Event Comment: The Duke's Company. Pepys, Diary: Against my judgment and conscience (which God forgive, for my very heart knows that I offend God in breaking my vows therein) to the Opera, which is now newly begun to act again, after some alteracion of their scene, which do make it very much worse; but the play, Love and Honour, being the first time of their acting it, is a very good plot, and well done. Downes (pp. 21-22): This Play was Richly Cloath'd; The King giving Mr Betterton his Coronation Suit;...The Duke of York giving Mr Harris his...and my Lord of Oxford gave Mr Joseph Price his...and all the other Parts being very well done: The Play having a great run, Produc'd to the Company great Gain and Estimation from the Town

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 7-9 July 1696, suggests that it was first presented not later than June 1696. The cast also has a large number of relatively new players, suggesting a performance in the early summer, when the young actors had more opportunities to act. Several Songs, with the names of the singers, were published separately: Hark you, madam, can't I move you, set by John Eccles, and sung by Bowman and Mrs Bracegirdle; Shou'd I not lead a happy life, set by John Eccles and sung by Reading and M. Lee; From Aberdeen to Edinburgh, set by Ackeroyd and sung by Mrs Hudson; all in Deliciae Musicae, The Second Book of the Second Volume, 1696. Preface, Edition of 1696: I am almost asham'd to mention the extraordinary Success of a Play which I myself must condemn....Let me leave this ungrateful Subject to acknowledge my obligations to Mr John Eccles, who not only set my three Dialogues to most charming Notes, but honour'd the Words to Admiration. Downes, Roscius Anglicanus, p. 44: Love's a Jest, a Comedy, done by Mr Mateox; succeeded well, being well Acted, and got the Company Reputation and Money

Event Comment: The United Company. The date of the premiere is not known, although a reference in the text to 1690 suggests that the play may have been produced in that year; but the fact that it was not advertised in the London Gazette until 6-9 April and not entered in the Term Catalogues until May 1691 suggest that it posaibly appeared early in 1691. This play was discussed in Wit for Money, or Poet Stutter; A Dialogue between Smith, Johnson, and Poet Stutter; containing Reflections on some late Plays, and particularly on Love for Money, or The Boarding School. The British Museum copy of this pamphlet has a manuscript date of 23 April 1691. Downes, Roscius Anglicanus, p. 42: The Boarding School; Wrote by Mr Durfy, it took well being justly Acted. Earl of Ailesbury, mid-January 1690@1: My Lady Fenwick was a great intriguer, and had always castles in the air in her imagination to that degree, that I was present at a play where she was brought in. If I mistake not it was The Boarding School, and the famous comic, Mr Lee, in woman's clothes represented her to the life, and so exactly had her features and complexion that one could hardly have distinguished one from the other (Memoirs, [London, 1890], II, 390-91)

Event Comment: Rich's Company. The date of the premiere is not known, but Cibber (see below) states that it was acted in January; the Dedication was signed 7 Feb. 1695@6, and the play was advertised in the London Gazette, No 3157, 10-13 Feb. 1695@6. Two songs were published separately: Go home, unhappy wench, set by Francks and sung by Mrs Cross and the Boy (in Thesaurus Musicus, The Fifth Book, 1696) and What an ungratefull devil moves you, set by Daniel Purcell (in Deliciae Musicae, The First Book of the Second Volume, 1696). A separately-printed sheet of the second song states that it was sung by "The Boy", Cibber, Apology, I, 212-14: The next Year I produc'd the Comedy of Love's last Shift; yet the Difficulty of getting it to the Stage was not easily surmounted; for, at that time, as little was expected from me, as an Author, as had been from my Pretensions to be an Actor. However, Mr Southern, the Author of Oroonoko, having had the Patience to hear me read it to him, happened to like it so well that he immediately recommended it to the Patentees, and it was accordingly acted in January 1695 [i.e., 1695@6]. In this Play I gave myself the Part of Sir Novelty, which was thought a good Portrait of the Foppery then in fashion. Here, too, Mr Southern, though he had approv'd my approv'd my Play, came into the common Diffidence of me as an Actor: For, when on the first Day of it I was standing, myself, to prompt the Prologue, he took me by the Hand and said, Young Man! I pronounce they Play a good one; I will answer for its Success, if thou dost not spoil it by thy own Action....I succeeded so well in both, that People seem'd at a loss which they should give the Preference to. A Comparison Between the Two Stages (1702), p. 16: Ramble: Ay, marry, that Play was the Philosopher's Stone; I think it did wonders. Sullen: It did so, and very deservedly; there being few Comedies that came up to 't for purity of Plot, Manners and Moral: It's often acted now a daies, and by the help of the Author's own good action, it pleases to this Day

