Event Comment: Benefit John Clegg, a Youth of Nine Years of Age, lately arriv'd from Ireland. At the Desire of several Ladies of Quality. Pit and Boxes half a guinea. Gallery 5s. At 7 p.m

Event Comment: Mr Salomon having insinuated that he alone is in possession of a correct Score of this celebrated Oratorio, I feel compelled, in justice to myself, to state that the Oratorio was published by subscription at Vienna, and that the printed Copy, from which I had the Parts transcribed, was delivered by Dr Haydn to a subscriber in Vienna, and brought from thence expressly for me, and on which is the Doctor's initials. The accuracy with which it was performed, and the enthusiasm with which it was received, are, I hope, convincing proofs that no other directions are necessary to "produce the effect required by the Author." I should not thus have obtruded myself, but I conceived it requisite to justify myself from the imputation of having attempted to impose a spurious production upon that public to whom I am under so many obligations. I am, with the greatest respect and gratitude, their most obedient servant, John Ashley. March 29. [On 29 Mar. the following card had appeared in most of the daily newspapers: Mr Salomon having received from Dr Haydn an early Copy of his New Oratorio called The Creation of the World, and having been favoured by him exclusively with particular directions on the style and manner in which it must be executed, in order to produce the effects required by the Author, begs to acquaint the Nobility and Gentry, that he means to perform it on Monday, the 21st of April next, at the King's Theatre. The performance took place on that date in the Ancient Music Room, i.e. the large concert-room situated inside the King's, on the east side, level with the first tier of the boxes. The reason for this change was, states the playbill, "the present Performances in the Opera House not allowing sufficient time to erect an Orchestra on the Stage." The principal singers were Mme Mara, Mme Dussek, Small, Page, Denman, Bartleman. Samuel Wesley presided at the organ and at the piano forte.

Event Comment: The United Company. The date of the first production is not known, but Part II seems to have followed rather closely upon Part I. The Gentleman's Journal, June 1694 (which apparently appeared in mid-June) states: The first Part of Mr Durfey's Don Quixote was so well received, that we have had a second Part of that Comical History acted lately, which doubtless must be thought as entertaining as the first; since in this hot season it could bring such a numerous audience (p. 170). The Songs were advertised in the London Gazette, 5 July 1694, and Part II advertised in the same periodical 19-23 July 1694. The songs as listed in the separately printed Songs are as follows: Genius of England, the music by Henry Purcell, sung by Freeman and Mrs Cibber. I burn, I burn, the music by John Eccles, sung by Mrs Bracegirdle. Since times are so bad, the music by Henry Purcell, sung by Reading and Mrs Ayliff. Damon, let a friend, the music by Pack, sung by Mrs Hudson. Ye nymphs and sylvan gods, the music by John Eccles sung by Mrs Ayliff. If you will love me, composer and singer not named. In addition, Thesaurus Musicus, 1695, published Lads and lasses, blithe and gay, the music by Henry Purcell, sung by Mrs Hudson. Purcell also wrote the music for other songs for which the singer is not known. Preface, edition of 1694: The good success, which both the Parts of Don Quixote have had, either from their Natural Merit, or the Indulgence of my Friends, or both, ought sufficiently to satisfie me, that I have no reason to value tne little Malice of some weak Heads, that make it their business to be simply Criticizing....I think I have given some additional Diversion in the Continuance of the character of Marcella, which is wholly new in this Part, and my own Invention, the design finishing with more pleasure to the Audience by punishing that coy Creature by an extravagant Passion here, that was so inexorable and cruel in the first Part, and ending with a Song so incomparably well sung, and acted by Mrs Bracegirdle, that the most envious do allow, as well as the most ingenious affirm, that 'tis the best of that kind ever done before....I deserve some acknowledgment for drawing that Character of Mary the Buxom, which was intirely my own,...by making the Character humorous, and the extraordinary well acting of Mrs Verbruggen, it is by the best Judges allowed a Masterpiece of humour

