Event Comment: Mainpiece [1st time; MD 5, by Thomas Morton. Prologue by William Thomas Fitzgerald. Epilogue by Miles Peter Andrews (see text)]: The Scenes, principally new, designed and painted by Richards, Hodgins, Pugh, Walmsley, and assistants. With entire new Dresses and Decorations. "The management of the earthquake in which the Temple of the Sun is destroyed was a very fine piece of stage mechanism; the effect of which was considerably heightened by the improved performance of the Bold Thunder, and that also of his Electrical Harbinger. The gradations and cadences of the first were superior to anything of the kind we remember within the walls of the theatre...The scene of the rising sun was uncommonly dingy" (Public Advertiser, 3 Dec.). "Mr Morton in full for Columbus #214 10s. 6d." [MS annotation on BM playbill, 26 Dec. 1792 (cg, Vol. VIII)]. Morning Herald, 14 Dec. 1792: This day at noon will be published Columbus (1s. 6d.). Receipts: #301 8s

Event Comment: Paid Music 4 Nights #35 19s. 4d.; Chorus Singers #4 10s.; Wardrobe #7 11s.; Supernumeraries #4 6s.; Sloper for Scenemen #25 8s. 2d.; Mr Bigge, renter, #20 7s. 6d. Receipts: #281 12s. (279.17; 1.15)

Event Comment: A new Comic Opera; the music by Cimarosa, under the direction of Federici. The music of both dances by Miller. With entirely new Dresses, Scenes and Decorations, both in the Theatre itself, and in the Representations. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. No Money to be returned. The Subscribers are respectfully entreated to observe that they are to produce their Tickets at the doors. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season, except on 15 May). The Ladies at the Head of the Boxes arc respectfully reminded that such Boxes as shall not be paid for at the opening of the Theatre become then vacant, and may be claimed by any of the old Subscribers. No one to be admitted behind the scenes. For the greater Safety of the Company in coming and going out of the Theatre Mr Townsend has taken charge of the Peace Officers, and will himself attend every night of Performance. [Morning Herald, 12 Jan., notes than the original gallery is now divided into two, a lower and an upper, and that the chief colors used in the repainting of the auditorium are blue, white and gold. Ibid, 13 Jan.: The scenes [in the opera], which were entirely new, have never been exceeded in splendour of general effect...One, representing the hall of an Italian villa, shews a ceiling designed like that of the theatre itself [which the same newspaper, 4 Jan., describes as being Apollo and the Muses, in a cove enriched with allegorical figures, flowers, and medals, in chiaroscuro].]

Event Comment: Directors of the Oratorios: Linley and Storace. Among the Principal Instrumental Performers are Ashe, W. Parke, Parkinson, Mason, Flack, Ashbridge, &c. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. No Money to be returned. Books of the performance to be had at the Theatre. [This was the 1st performance held in the new DL theatre]. Under the Management of Mr Kemble. The Box Office, for the present, is in Little Russell-Street, opposite to the Theatre, where Boxes and Places are to be taken of Fosbrook. The Box Doors are in Little Russell Street and Woburn Street. The whole of the Avenues [into the theatre], and the New Street ["which is intended to be called Woburn-street" (Carlton House Magazine, Apr. 1794, p. 136); see next paragraph] not being yet complete, Ladies and Gentlemen are particularly requested to direct their Coachmen to set down in Little Russell Street (where alone the Carriage Box Doors are at present) with the Horses heads toward Covent Garden, which is the only line in which Carriages can be permitted to pass. Carriages wanting to draw up after the performance should be headed to range in Drury Lane, toward Long Acre and Great Queen Street. The Chair Doors and Footway are in the Court in Woburn Street, where for the accomodation of those who may wish to have their Carriages wait out of the Croud, Chairs belonging to the Theatre and under proper regulations will attend. In order to keep the Colonnades quite clear no Servants can be permitted to wait there, but those belonging to the Carriages actually drawn up before the Pillars, and no Servants whatever can be permitted to pass the Doors of the Lower Saloon. Pit Door. The Temporary Pit Passage is in the center of the Theatre, in Bridges Street, which leads to a Spacious Saloon, which will be opened One Hour before the opening of the Pit Doors. All Carriages for the Pit Door are to wait in Catherine Street, or York-Street, to take up with the Horses heads towards Little Russel Street, and to pass through Great Russel-Street. Gallery Doors. The Gallery Doors, for Admittance, are in Little Russell-Street, and Woburn-Street, but, after the commencement of the Performance, the Gallery Doors, for the present can be only in Woburn Street. Every proper precaution is taken to prevent Croud and Inconvenience at the several Passages. The Doors to be opened at 5:15. To begin at 6:30 [same throughout oratorio season]. "The Orchestra represented the inside of a Gothic Cathedral [designed by Capon], and the Chorus Singers paid that attention to their attire that rendered the stage respectable. The house is so constructed that every note was distinctly heard at the remotest part of the theatre . . . The audience are so near the performers that the movement of every muscle is seen; a matter essentially necessary, particularly to the exhibition of an English Drama." [This opinion is greatly at variance with that of other commentators on the construction, the acoustics, &c. of the new theatre.] (European Magazine, Mar. 1794, p. 236). "The stage for the oratorios resembles a Gothic Cathedral, with illuminated stained glass windows, &c. The flies . . . [are] carved like the fretted roof of an antique pile, and the wings to the side scenes are removed for a complete screen, like those in use at the foreign theatres." (Thespian Magazine, Mar. 1794, p. 127). Account-Book, 12 Mar.: Paid Cabanel building Stage, on Acct. #130; Capon, painter, on Acct. #61 12s. Receipts: #358 6s. (281/2; 243 tickets sold by Fosbrook: 72/18; 4/6)

