Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and two in the Box at Constant Couple. See Hotson, Commonwealth and Restoration Stage, p. 378. There is no certainty that this is the first performance, but the fact that the play was advertised in the Post Man, 7-9 Dec. 1699, suggests that the first production may have occurred in mid-November. The Prologue also refers to the abandonment of Dorset Garden to "That strong Dog Sampson" (see 15 and 25 Nov. 1699). A song, Thus Damon knock'd at Celia's door, set by Daniel Purcell, was published separately about this time. Preface, Edition of 1700: All will join with me in Commendation of the Actors, and allow, without detracting from the Merit of others, that the Theatre Royal affords an excellent and compleat Set of Comedians. Mr Wilks's Performance has set him so far above Competition in the Part of Wildair, that none can pretend to envy the Praise due to his Merit. Preface to The Inconstant (1702): I remember, that about two Years ago, I had a Gentleman from France [The Constant Couple] that brought the Play-house some fifty Audiences in five months. A Comparison between the Two Stages (1702), p. 32: Critick: But above all, commend me to the ingenious Author of the Trip to the Jubilee. Ramble: Oh Lord, Sir! you won't quarrel with that Play; never any thing did such wonders. Critick: Oh 'twas admirable! admirable! I wonder the Town did not just then bespeak the Bays for him. Sullen: Nay, for ought you and I know, he may live to enjoy 'em; I assure you all the run of the Town is on his side. The Owl was never more esteem'd at Athens than the Trip to the Jubilee was here. Critick: Indeed I have known a Footman have a great stroak with his Lord at begging a Favour; if all the Footmen in Town that admire him were to club for his Preferment, I don't know what might be done. Ramble: The Footmen? Ay, and the middle Gallery too, I assure you are of his side, and that's a strong Party. Critick: Why, I believe it, 'tis about the pitch of their Understanding; but if ever it diverted one Man of tolerable Sense I'll be hang'd. Sullen: I don't know who are your People of tolerable Sense, Mr Critick, but at the play I have seen the Pit, Box and Stage so crowded--and if that is not a sign

Event Comment: N.B. That the Ladies and Gentlemen may not be detained at the Theatre while Tickets are given them, they are desir'd to send for them to Mr Arne's House in Craven Buildings near Drury Lane, Number 17, or to Mr Bradshaw, Box-Keeper, at the Kings Arms in Great Russel St., where tickets may be had, and places taken. Boxes 6s. Pit 4s. First Gallery 2s. 6d. Upper Gallery 1s. 6d. Ladies are desir'd to send their servants to keep places by Four o'clock. NB: Mr Arne humbly hopes the Town will not be offended at this small advance of Prices, being at an extraordinary expence for copying all the Music, building the stage, additional instrumental performers, chorus singers, and erecting an Organ. [The attendance apparently was heavy. See note to repeated performance on 19 March.] Mainpiece: Written by Dryden and set to Music by Handel

Event Comment: MMrs Cibber continuing ill, Miss Bellamy from Covent Garden Did Sigismunda for Mr Berry (Cross). Benefit for Berry. Tickets at Mr Pope's, Peruke Maker, in Russel St., Covent Garden, and at stage Door. Part of pit laid into Boxes. N.B. As Mrs Cibber's illness prevents her from performing the part of Sigismunda for Mr Berry's Benefit, he apply'd to Mr Rich, who very readily consented to let Mrs Bellamy play that part for him, which she as obligingly comply'd with. Receipts: #210 (Cross)

Event Comment: Paid Tallow Chandler's 4th Bill #41 6s. 5d.; Spermacetti Candles, #132 18s. Mr Tomlinson for Men's cloaths #11 11s.; Mr J. French on acct #20; Miss Hopkins, 15 nights (19th Dec. incl.) #3 15s. (Treasurer's Book). [The sixth edition of Wm. Law's Absolute Unlawfulness of Stage Representations was published this year (1st. edn. 1726) This day was published the Preliminary Number of the Westminster Magazine, which, monthly, included a section called The English Theatre, which observed generally on the state of the Stage, and commented specifically on new plays. Its view of the stage in general was not as sanguine as had been that of the writer for the Town and Country Magazine (1 April 1772). "We are of opinion, that the English Theatre is now in its decline. Whether it is that the stores of Dramatic Subjects or of Dramatic Genius are exhausted, is not immediately obvious; but there is a fault somewhere....We have seen the Morning star of Wit--the Noon too is past; we have now arriv'd at its evening...There is in Arts, as in Empires, a progress which leads to Refinement; and this refinement leads to Ruin." According to the writer the meridian glory of the English stage was during the reign of Queen Anne. Reviewer damns the Irish Widow, refuses to discuss the Gamesters (revived), damns the Rose and praises the Garrick alteration of Hamlet. This year also appeard Granny's Prediction, a 53-page pamphlet attack on Mrs Barry, condemning her on moral grounds (polygamy) and on aesthetic grounds, commenting on each of her characters. By a spiteful female relative Elizabeth Franchetti.] Receipts: #142 10s. (Treasurer's Book)

