Event Comment: Mainpiece: Not acted these two years. [See 4 April 1749.] Miss Jane Cibber play'd Alicia-quite in old style, not lik'd at all, tho' not hiss'd-given out again and great hiss'd & so not done ($Cross). [The Author of the Midwife (No 1, final Page) reported]: Now I am speaking of Miss Cibber, I must do her the justice to observe that she play'd the part much better than cou'd be expected from one of her years and practice; and if a proper regard is paid to her modesty and Merit, I make no doubt she will become an exceeding good player. Receipts: #130 (Cross)

Event Comment: Play never acted before. [This new tragedy by MacNamara Morgan is mercilessly scourged by Paul Hiffernan in Tuner No 1, (21 Jan.), pp. 41-61]: To Tune it in Lilliputian Score : @Such sighing@Such Billing@Such Flashing@Such Heeling@And Dying@And Killing@And Dashing@And Kneeling@Such Rizing@Surprizing!@Such Falling@And Bawling@Such Attitudes@And Flattitudes@Were ne'er exhibited before.@ In the representation Mr Barry spared no pains; Miss Nossiter and Mr Smith strained hard-Mrs Bland, as far as her part exposed itself, did it with alacrity, but vanished abruptly in a storm of Lust. Mrs Vincent put as good a face on wanton barbarity as possible-and Mr Sparks who can do justice to a more spirited character, supported his Arcadian Kingship with becoming equanimity...It is a Romance crush'd together without choice, unconnected and full of Exidents not Incidents. Musidorus and Pamela , are duplicates to Pyrocles and Philoclea , which lengthen by so much the play, with repetition of the same dull nauseous tale of love, stirr'd up now and then by a bounce and a cracker-many persons come on we know not why, and disappear we know not wherefore....This new piece is an outlaw from all rules of Criticism; the Unities of Time, Place, and Action are unobserv'd; Plot, Moral, Verisimilitude, or even Probability unknown: many scenes bid defiance to possibility....Mr Rich stopp'd at no expence as to the Dresses and Decorations, and reprieving the play's duration to the utmost extent of Managerian clemency

Event Comment: Some Noise at the Dancers, but not great (Cross). Tomorrow will be publish'd The Dancers Damn'd; Or The Devil to Pay at the old House. Price 6d. Printed for R. Griffiths. [Appears to be an eyewitness, journalistic account, but turns into a considered attack upon mob patriotism. Author purports to describe the action which took place Wednesday night 12 Nov. 1755: 'When the Chinese scene was expos'd, the leader of the Loyal party advanced to the front of the Gallery and thus bespake the House: "O Britons! O my Countrymen! Ye will certainly not suffer these foreign clogs to amuse us. Our destruction is at hand. These sixty dancers are come over with a design to undermine our constitution. This Navarre is Marshall Lewendahl, and the least amongst them is an ensign, disguised in order to perpetrate our ruin!"' After alternate encouragement and abuse Reason, who had descended from the clouds, spoke: "I came hither by the persuasion of Truth and Justice to tell you that amongst all this number of dancers that now stand ready to entertain you there are no more than Four French men and about the same number of females; that their Chief is a Swiss Protestant, who, had not his merit protected him would have been hiss'd off the stage at Paris, for being a Swiss Protestant. And will you damn him for the same reason? Will you pay less regard to Genius than a French Audience? Here a cat-call and one cried out: 'Swiss! What the devil do we know of Swiss! a Swiss is a foreigner, and all foreigners are Frenchmen; and so damn you all!"'] Receipts: #140 (Cross)

Event Comment: Benefit for Jefferson and Champnes. Mainpiece: By Desire. Tickets delivered for Love Makes a Man will be taken. Yesterday Five Guineas were paid into the Hands of Justice Fielding by Miss Macklin, for the use of the Marine Society, towards clothing men and boys for the sea, to go on board His Majesty's ships (Public Advertiser). Receipts: #130 (Cross)

Event Comment: Mainpiece: Not acted these 16 Years. [See 27 Dec. 1746.] Benefit for Shuter. Receipts: #173 16s. 6d. Tickets #150 13s. (boxes 272; pit 551). Charges: #63 (Account Book), [#325 9s. 6d. marks the largest house in money value this season. Shuter advertised his benefit early, then on 28 March inserted this puff in the Public Advertiser: [Mrs Centlivre's Comedies have a vein of pleasantry in them that will always be relish'd. She knew the Genius of this nation, and she wrote up to the spirit of it; her Bold Stroke for a Wife, was a masterpiece that much increased her reputation: it establish'd that of Kit Bullock, a smart sprightly actor. His performance of Col. Feignwell was greatly applauded. Shuter has judiciously chosen to play to at his own benefit, and everyone that knows his powers, knows he will play it at least with drollery and justice equal to him."