Event Comment: The United Company. The date of the first performance is not known, but the Gentleman's Journal, June 1694 (apparently appearing in late June) indicated that both parts of Don Quixote had by then appeared, and the Songs to Part I were announced in the London Gazette, No. 2983, 11-14 June 1694, to be published on 16 June 1694. Very likely Part I appeared in May 1694. The publication of The Songs in the New Play of Don Quixote, Part the First lists the following pieces. Sing, sing, all ye muses, the first song in Act II, composed by Henry Purcell. Young Chrysostome had vertue, sense, the second song in Act II, was composed by John Eccles. The third song in Act II, Sleep, poor youth, was composedy John Eccles. When the world first knew creation, sung in Act III, was composed by Henry Purcell. Let the dreadful engines, sung for Cardenio in Act IV, was set by Henry Purcell. 'Twas early one morning, in Act IV, for Sancho, was set by John Eccles. With this, this sacred charming wand, in Act V for Montesmo, Mellissa and Urganda, was set by Henry Purcell

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, No. 3130, 7-11 Nov. 1695, suggests that it was acted not later than October 1695, although the first production may have been earlier than that. Part of the music was composed by Henry Purcell: Celia has a thousand charms, sung by Young Bowen; Take not a woman's anger ill, sung by Leveridge; and How happy is she, sung by Miss Cross; all are in Deliciae Musicae, The Third Book, 1696. See also Purcell's Works, Purcell Society, XXI (1917), x-xi. Another song, To me you made a thousand vows, set by John Blow, is in Amphion Anglicus, 1700. Dedication, Edition of 1696: I...found so much interrutpion and discouragement from some prejudic'd Gentlemen, who ought to have us'd me better, or, at least, had no reason to use me ill, that I repented I had bestow'd any time upon it....In spite of 'em, my Lord, it was kindly receiv'd, and that too, at a time when the Town was never thinner of Nobility and Gentry

Event Comment: The United Company. The date of the premiere is not certain, but the fact that a song in the play, composed by Henry Purcell and sung by Mrs Hudson, is in the Gentleman's Journal, January@February 1693@4 (advertised in the London Gazette, No 2955, 5-8 Marcn 1693@4) suggests that the play had its premiere in February. The play was advertised in the London Gazette, No 2959, 19-22 March 1693@4. The music for additional songs was composed by Henry Purcell: The danger is over, sung by Mrs Hudson, is in Joyful Cuckoldom, ca. 1695; I sighed and owned my love, sung by Mrs Ayliff, is in Thesaurus Musicus, Book III, 1695. See also Purcell's Works, Purcell Society, XX (1916), i-iii. Two songs were composed by John Eccles: Still, I'm grieving, sung by Mrs Bracegirdle; and Give then royal maid your sorrows o're, sung by Mrs Cibber, are in Thesaurus Musicus, 1695. Gentleman's Journal, March 1694 (advertised in London Gazette, No 2964,5-9 April 1694): Mr Southern's new Play call'd The Fatal Marriage; or, The Innocent Adultery, has been so kindly receiv'd, that you are by this time no stranger to its merit. As the world has done it justice, and it is above my praise, I need not expatiate on that subject. [See also 22 March 1693@4.

Event Comment: Betterton's Company. The date of the first performance is not known, but the Prologue refers to The World in the Moon, suggesting a premiere during (or shortly after) the run of that opera. Since The Innocent Mistress was advertised in the Post Boy, 29-31 July 1697, this fact points also to a late June premiere. A song, When I languished and wished, set by John Eccles and sung by Mrs Hodgson, is in Wit and Mirth, Second Edition, 1707. Gildon, English Dramatick Poets, p. iii: This is a diverting Play, and met with good Success, tho' acted in the hot Season of the Year. A Comparison Between the Two Stages (1702), p. 20: Tho' the Title calls this Innocent, yet it deserves to be Damn'd for its Obscenity

Event Comment: Rich's Company. The date of this production is not certain. The Dedication, signed by George Powell and John Verbruggen, is dated Monday, 16 Oct. 1696, but this date is in error, for the sixteenth fell on Friday in October; however, 16 Nov. 1696 fell on Monday. In addition, the Dedication implies that the two men hope to have visitors (i.e., spectators at performances) on "Wednesday, and Saturday next, the Visiting Days of, Your Friends and Servants, George Powell, John Verbruggen." It is possible that the text and the songs were printed in advance of performance and were available at the theatre, but it is still uncertain whether the opera first appeared in October or November 1696. The Single Songs, With the Dialogue, was published separately in 1696, with Daniel Purcel named as the composer. The songs to which performers' names are listed are as follows: Cease, Cynthia, cease your fruitless tears, sung by Mrs Cross. I courted and writ, the verse by Jo Hanes and sung by Church. How happy I am the fair sex can defy, the verse by Jo Hanes and sung by Leveridge. 'Tis in vain to tell me I am deceived, sung by Freeman. Great queen of Hymen's hallowed fires, sung by Mrs Willis. Why, Chloe, will you not perceive, the verse by John Robens and sung by Church. Why dost thou fly me, sung by Edwards and Mrs Cross. If mortals laugh and sing, sung by Freeman. The Songs were entered in the Term Catalogues, November 1696

