Event Comment: Rich's Company. The date of the premiere is not known, but Dryden, writing on 14 Dec. 1699, indicates that this play had had its first performance by that date. The Dedication is dated 10 Jan. 1699@1700, and the play was advertised in the Post Boy, 20-23 Jan. 1699@1700. Preface, Edition of 1700: Another difficulty this Play labour'd under, was its being acted at a time when the whole Town was so much, and so justly diverted by the Trip to the Jubilee. When the play was revised and reprinted in 1714, the new edition--The Victim; or Achilles and Iphigenia in Aulis--indicates that The Invocation to Diana in the last act was set by Gottfreid Finger, the first verse being sung by Freeman, the second verse by Mrs Erwin, and the third verse by W. Pate. Advertisement, Edition of 1714: The following Tragedy...having been translated into English [from Racine], with considerable Additions, by Mr Boyer, and pass'd the Correction and Approbation of the late famous Mr Dryden, and several other Persons distinguish'd as well by their Wit and Learning, as by their Taste and Discernment, was acted with general Applause, towards the End of the Year 1699, and Beginning of 1700. The Reasons why this Excellent Play stopt, on a sudden, in a full Career, are, in some Measure, accounted for in Mr Boyer's Preface: To which he might have added, That the Dutchess of Marlborough, who at that Time bore an irresistable Sway, bespoke the Comedy then in Vogue [The Constant Couple], during the Ruin of Iphigenia in Aulis; And that this Tragedy receiv'd no small Prejudice, from the Person that acted Eriphyle [Mrs Wilkins], who sunk under the Weight of so great a Part. A Comparison Between the Two Stages (1702), pp. 24-25: Sullen: Then comes the second Iphigenia in all her Charms, and like a superious Mistress was resolv'd to eclipse her Rival: No cast was spar'd by the Masters, nor toil by the Actors; the Town was bespoke in its favour, and all the Friends of this new Fletcher and Beaumont were ingaged to clap it. She appear'd, but what pity 'twas (as the Prefacer says) that a Play which had such a glorious run shou'd in four Days disappear, never to rise again. Oh! says Mr D@@, mine was acted six Days; and I'll hold you a hundred Pound--just what I got by't--How's that?, says Boyer--I say, Sir, that I'll hold you, or any Man, a hundred Pound, 'twill be acted again ten times this Winter. With that B@@ fell a laughing, and replies, Sir, says he, I'll stake my French Dictionary against your Criticisms on Blackmore, and that I think is odds enough--I say,"I'll hold you that Bet, that you did not get fifty Shillings by't, and that the House lost a hundred Pound. This had like to ha' made sad work; but all was well, for neither of 'em have been acted since, for they both sleep in everlasting Tranquillity. [See also pp. 23-25 for other remarks about the two Iphigenia plays.

Event Comment: The United Company. The exact date of the first production is not known, but the play was entered in the Term Catalogues, February 1691@2, and mentioned in the Gentleman's Journal, February 1691@2 (licensed 12 February 1691@2). In all probability, it was first acted not later than January 1691@2. The music to one song, As soon as the Chaos, was composed by Henry Purcell. See Purcell, Works, Purcell Society, XX (1916), xvii. Two songs--Bonny lad prithee lay thy pipe down, with music by Tollet; Great Jove once made love like a bull, with music by Mountfort--are in The Banquet of Musick, The Sixth and Last Book, 1692. Dedication, Edition of 1692: Having at last so well acquitted it self on the Stage (tho' the thronging, imperfect Action, and worse than all, the faulty length, which I will never be guilty of again, render'd it little Diversion the first day). A Letter to Mr D'Urfey [by Charles Gildon], Edition of 1692: If there be any fault in this Play, 'tis that which few are guilty of; that is, there are too many good Characters, too full of Humour, a very Pardonable failing, which only proceeds from Variety, the life of Pleasure and Wit, tho' that gave it the disadvantage of seeming too long the first days Acting, tho' the Stage's being throng'd with Spectators, did not a little contribute to the imperfect Acting of it, which accidental Misfortunes concurring with the Endeavours of an opposite Faction, must needs have damn'd it, had it not by the Force and Vigour of its own Worthy, rais'd it self the second day with the general Applause of all that saw it....But the Marriage-hater went further, and in spight of all the disadvantages it labour'd under of Action and Audience, pleas'd on, after several times Repetition. See also Poeta Infamis; or, A Poet not worth Hanging (1692) for a variety of comments upon this play. London Mercury, 26 Feb. 1691@2: Query 4. Whether in Justice he [D'Urfey] is not obliged to present Mr Dogget (who acted Solon to so much Advantage) with half the Profit of his Third Day, since in the Opinions of most Persons, the good Success of his Comedy was half owing to that admirable Actor? Query 5. Whether, if there be any Wit in bringing a Person upon the Stage with an extravagantly broad-brimmed Hat, and a Muff of the same Size, so it will not be a very easy Matter for the next Poet that writes a Play, to Out-hat and Out-muff his Predecessors, and consequently to Out-wit him? Downes, Roscius Anglicanus, p. 42: Mr Dogget perform'd the part of Solon Inimitably. Gentleman's Journal, p. 454, February 1691@2 (licensed 12 Feb. 1691@2): I send you the Marriage-hater match'd, a new Comedy by Mr Durfey; it hath met with very good success, having been plaid six days together, and is a diverting Play. Gentleman's Journal, January 1691@2: Now I speak of Music I must tell you that we shall have speedily a new Opera, wherein something very surprising is promised us; Mr Purcel who joyns to the Delicacy and Beauty of the Italian way, the Graces and Gayety of the French, composes the Music, as he hath done for the Prophetess, and the last Opera called King Arthur, which hath been plaid several times the last Month [presumably December 1691]

Event Comment: Benefit Wrexham, Secretary, and Pit-Office-Keeper. Mainpiece: Written by the late Mr Congreve

Event Comment: Benefit Turbutt, Jones. At the Desire of several Persons of Quality. Mainpiece: Written by the late Mr Congreve. Tickets delivered out by Mr Mechlin cannot be admitted this Night. [Tickets for Cross and Mrs Elmy taken this night.]