Event Comment: Margaretta 1st time by Mrs Robinson not perfect. very B. & Disconcerted Mr G. very much (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording.] Receipts: #239 17s. (Treasurer's Book)

Event Comment: Benefit for Miss Younge. Last time of performing till Easter. Mainpiece: Not acted these 5 years. [See 9 Nov. 1768.] Afterpiece: Never acted here (playbill). Part of pit laid into boxes. Ladies and Gentlemen requested to come early. Rec'd stopages #2 12s. 6d.; short charge for new farce on 8 March #10 10s.; Paid 4 days salary list #348 14s. 8d.; Mr King's extra salary #2; Mr S. Barry on note #100; Mr Cook's 4 boys 4 nights (the 7th incl.) #6 Mr J. French on acct #10 10s. (Treasurer's Book). Receipts: #282 19s. 6d. Charges #64 17s. Profit to Miss Younge: #218 2s. 6d. (Treasurer's Book)

Event Comment: [Puff for the afterpiece]: As this Pastoral was not originally designed for the theatre, it is thought proper to give the public some account of it, and by what means it has now found its way to the stage. The Chorusses and Airs were selected from Mr Handel, and several other eminent masters, by a gentleman whose taste and knowledge in music is perhaps his least merit. Having conceived the design of a musical entertainment of this miscellaneous nature he found himself oblig'd...to connect them [the airs] by a Recitative of his own composition: This naturally produced a kind of a little drama, and the ease and elegance of the whole is the more to be admired when it is considered that the words were of necessity composed in perfect subservience to the music. The piece has been several times performed at Salisbury and greatly admired by many of the first Rank. The author, upon Mr Norris being engaged at the theatre, was applied to for leave to bring it on the stage, to which he has most obligingly given his consent. [Cast given] After an agreeable Overture, the curtain rises and discovers a rural scene, and a troop of nymphs and shepherds assembled to celebrate the Spring. Their rejoicings open with a grand cheerful chorus. We cannot say enough of the taste and execution of Mr Vernon and Miss Young in this scene. The united sprightliness and simplicity of the duet was truly admirable. [Song given, followed by a brief description of the parting of the shepherds, the announcement of Peace so they won't have to part, and special commendation for the various songs of Mr Vincent, and Mr Norris.] We will venture to prophesy that it will be more and more admired at every representation; though perhaps it may not fall in with the Taste of the Groundlings, who, like Polonius, are for a Jig or a Tale of Bawdry, or they sleep (Public Advertiser)

Event Comment: Benefit for King. [This was Smith's last appearance on the stage, from which he had officially retired on 9 June 1788.] Broadside in Kemble playbills announcing this benefit: Mr King most respectfully informs the Public that his Night is fixed for Friday the 18th of May, when will be presented The School for Scandal. Mr King has the pleasure to add that Mr Smith, who was so long and so worthily applauded by the Public, and was the original performer of Charles Surface in the above, distinguished Comedy, at the particular request of Mr King, backed by a strong assurance from many admirers and encouragers of the Drama that it will not only add to Mr King's emolument but highly gratify the Town, has kindly consented to return to the Theatre for one night, and resume his favourite Character. "We had been told that Smith pourtrayed the Manners of a finished gentleman with more delicacy and characteristic propriety than any actor of his day; but this did not appear to us to be his particular excellence; he stands too wide to be graceful, and his deportment gains no advantage from a perpetual application of his hand to the lower part of the waist. These habits are far from elegant. His Charles, however, is a favourable specimen of that sort of acting which commonly falls under the denomination of the old school: light, airy, and natural; which excites applause without any anxious endeavour to produce it; which suffers the points to tell of themselves, and does not place them as so many traps to ensnare the injudicious part of the audience" (Monthly Mirror, May 1798, p. 299). "He was received with the most heart-felt gratulations by an audience who did not expect any apology for such acting, though he saw fit to deliver one at the conclusion of the play" (Monthly Visitor, May 1798, p. 72). Times, 4 May: Tickets to be had of King at his house, New Store-street, Bedford-square. Receipts: #674 6s. (388.0.6; 55.17.6; 2.0.0); tickets: 228.8.0) (charge: #212 5s. 6d.)

