Event Comment: Never Acted before. [By William Duncombe.] 5s., 3s., 2s., 1s. Prompter, 18 Feb.: Accordingly, the Reception it met with, answer'd what the Author might have expected, if parental Fondness had not over-rated it in his Esteem.... The ill Success then this Play met with, gave me as much Satisfaction, as I had already conceived Indignation against the Poet, for having been so servile, as to stoop to translate a Frenchman's Plagiarism

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: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov

Event Comment: At the particular Desire of several Ladies of Quality. Written by Shakespear. Daily Journal, 28 Oct.: The same Night [Thursday 26] a Gentlewoman fancying she saw Smoke issue from under the Stage, as she sat in the Pit, during the Play Time,...and at the same time believing she smelt Fire, declared her Opinion so loud, and by her precipitate Endeavours to get out, gave such an Alarm all over the House, as was attended with the fatal Consequence of one Woman big with Child being press'd to Death, and several others Persons were very much bruised. [See also Daily Post, 27 Oct. A reward of #20 was offered by John Rich for the apprehension of the malicious ill designing Persons" who presumably occasioned the incident.-Daily Journal, 31 Oct.

Event Comment: The United Company. The date of this production is determined by a letter (see below). For a discussion of the origin and development of this play, see Hotson, Commonwealth and Restoration Stage, pp. 274-76. A song, Why shou'd the world mistake, the music composed by John Eccles and sung by Mrs Hudson, is in Thesaurus Musicus, 1695. An unidentified letter, 22 March 1693@4: We had another new play yesterday, called The Ambitious Slave, or a Generous Revenge. Elkanah Settle is the author of it, and the success is answerable to his reputation. I never saw a piece so wretched, nor worse contrived. He pretends 'tis a Persian story, but not one body in the whole audience could make any thing of it; 'tis a mere babel, and will sink for ever. The poor poet, seeing the house would not act it for him, and give him the benefit of the third day, made a present of it to the women in tie house, who act it, but without profit or incouragement (Edmond Malone, An Historical Account of the Stage in Plays and Poems of William Shakespeare [London, 1821], III, 163-64). Gentleman's Journal, March 1694: 'Tis not altogether strange for a Play to be less kindly receiv'd, immediately after one that has deservedly ingross'd all the Applause which the Town can well bestow in some time on new Dramatic Entertainments. Perhaps Mr Settle may partly impute to this, the want of success of a new Tragedy of his which was lately acted, 'tis called, The Ambitious Slave; or, The Generous Revenge. [This play followed Southerne's The Fatal Marriage.

Event Comment: The Duke's Company. The date of the premiere is not known. Pepys saw it on 6 March 1679@80, calling it a "New Play," and that may have been the first day. The Prologue alludes also to the Duke of York's triumphant return from Scotland on 24 Feb. 1679@80, and the play was entered in the Term Catalogues, May 1680. For Mrs Bracegirdle as the "little Girl," see Edmund Curll, History of the English Stage (1741), p. 26, and Lucyle Hook, Anne Bracegirdle's First Appearance, Theatre Notebook, XIII (1959), 134. For Betterton as Castalio and Mrs Barry as Monimia, probably as they performed in the next decade, see Cibber, Apology, ed. Lowe, I, 116, 160. Downes (Roscius Anglicanus, p. 37) gives the same cast except for omissions and except for Serina-Mrs Barry">Mrs Mountfort, who acted it later. Downes (pp. 37-38) adds: [Monimia, Belvidera in Venice Preserved, and Isabella in The Fatal Marriage] These three Parts, gain'd her the Name of Famous $Mrs Barry, both at court and City; for when ever She Acted any of these three Parts, she forc'd Tears from the Eyes of her Auditory, especially those who have any Sense of Pity for the Distress't. These 3 Plays, by their Excellent Performances, took above all the Modern Plays that succeeded. A song for this play, Come all the youths whose hearts have bled, the music by Forcer, is in Choice Ayres and Songs, The Third Book, 1681

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 359. See also Nicoll, Restoration Drama, p. 345. There is no certainty that this performance is the premiere, but an additional performance on 20 Nov. 1675 and the entry of the play into the Stationers' Register, 29 Nov. 1675, suggest that the first production probably occurred in early or mid-November 1675. Downes (Roscius Anglicanus, pp. 10-11), gives a cast which is identical except for omissions. For Kynaston's acting of Morat (especially in the later years of the century), see Cibber, Apology, ed. Lowe, I, 124-26

Event Comment: Yesterday Mr Rich paid into the Chamberlain's Office at Guildhall, the sum of #602 7s. to the Veteran's scheme, being the three night's receipts arising from the Beggar's Opera, performed at cg: And he thinks it incumbent on him in justice to the several persons interested in the Said theatre, to declare, that when the above scheme was by him proposed, they all most generously subscrib'd their demands for these three nights in order to enlarge the sums to be rais'd for the above purpose.-General Advertiser. [The Gentlemen's Magazine, Dec. 1745, states the idea of this gift was proposed by Mrs Cibber, and that the tallow chandlers also gave the candles.

