Event Comment: SShuter play'd the Miser for his 1st appearance at this theatre. Great Applause (Cross)

Event Comment: MMiss Nossiter did Belvidera-vast applause (Cross). [$Murphy in Gray's Inn Journal, 16 Nov., noticed Miss Nossiter's appearance in Belvidera, commenting "that she is, upon many occasions Mistress of the Surprising Attitude and Action," agreeing that she gave promise of excellence, wishing that her voice would mellow into more harmony and softness, and delivering a paragraph of advice from Quintilian on the error of false emphasis in elocution.

Event Comment: A new Woman (one Gregory) did Hermione , -Great Applause (Cross). [See Gray's Inn Journal (folio) No 16 for Murphy's praise of her, and Public Advertiser 19 Jan.: Verses on the Young Lady who acted Hermione.'

Event Comment: New Tragedy by John Brown never Acted before (playbill). This author is conceal'd, but is it ye first dramatic piece he ever wrote-Great Applause and deservedly (Cross). Receipts: #160 (Cross)

Event Comment: At the Great Tiled Booth, Bowling Green. Mainpiece: An Historical Play presented by Warner and the Widow Yeates's Company of Comedians, during the time of the Fair. The Scenes and Cloaths are entirely New, and the Droll the same that was performed by Mrs Lee, twenty Years ago, with Great Applause. [Repeated.

Event Comment: MMr Murphy from Covent Garden did Osmyn. Indiff-tho' great applause (Cross). Receipts: #150 (Cross)

Event Comment: MMr Holland did Eumenes-Great Applause ($Cross). Afterpiece: By Desire. Receipts: #160 (Cross)

Event Comment: Great applause (Cross). Mainpiece: Acted but once these two years. Eumenes by Holland, being the second time of his appearing in that Character. Receipts: #170 (Cross)

Event Comment: LLittle Pietro & Miss Noverre, from France now perform, with a figure of Children & meet with great Applause-were encor'd the first Night-(Cross). Mainpiece: Written by Shakespear. Receipts: #180 (Cross)

Event Comment: Mainpiece :By Particular Desire. The Orphan of China published. Price 1s. 6d. Dedicated to Garrick. Translated from the French of Voltaire. Acted at Paris with great applause. Published This Day Reflections on Theatrical Expression in Tragedy, with a proper introduction and appendix. For the character of the above see The Monthly Review for July (Public Advertiser). [This must be the second edition of Roger Pickering's pamphlet. See 13 March 1755.] Receipts: #170 (Cross)

Event Comment: A new Farce [Murphy] went off with applause (Cross). Mainpiece: By particular Desire. Receipts: #130 (Cross)

Event Comment: The Introduction (tho left out of the Bills) was call'd for, & had some Applause (Cross). Books of the opera sold at the theatre. Receipts: #140 (Cross)

Event Comment: A new Tragedy by ye Author of Barbarossa (Dr Brown) Great Applause (Cross). [Larpent MS 124 suggests Dunelm had been intended for Walker to act.] Receipts: #190 (Cross)

Event Comment: Mainpiece: Written by Shakespear. Miss Pritchard did Juliet for the First time of her Acting & Met with uncommon Applause, tho' so frightened the first Act, we Scarce cou'd hear her (Cross). Miss Pritchard's was a most remarkable first appearance--the Particularity of the public for her mother--Garrick's patronage and tuition, her own beautiful face, which was fascinating to a degree, had all great attraction. Mrs Pritchard, as Lady Capulet, leading in her daughter as Juliet, the distress of the young lady, the good wishes and tenderness of the town, all combined made an affecting scene--but that partiality dwindled away in the early part of the season (Genest, IV, 474, from Tate Wilkinson). Receipts: #226 (Cross)

Event Comment: MMiss Pritchard did Lady Betty, & had great applause (Cross). Receipts: #190 (Cross)

Event Comment: The Entertainment...continues to be performed every Night with the usual Applause; and though the Weather has been bad, generally to a numerous and polite Company. Sga Seratina and Reinhold, greatly excel in performing their Parts, and notwithstanding it is translated from the Italian...it is so well adapted to the Musick that is it by the best judges reckoned to be extremely soft and harmonious. [It is not listed in the Public Advertiser for Monday 31 or Tuesday 1 Aug.

Event Comment: MMr Fleetwood first appear'd--he did Romeo & was receiv'd with great & deserv'd Applause--he is son to our Late Patentee (Cross). Receipts: #200 (Cross); #210 19s. (Winston MS 8)

Event Comment: OObrien did Brazen, for his first appearance, & met with great Applause (Cross). [See a two-column comment on The Recruiting Officer and O'Brien's acting in Theatre No II published in The London Chronicle, No. 277, 5-7 Oct., p. 343: "The character of Brazen never existed in human nature, but is merely the child of Farquhar's own licentious invention...and for this reason I imagined it impossible for any actor to appear to advantage in it, without having recourse to that buffoonery and grimace which has always been made use of by the most eminent to support it; but I was agreeably surprised to find myself mistaken: for the young gentleman who has now got it into his possession goes through the whole with a genuine comic spirit; and, by his peculiar method of acting it, in a great measure corrects the unnatural absurdity of the writer." Specific details of his acting as well as comments on other roles are given.] Receipts: #150 (Cross); #174 3s. 6d. (Winston MS 8)

