Event Comment: Benefit for Edwin. 3rd piece: First Time Here. Receipts: #200 14s. (152.2; tickets: 48.12) (charge: #105)

Event Comment: Mainpiece [1st time; CO 3, by John O'Keeffe; MS: Larpent 577; not published. The following season this was altered, and acted successfully as The Castle of Andalusia]: With new Scenes, Dresses and Decorations. A new Overture, and the whole of the Music under the Direction of Dr Arnold. Books of the Songs to be had at the Theatre. Public Advertiser, 29 Nov.: The admirable first scene, the subterraneous Receptacle of the Banditti, is the production of the ingenious Mr Richards. Receipts: #182 10s. (180/12/6; 1/17/6)

Event Comment: Mainpiece [1st time; co 3, by George Colman, the younger. Prologue by George Colman, the elder (Colman, Prose, III, 252)]: The new Airs, and a New Overture by Dr Arnold. Books of the Songs to be had at the Theatre. [One of the songs, beginning "Adzooks, old Crusty," sung by Edwin, is set to the tune of Yankee Doodle, and in the musical score (Harrison, 1784) it is so entitled. This is believed to be the first time this song, as it is now sung, appeared in print.]

Event Comment: "The Greybeards have certainly been chastised, for we did not find them at all gross. The piece is farcical and improbable, but has some good things, and is admirably acted. Coeur de Lion did not answer; nor was I much charmed with the music; but my ear is too bad to judge at first hearing. The scenes are excellent; Mrs Jordan is quite out of her character, and makes nothing of the part; and the turning the ferocious Richard into a tender husband is intolerable...It only makes a confusion in one's ideas, to maim a known story" (Walpole [15 Dec. 1786], XIII, 429)

Event Comment: Mainpiece [1st time; D 5, by Elizabeth Inchbald. Prologue by Thomas Vaughan. Epilogue by Miles Peter Andrews (see text). Public Advertiser, 14 Feb: Part of Andrews's Epilogue to Eloisa [see 20 Dec. 1786]...was blended with Epilogue spoken on first representation of Such Things Are]: With new Scenes, Dresses, &c. Public Advertiser, 1 Dec. 1787: This Day is published Such Things Are (1s. 6d.). Receipts: #214 10s. (212.10; 2.0)

Event Comment: Afterpiece [acted in place of The First Floor, advertised on playbill of 22 Sept.]: With Alterations and Restorations, particularly the admired Shades and Transparencies, representing the Amusements of Harlequinv and the Destruction of the Pantomimical Fleetv. The Way to Keep Him [advertised on playbill of 22 Sept.] is obliged to be deferred on account of the Indisposition of Dodd. Paid Renter's Interest [this paid daily throughout season] #30; Properties 8s. 4d.; Supernumeraries #1 8s. 6d.; Lampmen #7 8s.; Scenemen #5 4s.; Carpenters #5 10s. 9d.; Appleby, messenger, 6s. 9d. Receipts: #140 5s. (95.9; 43.4; 1.12)

Event Comment: Mainpiece: Performed but once [on 14 Apr. 1787]. With new Dresses, Decorations, &c. [Prologue by Edmond Malone; Epilogue by John Courtenay (see text). Afterpiece in place of The First Floor, advertised on playbill of 10 Dec.] Receipt2: #223 10s. (195.13.0; 27.8.6; 0.8.6)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. "A considerable tumult prevailed last night among the audience of this Theatre, on account of the unavoidable substitution of Miss Chapman and Mrs Harlowe for Mrs Esten and Mrs Wells (who are both indisposed). It was not that the audience objected to the former two, but because the names of Mrs Esten and Mrs Wells were printed in the bills usually sold about the Theatre, though not in those properly issued from the House. [Mrs Esten's name, however (but not Mrs Wells'), is listed in the "House" playbill for this night.] The audience were very violent, and the actors, after having nearly finished the first Act twice, were obliged to begin the Comedy a third time, before it was suffered quietly to proceed" (Morning Herald, 9 Feb.). "The fracas at Covent-garden Theatre on Wednesday evening was occasioned by the dexterity of certain Lottery Office keepers, who, in order to give notoriety to their shops, daily cause spurious Dramatis Personae of the theatres to be circulated; and on the reverse of these bills is conspicuously held forth the advantages of the public paying their cash into their gambling treasuries" (Morning Herald, 10 Feb.). Receipts: #191 17s. 6d. (187.2.6; 4.15.0; tickets: none listed)

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: [The playbill retains Mrs Crouch, but "The indisposition of Mrs Crouch was an abatement, for which, though an apology was made, nothing could atone. Miss Dall was her substitute. Captivity was sung by Incledon, 'being his first appearance in the character of Marie? Antoinette'" (Thespian Magazine, Apr. 1793, p. 247).] MS annotation on BM playbill (cg, Vol. VIII), 2 Mar.: "Rec'd 5 nights Oratorio Rent #262 10s. [i.e. #52 12s. a night].

