Event Comment: Paid for Beer for the Men removing Music Books #2 19s. 6d. [In mainpiece the playbill assigns First Constantia to Mrs Powell, but she "having sprain'd her Ancle [sic] Miss Collins play'd 1st Constantia" (Powell)]. Powell: Chances rehearsed at 10 (Barrymore absent; Caulfield, Cooke, Welsh each two scenes; Trueman one scene). Receipts: #139 6s. 6d. (78/10/6; 57/16/6; 2/19/6)

Event Comment: Mainpiece: Altered into Three Acts. "All the comic part of the play is cut out" (Monthly Mirror, Dec. 1795, p. 123). Afterpiece [1st time; P 2, by William Pearce]: The Incidents principally selected from the legendary Ballads of the 13th Century. The Scenery, Machinery, Music, Dresses and Decorations entirely new, and in correct conformity to the Times. The Pantomime invented by Mr Lonsdale. The Songs written by Mr O'Keeffe. The Overture and the Music (with the exception of a few Antient Ballad Tunes) by Reeve. The Dances invented by Byrn. [The concluding Grand Scene regulated by Thomas Harris (Monthly Mirror, supra).] The Scenery painted by Hodgins, Lupino, Phillips, Thorne, Hollogan, Blackmore, and assistants. The Machinery by Sloper and Goosetree. The Dresses by Dick and Mrs Egan. Books of the Songs to be had at the Theatre. [For a further assignment of the Vocal Characters and for a more detailed synopsis, see 4 Jan. 1796.] Account-Book, 16 Jan. 1796: Paid Goosetree for the Keep and Hire of Horses for the Pantomime #15 13s. Receipts: #321 19s. (318.10; 3.9)

Event Comment: [By John Thurmond, Dancing Master.] The Scenes, Machines, Cloaths, &c. entirely New. The Scenes painted by Messieurs Tillemans, Eberlin, Devoto, and Dominic

Event Comment: This tragedy was wrote by Mr Dow,--went off but So, so.--some hisses thro' the play, and at the end also when given out.--The scenery and dresses was very fine, was well adapted, and had applause.--Miss Younge played very bad, and much disliked--Mr Holland and Mr Aickin played well (Hopkins Diary). New Scenes, Dresses, and Decorations. [The Prologue is Larpent MS 289. It follows in content the suggestions of the Prologue to the Orphan of China ten seasons earlier:@"Too much the Greek and Roman chiefs engage@The Muse's care--they languish on our stage;@The modern bard struck with the vast applause@Of ancient masters, like the painter draws@From models only.--Can such copies charm@The Heart, or like the glow of Nature warm?@To fill the scene, tonight our author brings@Originals at least, --Warriours and Kings,@Heroes who like their Gems, unpolish'd shine,@The mighty fathers of the Tartar line,@Greater than those whom classic pages boast,@If those are greatest who have conquored most."@ An account of the plot of the mainpiece is in Lloyd's Evening Post, 16-19 Dec. Concludes: The play is said to have been written by Mr Dow, who lately favored the public with an accurate History of the Hindoos. The decorations and dresses were very magnificent. The performers who were the most distinguished by the audience were Mr Holland, Miss Younge, Mr Aickin, and Mr Jefferson. Mr Holland spoke the Prologue and Mrs Abington the Epilogue the latter of which furnished infinite entertainment, from the spirit and humour of that admirable actress. A Two column resume of the play appears in the Public Advertiser, 19 Dec.

Event Comment: Afterpiece [1st time; MD 3, by Sir George Collier, based on Zemire et Azor, by Jean Francois Marmontel]: The Music [by Thomas Linley Sen., adapted from Gretry], Scenes, Dresses, and Decorations entirely New. The Scenes, &c., designed by DeLoutherbourg. The Words of the Songs, &c. to be had at the Theatre. The Entertainment is splendidly got up--The Music by Thomas Linley Jun. [sic] was very well received (Hopkins Diary). Public Advertiser, 7 Dec. 1776: This Day is published the Songs in Selima and Azor (6d). [Text 1st published by J. Bell, 1784.] Receipts: #218 7s

Event Comment: Afterpiece: To conclude with the Scene of the Water-fall, as it was originally performed. [This scene was included in all subsequent performances.] Receipts: #214 16s. (181.7; 33.6; 0.3)