Event Comment: Rich's Company. The date of the first performance is not known, for the play was apparently not printed until 1704. Nevertheless, some details indicate a performance early in the early in the season of 1696-97. In the first place, the presence of Verbruggen in the cast indicates that it must have been acted before 1 Jan. 1696@7, when Verbruggen was permitted to act at Lincoln's Inn Fields. The play also parodies the works of Mrs Manley, whose The Royal Mischief had been staged (probably) in April 1696, and it is likely that the company would emphasize the pertinence of the parody by presenting it soon after the appearance of the original. Although The Female Wits may not have been acted until later in the autumn, it seems likely that it was acted first in the late summer or early autumn. Preface, Edition of 1704: [The] Success of this Play has been such...having been Acted six Days running without intermission....Among the rest, Mr Powel and his Wife excell'd in the Characters they represented, as did Mrs Verbruggen, who play'd the Chief Character....The Lady whose Play is rehears'd, personated one Mrs M-ly [Manley]

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: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Boy, 16-18 April 1700, suggests that the first production came before Easter, March 31. A song, Delia tired Strephon with her flame, with music by John Eccles and sung by Bowman, is in Wit and Mirth, 1706

Event Comment: The United Company. The date of this production is determined by a letter (see below). For a discussion of the origin and development of this play, see Hotson, Commonwealth and Restoration Stage, pp. 274-76. A song, Why shou'd the world mistake, the music composed by John Eccles and sung by Mrs Hudson, is in Thesaurus Musicus, 1695. An unidentified letter, 22 March 1693@4: We had another new play yesterday, called The Ambitious Slave, or a Generous Revenge. Elkanah Settle is the author of it, and the success is answerable to his reputation. I never saw a piece so wretched, nor worse contrived. He pretends 'tis a Persian story, but not one body in the whole audience could make any thing of it; 'tis a mere babel, and will sink for ever. The poor poet, seeing the house would not act it for him, and give him the benefit of the third day, made a present of it to the women in tie house, who act it, but without profit or incouragement (Edmond Malone, An Historical Account of the Stage in Plays and Poems of William Shakespeare [London, 1821], III, 163-64). Gentleman's Journal, March 1694: 'Tis not altogether strange for a Play to be less kindly receiv'd, immediately after one that has deservedly ingross'd all the Applause which the Town can well bestow in some time on new Dramatic Entertainments. Perhaps Mr Settle may partly impute to this, the want of success of a new Tragedy of his which was lately acted, 'tis called, The Ambitious Slave; or, The Generous Revenge. [This play followed Southerne's The Fatal Marriage.

Event Comment: Betterton's Company. The date of the first performance is not certain, but the evidence points to this day as a strong Possibility. Downes, Roscius Anglicanus (p. 44) states that it was given thirteen days consecutively, and John Coke (see 16 March 1696@7) states that it was acted "till Saturday" (16 March 1696@7). If the tragedy was acted on Wednesdays but not Fridays, as was often the practice in Lent, and if the farce alluded to for Saturday, 16 March 1696@7, comprised the entire program, this day was probably the premiere. The following sequence of performances is based on these premises. Downes, Roscius Anglicanus, p. 44: The Mourning Bride...had such Success, that it continu'd Acting Uninterrupted 13 Days together. Gildon, English Dramatick Poets, p. 23: This Play had the greatest Success, not only of all Mr Congreve's, but indeed of all the Plays that ever I can remember on the English Stage, excepting some of the incomparable Otway's. Aston, A Brief Supplement (in Cibber, Apology, II, 302): His [Betterton's] Favourite, Mrs Barry, claims the next in Estimation. They were both never better pleas'd, than in Playing together.--Mrs Barry outshin'd Mrs Bracegirdle in the Character of Zara in the Mourning Bride, altho' Mr Congreve design'd Almeria for that Favour