Event Comment: Afterpiece: For the first time reduced to Two Acts

Event Comment: Benefit for Mrs Kemble. Afterpiece: The [first] and only time of performing it [this season] at this theatre. Morning Herald, 31 July: Tickets to be had of Mrs Kemble, No. 24, corner of Panton-street, Haymarket

Event Comment: Mainpiece [1st time; C 5, by Thomas Holcroft, based on DER DEUTSCHE HAUSVATER, by Otto Heinrich Freiherr von Gemmingen. Prologue by the author and John Thelwall (Boaden, Kemble, II, 114). Epilogue by the author (Knapp, p. 263)]: With new Scenes, Dresses and Decorations. Morning Chronicle, 18 Feb. 1794: This Day is published LOVE'S FRAILTIES (2s.). Oulton, 1796, II, 154: It was the first play published at the advanced price of 2s. [i.e. hitherto (since, at least, 1776) the price of full-length plays had been 1s. 6d.]. Receipts: #308 17s. 6d. (296/8/6; 12/9/0)

Event Comment: Afterpiece: For the first time here (by permission of the Proprietor of the Theatre Royal, Hay Market). Receipts: #291 11s. (216.19.6; 74.0.6; 0.11.0)

Event Comment: [There are two Kemble playbills for this night. The first announces No Song No Supper and The Child of Nature (with Mrs Jordan as Amanthis) and The Spoil'd Child (with Mrs Jordan as Little Pickle). The second carries the notice: The Publick are most respectfully informed that, on account of the sudden Indisposition of Mrs Jordan, Miss Mellon will undertake the character of Amanthis, and humbly solicits their indulgence. The Entertainments this Evening will be [as above].] Receipts: #265 2s. (173.0.6; 81.6.0; 10.15.6)

Event Comment: [Halpin is identified in MS list in Kemble playbills of new performers for this season. This was not his first appearance; he had acted previously in Dublin (Monthly Mirror, Nov. 1796, p. 437; Hibernian Journal (Dublin), 16 Dec. 1789, 20 Jan. 1790). For the naming of the characters in mainpiece, as they were called originally, see 23 Feb. 1792.] Receipts: #255 (193.11.6; 58.4.6; 3.4.0)

Event Comment: "Rule a Wife and Have a Wife is, for the first time, revived with dresses suitable to the times" (True Briton, 2 Feb.). Receipts: #227 10s. 6d. (150.5.0; 72.13.6; 4.12.0)

Event Comment: Benefit for King. 2nd piece: Not acted for more than 20 years [acted 14 May 1782]. The Dialogue by Garrick and King. The Music by Michael Arne and Vernon. Tickets delivered for Friday May 5 [for which day the benefit was first announcedP will be admitted. True Briton, 6 May: Tickets to be had of King, No. 56, New Store-street, Bedford-Square. Receipts: #290 9s. 6d. (111.5.6; 58.4.6; 4.16.0; tickets: 116.3.6) (charge: #211 18s.)

Event Comment: 2nd piece: Compressed for First Time into two acts, with several new Airs, &c. [Miss Sims was from the Theatre, Sadler's Wells.] Receipts: #259 17s. (253.15; 6.2)

Event Comment: Afterpiece [1st time; MD 2, by George Colman, ynger, based on Raoul Barbe Bleue, by Michel Jean Sedaine (although, in the 1st edition of the play, this denied by Colman). Text (Cadell and Davies, 1798)]: The Scenery, Machinery, Dresses, and Decorations entirely new. The Musick composed and selected [from Paisiello] by Kelly. The Scenes designed and executed by Greenwood? Jun, Chalmers, and others. The Machinery, Decorations, and Dresses designed and under the direction of Johnston, and executed by him, Underwood, Gay, and Miss Rein. Books of the Songs to be had in the Theatre. Times, 8 Feb. 1798: This Day is published Blue Beard (1s. 6d.). "In the course of the representation, many blunders in working the scenery, which are unavoidable in a first representation of this nature, occurred, and the delays which took place were frequently very great...It was twelve o'-clock before the curtain dropped...The Expense of getting it up is said to be not less than #2,000" (London Chronicle, 18 Jan.). Proud swells the tide, with loads of capering heels, And vacant Folly shouts applause in peals; Hoards, even beyond th miser's wish, are thrown, To deck some sham farago for the town...Money for dresses, money for new scenes, New music, decorations, and machines; The cost of these, including every freak, Would pay ten decent players four pounds a week. Anthony Pasquin (pseud. for John Williams), "Innovation," in The Devil [1787], II, no. 2, 46. Receipts: #319 14s. 6d. (216.17.6; 102.2.0; 0.15.0)

Event Comment: Afterpiece [1st time; MF 2, by Henry Lee. Larpent MS 1221; not published in this form, but altered by the author in 3 acts, as Caleb Quotem and His Wife!; or, Paint, Poetry, and Putty (J. Roach, 1809)]: The Musick by Dr Arnold. Books of the Songs to be had at the Theatre. "Suett was, as he always is on a first night, most shamefully imperfect" (Monthly Mirror, July 1798, p. 52). [For Lee's accusing Colman, in his The Review, of plagiarism, see Genest, VII, 387-90. And see 1 Sept. 1800.

Event Comment: [Afterpiece in place of The First Floor, advertised on playbill of 3 Jan.] Receipts: #460 8s. (390.3; 64.17; 5.8)

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 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 play was advertised in the Post Man, 4-6 June 1696, suggests that it was acted not later than May 1696, possibly that it was given in late April. In III is a song, Unguarded lies the wishing maid, set by John Eccles and sung by Leveridge. In IV is a song, The secrets of peace, set by Finger and sung by Mrs Hudson. A Comparison Between the Two Stages (1702), p. 20: This is Mrs Manley's; it made a shift to live a half a dozen Days, and then expir'd