Event Comment: Mainpiece: Now 1st performed under the title of The Lady's Opera, with a new Introduction. [Miss Catley had acted Macheath at the Smock Alley Theatre, Dublin, in the season 1764-65. MS of Introduction (consisting of a dialogue between A and B): Larpent MS 572.] Receipts: #171 18s. 6d. (170/9/0; 1/9/6)

Event Comment: Mainpicce [1st time; burl 3, by Charles Dibdin]: Taken from [Amphitryon, by John] Dryden. [MS: Larpent 573; not published.] With new Scenery, Dresses, &c. The Music by several eminent Composers [Charles Dibdin, William Shield, &c.]. Books of the Songs to be had at the Theatre. Receipts: #153 15s. 6d. (151/8/0; 2/7/6)

Event Comment: In afterpiece, added, following Lord Mayor's Show: A New Historical Procession of the Several Companies, with their respective Pageants, and the Chief Magistrates belonging to the City of London, from its Foundation. The Scenes, Machinery and Decorations, both of the Pantomime and Procession, invented and designed by Richards, and executed by Him, Smirk, Hodgins, Catton, and others. Book of the Songs, with an Explanation of the Procession [reprinted in Public Advertiser, 21 Jan.], to be had at the Theatre. Public Advertiser, 21 Jan.: The glee is the composition of the late [Benjamin] Rogers (who lived in 1600); the other airs are by Handel, [the Earl of] Kelly, Abel, Stamitz, and Shield . . . More than 200 supernumeraries are employed to walk in the Procession. Receipts: #236 4s. 6d. (231/4/0; 5/0/6)

Event Comment: The new Comedy called A Bold Stroke for a Husband [announced on playbill of 21 Feb.] is obliged to be deferred till Tuesday, on account of Quick's Indisposition. [In mainpiece the theatre playbill lists Fearon as Justice Shallow. Public Advertiser retains Wilson; and in its issue of 24 Feb. reviews him in the part.] Receipts: #148 9s. (139/0/6; 9/8/6)

Event Comment: Mainpiece: As altered in 3 acts by Garrick. 2nd piece [1st time; ball, p 2, composed by the principal characters, who were from Audinot's company in Paris. Synopsis of action in London Chronicle, 10 Oct.]: A Dramatic Romance told in Action. With New Dresses, Scenery and Decorations. The Music selected from the most Eminent Composers. The Story will be delivered (Gratis) at the Theatre. Receipts: #158 19s. 6d. (157/2/0; 1/17/6)

Event Comment: By Command of Their Majesties. Afterpiece: The Overture and new Music composed by Dr Arnold. Books of the Songs to be had at the Theatre

Event Comment: Afterpiece: To conclude with the Repulse of the Spaniards before the Rock of Gibraltar [on 13 Sept. 1782; this was included in all subsequent performances]. The Scenes designed and executed by Greenwood. [Public Advertiser, 20 Dec, adds: The Overture by Baumgarten. The New Music and Accompaniments to the adapted Airs by Shield. Words of the Songs to be had at the Theatre.] Receipts: #164 2s. (106/13; 57/8; 0/1)

Event Comment: Afterpiece [1st time; CO 2, by Charles Dibdin. Text (G. Kearsley, 1785) lists cast as above, but omits La Fleur (see 10 Feb.)]: The Music entirely new, composed by Dibdin. Books of the Songs to be had at the Theatre. Receipts: #154 5s. 6d. (105/19/0; 47/14/6; 0/4/6; tickets not come in: 0/7/6)

Event Comment: Afterpiece [1st time; CO 2, by William Pearce. MS: Larpent 696; not published; synopsis of plot in Universal Magazine, Apr. 1785, p. 209]: With new Scenes and Dresses. The Overture and Airs composed by Shield. Books of the Songs to be had at the Theatre. "The Nunnery [is] ... a most powerful narcotic. The Performers--in friendly sympathy--had totally forgotten their parts--and passed the evening in a conversation with the prompter" (Public Advertiser, 15 Apr.)

