Event Comment: Benefit for Parsons. Mainpiece: Never perform'd here

Event Comment: "[Henderson] is the soul, the animating particle of the person he represents--and never takes punctuation for passion" (Public Advertiser, 12 Oct.)

Event Comment: Benefit for Miss Younge. Mainpiece: Never performed there. [Miss Orme, who made her 1st appearance on 5 Feb., is identified in Morning Chronicle, 9 Mar.]

Event Comment: Benefit for Aickin. Afterpiece [1st time; F 2. MS: Larpent 693; not published; synopsis of plot in Town and Country Magazine, supra]: Taken from a Piece written by Smollett, never published or performed. [This attribution is open to question.]

Event Comment: [Mrs Wells was from the HAY.] Afterpiece: Never performed here. [Prologue by Miles Peter Andrews.] Receipts: #204 2s. (197/13; 6/9)

Event Comment: Mainpiece: Never performed there. "Kemble should endeavour to amend a habit he has contracted of running too much about the stage--the expression of his countenance, which is well worth watching, is frequently lost to the spectator, from the difficulty in following him through all his windings and turnings" (Morning Chronicle, 27 Mar.). Receipts: #205 4s. 6d. (179/7/0; 24/17/6; 1/0/0)

Event Comment: Benefit for Palmer. Part of the Pit will be laid into the Boxes. To prevent Confusion Ladies are desired to send their Servants by half past Four o'clock. Afterpiece: Never performed there. Receipts: #313 15s. (160/14; 17/6; 1/0; tickets: 134/15)(charge: #67 2s.)

Event Comment: Benefit for Lewis. Mainpiece: Never performed at this Theatre. Receipts: #265 2s. (190/18/6; 8/12/6; tickets: 65/11/0) (charge: #105)

Event Comment: A new Serious Opera [1st time; SER 2, librettist unknown; a pasticcio]; the Music by Tarchi [who wrote Rubinelli's part, and by Anfossi, Cherubini, Piccinni]. "Rubinelli is a musician of the first class . . . His voice and his science, though both pre-eminent, are never forced forward beyond their proper rank, which, in a musician, is the rank of subserviency to the feelings. The musician that is not felt is no musician" (Public Advertiser, 6 May)

Event Comment: Benefit for Mrs Siddons. Part of the Pit will be laid into the Boxes. To prevent Confusion Ladies are desired to send their Servants by half past Four o'clock. Morning Herald, 1 May: Tickets to be had of Mrs Siddons, Gower-street, Bedford-square. "In the apparent assumption of madness [and] the express'd weakness and melancholy of the character Kemble is not equalled by any of his predecessors . . . Till [Mrs Siddons] there never was, in sensible discrimination, as there ought to be, the real madness of Ophelia from the feigned distraction of Hamlet. Till then the dignity, the love, even the pathos of the part [were] but poorly, if at all administered" (Public Advertiser, 17 May). Receipts: #326 14s. 6d. (137/3/0; 7/3/6; 0/4/0; tickets: 182/4/0)(charge: #109 16s.)

Event Comment: Benefit for Miss George. [Monologue by Charles Stuart {.European Magazine, Sept. 1786, p. 165).] Morning Chronicle, 31 July: Tickets to be had of Miss George, No. 23, King-street, St. Ann's, Soho. Afterpiece: Never performed here

Event Comment: [A detailed account of all three pieces appears in Sophie v. la Roche, Sophie in London, 1933, pp. 93-95. The theatre is described as seeming "exceptionally small, but it is very prettily painted in blue and white; the boxes, as in Paris, are open and everything is well lit." In 3rd piece "A twelve-year-old girl dressed as a poor boy who walks around with a bundle of rushes, straw and reeds to patch up old chairs, then really sits down to work on one, sang and played unusually well; indeed, was obliged to give two encores; the third time, however, announced with dignity and candour that it would not be possible, and that she feared she might be unable to take her part the next day; which would grieve her excessively, as she liked having her modest talents appreciated and applauded. Everyone clapped and praised her aloud. She is beuatiful, and deserves to be the nation's darling, and will certainly become a great actress, competent to keep her voice, gesture and features in complete control, never using her talents wrongly or producing exaggerated effects."]

