Event Comment: 2nd ballet: Revived, and brought forward under the direction of Barre. The Music, with additional Airs, by Mazzinghi. The Scenery entirely new, painted by Greenwood and assistants under his Direction. The Dresses new by Sestini. "This dance is the composition of the celebrated Noverre, and it is totally different from the ballet under the same title, brought out at Paris under Gardel...The torches and swords of fire in hands of Furies produced so tremendous an effect that a part of audience seemed petrified at agonies of Psyche. Much of this effect was produced by the strong reflection from glass pannels of boxes" (Morning Chronicle, 19 Dec.). The frequenters of Opera are respectfully acquainted that Posts with Chains are placed all along front of Theatre to prevent Carriages from driving upon the foot way, so that Chairs can in future come by great door in the Haymarket with perfect safety

Event Comment: A New, Grand, Serious Opera, with Chorusses (1st time [in London; 1st performed at Paris, 1788, as Arvire et Evelina]). The Music by Sacchini (being his last Work). With entirely new Scenes (painted by Greenwood), Dresses and Decorations. Books of the Opera may be had at the Office of the Theatre

Event Comment: 2nd ballet: With entirely new Scenery, Dresses, and Decorations. The Scenes painted by Greenwood, and under his direction. "Magnificent, perhaps beyond parallel on a British stage, but it is considerably too long, as it was past twelve before it was concluded" (True Briton, 8 Feb.)

Event Comment: Benefit for Mme Rose. Tickets to be had of Mme Rose, No. 8, Hay-Market. 2nd ballet: 1st time; composed by Didelot in the Erotic Style. The Music entirely new, by Mazzinghi. With new Dresses [by Sestini], Scenery [by Greenwood], and Decorations

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: Scenery re-painted, and the Dresses and Decorations entirely new. Musick composed and selected by Kelly. Scenes designed and executed by Greenwood, Chalmers, and others. Machinery and Decorations designes, and under the direction o, Johnston, and executed by him and Underwood. The Dresses by Johnston, Gay and Miss Rein. Receipts: #441 16s. 6d. (301.14.0; 139.11.6; 0.11.0)

Event Comment: Mainpiece [1st time; T 5, by Richard Brinsley Sheridan, adapted from Die Spanier in Peru, by August Friedrich Ferdinand von Kotzebue. Prologue by Richard Brinsley Sheridan (consisting of the 1st 30 lines and the concluding couplet of his Prologue to The Miniature Picture); Epilogue by the Hon. William Lamb (see text). For publication see 1 July]: The Scenery, Dresses, and Decorations entirely new. The Musick, Airs and Chorusses incidental to the Piece composed and selected [from Gluck, Sacchini, &c. (Morning Chronicle, 25 May)] by Kelly. The Symphony preceding the Play, and those between the Acts, composed for the occasion by Dussek. The Scenery designed and executed by Marinari, Greenwood? Jun, Demaria, Banks, Blackmore, &c. [See Theatre Notebook, XX, 30-32, for suggestion that one scene was designed by DeLoutherbourg.] The Machinery, Decorations, and Dresses under the direction of Johnston, and executed by him, Underwood, and Gay. The Female Dresses designed and executed by Miss Rein. Account-Book, 14 May: Paid Miss Anne? Plumtree [i.e. Plumptree] for Spaniards in Peru #25. [It was this translation of Kotzebue's play that Sheridan adapted for the stage as Pizarro. For an account of the relationship between the translation and its adaptation see Marcella Gosch, "'Translators' of Kotzebue in England," Monatshefte fur deutschen Unterricht, XXXI, 178-83.] Paid Johnston [on this and other days] for sundries for Pizarro #135 14s. "It requires certainly more than English patience and spirits to sustain any Play of five hours in length. It is not one of the worst features of Pizarro that it contains a great deal which may be spared, without injury to the piece [see 25, 27 May]" (Morning Chronicle, 25 May). Receipts: #540 3s. 6d. (406.0.6; 17.5.0; 0.4.0; tickets sold by Fosbrook's Office: 116.14.0)