Event Comment: 1st piece: Written by the Author of The Agreeable Surprise, Son-in-Law.&c. [John O'Keeffe]. The Overture and New Airs composed by Dr Arnold. 2nd piece: Books of the Songs to be had at the Theatre

Event Comment: Mainpiece [1st time; CO 3, by George Colman, the younger. MS: Larpent 704; not published; synopsis of plot in Universal Magazine, July 1785, p. 38. Prologue by the author; Epilogue by Edward Topham (European Magazine, July 1785, pp. 70-71)]: The Overture and New Airs compos'd by Dr Arnold. Books of the Songs to be had at the Theatre

Event Comment: By Permission of the Lord Chamberlain. Benefit for a Performer, thirty years a Servant of the Publick at Covent-garden and Haymarket Theatres [unidentified]. Mainpiece: Written by the ingenious Mrs Behn, with Alterations by a Gentleman well known in the Dramatick World and Republick of Letters. The Characters new dressed in the Habits of the Times. [Writers and speakers of Prologue and Epilogue unknown.] Afterpiece: Altered from Sir John Vanbrugh. The Doors to be opened at 5:00. To begin at 6:00

Event Comment: Mainpiece [1st time; CO 3, by A Lady [unidentified], based partly on L'Amitie A l'epreuve, by Charles Simon Favart and Claude Henri de Fusee de Voisenon]: The Overture and the new Music composed by Hook. Books of the Songs to be had at the Theatre. Public Advertiser, 30 Mar. 1786: This Day at Noon is published The Peruvian (1s. 6d.). [The music was printed under the title of The Fair Peruvian (S. A. & P. Thompson [1786]), which was the original title as given in the MS (Larpent 727).] Receipts: #246 8s. (242/16/6; 3/11/6)

Event Comment: Mainpiece [1st time; CO 3, by Leonard Macnally, adapted from the same, by Michel Jean Sedaine. Not in Larpent MS; not published; synopsis of plot in Morning Chronicle, 17 Oct. For text of abridged version see 21 Oct.]: Taken from the celebrated French Opera of that Name. With the original Overture, Airs, Duetts, Trios, Chorusses and Finale, by the celebrated Gretry. To which are added Compositions by the following Masters; Anfossi, Bertoni, Duni, David, Rizzio, Carolan, Tenducci, and Shield. With new Dresses, Scenery and other Decorations. Books of the Songs to be had at the Theatre. [The printed score (Longman & Broderip, c. 1786) indicates that the music was adapted by Shield; it does not refer to Duni, Rizzio or Tenducci, but includes Philip Hayes and John Wilson. After the 1st 4 performances the mainpiece was reduced to an afterpiece of 3 short acts; see 21 Oct.] Account-Book, 28 Nov.: Paid Macnally in full for Coeur de Lion #121 18s. 6d. "Inchbald we thought [was] rather hardly dealt with. His voice happened to fail him in a particular turn of the tune he was singing, and some of the audience were ungenerous enough to disconcert him so far that he made a modest bow and retired [leaving his part unfinished. In consequence of this] a duet that was to have been sung by the King from the battlements of the castle, and Blondel without the walls, on which the turn of the fable hinged, was omitted; a circumstance that could not but materially affect the intrinterest, as it destroyed the connexion of the fable" (Morning Chronicle, 17 Oct.). [The following day Inchbald withdrew from his engagement at cg.] Receipts: #249 12s. 6d. (247.11.6; 2.1.0)

Event Comment: Afterpiece [1st time; MD 3, by John Burgoyne]: From the French of Michel Jean? Sedaine. With new Scenery, Dresses and Decorations. The Music by the celebrated Gretry [adapted by Linley Sen.]; and the Paintings by Greenwood. Books of the Dialogue & also of the Songs to be had at the Theatre. Morning Chronicle, 25 Oct 1786: This Day is published Richard Coeur de Lion (1s. 6d.). Receipts: #226 (191.3; 32.14; 2.3)

Event Comment: Afterpiece [1st time; P 2, by Miles Peter Andrews. Larpent MS 752, as The Castle of Wonders; not published; synopsis of action in Morning Post, 27 Dec.]: With new Music, Scenes, Machinery, Dresses, and Decorations. A few of the Airs compiled from Purcell, Travers, Sacchini, &c. The Rest of the Music composed by Shield. The Scenery and Machinery designed by Richards and Carver, and executed by them, Hodgins, and many Assistants. To conclude with a Representation of the Inside of a Nabob's Palacev. Books of the Songs [which assign only Colombine ] to be had at the Theatre. Nothing under Full Price will be taken. Account-Book, 6 Mar. 1787: Paid Shield in full for Compositions #100. Receipts: #242 4s. (239.8; 2.16)

