Event Comment: By Authority [of the Lord Chamberlain]. Benefit for a Gentleman, who, through unavoidable misfortunes, is reduced to take this method of soliciting the patronage of his Friends and a Generous Public. Tickets delivered for the 26th of April will be admitted. The Doors to be opened at 6:30. To begin exactly at 7:00

Event Comment: [Author of Prologue unknown. In afterpiece the playbill assigns Leander to Mahon, but "after the play Hull made a genteel apology for the non-attendance of Mahon...who, by some unaccountable accident, was not arrived in town, at the same time begging their acceptance of a young Gentleman' (Morning Post, 23 Sept.). For Bowles as Leander see 10 Oct.] Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. Places for the Boxes to be taken of Sarjant (only) at the Stage-Door. No Persons admitted behind the Scenes, nor any Money returned after the Curtain is drawn up. The Doors to be opened at 5:30. To begin at 6:30 [see 13 Oct.]. Receipts: #187 13s. (186.4; 1.9)

Event Comment: By Command of Their Majesties."The croud was so great at Drury-lane playhouse, to see the young prince William in his naval uniform, that it was found necessary to throw a kind of bridge from the stage to the pit to liberate several people, who otherwise must have perished in the throng" (Gentleman's Magazine, Mar. 1780, P. 151). Receipts: #271 14s. (259.13; 9.6; 2.15)

Event Comment: Afterpiece [1st time; P 2 (?), by Charles Dibdin and James Messink; synopsis of plot in London Chronicle, 30 Dec.]: To conclude with a Procession of the principal Grand Masters, from the Creation to the present Century, dressed in the Habits of their respective Ages and Countries. With new Music [by Charles Dibdin], Scenes, Dresses, Pageants, and Decorations. The paintings executed by Richards, Carver, Hodgins, and assistants. Books of the Songs, with an Explanation of the Pageants, to be had at the Theatre. Nothing under full Price will be taken. "To give magnificence a meaning, and unite antiquarian knowledge with polite entertainment, was a task hitherto unattempted by the contrivers of our Pantomime exhibitions. Such praise, however, the acting manager of Covent Garden theatre may justly claim, on the score of Harlequin Free-Mason, which is now representing before greater crowds than perhaps were ever attracted by Perseus and Andromeda [in 1730], the Rape of Proserpine [in 1727], or the celebrated Sorcerer [i.e. The Magician, in 1721]. The beauty of the first scene, in which a setting sun is admirably contrived, the Dutch winter piece, with numberless skate[r]s moving in the most natural attitudes, and, above all, the imperfect building, finished in a moment at the command of Harlequin, can be exceeded only by the pomp of the historic procession which closes the whole, and offers the richest and most intelligent spectacle that ever yet appeared on an English stage" (Gentleman's Magazine, Feb. 1781, pp. 58-59, which also prints a detailed description of the pageant). Account-Book, 1 Feb.: Paid Dibdin for music of Harlequin Free-Mason #70. Receipts: #236 2s. (230.3; 5.19)