Event Comment: This comedy was wrote by Mr Moor, & except ye part of Faddle meet with Universal Applause (ye Author's first play) (Cross). New Scenes and Cloaths (General Advertiser). This C. was written by Moore--it is a good play--it was acted 11 times successively--Garrick's peculiar qualifications and happy use of them, added amazing spirit to the piece, and gave more consequence to Young Belmont than can well be imagined--Macklin, who never had in voice, figure or features much capacity for the fop cast, yet struck out some things in Faddle, that have not been since equalled, particularly in marking the obsequious knave throughout--Barry in the fourth act supported his character with emphatic dignity and in the last with melting tenderness--the part of Rosetta was undoubtedly conceived for Mrs Woffington, and she did it particular justice--the elegance, the notions of love, and the vanity of admiration, which are united in Rosetta, were natural to Mrs Woffington, so that she had the advantage of looking and speaking in her own character--the softness and pathos, which distinguished Fidelia sat with much ease on Mrs Cibber (Dramatic Censor, II, 206). [For contemporary account of plot and discussion of the play, see Gentleman's Magazine Feb. 1748, pp. 51-54; March 1748, pp. 114-17; May 1748, pp. 207-9; June 1748, pp. 257-59. See also G. Stayley, An Answer to an unjust criticism on the Foundling, listed in Register of Books, Gentleman's Magazine, May 1748, p. 240; A Criticism of the Foundling, in a letter to the author, listed in Register of Books, Gentleman's Magazine, March 1748, p. 144. The Larpent MS indicates many revisions. The substitution of Rake for Whoremaster, &c. Some Suggestive passages marked for excision. "The Disapprobation, which the Character of Faddle met with the first Night, made it necessary for me to shorten it in almost every Scene" (Dedication to 1st Edition).] Receipts: #200 (Cross); #200 5s. (Powel)

Event Comment: SShuter having engag'd with Mr Rich Garrick in Bayes said you are a good Actor & I am sorry you have left me-a Clap (Cross). Both plays put up for last time of performing this season. Full prices throughout performance. No money returned after curtain is up. Tis hoped no gentlemen will take it ill that they cannot possibly be admitted behind the scenes or into the orchestra, the Entertainment depending chiefly upon the Machinery and Music. Receipts: #180 (Cross)

Event Comment: The ballance Weight of the Candles of the Branches fell from ye top of the house upon ye Stage, & broke a great piece in the Stage, the Weight was 200 lb. Mr Woodward had just mov'd from the Spot where it fell (Cross). Receipts: #210 (Cross)

Event Comment: Benefit Cross (Prompter) and Mrs Cross. Mainpiece not acted for 40 years [see 22 Dec. 1710]. Written by the author of The Yeoman of Kent [Thomas Baker]. Tickets deliver'd by Mr Burton will be taken. Tickets to be had of Cross at his lodgings over against the Rose Tavern in Russell St., Covent Garden

Event Comment: Benefit for Mrs Clive. Afterpiece [written by Mrs Clive]: A new farce partly singing, part speakg. Went off well (Cross). Music by Dr Boyce. Five rows of Pit &c. [Stage arranged as on 10 March. The framework for financial analysis of receipts appears in Treasurer's Book, but the figures are missing. The parts for The Rehearsal, according to the Larpent MS 86, were: Mrs Hazard, Nelly, Tom, Witling, Mr Cross; Miranda-$Miss Norris; Corydon-$Beard; Marcella, Miss Giggle, Sir Albany Odelove, Miss Sidell, Miss Daudle.] Receipts: #240 (Cross); charges, #60 (Treasurer's Book)

Event Comment: MMrs Mariet our Columbine ran away with some Gentleman (Cross). Mr Havard, the Comedian, who a few days ago was so well recover'd from his illness as to come abroad, is relapsed (General Advertiser). Receipts: #140 (Cross)

Event Comment: Benefit for Woodward. Afterpiece: A New farce written by Mr Woodward-for his Benefit, The farce was a kind of dispute among ye Actors, & went off, as it was a Benefit, without Interruption, but I believe will not be play'd agen, ye Epil: was a parody upon Shakespear's Stage of Life, & was Lik'd (Cross). No Part of Pit will be rail'd into the Boxes. Ladies send servants by three. Tickets to be had of Woodward at Clarendon's Warehouse, and of Hobson at the stage door. Last time of performing the mainpiece this season. [Larpent MS 92, indicates the afterpiece as a criticism from the actors' view of the way they are handled by audiences, and of their own damnation of a play presented to them. All works up to the Epilogue: @'All the town's a farce-he says and swears,@And all the men and women merely players...'@ which is severe upon politicians, doctors, statesmen and connoisseurs. The characters appear under their own names, Cross, Clive, etc.] Receipts: #300 (Cross)