Event Comment: A new Comic Opera; the music by Paisiello. Under the direction of Storace. [Sga Storace was from the Opera, Vienna.] Morelli "was an actor such as the Italian stage has seldom witnessed. He was, I used to think, in his prime, quite upon a par with King of Drury Lane Theatre. Like him, he was distinguished for neat articulation, and an unremitting attention to the business of the whole stage" (Boaden, Kemble, I, 449). Receipts: #165 19s. 6d. [non-subscription]

Event Comment: Afterpiece [1st time; MF 2, by John O'Keeffe]: A new Overture by Tommaso? Giordani, the rest of the Music composed and selected from Paisiello, Storace and Morelli] by Shield. Books of the Songs to be had at the Theatre. Account-Book, 27 Nov.: Paid O'Keeffe in full for the Farce & Copyright of The Farmer #150. Receipts: #130 11s. 6d. (124.0.0; 6.11.6)

Event Comment: "The leaving Percy untaken up [by Falstaff, in V.iv of mainpiece] was an improvement. The best acting was that of Mrs Pitt" (World, 6 Nov.). Afterpiece: With new Music, Scenes, Machinepy, Dresses, and Decorations. A few of the Airs compiled from Purcell, Travers, Sacchini, &c. The rest of the Music composed by Shield. The Scenery and Machinery designed by Richards and Carver, and executed by them, Hodgins, and many assistants. To conclude with the Representation of the inside of a Nabob's Palacev. Books of the Songs to be had at the Theatre. Receipts: #199 0s. 6d. (193.16.0; 5.4.6)

Event Comment: A new Serious Opera (1st time [in London; 1st performed at Venice, 1781]); the music by Sarti, under the direction of Mazzinghi. "At length in the spring arrived the celebrated Marchesi, whose fame had long reached this country, and who had been extolled to such a degree that impatience and expectation were raised to the highest pitch; and on the first night of his appearance the theatre was not only crowed to the utmost in every part, but on the rising of the curtain, the stage was so full of spectators that it was some time before order and silence could be obtained, and with some difficulty that Marchesi, who was to open the opera, could make his way before the audience. Marchesi was at this time a very well-looking young man, of good figure, and graceful deportment. His acting was spirited and expressive: his vocal powers were very great, his voice of extensive compass, but a little inclined to be thick (Mount-Edgcumbe, 66-67). Receipts: #437 15s. 6d., i.e. 560 tickets delivered to Prendergrass [see 8 Dec. 1787], who sold 558; 110 to Toosey, who sold 86; 400 to Butler, who sold 285; 236 to Snelson, who sold 204. Total non-subscription tickets sold: 1133

Event Comment: 1st piece [1st time; MF 2]: Written by the Author of Rosina [Frances Brooke]. The Music compiled and composed by Shield. With entire New Scenes painted by Richards. Books of the Songs to be had at the Theatre. [Text 1st published by T. N. Longman and O. Rees, 1800.] Receipts: #165 9s. 6d. (162.18.0; 2.11.6)

Event Comment: 3rd piece [1st time; P 2(?), by Ralph Wewitzer and --Invill]: With new Scenes, Dresses, and Decorations. The Scenery designed and painted by Rooker. The Music by Dr Arnold. Books of the Songs (T. Cadell [1788]) to be had at the Theatre

Event Comment: Afterpiece [1st time; F 2, ascribed variously to John O'Keeffe and to James Foord; adapted from La Gageure Imprevue, by Michel Jean Sedaine. Text prints a Prologue "Supposed to be written by G. Colman, Esq., and intended to be spoken by Bannister Jun.," but "it arrived, by accident, too late at the theatre to be studied and recited" (London Chronicle, 25 Aug.)]. "A new afterpiece was...attempted to be represented, [but] it was not heard out" (Public Advertiser, 19 Aug.). Public Advertiser, 8 Oct. 1788: This Day is published A Key to the Lock (1s.)