Event Comment: Mainpiece: In Act I The Cardinal's Banquetv. In Act II The Court for the Trial of Queen Katharinev. In Act V a Grand Processionv to the Christening of Princess Elizabeth. Afterpiece: Representation of the Engagementv, as 14 Oct. [In mainpiece the playbill omits Lord Sands, but "Sands Hollingsworth, Baddeley ill" (Powell).] Powell, 17 Oct.: Chaplet rehearsed at 10 [see under 16 Oct.]; Drummer at 11; Roman Actor at 12 (order to be dismissed by Mr Kemble); 18 Oct.: Haunted Tower rehearsed at 10; Wedding Day at 12. Receipts: #307 6s. (227.18; 77.6; 2.2)

Event Comment: [The playbill retains Baddeley as Moses , and Mrs Heard as the Maid , but "Mr Baddeley being suddenly taken ill at the Theatre this Evening Banks play'd the part of Moses, and Evans doubled Surface's Servant with his own, Mrs Heard Ill, Mrs Jones the Maid" (Powell). Baddeley was stricken with apoplexy while still in his dressing room before the play began; he died the following day.] Powell: New Ballet [Alexander the Great] rehearsed at 10; Chorus of 1st Act of Cherokee at 12. Receipts: #174 13s. (136.4.6; 36.5.0; 2.3.6)

Event Comment: [Mainpiece in place of The Cherokee, advertised on playbill of 24 Feb. In it the playbill retains Mrs Booth as Mrs Over-done, but "Mrs Over-done Mrs Maddocks, Mrs Booth ill" (Powell).] Powell, 25 Feb.: New Comedy, viz. The Wheel of Fortune, rehearsed at 11; Alexander the Great (by order of Mr Sheridan) at 1; 26 Feb.: Wheel of Fortune rehearsed at 12. Receipts: #406 19s. (337.10.6; 63.18.0; 5.10.6)

Event Comment: Ode: In two Parts. Principal Instrumental Performers as 20 Feb., but omitted: Bridgtower, Archer, Mahon, Lavenu, Napier, Simpson. Mr Ashley is exceedingly concerned that he is under the necessity of informing the Public that the Anthem [The Anthem that will be performed at the Chapel Royal, St. James's, on the Nuptials oF his Royal Highness the Prince of Wales and the Princess Caroline of Brunswick, composed by Handel, to conclude with the Hallelujah Chorus from The Messiah (advance playbill of 25 Feb.)] advertised for this Evening is necessarihy postponed until the Royal Marriage shall have taken place

Event Comment: [In mainpiece the playbill retains Kemble as Macbeth, Wroughton as Banquo, and Palmer as Macduff, but "The Publick are respectfully informed that Mr Kemble being confined by Indisposition...Macbeth will be performed by Palmer, Macduff by Wroughton, Banquo by Packer" (printed slip attached to Kemble playbill). No mention is made of the Physician, but Jones was Packer's usual substitute in this part. See 11 Apr. 1796.] Receipts: #218 11s. 6d. (153.14.6; 61.11.6; 3.5.6)

Event Comment: Mainpiece [1st time; MD 3, by Prince Hoare. Larpent MS 1126; not published; synopsis of plot in Monthly Magazine, May 1796, p. 320]: With new Scenes, Dresses, Decorations, &c. The Musick principally composed by the late Mr Storace [who had died on 19 Mar.], with a few Selections from Paisiello, Haydn and Sarti. [Grove, under Storace, states that the music was completed and prepared for the stage by Kelly and Sga Storace.] The Scenes designed and executed by Marinari and assistants. The Dresses by Johnston, Gay and Miss Rein. Books of the Songs to be had in the Theatre. "It was exceedingly tedious the first night, not being over till eleven o'clock. Since, it has been prudently cut down, and yet has lost nothing. A prologue, written on the very morning of representation, deploring the loss of the composer, was spoken (perfectly) by the last unfortunate Benson [for whom see 9 June. It was written by Hoare (Universal Magazine, May 1796, p. 362), and Was perhaps spoken only on the 1st night; it is not listed on any playbill]" (Monthly Magazine, May 1796, p. 320). "In short, possessing all the science of Harrison, the melody of Incledon, and the pleasing articulation of the late Mrs Kennedy, we have no hesitation in pronouncing [Braham] the first public singer of the present day. He was three times encored. His action is indifferent, and his dialogue scarcely audible" (Morning Herald, 2 May). Receipts: #297 14s. (258.10.6; 38.19.6; 0.4.0)