Event Comment: [Kemble's 1st appearance as Osman was in Dublin (Genest, VI, 295).] Afterpiece [1st time; P 2 (?), by James Cobb and Thomas King]: Partly formed on the Plan of the Italian Comedy, and embellished with Music and Machinery. The paintings by Greenwood. The Music compiled and composed by Linley [Sen.]. Nothing under Full Price will be taken. Books of the Songs [which assign no parts], Introduction, &c. to be had at the Theatre. [Synopsis of action in Universal Magazine, Dec. 1785, p. 335.] Account-Book, 31 Jan. 1786: Paid King for Hurly-Burly #165. Receipts: #181 2s. (174/17; 6/5)

Event Comment: Powell: Love a-la-Mode rehearsed at 12 (King one scene); Lodoiska music at 1 (for Caulfield, Danby, Cooke, Annereau, Boyce). Receipts: #318 3s. 6d. (256/4/0; 58/14/0; 3/5/6)

Event Comment: Afterpiece by James Miller

Event Comment: Benefit for Bannister. Under the Patronage of His Royal Highness The Prince of Wales. [In mainpiece the playbill retains Mrs Bland as Ariel , but "Ariel was, on account of the sudden indisposition of Mrs Bland, read by Miss Heard" (Diary, 8 May). Miss Heard may also have substituted for Mrs Bland in the afterpiece.] Afterpiece [1st time; F 2, by James Cobb, for whose authorship see Kemble Mem. Larpent MS 982; not published]. Public Advertiser, 2 May: Tickets to be had of Bannister, No. 7, Suffolk-street, Charing Cross. Receipts: #227 8s. (95.17; 7.5; tickets: 124.6) (charge: #90 2s. 6d.)

Event Comment: Benefit for Wild. 2nd piece [1st time; F 1, by Robert Woodbridge]. Morning Herald, 4 June 1793: This day is published The Pad (price not listed). 3rd piece [1st time; BALL. P 2 (?), by James Byrn, altered from his The Provocation!]: The Incidents partly new, and partly selected from the much admired Pantomime called Provocation. In the course of the Pantomime a representation of an Engagement between an English and French Man of War; A Ship-wreck; The original Allegoric Scene from Provocation: A View of an English Camp; A Naval and Military Procession. Morning Herald, 9 May: Tickets to be had of Wild, No. 46, Drury-lane. Receipts: #335 1s. 6d

Event Comment: Afterpiece [1st time; P 2 (?), by James Wild. Text (no publisher, 1790)]: Being a Collection of favorite Scenes from the Following celebrated Pantomimes: Harlequin Sorcerer, Mother Shipton, Choice of Harlequin, Lord Mayor's Day, Druids, Fryar Bacon, Harlequin Freemason, Norwood Gipsies, Omai, Magic Cavern, and Harlequin Rambler. With new Dresses and Decorations. The Original Scenery, Machinery, &c. painted by Lambert, Dall [both deceased], Carver, Hodgins and Richards-and now all repaired and repainted. The Music selected by Shaw from Pepuch [sic], Dr Arne, Dr Arnold, Dr Fisher, ?M.? Arne, Vincent, Dibdin and Shield. Books of the Songs to be had at the Theatre. Account-Book, 31 Dec.: Paid Wild for his Attention to the Pantomime #30; Boyce for Ditto #15; Shaw for Ditto #10. Receipts: #233 5s. 6d. (204.8.6; 28.17.0)

