Event Comment: Mainpiece: With new Dresses and Decorations. "[Miss Wallis] does not seem to have chosen any particular model to govern her acting, like most of the female candidates of late years, who have generally founded their manner upon the style of Mrs Siddons" (London Chronicle, 9 Oct.). Receipts: #228 1s. 6d. (224.5.0; 3.16.6)

Event Comment: Afterpiece [1st time; F 2, by Mary Robinson. Prologue and Epilogue by the author (London Chronicle, 1 Dec.). MS: Larpent 1046; not published]: With new Dresses, &c. "The dissatisfaction to the Piece being so great [Mrs Jordan] was so much agitated as to be unable to repeat above one half of the Epilogue, which, from the Opposition of Hisses and Applauses, not scarely three lines of that could be distinctly heard" (Powell). Powell: New Ballet rehearsed at 10; Nobody at 12. Receipts: #334 2s. 6d. (222.13.6; 107.10.6; 3.18.6)

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: Benefit for Mrs Kemble, being the last Time of her Appearing on the Stage. 1st piece [1st time; T 2, by John Philip Kemble, altered from the same by Philip Massinger. Larpent MS 1040: not published]: In Act I the Triumphal Entry of Domitian into the Capitolv. 2nd piece [1st time; C 3, by John Philip Kemble, altered from The Comical Lovers, by John Dryden and Colley Cibber. Larpent MS 1133: not published. Genest, VII, 243: C. Kemble on being asked, in 1821, if the above cast was right, said that he believed it was, but that he was ill and did not act]. [Address by Bertie Greatheed (European Magazine, June 1796, p. 397).] Morning Herald, 10 May: Tickets to be had of Mrs Kemble, No. 13, Caroline-street, Bedford-square. Account-Book: Paid H. S. Hargraves, Box No. 95, his Servant being turn'd out by Force, #1 4s. Receipts: #190 9s. 6d. (130.9.0; 59.10.0; 0.10.0; tickets: none listed; odd money: 0.0.6) (charge: #216 17s.)

Event Comment: Benefit for Burton, Miss Heard, Miss Tidswell, & Mrs Bramwell. [2nd piece: With alterations by John Philip Kemble.] 3rd piece: Not acted these 6 years. "Of [Wroughton's] comedy something favourably must be said. His personations are usually natural, easy, and spirited; he is perhaps too locomotive: he cannot bear to stand still...To this peculiar bustle of his motion may be attributed much of his success in Sir John Restless [in All in the Wrong]...For the same reason, no man can play Ford with half the effect Wroughton does" (Monthly Mirror, Mar. 1796, p. 304). Morning Herald, 30 May: Tickets to be had of Miss Heard, No. 43, Haymarket [others not listed]. Receipts: #337 6s. 6d. (30.13.0; 40.16.6; 3.4.6; tickets: 260.10.0; odd money: 2.2.6) (charge: #202 11s.)

Event Comment: Benefit for Mrs Siddons. 1st piece: Never acted in this Theatre. [Prologue by George Colman, elder. Monologue by Hester Lynch Piozzi (European Magazine, May 1797, p. 343).] True Briton, 12 Apr.: Tickets to be had of Mrs Siddons, No. 49, Great Marlborough-street. "The scenery destroyed much of the effect of the tragedy; for the characters are supposed to be 'steeped in poverty to the very lips;' and yet their apartments would have become a family in the meridian of wealth and prosperity. Mrs Siddons was also too well dressed for Mrs Wilmot" (Monthly Mirror, May 1797, p. 308). "In the scene in which [Mrs Siddons's] son having put into her hands a casket to keep, and she having touched a spring it opens and she sees jewels, her husband (Kemble) enters, and in despair exclaims, 'Where shall we get bread?' With her eyes fixed on the jewels, she runs to him, knocks the casket against her breast and exclaims, 'Here! Here!' In Mrs Siddons's tone and in her look there was an anticipation of the murder which was to take place" (Robinson, I, 39). Receipts: #618 2s. (386.8.6; 43.19.0; 2.4.0; tickets: 185.10.6) (charge: #211 1s.)

