Event Comment: Mainpiece: Written by the Author of Pasquin. Afterpiece: Giving an Account of the Rise, Progress, Greatness, and Downfall of Mr Pillage, the Author; his Followers and Friends at his Levee; his Friend Who begs to be excus'd from coming there; his Schemes to cram down Farces, and raise Prices; with his excellent Company shewn in a proper Distribution of Parts; a fine Love-Scene between him and his Muse; his crawling up the Pinnacle upon All-Fours; the terrible Hissing and Cat-calling of his favourite Face; with the dreadful Consequences and Catastrophe of the whole, Note, The Play will not begin till Half an Hour past Six

Event Comment: Benefit Mrs Haywood the Muse, Author of Love in Excess, and many other entertaining Pieces. 6:30 p.m. Daily Advertiser, 23 May: We hear that her Grace the Dutchess Dowager of Marlborough will be at the Theatre in the Hay-Market this Night

Event Comment: A notice had appeared announcing for this date a performance of Love Makes a Man, with Clodio-$Peterson, Cholerick-$Paget, and the rest of the parts by members of Giffard's Goodman's Fields Company (now of course at Lincoln's Inn Fields) and the Lying Valet, for the benefit of Paget, who states, in the notice, that he is out of work. The performance was not given, but see 25 Nov., by which date Paget was resting in Fleet prison

Event Comment: The New Tragedy entitled Love's the Cause and Cure of Grief intended to have been acted this night is deferr'd till Monday Next. Daily Advertiser: The Fable of the Iron and the Earthen Pot. To Mr Macklin. Vers'd thou art in every Wile Thy conduct who can Reconcile? Who'll think thee knowing in Intrigue With Garrick e'er to join in League? Was not the Maxim to thee known That Leaguers. 'Twixt Equals suit alone? We grant thee Merit; yet how far Does Sol outshine the brightest Star? Thy strength hads't thou by duly weigh'd No Feuds had then to ills betray'd. Still if thou well or ill deserve Pity, methinks, to let thee starve Pity that thou shoulds't find too late Sage Aesop's Earthen Pot thy fate

Event Comment: To Macklin the Player: The Laity as well as Priests of all Religons are the same. Macklin, Thou mayst remember when thou wert learning the part of Shylock in the Merchant of Venice, thou camest daily to the Change, and artfully dids't introduce thyself into my company, till thou hads't stolen my Face, my Looks, and not content with the Index, thou did'st turn over the volume of my Mind, as it if thy Author had been wanting in the manner of his character, and dids't show me on the stage to the Disgrace of my Tribe, for which we wish thee not in Abraham's Bosom, thou may'st be sure. Now if thou hast a mind to compromise the Affair, and serve thyself at thy Benefit time, publicly delcare what Place thou did'st frequent, and what set of Christians thou did'st herd with, before thou playd'st the part of Iago in the Moor of Venice; Comply and our Rancor to thee will be turn'd into Love and Service. s@Zorobabel. PS I will call to thee tonight at thy Synagogue in the Hay-market, about the sixth Hour, as you players reckon, for intelligence.-Daily Advertiser

Event Comment: Mainpiece Written by the late Mr Congreve. Benefit Mrs Mills. Tickets to be had of Mills at his house in Nassau St., Soho. To the Author of the General Advertiser: It is with great Pleasure I find by the Publick Papers that a tragedy founded on Voltaire's Mahomet is now in rehearsal at Drury Lane Theatre. The Original was by Authority forbid to be played in France on account of the free and noble sentiments with regard to Bigotry and Enthusiasm, which shine through it; and which that Nation found as applicable to itself, as to the bloody propagators of Mahomet's Religion. Indeed the Fable on which it is built demanded such sentiments; the design of it being to shew the dreadful effects of Bigotry and Enthusiasm, even upon minds naturally well inclined when work'd up to such a pitch, as a beautiful concurrence of amazing, yet probable Circumstances hath there carried them to: So that it was equally impossible for the poet, by cutting and mangling his play, to lop it to their standard of Orthodox poetry, as it were for their Inquisitors, by torturing and burning a poor Protestant, to convince him of their Christian love and charity....They foresaw that the most obvious Reflection, that every sensible Spectator could not but make, would be, that he every day saw the same effects produced from two the most different causes, Mahometanism and Christianity; and the consequence must be, either that they were both alike Imposters, or that a crafty, mercenary, and cruel Clergy had dared to add a spirit to Christianity, which Christianity never knew. It is not doubted but these every Sentiments, which in France, prevented the Representation of this piece, will, in England speak loudly in its favor (providdd our English poet is not unequal to his subject) especially since so audacious an attempt has been lately made by the Common Enemy of Europe to establish at once a Civil and Spiritual Tyranny over those injur'd Nations, by the old Mohametan and Roman Arguments of Fire and Sword. I am, &c

Event Comment: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov

Event Comment: AAll for Love is obliged to be deferred till further notice

Event Comment: Benefit Mr Daniel and Mrs Bainbridge; tickets deliver'd out for Love's Last Shift will be taken