Event Comment: Present Their Majesties, Prince of Wales and Prince Frederick. Gave Yeomen of the Guards #2 2s. Receipts: #234 15s. (Account Book)

Event Comment: HHandel to Jennens: I have taken the Opera House in the Hay-marketh, engaged, as Singers, Signora Francesina, Miss Robinson, Beard, Reinhold, Mr Gates with his Boyes's and several of the best Chorus Singers from the Choirs, and I have some hopes that Mrs Cibber will sing for me. She sent word from Bath (where she is now) that she would perform for me next winter with great pleasure if it did not interfere with her playing, but I think I can obtain Mr Riches's permission (with whom she is engaged to play in Covent Garden House) since so obligingly he gave leave to Mr Beard and Mr Reinhold.--Deutsch Handel, pp. 591-92

Event Comment: Not acted in 30 years. Principal Characters new Dress'd. Written by Otway (General Advertiser). Mr Woodward did ye part of Malagene in which he took off Mr Foote & would have many of ye Actors but the Audience grew so outragious, that he was forc'd to desist ye 4th & 5th Acts were much hooted, Mr Havard in a part where he says Whir was severely treated, nor could he ever appear after in ye play, but the whole Audience echoed that Word--it was given out again, wch so enrag'd the Audience yt they call'd loudly for Garrick, but as he was not this Night at the House, they pull'd up the Benches, tore down ye King's Arms, & wou'd have done much more mischief had not Mr Lacy qone into the Pit, & talk'd to 'em, what they resented was giving out a piece again after they had damn'd it--the Gallery resented ye Guards being sent in--Mr Lacy was oblig'd to go upon the Stage after & tell 'em I had given out the play again, as ne'er a Manager was present to give other Directions--In his Argument Mr Lacy call'd a Witness in ye pit, saying that Gent: next to ye painter knows I was in ye pit when ye Guards went into the Gallery, so I cou'd not send 'em this painter after ye rout came behind the scenes & was angry for being call'd painter (his name was Hudson) but at length he as well as ye rest was pacified--and we gave out Provok'd Husband (Cross). [See Foote's retaliation in Daily Advertiser, 26 Jan.] Paid Capt. Turber 1!2 year's rent #11 3s. 4d. (Treasurer's Book). Receipts: #140 (Cross); #137 12s. (Treasurer's Book)

Event Comment: This Musical Farce of one Act was wrote by Mr G on purpose to introduce Miss Abrams (a Jew) about 17 Years old. She is very small, a Swarthy Complexion, has a very sweet Voice and a fine Shake, but not quite power enough yet-both the Piece and Young Lady were receiv'd with Great Applause (Hopkins Diary). Books of the Songs, Choruses etc. of Afterpiece to be had at the Theatre. The Conscious Lovers oblig'd to be deferred till Monday, with which will be performed the last new Grand Ballet, The Savage Hunters. [Advertisement to the published edition: "The author of this musical Farce, begs leave to inform the readers, if there should be any, that it was merely intended to introduce The Little Gipsy to the public, whose youth and total inexperience of the stage made it necessary to give as little dialogue to her character as possible, her success depending wholly upon her singing-This reason added to another, which is that the piece was produced at an early part of the season, when better writters are not willing to come forth, is the best apology the Author can make for its defects."] Paid 6 days salary list at #104 7s.-per diem, #626 2s.; Mr Lamash on note #5 5s. (Treasurer's Book). [The note on sale of books of the songs and choruses for the afterpiece occurs on all subsequent bills this season in which May Day is mentioned. The songs and chorusses and overture by Dr Arne. The afterpiece reviewed in Westminster Magazine for Nov.: The preparation is palatable, and the hand of the preparer is discoverable from the affinity between the scene of Roger and the Old Man, and that of whittle and Thomas in the Irish Widow....The Music of the overture and Finale were remarkably light and pretty: some of the airs also did Dr Arne credit. As to Miss Abrams, she has a sweet pipe, and a natural shake that charmed us;-If maturity does but strengthen her voice, at the same time that it gives her ease in deportment, she will prove an ornament to the stage."] Receipts: #205 3s. (Treasurer's Book)