Event Comment: Afterpiece [1st time; CO 2, by William Pearce]: With new Music, Scenes and Dresses. The Music composed and selected [From Paisiello and Gretry (BUC, 946)] by Shield. The Scenes designed and executed by Richards. Books of the Songs to be at the Theatre. ["Mr Pearce #100 for Midnight Wanderers" (MS annotation on BM playbill (cg, Vol. VIII), 2 Mar. 1793).] Morning Herald, 21 May 1793: This day is published The Midnight Wanderers (1s.). Receipts: #332 17s. 6d

Event Comment: Afterpiece [1st time; P 2 (?), by James Wild. MS: Larpent 1000]: The greatest part entirely new, with a few Select Scenes from the most approv'd Compositions. With new Scenery, Machinery, Dresses and Decorations. The Dresses entirely new. The new Music composed by Shield, the rest selected from Harington, Dr Arne, Eley, Reeve, Pepusch, Galliard, George Ware, Hook, &c. The Scenery and Machinery entirely new painted by Richards, Hodgins, Walmsley, Lupino, Pugh, Phillips and Malton. The Dances entirely new, composed by Byrn. Account-Book, 23 Apr. 1795: Paid James Wild in full for Dr Faustus #40. European Magazine, Jan. 1794, p. 49: Dr Faustus has afforded entertainment to three if not four generations. It was first produced at Drury-lane in 1723, by Mr Thurmond, a dancing-master, and was afterwards succeeded at Lincoln's inn-fields, in the same year, by Mr Rich's more splendid performance [entitled The Necromancer; or, Harlequin Doctor Faustus], which received improvement at different revivals of it. At the latter end of 1766 [at Covent Garden] Mr Woodward made some alterations, and it was revived with great success. It is again brought forward with applause, and recalls to the remembrance of those who formerly saw it with delight, the recollection of the most enchanting period of life. The opening scene of Tartarus . . . was first introduced in the speaking pantomime of The Mirror [at Covent Garden, 30 Nov. 1779). Receipts: #352 13s. 6d. (324/13/6; 28/0/0)

Event Comment: 2nd piece [1st time; MD 5, by George Holman, based on Die Rauber, by Johann Christoph Friedrich von Schiller. Prologue by John Taylor (Poems, I, 65)]: With new Scenery, Dresses and Decorations. The Musick composed by Attwood, and selected from Dr Arnold, Callcott, and Mozart. Books of the Songs to be had at the Theatre. Morning Chronicle, 4 Sept. 1799;: This day is published The Red Cross Knights (2s.). Ibid, 22 Aug.: It was remarked from its extreme length and the frequent fall of the drop scene that it was a play in ten acts instead of five--indeed this method of preparing for a new scene disjoints the business, and of course tends greatly to injure the effect

Event Comment: Afterpiece [1st time; CO 2, by Thomas Knight]: With new Music, new Scenes and Dresses. The Music composed by Mazzinghi and Reeve. The Scenes painted by Richards and Phillips. Books of the Songs to be had in the Theatre. Account-Book, 5 Feb. 1800: Paid Knight for Turnpike Gate #125; Reeve and Mazzinghi for music in same #50. Morning Chronicle, 29 Nov. 1799: This day is published The Turnpike Gate (1s. 6d.). Receipts: #288 17s. (281.2.6; 7.14.6)

Event Comment: 2nd piece [1st time; MF 2, by James Cobb. Text (unauthorized), Dublin: P. Byrne [1800]; synopsis of plot in Dramatic Censor, II, 135-36]: With new Scenes, Dresses and Decorations. The Overture composed by Mazzinghi, and the Music by Mazzinghi and Reeve. The Scenes painted by Phillips, Lupino, Hollogan, Hodgins, &c. Books of the Songs to be had in the Theatre. Receipts: #132 17s. (128.7.6; 4.9.6)

Event Comment: Benefit for Palmer and Caulfield. [In 3rd piece the playbill retains Miss DeCamp as Fanny, but "Miss DeCamp being reported ill during the representation of [1st piece], the part of Fanny, in the Entertainment, was undertaken, at a moment's notice, by Miss Heard, [who]...studying the character, scene by scene, acted the part to general satisfaction, which was announced merely to be read" (Dramatic Censor, II, 232).] Morning Chronicle, 19 May: Tickets to be had of Caulfield, No. 6, Southampton-place, Tottenham-court-road [Palmer not listed]. Receipts: #194 1s. 6d. (120.10.0; 66.10.6; 7.1.0; tickets: none listed) (charge: #212 4s. 7d.)