Event Comment: Mainpiece: Never acted before. Characters new dressed &c. [See Theatrical Review; or, Annals of the Drama, 1763, pp. 67-74: Bless us what a sweet consistent piece of business is a modern Tragedy." See Boswell's account of his attendance that night with two friends, With oaken cudgels in our hands and shrill sounding catcalls in our pockets," ready prepared to damn the play (London Journal), p. 154 ff.).] Critical Strictures on the New Tragedy of Elvira, published this month (Gentleman's Magazine). I then undressed for the Play. My father and I went to the Rose, in the Passage of the Playhouse, where we found Mallet, with about thirty friends. We dined together, and went from thence into the Pitt, where we took our places in a body, ready to silence all opposition. However, we had no occasion to exert ourselves. Not withstanding the malice of a party, Mallet's nation, connections and indeed imprudence, we heard nothing but applause. I think it was deserved. The play was borrowed from de la Motte, but the details and language have great merit. A fine Vein of dramatick poetry runs thro' the piece. The Scenes between the father and son awaken almost every sensation of the human breast; and the Council would have equally moved, but for the inconvenience unavoidable upon all Theatres, that of entrusting fine Speeches to indifferent Actors. The perplexity of the Catastrophe is much, and I believe justly, critisized. But another defect made a strong impression upon me. When a Poet ventures upon the dreadful situation of a father who condemns his son to death; there is no medium; the father must either be monster or a Hero. His obligations of justice, of the publick good, must be as binding, as apparent as perhaps those of the first Brutus. The cruel necessity consecrates his actions, and leaves no room for repentance. The thought is shocking, if not carried into action. In the execution of Brutus's sons I am sensible of that fatal necessity. Without such an example, the unsettled liberty of Romev would have perished the instant after its birth. But Alonzo might have pardoned his son for a rash attempt, the cause of which was a private injury, and whose consequences could never have disturbed an established government. He might have pardoned such a crime in any other subject; and the laws could exact only a equal rigor for a son; a Vain appetite for glory, and a mad affectation of Heroism, could only influence him to exert an unequal & superior severity (Gibbon's Journal, ed. D. M. Low [New York, n.d.], pp. 202-4)

Event Comment: [This month the periodical, The Beauties of All Magazines Selected (London, 1763) quoted from the Theatrical Review Remarks on that Part of Dramatical Entertainments called Singing," A garrulous article concluding: The millions must be pleased-if audiences were only to be entertained with sensible exhibitions, or if only sensible people composed those audiences, whew! in what a sickly and consumptive state would be two thirds of the first rate salaries in every theatre!' (p. 76). This month publish'd An Appeal to the Publick in behalf of the Manager. Price 1s. Printed for Wilson. Hear all; and then let Justice hold the Scale. Shakespeare. A rather full description of the Fitzpatrick half-price riots, exonerating Garrick and the players. This month (probably) was published Theatrical Disquisitions; or, a Review of the late Riot at Drury Lane Theatre, 25, 26 January 1763, By a Lady (32 pp.). A calm defense of the acting profession, and a scourge of Fitzpatrick as a coward and a great nuisance. She prefers seeing plays to reading them. Holds Garrick blameless for reviving the Chances after failure of Eastward Ho. Comments at length on brilliance of contemporary stage costume in comparison with that earlier in the century.

Event Comment: [The following notice appeared in the Public Advertiser]: Whereas a very unjustifiable disturbance happened last night at this theatre; the managers think it incumbent upon them to acquaint the Publick that when the Opera of Artaxerxes was in rehearsal it was determined that no expence should be spared to render the performance as elegant as the nature of so peculiar an Entertainment would admit. This desire occasioned so considerable an increase of the nightly charge 'twas thought by many disinterested persons would justify additional prices; but to avoid giving the least umbrage, and in gratitude for the Public indulgence on other occasions, no such advance was attempted. When it is known that the extraordinary nightly expence attending this performance amounts to upwards of Fifty Pounds it is humbly apprehended no persons of justice and candour will think the Full Price an exorbitant gratification for such unusual disbursements. The Management therefore flatter themselves that a resolution to oppose the arbitrary and illegal demands of a particular set of persons, contrary to the general sense of audience, will not be deemed arrogant or unreasonable, especially when those demands are enforced by means subversive to Private Property, and in violation of that decorum which is due to all public assemblies