Event Comment: The United Company. There is uncertainty concerning this date; it appears on Luttrell's copy (Huntington Library) of the separately printed Prologue and Epilogue, and the date may represent the time of his purchase rather than a date of performance. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 141-45. Downes (Roscius Anglicanus, pp. 39-40): All the preceding Plays, being the chief that were Acted in Dorset-Garden, from November 1671, to the Year 1682; at which time the Patentees of each Company United Patents; and by so Incorporating the Duke's Company were made the King's Company, and immediately remov'd to the Theatre Royal in Drury-Lane. Upon this Union, Mr Hart being the Heart of the Company under Mr Killigrew's Patent never Acted more, by reason of his Malady; being Afflicted with the Stone and Gravel, of which he Dy'd some time after: Having a Sallary of 40 Shillings a Week to the Day of his Death. But the Remnant of that Company; as, Major Mohun, Mr Cartwright, Mr Kynaston, Mr Griffin, Mr Goodman, Mr Duke Watson, Mr Powel, Sr, Mr Wiltshire, Mrs Corey, Mrs Bowtell, Mrs Cook, Mrs Montfort. [Joined the new company]. Note, now Mr Monfort and Mr Carlile, were grown to the Maturity of good Actors. The mixt Company then Reviv'd the several old and Modern Plays, that were the Propriety of Mr Killigrew, as Rule a Wife, and have a Wife: Mr Betterton Acting Michael Perez; Don Leon, Mr Smith, Cacofogo, Mr Cartwright: Margaretta, Mrs Barry: Estiphania, Mrs Cook. Next, @The Scornful Lady.@The Plain Dealer.@The Mock Astrologer.@The Jovial Crew.@The Beggars Bush.@Bartholomew-Fair.@The Moor of Venice.@Rollo.@The Humorous Lieutenant.@The Double Marriage.@ With divers others. George Powell, Preface to The Treacherous Brothers (1690): The Time was, upon the uniting of the Two Theatres, that the Reviveing of the old stock of Plays, so ingrost the study of the House, that the Poets lay dorment; and a new Play cou'd hardly get admittance, amongst the more precious pieces of Antiquity, that then waited to walk the Stage. Cibber, Apology, ed. Lowe, I, 95-96): I shall content myself with telling you that Mohun and Hart now growing old [for, above thirty Years before this Time, they had severally born the King's Commission of Major and Captain in the Civil Wars), and the younger Actors, as Goodman, Clark, and others, being impatient to get into their Parts, and growing intractable, the Audiences too of both Houses then falling off, the Patentees of each, by the King's Advice, which perhaps amounted to a Command, united their Interests and both Companies into one, exclusive of all others in the Year 1682. This Union was, however, so much in favour of the Duke's Company, that Hart left the Stage upon it, and Mohun survived not long after

Event Comment: Written by Mr Phil. Massinger, and revis'd with Alterations. To begin exactly at half an Hour after Six. The Company will continue to Act every Wednesday and Friday during the Summer Season. Receipts: #19 18s

Event Comment: The King's Company. Downes (Roscius Anglicanus, p. 16) refers to Hart's acting Don John. Wilson (All the King's Ladies, p. 170) lists Rebecca Marshall as possibly play1ng First Constantia. The Works of Beaumont and Fletcher (1711), p. ix: Mr Hart played the Part of Don John to the highest Satisfaction of the Audience, the Play had a great run, and ever since has been follow'd as one of the best Entertainments of the Stage. Pepys, Diary: And took them [Mrs Pepys and Betty Michell] against my vowes, but I will make good my forfeit, to the King's house, to show them a play, The Chances. A good play I find it, and the actors most good in it; and pretty to hear Knipp sing in the play very properly, All night I weepe; and sung it admirably. The whole play pleases me well; and most of all, the sight of many fine ladies--among others, my Lady Castlemayne and Mrs Middleton

Event Comment: [The King's Company. The date of the first performance is not known, but a letter--see 2 Jan. 1670@1--indicates that the first part had been acted before that date and that Part II was to be shortly staged. The point of the Prologue spoken by Ellen Gwyn seems to have derived from an incident at Dover (see Downes, Roscius Anglicanus, p. 20) in May 1670, when James Nokes attired himself in a ridiculous fashion, including "Broad wast Belts." The speakers of the Epilogue and the Prologue to the Second Part are mentioned in Sir William Haward's MS (Bodl. MS Don. b., pp. 248-49); see The Poems of John Dryden, ed. James Kinsley (Oxford, 1958), IV, 1848-49. In Part I a song Beneath a myrtle shade, with music by John Bannister, is in Choice Songs and Ayres, First Book, 1673. Another, Wherever I am, with music by Alphonso Marsh, is in the same collection, as is also How unhappy a lover am I, the music by Nicholas Staggins. Mrs John Evelyn to Mr Bohun, ca. Jan. 1670@1: Since my last to you I have seen The Siege of Grenada, a play so full of ideas that the most refined romance I ever read is not to compare with it; love is made so pure, and valour so nice, that one would image it designed for an Utopia rather than our stage. I do not quarrel with the poet, but admire one born in the decline of morality should be able to feign such exact virtue; and as poetic fiction has been instructive in former ages, I wish this the same event in ours. As to the strict law of comedy I dare not pretend to judge: some think the division of the story is not so well if it could all have been comprehended in the day's actions (The Diary and Correspondence of John Evelyn, ed. William Bray, IV, 25). According to John Evelyn--see 9 Feb. 1670@1--Robert Streeter did some of the scenes for this play. In the Preface to The Fatal Discovery, ca. February 1697@8, George Powell, in discussing revivals of Dryden's plays, stated: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun could not prop