Event Comment: This Play tho' all new dress'd and had Fine Scenes did not seem to give ye audience any great plasure, or draw any applause (Cross). Written by Shakespear. Never Acted there. New Habits, Scenes, and Decorations. Nothing under Full Prices will be taken during the Performance. No Gentleman can possibly be admitted behind the Scenes, or into the Orchestra on account of the Music, Decorations, and number of Performers which are necessary to the Representation (playbill). [See "Garrick's Presentation of Antony and Cleopatra," RES, Jan. 1937. The following characters appear in Capel's acting text, 23 Oct. 1958, Maecenas-Atkins; Proculeius-$Austin; Soothsayer-$Burton; Mardian-$Perry; Seleucas-$Burton.] Receipts: #200 ($Cross); #193 14s. (Winston MS 8)

Event Comment: Benefit for Mrs Cibber. Tickets delivered for The Orphan will be taken. No building on stage. [Goldsmith, in his Bee (Vol. 1759, p. 56), commenting on Mad Clairon s' excellent preservation of character on stage, glances at Mrs Cibber, perhaps in this night's performance: 'I can never pardon a lady on the stage who, when she draws the admriation of the whole audience, turns about to make them a low courtesy for their applause. Such a figure no longer continues Belvidera , but at once drops into Mrs Cibber." See comment upon her deportment as Ophelia , 29 April 1763.

Event Comment: MMr Hartry is oblig'd to postpone his Comic Lecture...being engaged in making many alterations therein. The serious part will be consideredly shortened, some other pieces expunged, and many scenes of humour added, which he hopes will be entertaining. He is extremely troubled that anything in his Lecture on Tuesday should have given offence to any one person present, and is no less concerned that those Ladies and Gentlemen who were desirous to hear him perform (that part which appeared exceptionable to others) were disappointed. He is sorry there was any disaffection either way. He is not conscious of having attempted anything with an intention to offend, or that has not already been allowed of inclusion though more unpardonable. The foibles and peculations of private characters have been brought on the stage by others, those only of public men by him. He hopes it will not appear vain or arrogant to say that after such unequaled peals of applause which he met with for some time while uninterrupted, it would be paying an ill compliment to so crowded and brilliant an audience not to flatter himself will possessing some degree of merit: And if he afterwards failed in any or every particular it was altogether owing (notwithstanding the seeming spirit he assumed) to the confusion he was in at the Party Affair which followed. It was his first appearance in public, and in such a situation it is no wonder he was robb'd of his comic powers; but he hopes when his Lecture is alter'd there will be found in it nothing which can give offense, or deprive him of that generous indulgence to a young performer which characterizes a British audience. [No further performance of the Lecture seems to have been given.

Event Comment: By Permission, For One Night Only. He humbly hopes that the Nobility and Gentry of this nation, who are known to be the encouragers of all fine arts, will honour him with their presence, that he may have the opportunity to display part of his talents. He has performed in most of the principal courts of Europe. The representation has chiefly been in rooms. He has had the happiness to meet with universal applause. First Boxes 1!2 Guinea. Pit and Others 5s. Gallery 3s. To begin at 6:30 p.m

Event Comment: Mainpiece: Never acted before. Characters new dressed &c. [See Theatrical Review; or, Annals of the Drama, 1763, pp. 67-74: Bless us what a sweet consistent piece of business is a modern Tragedy." See Boswell's account of his attendance that night with two friends, With oaken cudgels in our hands and shrill sounding catcalls in our pockets," ready prepared to damn the play (London Journal), p. 154 ff.).] Critical Strictures on the New Tragedy of Elvira, published this month (Gentleman's Magazine). I then undressed for the Play. My father and I went to the Rose, in the Passage of the Playhouse, where we found Mallet, with about thirty friends. We dined together, and went from thence into the Pitt, where we took our places in a body, ready to silence all opposition. However, we had no occasion to exert ourselves. Not withstanding the malice of a party, Mallet's nation, connections and indeed imprudence, we heard nothing but applause. I think it was deserved. The play was borrowed from de la Motte, but the details and language have great merit. A fine Vein of dramatick poetry runs thro' the piece. The Scenes between the father and son awaken almost every sensation of the human breast; and the Council would have equally moved, but for the inconvenience unavoidable upon all Theatres, that of entrusting fine Speeches to indifferent Actors. The perplexity of the Catastrophe is much, and I believe justly, critisized. But another defect made a strong impression upon me. When a Poet ventures upon the dreadful situation of a father who condemns his son to death; there is no medium; the father must either be monster or a Hero. His obligations of justice, of the publick good, must be as binding, as apparent as perhaps those of the first Brutus. The cruel necessity consecrates his actions, and leaves no room for repentance. The thought is shocking, if not carried into action. In the execution of Brutus's sons I am sensible of that fatal necessity. Without such an example, the unsettled liberty of Romev would have perished the instant after its birth. But Alonzo might have pardoned his son for a rash attempt, the cause of which was a private injury, and whose consequences could never have disturbed an established government. He might have pardoned such a crime in any other subject; and the laws could exact only a equal rigor for a son; a Vain appetite for glory, and a mad affectation of Heroism, could only influence him to exert an unequal & superior severity (Gibbon's Journal, ed. D. M. Low [New York, n.d.], pp. 202-4)