Event Comment: Tragedy never acted. By James Thomson. Characters New Dress'd. But as it is rather more fashionable to run mad about Mr Thomsons's play, I will change my theme and talk to you of Tancred. I want much to know how you like it, at this distance I would lay any wager you do not like it so well as your sister does, who certainly cannot be your sister and not have been to see it long ago. Everybody agrees that no play was ever so much improved in acting, at least since the Booths and Bettertons. That first scene expecially, where Siffredi discovers to Tancred who he is, pleased me almost beyond anything I ever saw, indeed even before I saw it, that scene was my favourite. But what do you think of the story, and what of the style?-A Series of Letters between Mrs Elizabeth Carter and Miss Catherine Talbot, I, 60 (dated strangely 2 March). [On 26 April, the Daily Post published a letter by Bellario on Tancred and Sigismunda, discussing the kind of support it received]: A very remarkable new Lord of the Treasury was proud of appearing its Foster Father, and attended at the public rehearsals; the first night of the performance this celebrated person and his friends in the Box with him (all very lately most flaming Patriots) were seen clapping their hands at the following remarkable speech: First of You All...To Quit Mistakes. [The letter also discussed political aspects of the play, then the poetry of the lines. The author heard that three hundred lines were cut out after the first performance, and was of opinion that double that amount would have been beneficial.

Event Comment: Benefit for Mrs Clive. Part of Pit will be rail'd into the Boxes. Servants allow'd to keep places. Send servants by 3 o'clock. Tickets and places to be had of Mrs Clive at the Naked Boy in Henrietta St., Covent Garden. Mainpiece: Not acted these 7 years [see 18 Nov. 1754]. Afterpiece: With alterations and an additional scene. Mr Havard's benefit play, which should have been acted some day this month, is deferr'd on account of his Indisposition, to the 12th of April, when the new Masque of Alfred will be perform'd, with its proper Scenes, Dances, Music, and Machinery. Receipts: #230 (Cross)

Event Comment: [Pantomime new by Woodward] Went off with great Applause. ye Cyclops Dance encored (Cross). New Habits, Scenes, and Decorations. Full Prices. As the performance greatly depends upon the Music and Machinery, no gentleman can possibly be admitted into the Orchestra or behind the Scenes. [This prohibition repeated in all subsequent performances, will not be further noted here.] N.B. The Play of the Revenge oblig'd to be deferred on account of Mossop's indisposition. Receipts: #210 (Cross)

Event Comment: Benefit for Miles, Mrs Green and Mrs Baker. None admitted behind Scenes

Event Comment: Mainpiece: Not acted these 4 years [acted 28 Dec. 1787. Toms is identified in Morning Herald, 22 Sept. 1795: A Mr Toms made a probationary essay last night in the character of Romeo. The bills erroneously announced it as his first appearance on this stage [cg]; for his unsuccessful attempt in Young Norval [i.e. Douglas], about five years ago, on the same boards, is perfectly within our recollection. London Chronicle, 22 Sept. 1795, also refers to Toms as Douglas. European Magazine, Oct. 1790, p. 305, gives the name as Turner, but in Oct. 1795, p. 273, states that Toms performed on one night only "a few years since."]. Afterpiece [1st time; BALL. P 2 (?), by James Byrne, based partly on his Nootka Sound, and in May 1793 agin altered as The Shipwreck; or, French Ingratitude. Not in Larpent MS; not published; synopsis of action in Diary, 5 Oct.]: A Ballet Pantomime, with new Scenes, Dresses, and Decorations. The Overture and Music compiled by Byrne, from Haydn, Rochefort, Pleyel, Gyrowetz, Reeve, Pieltain, Dibdin. The new Music by Shield. On account of some Scenes which are introduced from the Entertainment of Nootka Sound (performed last Season [on 4 June 1790]) Half Price will be taken. [This alludes to the custom of not llowing half-price during the run of entirely new pantomimes.] Paid Brodie, for Stoves for the Theatre, #19 8s. Receipts: #207 8s. 6d. (201.16.0; 5.12.6)