Event Comment: Benefit for Mrs Abington. Pit and Boxes will be laid together. Ladies and Gentlemen are most earnestly requested to come early, to prevent Inconvenience in getting to their Places, and to send their Servants to keep them by Four o'clock. "At the close of the entertainment Mrs Abington came forward, and delivered a short poetical address to her fashionable auditory [written by Maurice Morgann (Monthly Mirror, Nov. 1797, p. 263)], apposite to her feelings on the present occasion" (Morning Herald, 11 Feb.). "The character [of Scrub] throughout was well conceived, and executed with a sprightliness and degree of humour that kept the house in a continual roar of laughter" (Public Advertiser, 11 Feb.) "Mrs Abington's voice was in its usual tone; her manners and deportment were inattentive and torpid, rather than active and interesting" (Morning Post, 11 Feb.). "With all her endeavours to give new points to the character, she entirely failed. Her appearance en culottes, so preposterously padded, exceeded nature. Her gestures to look comical could not get the least hold of the audience, though they had seen her before in men's clothes, when playing Portia in The Merchant of Venice, where her figure, dressed as a lawyer in his gown, gave effect to her excellent delivery on mercy, and the audience had been always delighted. But this leu de benefice, comparatively speaking, was disgusting and absurd as she dressed the character ... However, I have heard it originated in a bet she had previously made" (Henry Angelo, Reminiscenes, 11, 281-82). Receipts: #406 13s. 6d. (249/9/6; 1/9/0; tickets: 155/15/0) (charge: free)

Event Comment: For an account of the play, see John Wilson's The Cheats, ed. Milton C. Nahm (Oxford, 1935). It was licensed on 6 March (p. 124), acted, then forbade on 22 March in an order: Letter to Mr Tho. Killigrew: Signifying the Ks Pleasure that the New Play called the Cheates be no more represented till it be reuiewed by Sir Jo. Denham & Mr Waller. 22 March. 1662-3 (p. 130). Abraham Hill to John Brooke, 28 March 1663: P.S. The new play, called The Cheats, has been attempted on the Stage; but it is so scandalous, that it is forbidden (Familiar Letters of? Abraham Hill, [London, 1717], p. 103. Downes (Roscius Anglicanus, p. 16) concerning Lacy: @For his just Acting, all gave him due Praise,@His Part in the Cheats, Jony Thump, Teg and Bayes,@In these Four Excelling, The Court gave him the Bays.

Event Comment: Rich's Company. That this day was the premiere is implied by the Post Boy, 6-9 July 1700: This Day at the Theatre Royal in Drury-Lane, will be presented a New Comedy, never Acted before, called Courtship Alamode. Preface, Edition of 1700: This Play was so long expected e're it came into the World, that I'm oblig'd in Justice to my self, to excuse its appearance at at time when there were scarce Witnesses in Town of its Birth. It was enter'd in the other House [lif], where Mr Betterton did me all the Justice I cou'd indeed reasonably hope for. But that Example he gave, was not it seems to be follow'd by the whole Company, since 'tis known that Mr Bowman (I mention his Name to keep the reflection from other sharers) kept the first Character of my Play six weeks, and then cou'd hardly read six lines on't. How far that Way of management makes of late for the Interest and Honour of that House, is easie to be judg'd. Some who valu'd their reputations more, were indeed rarely or never absent. To these I gave my thanks; but finding that six or seven people cou'd not perform what was design'd for fifteen, I was oblig'd to remove it after so many sham Rehearsals, and in two days it got footing upon the other Stage [dl]. Where twas immediately cast to the best Advantage, and Plaid in less than twenty days. [In the Dedication Penkethman states that he saw the play into print after its being received well by the town.] A Comparison Between the Two Stages (1700), pp. 104-5: Ramble: Courtship Alamode, the Author, one Crawford, a Caledonian. Sullen: I remember it, and its Adventures; it was enter'd into the New-House, at the Recommendation of a certain Scotch Lord, and sojourning there six Months to no purpose, it travell'd afterwards to the Old-House, where it was with much ado Acted. Ramble: And Damn'd-there I was in with you

Event Comment: Benefit for Mrs Hamilton. Tickets to be had of her at her lodgings in Buckingham St., York Buildings