Event Comment: A farce of Mr Foote s, formerly play'd at ye Haymarket by ye Name of the two Knights from ye Land's End. farce hiss'd--all hum (Cross). Mainpiece: By desire. Afterpiece: Never perform'd there. Receipts: #100 (Cross)

Event Comment: By Particular Desire. Benefit for Cibber. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. To begin at 6:30 p.m. To prevent any interruption in the Performance, there will be no Building on the Stage. Afterpiece: The Dramatick Piece of Two Acts...is taken from the inimitable comic Scenes of Shakespeare, which contain the Humours of Antient Pistol, Justice Shallow, Sir John Falstaff, Justice Silence, the Hostess Doll Tearsheet, and the Recruits, etc. (Daily Advertiser). On Tuesday the 2d of July Mr The: Cibber had a play at Drury Lane, ye Busy Body, & farce from ye 2d pt of Henry 4th. & had 140 pounds in Money & 66 in Tickss (Cross)

Event Comment: Mainpiece: A New Comedy of 3 Acts [by George Colman] never performed. [In the Shakespearean Pageant, with figures from seventeen of his plays, the chief effectiveness lay with the Musicians who ushered in each group with appropriate music: Martial Music-The Roman Characters of Coriolanus and Julius Caesar; Soft Music-Antony and Cleopatra; Grand Music, Old English Characters-King John, Richard III, Henry VIII: Magical Music, "above, about, underneath" for Prospero; Macbeth's Music; Fairy Music-Oberon and Titania; Solemn Music for Tragic Muse accompanied by Othello, Hamlet, the Ghost, Mad Ophelia and Lear with Cordelia; Dead March in Saul-Juliet's Bier with attendants; Allegro for the Comic Muse-Falstaff, Touchstone, Launcelot, Malvolio; Andante-Florizel and Perdita, Portia Antonio and Bassanio; Flourish-for Car drawn by the muses carrying Shakespeare's Bust; Final Song by Mrs Mattocks, "Sweetest Bard that Ever Sung, Nature's glory, Fancy's Child--." The Prelude is, in print, entirely favorable to Garrick's effort at Stratford. But it could be rendered in a mercilessly ironical manner if the three participating actors so chose. Mainpiece reviewed in the Freeholder's Magazine, Oct.] Receipts: #224 10s

Event Comment: Rich's Company. The date of the first performance is not certain, but the Preface refers to the Long Vacation and a thin house, suggesting a late summer production. As the play was advertised in the Post Boy, 16-18 Nov. 1697, a first performance in October 1697 is probably the latest date for this play, and September seems more likely. Among the songs are several for whom the composer and singer are named: Happy we who free from love, and How calm Eliza are these groves, the music set by Morgan and both sung by Mrs Lindsey. She comes my goddess comes, set by Morgan and sung by Mrs Cibber. Sleep shepherd sleep, the music set by Morgan and sung by Mrs Cross. All four are in A Collection of New Songs, 1697. Preface, Edition of 1698: To serve the wants of a thin Playhouse, and Long Vacation...This hasty Brat...had the Honor of keeping the Stage for five Days Reign. Animadversions on Mr Congreve's late Answer to Mr Collier (1698), pp. 34-35: The mighty Man of Wit [Congreve]...at the Representation of this Play...was seen very gravely with his Hat over his Eyes among his chief Actors, and Actresses, together with the two She Things, call'd Poetesses, which Write for his House, as 'tis nobly call'd; thus seated in State among those and some other of his Ingenious critical Friends, they fell all together upon a full cry of Damnation, but when they found the malicious Hiss would not take, this very generous, obliging Mr Congreve was heard to say, We'll find out a New way for this Spark, take my word there is a way of clapping of a Play down

Event Comment: The Duke's Company. This performance is on the L. C. list at Harvard. See VanLennep, "Plays on the English Stage," p. 13. Diary of Richard Boyle, Earl of Burlington: Heer dined with mee my lord of Canterbury my ld Sandwich and my brother and sister Orrery, and in the afternoone wee all went but his Grace to see my brothers new play cald Tryphon which was much applauded (Volume IV, in the Library at Chatsworth. This excerpt supplied by Kathleen Lynch). Pepys, Diary: My wife tells me of my Lord Orrery's new play "Tryphon," at the Duke of York's house...and [we] went thither, where, with much ado, at half-past one, we got into a blind hole in the 18d. place, above stairs, where we could not hear well, but the house infinite full, but the prologue most silly, and the play, though admirable, yet no pleasure almost in it, because just the very same design, and words, and sense, and plot, as every one of his plays have, any one of which alone would be held admirable, whereas so many of the same design and fancy do but dull one another; and this, I preceive, is the sense of every body else, as well as myself, who therefore showed but little pleasure in it