Event Comment: Benefit for Mrs Mountain. 2nd piece [1st time: CO 2, by James Hook Jun. Larpent MS 1172; not published]: With appropriate Scenery, Dresses, and Decorations. The Overture and Music by James Hook? Sen.. True Briton, 16 May: Tickets to be had of Mrs Mountain, No. 28, Maiden-lane, Covent-Garden. Receipts: #287 3s. (86.4.6; 14.6.0; tickets: 186.12.6)

Event Comment: Benefit for Mr and Mrs Follett. [Egerton was from the hay (see 23 Jan.).] 2nd piece: In one Act. 3rd piece: Two new Scenes, as 17 Apr.; Procession, as 26 May. Morning Herald. 5 June: Tickets to be had of Follett, No. 46, Drury-lane. Receipts: #360 18s. (116.13.6; 3.11.0; tickets: 240.13.6)

Event Comment: Benefit for Mrs Abington. 1st piece: By Permission of the Author. 2nd piece [1st time; C 1, attributed to Frances Abington. Larpent MS 1209; not published]: From La? Somnambule; or, Sleep Walker [by Antoine deFeriol, comte de Pont-de-Veyle]. Receipts: #303 12s. (176.1.6; 4.1.0; tickets: 123.9.6)

Event Comment: By Desire of his Excellency the Turkish Ambassador [see 9 May]. Benefit for Mrs Mountain. 1st piece: In Act II a Grand Procession representing the ceremonies attending the Sacrifice of an Indian Woman on the Funeral Pile of her deceased Husband. 2nd piece [1st time; CO 2, by Henry Heartwell]: The Overture and Music composed by Attwood. Monologue: The whole of the apparatus painted and designed by Cresswell. Morning Herald, 8 Oct. 1798: This Day is published Reformed in Time (1s.). Ibid, 16 May: Tickets to be had of Mrs Mountain, No. 28, Maiden-lane, Covent-garden. Receipts: #370 18s. (90.17; 4.3; tickets: 275.18)

Event Comment: [In mainpiece the playbill retains Mrs Pope, but she "was suddenly taken ill on Monday evening, in consequence of which the part of that interesting and favourite actress, in Reynolds's new comedy, was undertaken at a few minutes notice by Mrs Litchfield" (Morning Herald, 19 Dec.).] Receipts: #274 10s. 6d. (265.5.0; 9.5.6)

Event Comment: The Duke's Company. This performance is on the L. C. lists at Harvard. See VanLennep, "Plays on the English Stage", p. 16. Whether this is the premiere is not known. A song, Amintas that true-hearted swain, with music by John Bannister, is in Choice Ayres, Songs, and Dialogues, 2d. Ed., 1675. Downes, Roscius Anglicanus, p. 34: The Jealous Bridegroom, Wrote by Mrs Bhen, a good Play and lasted six Days; but this made its Exit too, to give Room for a greater. The Tempest. Note, In this Play, Mr Otway the Poet having an Inclination to turn Actor; Mrs Bhen gave him the King in the Play, for a Probation Part, but he being not us'd to the Stage; the full House put him to such a Sweat and Tremendous, Agony, being dash't, spoilt him for an Actor

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p. 359. See also Nicoll, Restoration Drama, p. 346. There is no certainty that this performance is the premiere, but as the play was licensed for printing on 9 Jan. 1676@7, this performance may well be the first one. Downes (Roscius Anglicanus, pp.9-10) lists the same cast except for the ommission of Letice. It is not certain which Mrs Knight played Letice. Possibly it was Frances Maria Knight (see Wilson, All the King's Ladies, where she is tentatively listed for that role), but the presence of Mrs Ursula Knight on an undated L. C. list, 3@24, with the date of her swearing into the company given as 12 March 1676@7, it is quite likely that she played this role. (I owe this reference to Ursula Knight to Professor John Harold Wilson.) John Dennis: And when upon the first representations of the Plain Dealer, the Town, as The Authour has often told me, appeard Doubtful what Judgment to Form of it; the foremention'd gentlemen [The Duke of Buckingham, Earl of Rochester, Earl of Dorset, Earl of Mulgrave, Savil, Buckly, Sir John Denham, Waller] by their loud aprobation of it, gave it both a sudden and a lasting reputation (Defense and Defects of Dramatick Poetry, 1725, in The Works of John Dennis, ed. Hooker, II, 277)