Event Comment: By particular Desire. Benefit Mrs Ridout and Miss Budgell. Tickets deliver'd out for Love's Last Shift will be taken

Event Comment: [Full column in Daily Advertiser describing Barry's and Mrs Macklin's acting techniques.] Barry from the Theatre in Dublin, perform'd the part of Othello, at Drury Lane, before a numerous and polite audience; and met with as great Applause as could be express'd.--General Advertiser, 6 Oct. Thomas Gray to Horace Walpole: You have probably been there since I left you, and consequently have seen the Mr Barry you desired some account of; yet as I am not certain of this and should be glad to know whether we agree about him, I will nevertheless tell you what he is, and the impression he made upon me. He is upwards of six feet in height; wdll and prortionably made, treads well and knows what to do with his limbs; in short a noble graceful figure. I can say nothing of his face but that it was all black, with a wide mough and good eyes. His voice is of a clear and pleasing tone, something like Delane's, but not so deep-mouthed, not so like a passing bell. When high strain'd it is apt to crack a little and be hoarse, but in its common pitch, and when it sinks into any softer passion, particularly expressive and touching. In the first scene, especially when he recounts to the Senate the progress of his love and the means he used to win Desdemona, he was quite mistaken, and I took a pique against him; instead of a cool narration he flew into a rant of voice and action, as though he were relating the circumstance of a battle that was fought yesterday. I expected nothing more from him, but was deceiv'd: in the scenes of rage and jealousy he was seldom inferior to Quin in the parts of tenderness and sorrow far above him. These latter seem to be his peculiarly; his action is not very various, but rarely improper, or without dignity, and some of his attitudes are really fine. He is not perfect to be sure, but I think may make a better player than any now on the stage in a little while. However, to see a man in one character, and but once, is not sufficient, so I rather ask your opinion by this, than give you mine.--Horace Walpole's Correspondence with Thomas Gray, II, 6-7

Event Comment: Mainpiece: At the Particular Desire of Several Persons of Quality. All for Love is oblig'd to be deferr'd 'till Monday, on account of The Provok'd Husband's being desir'd.--General Advertiser, 30 Jan

Event Comment: AAll for Love is oblig'd to be deferr'd on account of the Indisposition of Mrs Woffington.--General Advertiser

Event Comment: All for love obliged to be deferred on account of Mrs Woffington's Indisposition. [Notice in General Advertiser lists Macbeth and The Double Disappointment for tomorrow, but no bill appears on 6 Feb.

Event Comment: [All for Love deferr'd till Saturday.

Event Comment: This comedy was wrote by Mr Moor, & except ye part of Faddle meet with Universal Applause (ye Author's first play) (Cross). New Scenes and Cloaths (General Advertiser). This C. was written by Moore--it is a good play--it was acted 11 times successively--Garrick's peculiar qualifications and happy use of them, added amazing spirit to the piece, and gave more consequence to Young Belmont than can well be imagined--Macklin, who never had in voice, figure or features much capacity for the fop cast, yet struck out some things in Faddle, that have not been since equalled, particularly in marking the obsequious knave throughout--Barry in the fourth act supported his character with emphatic dignity and in the last with melting tenderness--the part of Rosetta was undoubtedly conceived for Mrs Woffington, and she did it particular justice--the elegance, the notions of love, and the vanity of admiration, which are united in Rosetta, were natural to Mrs Woffington, so that she had the advantage of looking and speaking in her own character--the softness and pathos, which distinguished Fidelia sat with much ease on Mrs Cibber (Dramatic Censor, II, 206). [For contemporary account of plot and discussion of the play, see Gentleman's Magazine Feb. 1748, pp. 51-54; March 1748, pp. 114-17; May 1748, pp. 207-9; June 1748, pp. 257-59. See also G. Stayley, An Answer to an unjust criticism on the Foundling, listed in Register of Books, Gentleman's Magazine, May 1748, p. 240; A Criticism of the Foundling, in a letter to the author, listed in Register of Books, Gentleman's Magazine, March 1748, p. 144. The Larpent MS indicates many revisions. The substitution of Rake for Whoremaster, &c. Some Suggestive passages marked for excision. "The Disapprobation, which the Character of Faddle met with the first Night, made it necessary for me to shorten it in almost every Scene" (Dedication to 1st Edition).] Receipts: #200 (Cross); #200 5s. (Powel)

Event Comment: CCross: Benefit for ye Author. Mr Garrick order'd ye foundling to be given out for Sat: & as you like it for Mon: But ye Pit rose, & insisted ye Foundling shou'd be given out again for Monday, wch was done, tho; ye Lords who oppos'd it were in ye House. [Horace Walpole's account of the affair Foundling to Sir Horace Mann, in a letter of 11 March 1748 (ed. Cunningham, II, 106) runs as follows: "There has been a new comedy call'd The Foundling; far from good, but it took. Lord Hobart and some young men made a party to damn it, merely for the love of damnation. The Templars espoused the play, and went aamed with syringes charg'd with stinking oil, and with sticking plaisters for Bubby's fair hair; but it did not come to action. Garrick was impertinent, and the pretty men gave over their plot the moment they grew to be in the right."] Receipts: #170 (Cross); house charges #63 (Powel); cash #168 10s. 6d.; tickets #18 5s. (Clay MS)