Event Comment: The high degree of Public favor bestowed on Mr Elliston has induced the Proprietors of the Theatre Royal Bath, obligingly to consent that he shall perform at this Theatre once in every Fortnight thro'out the Season (notice on playbill of 10 Oct.). [But, except for 19 May, Elliston did not act at cg after 24 Nov.] Receipts: #249 14s. (229.12; 20.2)

Event Comment: The Publick is most respectfully informed that on account of the sudden Indisposition of a Principal Performer, the new Tragedy of The Conspiracy [advertised on playbill of 11 Nov.] is obliged to be deferred. "A new tragedy, entitled The Conspiracy, written by Mr Jephson, was announced for representation on Saturday evening; but (as the apology stated) on account of the indisposition of a principal performer, The Grecian Daughter was substituted in its room. All the principal performers advertised for the new play having, however, appeared in The Grecian Daughter, it is supposed, and generally understood, that it was the interference of the Lord Chamberlain's interdiction (who, by the mighty virtues of his white wand, valiantly frustrated the meditated Conspiracy), that produced the sudden change of performance" (Morning Herald, 14 Nov.), Receipts: #256 7s. 6d. (167.6.6; 84.11.0; 4.10.0)

Event Comment: Afterpiece: Not acted these 10 years [acted 18 Feb. 1789]. With new Scenery, Dresses, and Decorations. Musick by late Mr Linley. The Scenery of First Part by Greenwood and his assistants, of Second Part by Marinari and his assistants. The Machinery and Decorations by Cabanel, Johnston, Jacobs. The Dresses by Johnston, Gay, Miss Rein. [Synopsis of plot (T. Becket, 1797).] Account-Book, 24 Dec.: Parrot bought and Cage for Robinson Crusoe #3 5s. 6d.; Paid Hunt, fireworker #2 3s. Receipts: #326 9s. (257.1; 62.13; 6.15)

Event Comment: Opera: The Music by Paisiello. L'Amour et Psiche [advertised in True Briton, 6 Jan.] is unavoidably postponed on account of the indisposition of Mme Hilligsberg. The Frequenters of the Gallery are respectfully informed that the Coffee-Room underneath, having since last year been very considerably enlarged, and entirely new ornamented by Mr Liparotti, will be opened for the present Season on this Evening, and the Company will please to observe that at the end of it, next to Market-lane, an additional Staircase has been erected for their greater accomodation in going to and coming from that side of the Gallery

Event Comment: Mainpiece: Not acted these 4 years. With Additions from Dryden; the Musick by Purcell and Dr Arne, and the new Airs and Chorusses by the late Mr Linley Jun. [Afterpiece in place of A Friend in Need, advertised on playbill of 21 Feb.] The Publick is respectfully informed that on Account of the sudden Indisposition of Sga Bossi DelCaro, The Scotch Ghost [advertised on playbill of 21 Feb.] cannot be performed this Evening (printed slip attached to Kemble playbill). Receipts: #212 2s. 6d. (145.1.0; 61.0.0; 6.1.6)

Event Comment: In compliance with the request of several Ladies and Gentlemen, lovers of Handel's music, who find it inconvenient to attend at the beginning of the evening, Mr Ashley informs them that Half Price will be taken at the end of the Second Part

Event Comment: [Mrs H. Johnston's 1st appearance as Ophelia was at the hay, 3 Sept. 1798.] Afterpiece: 5th Time i.e. in continuation of the reckoning for the previous season]. 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 had of Brandon(only) at the Office in Hart-Street. The Doors to be opened at 5:30. To begin at 6:30 [see 19 Nov.]. No Money to be returned. Receipts: #242 5s. 6d. (240.17.6; 1.8.0)

Event Comment: By Command of Their Majesties. Mainpiece: Mr Colman's Last New Comedy. [He was the author of the Epilogue, which was spoken by the Dramatis Personae. In afterpiece the playbill retains Mrs H. Johnston as Malvina, but she "being indisposed, her part was performed with great effect by Madame [sic] St.Amand" (London Chronicle, 15 Mar.).] Receipts: #379 16s. (378.3; 1.13)

Event Comment: "[In Pizarro] the effeminacy of Alonzo's dress, better adopted for a ball-room than for scenes of warfare; the magnificence of the Spanish dungeon, in a country where the Spanish invaders were fain to put up with tents for their own accomodation; the vile manner in which the scene is bungled together, where Cora leaves her infant child to the fury of the pitiless storm, whilst a hut stands most invitingly in sight; the absurd introduction of Cora's song to the accompaniment of thunder and lightning--but, above all, the disgraceful additions made by Mr Sheridan himself, with the farcical termination of this sublime tragedy, by an Irish howl over the dead body of Rolla;--all these glaring defects, sufficient to damn any writer of less notoriety than Sheridan, still continue to outrage good-sense, and the feelings of every spectator of taste and discernment...We are firmly of opinion that the crowded houses this play still continues to draw are principally to be attributed to the masterly acting of the elder Kemble" (Dramatic Censor, I, 23-24). Receipts: #429 9s. (388.1; 40.1; 1.7)