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@145, p. 120. See also Nicoll, Restoration Drama, p. 349. There is no certainty that this is the first performance, but a licensing date of 28 Jan. 1677@8 and Mrs Behn's statement in the Preface that she hurried the play into print suggest a premiere not far from this date. Edition of 1678: To the Reader: I Printed this Play with all the impatient haste one ought to do, who would be vindicated from the most unjust and silly aspersion, Woman could invent to cast on Woman; and which only my being a Woman has procured me, That it was Bawdy, the least and most Excusable fault in the Men Writers, to whose Plays they all crowd, as if they came to no other end then to hear what they condemn in this: but from a Woman it was unnaturall. One song, Sitting by yonder river side, with music by Thomas? Farmer, is in Choice Ayres and Songs, The Second Book, 1679

Event Comment: The Duke's Company. The date of the first production is not known, but as the play was licensed for printing on 27 March 1679, the premiere must have been no later than March 1679. It is possible that Midnight's Intrigue--see introductory note to the 1676-77 season-is an earlier version of this play. The Epilogue suggests that the players faced thin audiences during the spring and that Drury Lane had been closed for some time: So hard the Times are, and so thin the Town, @Though but one Playhouse, that must too lie down. It is possible that Mrs Behn's The Young King may have been acted at this time. See September 1679

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 United Company. The date of the first performance is not certain, but it lies between Saturday 9 and Saturday 16 April. Luttrell, A Brief Relation (II, 413) stated on 9 April that the Queen had prohibited its being acted; on 16 April (II, 422) he reports that it has been acted. Luttrell, A Brief Relation, II, 422, 16 April: Mr Dryden s play has been acted with applause, the reflecting passages upon this government being left out. The Gentleman's Journal, May 1692 (licensed 14 May): I told you in my last, that none could then tell when Mr Dryden's Cleomenes would appear; since that time, the Innocence and Merit of the Play have rais'd it several eminent Advocates, who have prevailed to have it Acted, and you need not doubt but it has been with great applause. Preface, Edition of 1692: Mrs Barry, always Excellent, has, in this tragedy, excell'd Herself, and gain'd a Reputation beyond any Woman whom I have ever seen on the Theatre. [See also Cibber, Apology, I, 160, for a discussion of Mrs Barry in Cleomenes.] A song, No, no, poor suffering heart no change endeavour, the music by Henry Purcell, is in Comes Amoris, The Fourth Book, 1693, and also, with the notice that it was sung by Mrs Butler, in Joyful Cuckoldom, ca. 1695. See also Purcell's Works, Purcell Society, XVI (1906), xviii-xix; Epistolary Essay to Mr Dryden upon his Cleomenes, in Gentleman's Journal, May 1692, pp. 17-21. When the play was revived at Drury Lane, 8 Aug. 1721, the bill bore the heading: Not Acted these Twenty-Five Years

Event Comment: The United Company. The date of the first performance is not known, but Dryden, on 12 Dec. 1693, reported that it had then been acted eight times. If these performances were consecutive, the premiere probably occurred in November; but the fact that the play was advertised in the London Gazette, 4-7 Dec. 1693, suggests tnat the premiere was near the end of October or early in November. Henry Purcell composed the overture and act tunes. See Purcell's Works, Purcell Society, XVI (1906), xxxi. Two of the songs whose music he composed are in Thesaurus Musicus, 1694: Cynthia frowns when e're I woo her, sung by Mrs Ayliff; and Ancient Phillis has young Graces, sung by Bowman. See also 12 Dec. 1693 and 22 March 1692@3

Event Comment: The United Company. The date of the first performance is not known, but according to the Gentleman's Journal, May 1694, it followed Have at All: the other call'd The married Beau, or the Curious Impertinent, by Mr Crown, already acted many times (p. 134). The manuscript of a song composed by John Eccles and sung by Doggett is in Bodleian, School of Music Collection, c. 95, f 102. One by Henry Purcell, See, where repenting Celia lyes, sung by Mrs Ayliff, is in Thesaurus Musicus, 1695. See also Purcell's Works, Purcell Society, XX (1916), xvii-xviii