Event Comment: Rich's Company. The date of the first performance is not known, for the play was apparently not printed until 1704. Nevertheless, some details indicate a performance early in the early in the season of 1696-97. In the first place, the presence of Verbruggen in the cast indicates that it must have been acted before 1 Jan. 1696@7, when Verbruggen was permitted to act at Lincoln's Inn Fields. The play also parodies the works of Mrs Manley, whose The Royal Mischief had been staged (probably) in April 1696, and it is likely that the company would emphasize the pertinence of the parody by presenting it soon after the appearance of the original. Although The Female Wits may not have been acted until later in the autumn, it seems likely that it was acted first in the late summer or early autumn. Preface, Edition of 1704: [The] Success of this Play has been such...having been Acted six Days running without intermission....Among the rest, Mr Powel and his Wife excell'd in the Characters they represented, as did Mrs Verbruggen, who play'd the Chief Character....The Lady whose Play is rehears'd, personated one Mrs M-ly [Manley]

Event Comment: Afterpiece: A New Dramatic Masque. Admission 5s., 3s., 2s., 1s. No Money under the full Price will be taken; and the Advance Money will he returned to those who chuse to go out before the Overture to the Entertainment begins. Edition of 1736: Invented by Mr Pritchard. Musick composed by Mr Arne. Scenes painted by Mr Hayman

Event Comment: The United Company. The date of the first production is not known, but Part II seems to have followed rather closely upon Part I. The Gentleman's Journal, June 1694 (which apparently appeared in mid-June) states: The first Part of Mr Durfey's Don Quixote was so well received, that we have had a second Part of that Comical History acted lately, which doubtless must be thought as entertaining as the first; since in this hot season it could bring such a numerous audience (p. 170). The Songs were advertised in the London Gazette, 5 July 1694, and Part II advertised in the same periodical 19-23 July 1694. The songs as listed in the separately printed Songs are as follows: Genius of England, the music by Henry Purcell, sung by Freeman and Mrs Cibber. I burn, I burn, the music by John Eccles, sung by Mrs Bracegirdle. Since times are so bad, the music by Henry Purcell, sung by Reading and Mrs Ayliff. Damon, let a friend, the music by Pack, sung by Mrs Hudson. Ye nymphs and sylvan gods, the music by John Eccles sung by Mrs Ayliff. If you will love me, composer and singer not named. In addition, Thesaurus Musicus, 1695, published Lads and lasses, blithe and gay, the music by Henry Purcell, sung by Mrs Hudson. Purcell also wrote the music for other songs for which the singer is not known. Preface, edition of 1694: The good success, which both the Parts of Don Quixote have had, either from their Natural Merit, or the Indulgence of my Friends, or both, ought sufficiently to satisfie me, that I have no reason to value tne little Malice of some weak Heads, that make it their business to be simply Criticizing....I think I have given some additional Diversion in the Continuance of the character of Marcella, which is wholly new in this Part, and my own Invention, the design finishing with more pleasure to the Audience by punishing that coy Creature by an extravagant Passion here, that was so inexorable and cruel in the first Part, and ending with a Song so incomparably well sung, and acted by Mrs Bracegirdle, that the most envious do allow, as well as the most ingenious affirm, that 'tis the best of that kind ever done before....I deserve some acknowledgment for drawing that Character of Mary the Buxom, which was intirely my own,...by making the Character humorous, and the extraordinary well acting of Mrs Verbruggen, it is by the best Judges allowed a Masterpiece of humour