Event Comment: Mainpiece: Never performed there. Receipts: #217 0s. 6d. (198.13.0; 17.1.6; 1.6.0)

Event Comment: Mainpiece: Never performed there. Receipts: #247 19s. 6d. (245.19.0; 26.11.0; 2.2.0; tickets not come in: 0.7.6)

Event Comment: [As mainpiece the playbill announces The Count of Narrbonne, but "The Play was changed, on the illness of Mrs Crouch-who never slacks, but when thus, unable to perform. Douglas was the substitute" (World, 2 Apr.). Afterpiece in place of Richard Coeur de Lion, announced on playbill of 29 Mar.] Receipts: #223 1s. 6d. (193.4.0; 28.2.6; 1.15.0)

Event Comment: Benefit for Fearon. Afterpiece: Never performed here. Public Advertiser, 3 May: Tickets to be had of Fearon, No. 1, Broad-court, Bow-street. Receipts: #224 6s. (79.14.6; 7.6.6; tickets: 137.5.0)

Event Comment: Mainpiece: Never performed here. Public Advertiser, 26 Ma8: As it has been found impracticable to prepare a sufficient Variety of Entertainments, without the Assistance of more Performers, the Theatre is closed 'till further Notice; after which Plays will be continued as usual [see 11 June]. "Sat. May 26th 1787. When the performers assembled t[his] morning, with intent to rehearse, they were acquain[ted] that the Theatre would be shut till the close of Drury? Lane and Covent Garden" (MS annotation on Harvard playbill)

Event Comment: Afterpiece: Never performed here

Event Comment: Afterpiece: Never performed here

Event Comment: Benefit for Jewell, treasurer. 2nd piece: Taken from The Devil upon Two Sticks. 3rd piece: Never performed here. Public Advertiser, 8 Aug.: Tickets to be had of Jewell, No. 26, Great Suffolk-street, Hay-market

Event Comment: Benefit for R. Palmer. 1st, 2nd and 3rd pieces: Never performed there. By Permission of G. Colman, Esq. [owner of the copyrights]. Public Advertiser, 30 Apr.: Tickets to be had of R. Palmer, No. 14, East Place, Lambeth. Receipts: #144 17s. (43.5; 18.13; 0.14; tickets: 82.5) (charge: #105 9s. 8d.)

Event Comment: Benefit for Palmer. 3rd piece: Never performed here

Event Comment: A new Serious Opera (never performed [in London; 1st performed at Turin, 1788]); the Music by Cherubini [with additions by Tarchi and Sarti (World, 26 Jan.)], under the direction of Mazzinghi. With magnificent new Scenes, Dresses and other Decorations

Event Comment: Benefit for Mrs Jordan. Part of the Pit will be laid into the Boxes. To prevent Confusion, Ladies are desired to send their Servants by Half past Four o'Clock. Mainpiece: Never performed there. Public Advertiser, 24 Mar.: Tickets to be had of Mrs Jordan, Gower-street, Bedford-square. Receipts: #302 14s. 6d. (104.15.0; 13.19.0; 0.17.6; tickets: 183.3.0) (charge: #108 15s. 3d.)

Event Comment: A new Comic Opera (never performed [in London; 1st performed at Florence, 1778]); the Music by Gazzaniga [with additions by Storace, Posi, Trachi (World, 11 May)], under the direction of Mazzinghi. At the London production of La Vendemmia, the duet (Count-Susanna) Crudel perche finora from Mozart's Le Nozze di Figaro was sung by Benucci and Anna Storace; probably the first piece of any Mozart opera which was heard on the London stage" (Loewenberg, 364). [In June 1789 it was published by Birchall and Andrews, as "A favorite duett...sung in...La Vendemmia...by Sg Benucci and Sga Storace". See Illustration