Event Comment: Benefit for Munden. Mainpiece [1st time; CO 3, by Thomas Hurlstone. Text (J. Debrett [1792]) gives cast for season of 1792-93. Poetical Sketch by John Wolcot (Morning Herald, 11 May)]: With new Scenery, Dresses, and other Decorations. The Overture and Music entirely new, composed by Carter. Morning Herald, 13 Apr.: Tickets to be had of Munden, No. 15, Catherine-street. Ibid, 1 Dec. 1792: This Day is published Just in Time (1s. 6d.). Receipts: #415 3s. (126.4.6; 4.9.6; tickets: 284.9.0) (charge: #105)

Event Comment: A new Grand Serious Opera. With Grand Chorusses, new Dresses, Scenery and Decorations. The Music composed by Paisiello. Under the direction of Pederici. [Bruni was from the Opera, Milan.

Event Comment: Mainpiece [1st time; C 5, by Catherine? Cuthbertson. Authors of Prologue and Epilogue unknown. Larpent MS 969; not published]: With new Dresses and Decorations. "The [new] piece possessing nothing like a plot, and being perfectly uninteresting, was much disapproved of...Palmer contributed to its bad reception by being absent when he was most wanted on the stage, and occasioning thereby an aukward chasm, which put the audience out of humour. He was otherwise highly reprehensible for his imperfections in his part" (Public Advertiser, 26 Feb.). Receipts: #375 16s. 6d. (342.13.6; 31.7.0; 1.16.0)

Event Comment: Afterpiece [1st time; Ball. P 2(?), by James Byrn. Not in Larpent MS; not published. Synopsis of action in Public Advertiser, 11 Mar.]: The Music selected from Shield, Haydn, Dibdin, Pleyel, Reeve, and other eminent Composers. The Pantomime composed by Byrn. The Scenery entirely new, by Hodgins, Pugh, Walmsley. With new Dresses and other Decorations. Receipts: #250 12s. 6d

Event Comment: A new Serious Opera; the Music by Andreozzi, [with additions by] Cimarosa, Federici and Sarti. Under the Direction of Federici. With new Dresses, Scenery and Decorations

Event Comment: 2nd ballet: With entirely new Scenery, Machinery, Dresses and Decorations. The Music entirely new, composed by Millerd, composer for the ballets at the Opera at Paris. In the course of the performance the Grand Procession of Iphiginia into Aulide. The Scenery, Machinery, &c. designed by Marinari, and executed by him and his assistants. The decorations by Johnston, the dresses by Sestini. [Scenario published by J. Hammond [1793].] The Managers beg leave particularly to request that no Gentleman will come behind the Scenes, as the number of people engaged in the ballet, and the variety of scenery and machinery, render such admission highly inconvenient. Morning Herald, 24 Apr,: The story [of the ballet] is perhaps not very intelligibly told; but the shew and the dance are admirable. It begins and concludes with magnificent processions, the last of which brings Iphiginia to the altar, where she is saved just as the holy knife is raised for the sacrifice. At this instant the chariot of the Sun, the brilliancy of which is much beyond any former representation of the sort, passes over the stage, and is, for some time, suspended over the altar, while the whole corps de ballet offer their adorations