Event Comment: Afterpiece: The Scenery re-painted, and the Dresses and Decorations entirely new. The Musick composed by Kelly. The Scenes designed and executed by Greenwood, Chalmers, and others. The Machinery, Decorations and Dresses designed and under the direction of Johnston, and executed by him, Underwood and Gay. The Dresses by Johnston, Gay and Miss Rein. Account-Book: Paid Hatton, sword cutler, #5 10s; Chorus #11 16s. 6d. Receipts: #370 2s. (254.6.6; 114.3.0; 1.12.6)

Event Comment: Mainpiece: 32nd Night [i.e, in continuation of the reckoning for the previous season]. The Scenery, Dresses and Decorations entirely New. The Musick, Airs and Chorusses incidental to the Piece composed by Kelly. The Symphony preceding the Play, and those between the Acts, composed for the occasion by Dussek. The Scenery designed and executed by Marinari, Greenwood, Demaria, Banks, Blackmore, &c. The Machinery, Decorations and Dresses under the Direction of Johnston, and executed by him, Underwood and Gay. The Female Dresses designed and executed by Miss Rein. Account-Book lists the attendance as follows:@1st Account Spectators Receipts@Boxes Pit 1st Gallery Upper Gallery@1162 348!12@706 123!11@583 58!6@312 15!12@Total 2763 546!1@2nd Account Spectators Receipts@300 45!0@13 1!6@23 1!3@14 0!7@Total 350 47!16@. Total of spectators 3113. Receipts: #595 5s. (546.1; 47.16; 1.8)

Event Comment: Mainpiece [1st time; CO 3, by Andrew Franklin]: The Scenery, Machinery, Dresses and Decorations entirely new. The Overture and Musick composed by Florio. The Scenes, designed by Greenwood, and painted by him, Banks, and assistants. The Machinery, Dresses and Decorations designed by Johnston, and executed by him, Gay, and Underwood. The Female Dresses designed and made under the direction of Miss Rein. Books of the Songs to be had at the Theatre. "With thy exception of Pizarro, this is one of the most magnificent spectacles the stage has for some time produced. The dresses...are attended with particular accuracy to the costume of the country...and the scenery is locally correct" (Monthly Mirror, Mar. 1800, p. 173). "As a singer [Mme Mara's] powers are indisputable; but as a performer she exhibits herself in a light which alternately provokes our ridicule and pity. Her delivery is an absolute libel on the profession. To the defects of a foreign pronunciation she joins a natural impediment of speech, which partakes too strongly of a lisp to warrant her bearing part in the prose dialogue of a play. What could possibly induce her to appear before the public under such disadvantages, unless she did it in compliment to the composer, we are at a loss to conjecture; nor less are we puzzled to account for the supineness of an audience which can patiently tolerate such puny efforts" (Dramatic Censor, I, 347-48). Morning Chronicle, 14 June 1800: This day is published The Egyptian Festival (2s.). Receipts: #320 18s. 6d. (277.6.6; 42.8.0; 1.4.0)

Event Comment: Mainpiece [1st time; T 5, by Joanna Baillie. "Adapted to the stage by J. P. Kemble" (note in his hand on Kemble playbill), Text in the author's A Series of Plays (T. Cadell Jun. and W. Davies, 1798). Prologue by the Hon. Francis North; Epilogue by Georgiana Cavendish, Duchess of Devonshire (Larpent MS 1287)]: The Scenery, Musick, Dresses, and Decorations entirely new. The Musick of the Third Act composed by Shaw [and sung by Sedgwick (Dramatic Censor, II, 162)] and of the Second and Fourth Acts by Kelly. The Scenes designed by Greenwood? Jun and Capon, and executed by them, Banks, &c. The Dresses and Decorations designed by Johnston, and executed under his direction by Gay and Underwood. The Female Dresses designed and executed by Miss Rein. Receipts: #308 12s. 6d. (264.3.0; 43.15.6; 0.14.0)