Event Comment: Love in a Village [advertised on playbill of 8 Jan.] is obliged to be deferred. Receipts: #210 10s. 6d. (202.11.6; 7.19.0)

Event Comment: Betterton's Company. The date of the first performance is not certain, but the evidence points toward this day. On Thursday 19 Nov. 1696, Robert Jennens reported that the two pieces had been acted four or five days together. If that day saw the fifth performance, the premiere probably occurred on 14 Nov. 1696. The Single Songs and Dialogue in Mars and Venus, set by John Eccles (Acts I and II) and Godfrey Finger (Act III), was published separately in 1697. The pieces for whom a performer is indicated are as follows: Prologue. The first Song Sung by Mrs Hudson, set by Finger: Come all, with moving songs [it is reproduced opposite page 300 in Wiley, Rare Prologues and Epilogues]. Love alone can here alarm me, sung by Mrs Ayloffe. Scorn tho' Beauty frowns to tremble, sung by Mrs Hudson. To double the sports, sung by Mrs Ayloffe. To treble the pleasures with regular measures, sung by Mrs Ayloffe. To meet her, May, the Queen of Love comes here, set by John Eccles and sung by Mrs Hudson. See Vulcan, Jealousie, Jealousie appears, set by Finger and sung by Mrs Hudson. Yield, no, no, sung by Mrs Bracegirdle and Bowman. Gildon, English Dramatick Poets, p. 115: This Play met with extraordinary Success having the Advantage of the excellent Musick of The Loves of Mars and Venus perform'd with it. Downes, Roscius Anglicanus, pp. 44-45: The Anatomist, or Sham Doctor, had prosperous Success, and remains a living Play to this Day; 'twas done by Mr Ravenscroft. A Comparison Between the Two Stages (1702), p. 20: I remember the success of that was owing to the Musick

Event Comment: The King's Company. The date of the premiere is not known, but the play followed The Citizen Turned Gentleman (4 July 1672) and refers to it in the Prologue. Edward Ravenscroft replied in the Preface and Prologue to The Careless Lovers, which appeared in February or March 1672@3. A song, Long betwixt Love and fear Phillis tormented, set by Robert Smith, is in Choice Songs and Ayres, The First Book, 1673. Preface to The Assignation: It succeeded ill in the representation, against the opinion of many of the best Judges of our Age. Langbaine, English Dramatick Poets, p. 154: This Play was Damn'd on the Stage

Event Comment: The United Company. The date of the first performance is not known, and the play is one of a large group commonly assigned to September-December 1690. As the Prologue implies an autumn production, it has been placed at late September, although the premiere may have been October. It was advertised in the London Gazette, 18-22 Dec. 1690, and entered in the Term Catalogues, Feb. 1690@1. The music was composed by Henry Purcell. See Purcell, Works, Purcell Society, XXI (Dramatic Music, III, 1917), xii-xiv. Dedication: So visibly promoting my Interest on those days chiefly (the Third and the Sixth) when I had the tenderest relation to the welfare of my Play [i.e. Southerne had two benefits]. Langbaine (English Dramatick Poets, 1691, Appendix): This Play was acted with extraordinary Applause, the Part of Sir Anthony Love being most Masterly play'd by Mr Montfort: and certainly, who ever reads it, will find it fraught with true Wit and Humour. Gentleman's Journal, January 1691@2: [The Wives' Excuse, newly performed] was written by Mr Southern, who made that call'd Sir Anthony Love, which you and all the Town have lik'd so well