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the London Gazette, No. 3140, 12-16 Dec. 1695, to be published 17 Dec. 1695, suggests that its first appearance was not later than November 1695. According to the Edition of 1695, the music was set by the late Henry Purcell, Courteville, Samuel? Aykerod, and other composers. For Purcell's music, see Purcell's Works, Purcell Society, XVI (1906), xxix-xxxi. The songs were sung by Miss Cross and Mrs Verbruggen. Preface, Edition of 1696: I must inform the Reader, that this Third Part before it came upon the Stage was acknowledg'd and believ'd by all that saw it, and were concern'd (as well those that heard it read, as those that were Actors, who certainly, every one must own, are in their Affairs skilful enough to know the value of things of this Nature) to be much the best of all the Three Parts;...tho prepar'd by my indefatigable Diligence, Care, Pains, nay, the variety which I thought could not possibly miss the expected Success, yet by some Accidents happening in the Presentment, was disliked and explored; The Songish part which I used to succeed so well in, by the indifferent performance the first day, and the hurrying it on so soon, being streightned in time through ill management--(tho extreamly well set to Musick, and I'm sure the just Critick will say not ill Writ) yet being imperfectly performed, was consequently not pleasing; and the Dances too, for want of some good Performers, also disliked; all which, tho impossible for me to avoid, and not reasonably to be attributed any way to a fault in me, yet the noisy Party endeavour'd to use me as ill as if it were, till the generous Opposition of my Friends gave me as much reason to thank them for their Justice, as to despise the others Malice.... As to the Poppet Shew in the Fourth Act, the Accident of its being plac'd so far from the Audience, which hindred them from hearing what either they or the Prolocutor said, was the main and only reason of its diverting no better. A Comparison Between the Two Stages (1702) p. 17: Sullen: The third Part of Don Quixote. Ramble: Oh the ever-running Streams of Helicon! by all that's Poetical, my Friend Durfey; good lack! I thought I shou'd meet with him before we got half way: Well, in the name of Impudence, what luck? Sullen: Damn'd, Damn'd to all intents and purposes. Ramble: His first and second Part did well

Event Comment: Benefit Verbruggen

Event Comment: The United Company. The date of the first performance is not known. The January issue of the Gentleman's Journal, wnich did not appear until some time in February, stated: Mr Congreve...hath written a Comedy, which will be acted in a little time, and is to be call'd, The Old Batchelor (p. 28). The Gentleman's Journal, February 1692@3 (issued in March 1693): The success of Mr Congreve's Old Batchelor has been so extraordinary, that I can tell you nothing new of that Comedy; you have doubtless read it before this, since it has been already printed thrice. And indeed the Wit which is diffus'd through it, makes it lose but few of those Charms in the Perusal, which yield such pleasure in the Representation. Mr Congreve will in some time give us another play; you may judge by this how acceptable it will be (p. 61). In addition, a reference in the Epilogue indicates that it was produced during Lent, ano since the third edition was advertized in the London Gazette, No. 2856, 23-27 March 1693, early March seems the most likely date for the premiere. According to The Female Wits (ca. 1696), The Old Batchelor was acted fourteen days successively. John Barnard of Yale University states that Narcissus Luttrell's copy of The Old Batchelor in the Newberry Library bears the notation: "10d Mar. 16 1692@3." BM Add. Mss. 4221 (341) Memoirs Relating to Mr Congreve Written by Mr Thomas Southern (in Macdonald, Bibliography of Dryden, p. 54n): When he began his Play the Old Batchelor haveing little Acquaintance with the traders in that way, his Cozens recommended him to a friend of theirs, who was very usefull to him in the whole course of his play, he engag'd Mr Dryden in its favour, who upon reading it sayd he never saw such a first play in his life, but the Author not being acquainted with the stage or the town, it woud be pity to have it miscarry for want of a little Assistance: the stuff was rich indeed, it wanted only the fashionable cutt of the town. To help that Mr Dryden, Mr Arthur Manwayring, and Mr Southern red it with great care, and Mr Dryden putt it in the order it was playd, Mr Southerne obtained of Mr Thos. Davenant who then governd the Playhouse, that Mr Congreve should have the privilege of the Playhouse half a year before his play was playd, wh. I never knew allowd any one before. The music for the play was composed by Henry Purcell. See Purcell's Works, Purcell Society, XXI (1917), iii-v

Event Comment: A new Farce, never acted but twice. [By John Corey. Date of premiere unknown.

Event Comment: The King's Company. There is uncertainty as to the date of the first performance, but in A Bibliography of John Dryden, p. 193, Macdonald cites as evidence for this date, Wood's Ath. Ox., IV, 209. The play was certainly first acted not later than this month, because John Evelyn saw it on 14 Dec. 1671. For further details, see 14 Dec. 1671