Event Comment: Benefit Delamayne and Davenport. Mainpiece: Written by the late Mr Wycherley

Event Comment: Afterpiece: The Musick composed by Storace. Powell: Englishman in Paris rehearsed at 10; Children in the Wood at 11 (Master Welsh absent; rehearsal dismissed); Love a-la-Mode at 12 (Suett and Miss Heard, one scene). Receipts: #416 3s. (343/7/6; 61/19/0; 10/7/6; tickets not come in: 0/9/0)

Event Comment: As it was alter'd from Shakespear by Sir William D'Avenant and Mr Dryden. With all the Songs, Dances, and other Decorations proper to the Play. At Common Prices

Event Comment: A New English Opera. [Text by Thomas Lediard.] Set to Musick after the Italian Manner by Mr John Frederick Lampe. The Scenes and Cloaths are entirely New. With the Representation of a Transparent Theatre. Curiously Illuminated, and adorn'd with a great Number of Emblems, Mottos, Devices, and Inscriptions; and embellish'd with Machines, in a Manner entirely new. N.B. The Illuminations and other Preparations for this Opera are such, that no Person whatever can be admitted to the Stage. Pit and Boxes put together at 6s. Gallery 3s. 6 p.m. [For a discussion of Lediard and this work, see a series of articles by Ifan Kyrle Fletcher, Sybil Rosenfeld, and Richard Southern in Theatre Notebook, II (1948), 42-54.

Event Comment: Benefit Miss Holliday. By Command of His Royal Highness [who was present]. Mainpiece: Written by Mr Wycherley. Afterpiece: Taken from Moliere

Event Comment: Benefit Michael Lally. By Command of Her Royal Highness the Princess Amelia. Tickets to be had at Mr Lally's House in Southampton-Row, Bloomsbury. Two Rows of the Pit will be laid into the Boxes

Event Comment: At the particular Desire of several Ladies of Quality. Benefit Mrs Hervey and Miss Pattison. Written by Mr Farquhar

Event Comment: Benefit Miss Cibber and her sister, daughters of Mr Cibber by the late Mrs Jane Cibber. Mainpiece: At the Particular desire of several Persons of Quality. Tickets to be had of Bradshaw, &c., and of Miss Cibber and her Sister, at Mrs Brett's (their Aunt)in Berwick St., near Soho. Tickets deliver'd out by Mrs Boultby will be taken. Receipts: #78

Event Comment: Benefit Verhuyck, Naylor, Duck, Banks (Pit and Gallery Doorkeepers). Tickets deliver'd out by Mlle Fabres. Miss Dodson, Miss Short, and Mr. Bowcher will be taken

Event Comment: Benefit Mrs Walter and Miss Bennett. Tickets to be had of Mrs Walter at the Three Queens in New-Street, Covent Garden, and places for the boxes of Mr Hobson at the stage door of the theatre. Tickets of Miss Bennett opposite Salisbury St., Strand. Tickets deliver'd out by Rector and Mlle Gondou will be taken

Event Comment: Tragedy never acted. By James Thomson. Characters New Dress'd. But as it is rather more fashionable to run mad about Mr Thomsons's play, I will change my theme and talk to you of Tancred. I want much to know how you like it, at this distance I would lay any wager you do not like it so well as your sister does, who certainly cannot be your sister and not have been to see it long ago. Everybody agrees that no play was ever so much improved in acting, at least since the Booths and Bettertons. That first scene expecially, where Siffredi discovers to Tancred who he is, pleased me almost beyond anything I ever saw, indeed even before I saw it, that scene was my favourite. But what do you think of the story, and what of the style?-A Series of Letters between Mrs Elizabeth Carter and Miss Catherine Talbot, I, 60 (dated strangely 2 March). [On 26 April, the Daily Post published a letter by Bellario on Tancred and Sigismunda, discussing the kind of support it received]: A very remarkable new Lord of the Treasury was proud of appearing its Foster Father, and attended at the public rehearsals; the first night of the performance this celebrated person and his friends in the Box with him (all very lately most flaming Patriots) were seen clapping their hands at the following remarkable speech: First of You All...To Quit Mistakes. [The letter also discussed political aspects of the play, then the poetry of the lines. The author heard that three hundred lines were cut out after the first performance, and was of opinion that double that amount would have been beneficial.

Event Comment: Benefit Vaughan and Evans [Box-Keepers]. Their profits from this night unspecified. Charges #70. Each was paid #10 in full for attendance on Boxes this season. Rec'd of Baron Schutz by Mr Lawrence for the King's Account #70

Event Comment: Mainpiece: A Dramatic Masque reviv'd. With proper Decorations, particularly a Grand Scene of Comus's Palace. The Music composed by Mr Arne. Receipts: #90 (Cross)

Event Comment: Afterpiece: Not acted in 10 years. With Proper Decorations. [See 28 May 1742.] Paid Tallow Chandler #19 6s. 5d.; Paid Mr Beard on order of Lacy #10 10s.; Paid to Supers for practice of Rehearsal 4s. (Treasurer's Book). Receipts: #100 (Cross); #105 (Treasurer's Book)