Event Comment: [Benefit on one-half value of tickets basis to nine ticket holders. The General Advertiser notice lists beneficiaries as Harrington (Prompter); Stede, Carr, Mrs Bland, Mrs Rowley.] Tickets deliver'd by Mrs Daniel, Mrs Dumont, &c will be taken. /For Box Pit Gallery Value Half-Value/Harrington 7 29 22 #8 6s. #4 3s./Stede 7 52 59 #15 9s. #7 14s. 6d./Carr 6 53 46 #14 1s. #7 0s. 6d./Mrs Rowley 27 77 44 #22 14s. #11 7s./Mrs Dumont 36 31 32 #16 17s. #8 8s. 6d./Mrs Bland 9 56 91 #19 15s. #9 17s. 6d./Mrs Dupre 5 33 42 #10 8s. #5 4s./Mrs Daniel .. 45 109 #17 13s. #8 16s. 6d./Mrs Hitchcock 34 58 31 #20 6s. ........./Totals 131 434 476 #145 9s. #62 11s. 6d./ [Mrs Hitchcock seems to have received the full value of her tickets.] This Day is Publish'd A Treatis on the Passions so far as they regard the stage, with a critical inquiry into the Theatrical Merit of Mr G k, Mr Q n, and Mr B y, the first considered in the part of Lear, the last two oppos'd in Othello. By S. Foote, Esq

Event Comment: Play never acted before. [This new tragedy by MacNamara Morgan is mercilessly scourged by Paul Hiffernan in Tuner No 1, (21 Jan.), pp. 41-61]: To Tune it in Lilliputian Score : @Such sighing@Such Billing@Such Flashing@Such Heeling@And Dying@And Killing@And Dashing@And Kneeling@Such Rizing@Surprizing!@Such Falling@And Bawling@Such Attitudes@And Flattitudes@Were ne'er exhibited before.@ In the representation Mr Barry spared no pains; Miss Nossiter and Mr Smith strained hard-Mrs Bland, as far as her part exposed itself, did it with alacrity, but vanished abruptly in a storm of Lust. Mrs Vincent put as good a face on wanton barbarity as possible-and Mr Sparks who can do justice to a more spirited character, supported his Arcadian Kingship with becoming equanimity...It is a Romance crush'd together without choice, unconnected and full of Exidents not Incidents. Musidorus and Pamela , are duplicates to Pyrocles and Philoclea , which lengthen by so much the play, with repetition of the same dull nauseous tale of love, stirr'd up now and then by a bounce and a cracker-many persons come on we know not why, and disappear we know not wherefore....This new piece is an outlaw from all rules of Criticism; the Unities of Time, Place, and Action are unobserv'd; Plot, Moral, Verisimilitude, or even Probability unknown: many scenes bid defiance to possibility....Mr Rich stopp'd at no expence as to the Dresses and Decorations, and reprieving the play's duration to the utmost extent of Managerian clemency

Event Comment: Afterpiece [1st time; c 3, altered from the same, probably by the author, Richard Bentley]: Written in the manner of the Italian Comedy. With new Scenes and Dresses. [Author of Prologue unknown.] "It was originally produced at Drury Lane in the summer of 1761 [27 July] . . . and has now been new dished up, and seasoned to the day" (European Magazine, ibid). J. P. Collier states that "it is not a revival of the former piece" (MacMillan, Larpent Catalogue, p. 98). It was not, strictly speaking, a "revival", but, rather, a revision, as a collation of Larpent MS 586 (the present version, which is unpublished) with MS 199 (Bentley's 1761 version) makes clear. In 1761 Bentley introduced "the speaking Harlequin after the manner of the Italians . . . Mr Harris some years after gave it a second chance on the stage" (Cumberland, Memoirs, I, 212-14). Receipts: #215 19s. (213/5/6; 2/13/6)

Event Comment: The United Company. The date of the premiere is not known, but the Gentleman's Journal, January 1691@2, suggests that it was first given in December 1691, although the tendency of this journal to be dated one month and appear in the next month makes the interpretation of its information difficult: We have had a new Comedy this last Month, call'd The Wives Execuse; or Cuckolds make themselves: It was written by Mr Southern, who made that call'd Sir Anthony Love, which you and all the Town lik'd so well. I will send you The Wives Excuse, as soon as it comes out in Print, which will be very speedily: And tho' the Town hath not been so kind to this last, as to the former, I do not doubt but you will own that it will bear a Reading; which some that meet with a better Fate too often do not; some that must be granted to be good Judges commend the Purity of its Language (pp. 51-52). Henry Purcell composed the music for this work. One song, Corinna I excuse thy face, the words (according to the Edition of 1692) by Tho. Cheek, the music by Henry Purcell, but without the singer's name, is in The Banquet of Musick, The Sixth and Last Book, 1692 (licensed 17 Feb. 1691@2). Say, cruel Amoret, sung by Mountfort; Hang this whining way, sung by Mrs Butler; and Ingrateful lover, the words by Major General Sackville, are in Joyful Cuckoldom, ca. 1695. See also Purcell, Works, Purcell Society, XXI (1917), xxvi-xxix