Event Comment: Benefit for the Four Youngest Orphans of the late Mr Palmer [see dl, 18 June]. As it is presumed that the well-known liberality of the Publick will be strongly excited on the present occasion, the Proprietor of the [Haymarket] Theatre has requested the use of the Opera-House for this Evening, that the largest number of persons who wish to patronize the undertaking may be accomodated with places. The Proprietor of the Opera-House has, with the utmost readiness, granted the request. Tickets to be had of the Miss Palmers, at Dixon's, Upholsterer, the corner of Bedford-Court, Bedford-Street, Covent-Garden; of Messrs Ransom, Morland and Co., Bankers, Pall-Mall; of Jewell, No. 26, Suffolk-Street, Charing-Cross, of whom, and of Rice, at the Box-Office, Places for the Boxes may be taken. Boxes 5s. Pit 3s. Gallery 2s. "[His brother] R. Palmer attempted to deliver an address at the end of the play, but he was so much overpowered that he...left the address unrecited, and [his] part in the farce was given up to another performer" (Monthly Mirror, Aug. 1798, p. 117, which also records that the receipts were approximately #700)

Event Comment: "[In Pizarro] the effeminacy of Alonzo's dress, better adopted for a ball-room than for scenes of warfare; the magnificence of the Spanish dungeon, in a country where the Spanish invaders were fain to put up with tents for their own accomodation; the vile manner in which the scene is bungled together, where Cora leaves her infant child to the fury of the pitiless storm, whilst a hut stands most invitingly in sight; the absurd introduction of Cora's song to the accompaniment of thunder and lightning--but, above all, the disgraceful additions made by Mr Sheridan himself, with the farcical termination of this sublime tragedy, by an Irish howl over the dead body of Rolla;--all these glaring defects, sufficient to damn any writer of less notoriety than Sheridan, still continue to outrage good-sense, and the feelings of every spectator of taste and discernment...We are firmly of opinion that the crowded houses this play still continues to draw are principally to be attributed to the masterly acting of the elder Kemble" (Dramatic Censor, I, 23-24). Receipts: #429 9s. (388.1; 40.1; 1.7)