Event Comment: 1st piece [1st time; PREL 1, by Richard Cumberland. Larpent MS 958; not published]. Without insisting on the great Expence that has been incurred in re-building this Theatre (in the erecting of which no other Object has been attempted but the greater ease, safety and accomodation of the Spectators) it appears upon the Books that the Annual Disbursements of the past Seasons have gradually been encreasing from Year to Year, under the Direction of the present Proprietor, to nearly the sum of #10,000 per Annum more than the usual Expenditure of any of his Predecessors; it is therefore trusted the Necessity of the following small Advancement of the Prices of Admission to the Boxes and the Pit will be sufficiently apparent to the Justice of that Public whose Liberality has never yet been doubted. E. Barlow, Treasurer. Boxes 6s. 2nd Price 3s. Pit 3s. 6d. 2nd Price 2s. Gallery 2s. 2nd Price 1s. No Money to be returned. The Office for taking Places for the Boxes is removed to Hart-street. The principal new Entrance to the Boxes is from the Great Portico in Bow-street; from the Small Portico are Entrances to the Pit and Gallery only. In the Old Passage from the Piazza are new Entrances to the Boxes, Pit, and Gallery. Carriages coming to Bow-street Entrances are desired to set down and take up with the Horses' Heads towards Hart-street. The Doors to be opened at 5:30. To begin at 6:30 [see 12 Nov.]. [The audience objected vociferously to the increased prices of admission and to the absence of a 2nd gallery (and see under 19 Sept.). "The Prelude passed off without a syllable of it being heard...Two acts of The Road to Ruin displayed the performers' skill in pantomime, for not a word was heard...The Irishman in London then walked over the stag amidst the same riot and confusion which attended the preceding pieces" (Times, 18 Sept.).] Receipts: none listed

Event Comment: The King's Company. This performance is on the L. C. list, 5@12, p. 17: King here. See also Nicoll, Restoration Drama, p. 344. See Noyes, Ben Jonson on the English Stage, p. 307, for a letter to Lady Sunderland on this performance, and, p. 308, for an anecdote from The Life of the Late Famous Comedian, Jo. Haynes, concerning Haynes and Hart in a scene. For another allusion to the action, see Henri Ferneron, Louise de Keroualle, Duchess of Portsmouth (London, 1807), p. 179n. Pepys, Diary: 15 Jan. 1668@9: It is about my Lady Harvy's being offended at Doll Common's [Mrs Corey's] acting of Sempronia, to imitate her; for which she got my Lord Chamberlain, her kinsman, to imprison Doll: when my Lady Castlemayne made the King to release her. Mrs John Evelyn to Mr Terryll, 10 Feb. 1668@9: There has not been any new lately revived and reformed, as Catiline, well set out with clothes and scenes (Diary and Correspondence of John Evelyn, ed. William Bray, IV, 14). See also 7 and 11 Dec. 1667

Event Comment: The King's Company. This play has generally been assigned to June 1669, partly on the basis of a suit--see Hotson, Commonwealth and Restoration Stage, pp. 252-53, 348-55-over a scene for it which Isaac Fuller, the scene designer, states was finished by 23 June 1669. The suit also states that the play ran for fourteen days, but it is not certain that the theatres played on consecutive days in the summer. The play has been assigned to 24 June 1669 on the basis of a letter from Charles II to Princess Henriette-Anne, dated 24 June [1669]: I am just now going to a new play that I heare very much commended (Cyril Hughes Hartmann, Charles II and Madame [London, 1934], p. 259). Elizabeth Cottington to Herbert Aston, ca. May 1669: Wee ar in expectation still of Mr Draidens play. Ther is a bowld woman [Aphra Behn (?)] hath oferd one: my cosen Aston can give you a better account of her then I can. Some verses I have seen which ar not ill; that is commentation enouf: she will think so too, I believe, when it comes upon the ptage. I shall tremble for the poor woman exposed among the critticks (Arthur Clifford, Tixall Letters [London, 1815], II, 60)