Event Comment: [L$Leveridge announced his benefit for Thursday March 31, The Recruiting Officer, with the following jingle to the tune of Can Love be Controul'd by Advice?]: I@Tho' Fortune is said to be Blind,@'Tis hop'd the fam'd Goddess may hear@Which prompts me to think she'll be Kind,@And to my petition give ear.@Tho' here starts a doubt I must own,@Since Drury her favour has got,@How I shall address the Kind Town@My tickets this time to promote.@II@And yet with great Hope I'm led on@That some generous hearts may be found,@To say-Come let something be done@For him that has ne'er chang'd his ground.@For him take a ticket this time@'Twill give the old stander delight@Who begs us in this humble rhyme@To honour his benefit night.@ Tickets to be had at Leveridge's lodgings at the Twisted Posts in Brownlow St., Drury Lane, and at the Stage Door

Event Comment: At Bridges, Cross, Burton, and Vaughan's Great Theatrical Booth on the Bowling Green, Southwark, (with a company from the theatres) during the short time of the Fair will be presented an Historical Drama (lately acted in Bartholemew Fair with universal applause) the Northern Heroes with the Loves of Count Gillensternia, a Swedish General, and the fair Ellimira a Russian Princess, containing the most remarkable events of that time; and concluding with the memorable battle of Putlowav, and Charles's retreat into the Turkish dominionsv. Interspersed with a comic interlude, The Volunteers. Also the comical humours and amours of Corporal Garbage and Serjeant Slim, with Mrs Vanspriggen the Swedish Sutler's widow, the merry pranks of her foolish son Janny, and several other diverting incidents. As the Fair will be of so short continuance, we shall begin very early each day (General Advertiser). [See 24 Aug. 1748, bf]

Event Comment: This play was wrote by Mr Shirly & was at Lisbon when Acted--it was receiv'd with great Applause--only a little groaning at some of the Love Scenes; the prologue greatly lik'd--he says the play attempted after ye Manner of Shakespear (Cross). Paid salary list at #51 7s. 7d. per diem, #308 5s. 6d.; Blakes per order #1 1s.; Maltair added to salary list at 10s. per day. Paid Lacy as per draft #105; Xmas box to Prince and Princess's footmen #2 2s.; Mr Maltair for 11 days #5 10s. (Treasurer's Book). [Maltair is presumably the dancer Maltare who had appeared at dl in 1740.] Receipts: #180 (Cross); #185 13s. (Treasurer's Book)

Event Comment: Mainpiece: A sequel to Love's Last Shift. Prologue call'd for (Cross). Receipts: #100 (Cross)

Event Comment: This day is publish'd a Guide to the Stage; or Select Instructions and Precedents from the best Authorities towards forming a polite Audience; with some account of the Players, &c. Printed and sold by D. Job, at the Spread Eagle in King St. [An ironical post-Addisonian quip at theatrical behavior]: I boldly enter the lists as the first champion for theatric decorum. The next thing to be consider'd is disapprobation, which I think may be sufficiently shewn, by an attention to something else, by loud discourse, profuse laughter, and the like. I cannot help thinking it a little out of character, for a polite audience to distort their features by a hiss: however for the sake of some ambitious youths, who thus love to signalize themselves, I shall leave a new play to their mercy. They then are at liberty to exercise their several talents whether they hiss or groan most successfully, or have a greater genius for the cat-call. If you desire to know when you are to shew your dislike, my answer is, when anything displeases you, or in fine when you will provided you have a strong party to second you; for the best hiss or groan in the universe may be drown'd in a general applause. [Never laugh at what passes on stage save it be an error, blunder, or accident. In tragic scenes avoid being visibly moved by humming a tune, regarding the audience, engaging in conservation, or turning your back to the stage. When a female social rival calls attention to herself and away from the stage, let fall your handkerchief into the pit, or call out to an acquaintance in the opposite box, or burst into loud and unexpected laughter. You'll know when to applaud, for the actors will tell you.] On these occasions Cato looks more than unusually big, Hamlet stares with great emphasis, Othello has a most languishing aspect, Monimia is all sighs and softness, Beatrice will bridle, and pretty Peggy Wildair leers you into a clap. Receipts: #170 (Cross)

Event Comment: MMr Beard ill (Cross). Robin Hood Defer'd. Love's Last Shift deferr'd till Wednesday next. The Comedy of All's Well that Ends Well (written by Shakespear); and the Comedy of Every Man in his Humour (written by Ben Johnson) are now reviving at the Theatre Royal in Drury Lane (General Advertiser). Receipts: #60 (Cross)

Event Comment: [T+Temple of Taste met for fourth time. Question debated, Can a Man love passionately and virtuously two ladies at a time?"]