Event Comment: Betterton's Company. The date of the first production is not known, but the Songs were advertised in the Flying Post, 6-8 Dec. 1698, and the play in the London Gazette, 19-22 Dec. 1698; hence, the premiere was certainly not later than early December and was probably not later than November. In fact, on 5 Dec. 1698 Dr. William Aglionby wrote Matthew Prior, referring to Dennis, "a poor poet who has made us a fine entertainment of Rinaldo and Armida" (quoted in The Works of John Dennis, II, 489). In a dialogue written by John Oldmixon (Reflections on the Stage [London, 1699], p. 101) Savage, referring to Rinaldo and Armida, states: I have seen it 3 or 4 times already, but the Musick is so fine, and the Play pleases me so well, that I shall not think it a burthen [to see it again] (in The Works of John Dennis, I, 479). The Musical Entertainments in the Tragedy of Rinaldo and Armida (1699) is reprinted, with an introduction by Herbert Davis, in Theatre Miscellany (Luttrell Society Reprints, No 14, Oxford, 1953), pp. 103-15. One song, Ah queen, ah wretched queen, give o'er, sung by Gouge, is in Mercurius Musicus, 1699; and another, Jolly breeze that comes whistling, sung by Gouge, is in Twelve New Songs, 1699. A Comparison between the Two Stages (1702), p. 22: Critick: At last, (as you say) the old Stagers moulded a piece of Pastry work of their own, and made a kind of Lenten Feast with their Rinaldo and Armida; this surpriz'd not only Drury-lane, but indeed all the Town, no body ever dreaming of an Opera there; 'tis true they had heard of Homer's Illiads in a Nut-shel, and Jack in a Box, and what not?...Sullen: Well, with this Vagary they tug'd a while, and The Jolly-Jolly breeze-came whistling thro'-all the Town, and not a Fop but ran to see the Celebrated Virgin in a Machine; there she shin'd in a full Zodiack, the brightest Constellation there; 'twas a pleasant Reflection all this time to see her scituated among the Bulls, Capricorns, Sagittaries, and yet the Virgo still remain itacta....Critick: But this merry Time lasted not always; every thing has an end, and at length down goes Rinaldo's inchanted Mountain; it sunk as a Mole-hill seen on't: What a severity was this? that the Labour of such a gigantick Poet, nay Critick, shou'd give up the Ghost so soon: The renown'd Author thought himself immortal in that Work, and that the World was to last no longer than his Rinaldo; and tho' he stole every thing from the Italian, yet he said, what the Italian did was but Grub-street to his. See also 5 Jan. 1698@9 for a letter written by Mrs Barry, in part concerning Rinaldo and Armida

Event Comment: Paid Mr Dibdin's draft on Managers, #50; Mrs Weston 4 nights in the Garter in full, 10s. (Treasurer's Book). Mr Daigueville, First Dancer and Ballet Master at Drury Lane House, gives notice to the Nobility and Gentry, that he has an elegant dancing room, No. 38 Cow Lane, Snowhill; where he continues to teach every day the Dauphin's Minuet and others...Teaches abroad also when required; and at the request of his scholars, he will give a Ball on the 10th instant. The Gentlemen are desired to call at his house for the tickets 10s. 6d. each, to admit one Gentleman and a Lady. If any Gentleman wants the Ballroom for private assembly or concert they may have it for one or two nights in the week. Receipts: #159 6s. (Treasurer Book)

Event Comment: 2nd piece [1st time: C 5, by George Colman ynger. Prologue by the Hon Francis North (see text, which also gives the names of the speakers of both Prologue and Epilogue). Epilogue by the author (London Chronicle, 18 July)]. "The force and feeling which [Aickin] gave to the amiable character of Stedfast-a character, indeed, strongly resembling his own for many bearing, probity and truth-must, we are persuaded, [make] a strong, indelible impression on the minds of all as have had an opportunity of witnessing his performance of that part" (+Dramatic Censor, III, 3)

Event Comment: Benefit for Sparks. Receipts: #83 2s. 6d. plus Tickets #184 12s. (boxes 335; pit 551; gallery 182). Advanced Mrs Bellamy on her salary #105. Two new Renters came in at 1 share each: Sir Thomas Robinson and Robert Hassell (Account Book). Mr Smith takes this earliest opportunity to return thanks the Ladies and Gentlemen who honoured him with their presence at his Benefit on Tuesday Night, and is very sorry for any interruption that might happen in the performance. The indulgence of his friends that night far exceeded his most sanguine exceptations; otherwise he should have provided proper accomodations for them on the stage (Public Advertiser). [See Theatrical Review, 1757 and Beginning of 1758, for contemporary comment on mainpiece: "It is not paying it a very great, much less an underserved compliment to give it the preference over all the dramatic pieces that have been presented at either house these six or seven years...Tears were the first praises I gave it...no play except Lear ever make such a strong constant impression on my feelings."