Event Comment: Paid Music 20th Inst. #9 3s. 6d.; Properties 2s. 3d.; Chorus Singers #1 10s.; Wardrobe #6 13s. 3d.; Supernumeraries 16s. 6d.; Sloper[master carpenter] for Scene Men #62 11s. 4d.; 3 weeks salary to Phillips #15 15s., to Lupino #11 0s. 6d., to Hollogan #6 15s., to Hodgins #2 5s. [these were scene painters]. Receipts: # 336 14s. 6d. (330.18.0; 5.16.6)

Event Comment: Benefit for Widow Vincent. House charges #64 15s. 6d. [Deficit Mrs Vincent #20 3s. 6d.] Rec'd by draft on Mr Clutterbuck #200, and from Sinking Fund #287; Paid Blandford (tallow chandler) #27 18s. 11d.; and French on account #12 12s. (Treasurer's Book). Fifteen minutes past 5 went to the 2s. gallery...(Widow Vincent's voice pleases me much. Holland did Oakly,-he imitates Garrick, but is very inferior to him (Neville MS Diary). Receipts: #44 12s. (Treasurer's Book)

Event Comment: Benefit for Wild, prompter. 2nd piece: With Alterations, and three Pantomimical Scenes. Public Advertiser, 28 Apr.: Tickets to be had of Wild, No. 145, Drury-lane. Receipts: #268 14s. (178.13; tickets: 90.1) (charge: #105)

Event Comment: Mainpiece: Being a True Story in Common Life, and the Incidents extremely affecting. Written by the Author of George Barnwell [George Lillo]. N.B. This is much the coolest House in Town. At Common Prices, viz. Boxes 5s. Pit 2s. 6d. Gallery 1s. 6d. [For a puff, see Daily Advertiser, 25 May.] Daily Advertiser, 28 May: Last Night . . . Guilt its own Punishment . . . was acted . . . with the greatest Applause that has been shewn to any Tragedy for many Years. The Scenes of Distress were so artfully work'd up, and so well perform'd, that there scarce remain'd a dry Eye among the Spectators at the Representation; and during the Scene preceding the Catastrophe, an attentive Silence possess'd the whole House, more expressive of an universal Approbation than the loudest Applauses

Event Comment: N.B. We have engag'd Mr King; & Miss Baker from Ireland, one Mr Moody, a Stroler,-Mr Beard is gone to Covent Garden, 'tis said to be manager Mr Mossop to Ireland. Receipts: #120 (Cross). Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places from Mr Varney at the Stage Door. No admittance behind scenes. [The customary note about prices and admittance will not be noted further here.] [At the opening of the theatres this season appeared an essay in Goldsmith's Bee, giving close observations upon actors, and deploring the relative stiffness and formality of English actors in comparison with the French. Advised English actors to travel abroad. Yet (Vol. 1759, p. 12) commented on the magnificnece of "our theatres as far superior to any others in Europe where plays only are acted. The great care our performers take in painting for a part, their exactness in all minutiae of dress, and other little scenical proprieties has been taken notice of by Riccoboni." Complains of the convention of laying a rug before a dying scene and of the vacant expressions of mutes on stage.

Event Comment: This Comedy was written by Mr Cumberland was very well receiv'd & great Applause but it will not be so Successful as the West Indian was (Hopkins Diary). New Scenes and Dresses for the Mainpiece. [See Theatrical Review, 20 Jan. See also account in Town and Country Magazine (Theatre No. XXXIII). Larpent MS 329 again includes scene description by the author: "Hall in Lord Abberville's Housev with a staircase seen through an arch in the Flat."] Receipts: #248 17s. 6d. (Treasurer's Book)

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; D 5]: Altered from Massinger [by John Philip Kemble. Prologue by the Hon. Henry Phipps (London Chronicle, 28 Jan.). Epilogue by George Colman, the elder (ibid). MS: Larpent 687; not published]. "This piece is considerably altered from the original; passages are expunged, and others added, in every scene; and several incidents transposed from the order in which they formerly stood. Some scenes are also introduced from the Maid's Tragedy of Beaumont and Fletcher" (London Magazine, Feb. 1785, p. 137). Receipts: #269 9s. (240/10/0; 27/6/6; 1/12/6)