.). Receipts: #257 17s. 6d

Event Comment: [2nd piece in place of The Orphan; 3rd piece of Blunders at Brighton [i.e. The Irish Mimic], both advertised on playbill of 9 Oct.] "Where [Lewis] absolutely exceeded all expectation, even from spirits like his own, was in the first scene of the fifth act, where he meets with Cacafogo, who has been Cozened, too, and by a woman also (indeed the same woman); the convulsive joy of his laugh, frequently renewed, and invariably compelling the whole audience to a really painful sympathy, was one of the most brilliant exploits of the comedian...[Lewis] had one peculiarity, which was the richest in effect that could be imagined, and was always an addition to the character springing from himself. It might be called an attempt to take advantage of the lingering sparks of gallantry in the aunt, or the mother of sixty, or the ancient maiden whom he had to win, to carry the purposes of those for whom he was interested. He seemed to throw the lady by degrees off her guard, until at length his whole artillery of assault was applied to storm the struggling resistance; and the Mattockses and the Davenports of his attentions sometimes complained of the perpetual motion of his chair, which compelled them to a ludicrous retreat, and kept the spectator in a roar of laughter. In short, whether sitting or standing, he was never for a moment at rest--his figure continued to exhibit a series of undulating lines, which indicated a self-complacency that never tired, and the sparkling humour of his countenance was a signal hung out for enjoyment" (Boaden, Siddons, II, 364-66). Receipts: #365 4s. 6d. (357.6.6; 7.18.0)

Event Comment: [The King's Company. The date of the first performance is not known, but a letter--see 2 Jan. 1670@1--indicates that the first part had been acted before that date and that Part II was to be shortly staged. The point of the Prologue spoken by Ellen Gwyn seems to have derived from an incident at Dover (see Downes, Roscius Anglicanus, p. 20) in May 1670, when James Nokes attired himself in a ridiculous fashion, including "Broad wast Belts." The speakers of the Epilogue and the Prologue to the Second Part are mentioned in Sir William Haward's MS (Bodl. MS Don. b., pp. 248-49); see The Poems of John Dryden, ed. James Kinsley (Oxford, 1958), IV, 1848-49. In Part I a song Beneath a myrtle shade, with music by John Bannister, is in Choice Songs and Ayres, First Book, 1673. Another, Wherever I am, with music by Alphonso Marsh, is in the same collection, as is also How unhappy a lover am I, the music by Nicholas Staggins. Mrs John Evelyn to Mr Bohun, ca. Jan. 1670@1: Since my last to you I have seen The Siege of Grenada, a play so full of ideas that the most refined romance I ever read is not to compare with it; love is made so pure, and valour so nice, that one would image it designed for an Utopia rather than our stage. I do not quarrel with the poet, but admire one born in the decline of morality should be able to feign such exact virtue; and as poetic fiction has been instructive in former ages, I wish this the same event in ours. As to the strict law of comedy I dare not pretend to judge: some think the division of the story is not so well if it could all have been comprehended in the day's actions (The Diary and Correspondence of John Evelyn, ed. William Bray, IV, 25). According to John Evelyn--see 9 Feb. 1670@1--Robert Streeter did some of the scenes for this play. In the Preface to The Fatal Discovery, ca. February 1697@8, George Powell, in discussing revivals of Dryden's plays, stated: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun could not prop

Event Comment: Benefit John Roberts, now Confin'd in the Fleet Prison. Mainpiece: Written by the late Sir John Vanbrugh

Event Comment: Benefit for Mrs Kemble, being the last Time of her Appearing on the Stage. 1st piece [1st time; T 2, by John Philip Kemble, altered from the same by Philip Massinger. Larpent MS 1040: not published]: In Act I the Triumphal Entry of Domitian into the Capitolv. 2nd piece [1st time; C 3, by John Philip Kemble, altered from The Comical Lovers, by John Dryden and Colley Cibber. Larpent MS 1133: not published. Genest, VII, 243: C. Kemble on being asked, in 1821, if the above cast was right, said that he believed it was, but that he was ill and did not act]. [Address by Bertie Greatheed (European Magazine, June 1796, p. 397).] Morning Herald, 10 May: Tickets to be had of Mrs Kemble, No. 13, Caroline-street, Bedford-square. Account-Book: Paid H. S. Hargraves, Box No. 95, his Servant being turn'd out by Force, #1 4s. Receipts: #190 9s. 6d. (130.9.0; 59.10.0; 0.10.0; tickets: none listed; odd money: 0.0.6) (charge: #216 17s.)

Event Comment: For an account of the play, see John Wilson's The Cheats, ed. Milton C. Nahm (Oxford, 1935). It was licensed on 6 March (p. 124), acted, then forbade on 22 March in an order: Letter to Mr Tho. Killigrew: Signifying the Ks Pleasure that the New Play called the Cheates be no more represented till it be reuiewed by Sir Jo. Denham & Mr Waller. 22 March. 1662-3 (p. 130). Abraham Hill to John Brooke, 28 March 1663: P.S. The new play, called The Cheats, has been attempted on the Stage; but it is so scandalous, that it is forbidden (Familiar Letters of? Abraham Hill, [London, 1717], p. 103. Downes (Roscius Anglicanus, p. 16) concerning Lacy: @For his just Acting, all gave him due Praise,@His Part in the Cheats, Jony Thump, Teg and Bayes,@In these Four Excelling, The Court gave him the Bays.