Event Comment: This date of performance is not a certainty; for the evidence, see Spencer, Shakespeare Improved, p. 94. Neither is Shadwell's authorship of the alterations a certainty, for the contributions of other playwrights have never been fully determined. (See Nicoll, Restoration Drama, p. 43.) The instrumental music was composed by Matthew Lock, with new vocal music by James? Hart and Pietro Reggio. See Songs Set by Signior Pietro Reggio, 1680. And differing versions of the second Prologue and the second Epilogue are in BM Egerton MS. 2623, ff. 54-55. Downes (Roscius Anglicanus, pp. 34-35): The Year after in 1673. The Tempest, or the Inchanted Island, made into an Opera by Mr Shadwell, having all New in it; as Scenes, Machines; particularly, one Scene Painted with Myriads of Ariel Spirits; and another flying away, with a Table Furnisht out with Fruits, Sweetmeats and all sorts of Viands; just when Duke Trinculo and his Companions, were going to Dinner; all things Perform'd in it so Admirably well, that not any succeeding Opera got more Money

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 2. See also Nicoll, Restoration Drama, p. 347. There is no certainty that this is the premiere. A song, A heart in love's empire, with music by Robert Smith, and another, Let's drink dear friends, set by Thomas? Farmer, are in Choice Songs and Ayres, The First Book, 1673. The Dedication in the edition of 1672 is to Prince Rupert and states: tho' of thirty times it has been acted, you seldom fail'd to honour it with your presence. Downes (Roscius Anglicanus, p. 32): The next new Comedy [at dg] was the Mamamouchi, or the Citizen turn'd Gentleman, Wrote by Mr Ravenscroft [cast as in edition of 1672 except French Tutor and Singing Master, by Mr Haines: (He having Affronted Mr Hart, he gave him a Discharge and then came into our House)]; This Comedy was look[ed] upon by the Criticks for a Foolish Play; yet it continu'd Acting 9 Days with a full House; upon the Sixth the House being very full: The Poet added 2 more Lines to his Epilogue, viz. @The Criticks came to Hiss, and Dam this Play,@Yet spite of themselves they can't keep away.@ However, Mr Nokes in performing the Mamomouchi pleas'd the King and Court, next Sir Martin, above all Plays

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 359: The Rivall Queene. See also Nicoll, Restoration Drama, p. 346. That this is the premiere is indicated by a letter from the Marquis of Worcester to the Marchioness, 17 March 1676@7: Sir Charles Sedley's Cleopatra has been acted often, and to-day a new play of the death of Alexander, but I have not been to see either, living a mighty drudging life (HMC, 12th Report, Appendix, Beaufort MSS., IX, 66). Downes (Roscius Anglicanus, p. 11), has a cast which agrees (except for omissions) with that in the edition of 1677. Downes adds (p. 16): [Hart in] Alexander, towards the latter End of his Acting; if he Acted in any one of these but once in a Fortnight, the House was fill'd as at a New Play, especially Alexander, he Acting that with such Grandeur and Agreeable Majesty, That one of the Court was pleas'd to Honour him with this Commendation; That Hart might Teach any King on Earth how to Comport himself

Event Comment: 1st piece [1st time; PREL I, by Thomas Holcroft, based on The Covent Garden Tragedy, by Henry Fielding. Larpent MS 1039; not published; synopsis of plot in Morning Herald, 16 Sept.]. "The two Queens are represented by Munden and Fawcett, who are dressed up fantastically, wearing as Crowns Models of the two Theatres" (Morning Chronicle, 16 Sept.). Covent-Garden was crowned with a triangular representation of the Piazza; Drury-Lane with her own Theatre, surmounted by Apollo" (Morning Herald, 16 Sept.). [This was Burton's 1st appearance in London; he was from the Norwich theatre. Miss Cornelys was from the Dublin theatre.] No Money to be returned. Boxes 6s. Second Price 3s. Pit 3s. 6d. Second Price 2s. Gallery 2s. Second Price 1s. Upper Gallery 1s. Places for the Boxes to be taken of Brandon at the Office in Hart-street. The Doors to be opened at 5:30. To begin at 6:30 [see 30 Oct.]. Receipts: #305 1s. 6d. (296.10.6; 8.11.0)

Event Comment: The King's Company. See Herbert, Dramatic Records, p. 118. John Wright (Historia Histrionica [1699], p. 3): [Hart] Acted the Dutchess in the Tragedy of The Cardinal, which was the first Part that gave him Reputation

Event Comment: The King's Company, This performance is on the L. C. lists 5@139, p. 129, and 5@12, p. 17. The latter states: The King here. See also Nicoll, Restoration Drama, p. 344. Elkanah Settle's Prologue to his revision of Philaster (1695): @The good old Play Philaster ne're can fail@But we Young Actors, how shall we prevail?@Philaster and Bellario, let me tell ye,@For these Bold Parts we have no Hart, no Nelly;@Those Darlings of the Stage, that charm'd you there.