Event Comment: Betterton's Company. The date of the first performance is not certain, but the fact that the play was advertised in the London Gazette, 6-11 May 1696, suggests that it was first acted not later than April 1696. A song, Come, Hodge, come, Robin, set by John Eccles and sung by Wiltshire and Mrs Hudson, was printed in Deliciae Musicae, The Second Book of the Second Volume, 1696. Dedication, Edition of 1696: Which I wrote three Years ago....nor the Displeasure of the Judicious, who I hope will not condemn this Play from the appearance it had upon the Stage, where it suffer'd in the Acting....Tho. Dogget. A Comparison Between the Two Stages (1702), pp. 16-17: Ramble: Oh that's Dogget's: The Players have all got the itching Leprosie of Scribling as Ben. Johnson calls it; twill in time descend to the Scene-keepers and Candle-snuffers: Come, what came on't? Sullen: Not then directly Damn'd, because he had a part in't himself, but it's now dead and buried

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 27-30 June 1696, suggests that it was first acted not later than early June 1696 and probably not later than late May 1696. A dialogue, Fly, fly from my sight, between a Eunuch Boyr and a Virgin, set by Daniel Purcell and sung by Bowen and Mrs Cross, is in Deliciae Musicae, The Second Book of the Second Volume, 1696. This was also printed separately, without a date, by Thomas Cross, with the statement that the dialogue was written by Thomas D'Urfey. Gildon, English Dramatick Poets, ca. 1698, p. 111: For the Distress of Morena never fail'd to bring Tears into the Eyes of the Audience

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 7-9 July 1696, suggests that it was first presented not later than June 1696. The cast also has a large number of relatively new players, suggesting a performance in the early summer, when the young actors had more opportunities to act. Several Songs, with the names of the singers, were published separately: Hark you, madam, can't I move you, set by John Eccles, and sung by Bowman and Mrs Bracegirdle; Shou'd I not lead a happy life, set by John Eccles and sung by Reading and M. Lee; From Aberdeen to Edinburgh, set by Ackeroyd and sung by Mrs Hudson; all in Deliciae Musicae, The Second Book of the Second Volume, 1696. Preface, Edition of 1696: I am almost asham'd to mention the extraordinary Success of a Play which I myself must condemn....Let me leave this ungrateful Subject to acknowledge my obligations to Mr John Eccles, who not only set my three Dialogues to most charming Notes, but honour'd the Words to Admiration. Downes, Roscius Anglicanus, p. 44: Love's a Jest, a Comedy, done by Mr Mateox; succeeded well, being well Acted, and got the Company Reputation and Money

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the Dedication of the play is dated 15 Jan. 1696@7 suggests that it was probably first acted not later than December 1696. The play was advertised in the Post Man, 21-23 Jan. 1696@7. The music was set by John Eccles. Dedication, Edition of 1697: I make you a Present of a Play, that miscarri'd on the first Nights Performance; tho' afterwards, without any farther Discouragement, it kept it self alive till the third day was over, and then I must confess the City Lady expir'd....This I am confident on, that the like Unfortunate Accidents which attended this Comedy, wou'd have been sufficient to have Dam'd a much better Play. The tedious waiting to have the Curtain drawn, after the Prologue was spoke, occasion'd by Mr Underhill's violent Bleeding, put the Audience out of Humour, and made it susceptible of the least Disgust; and when once the Torrent of its Displeasure break bounds, nothing cou'd put a stop to his Vehemence. After Mr Underhill was no longer able to come upon the Stage, scarce any thing was done but by Halves, and in much Confusion; in the midst of which, I think my self oblig'd to applaud the Justice I receiv'd from the Incomparable Mrs Barry. I very well know that the Ode in the third Act seems to be introduc'd something unseasonably. It was made and set long since, in hopes of having it perform'd before the King, at his return from Flanders; and the Music being so finely compos'd by Mr John Eccles, I was loath it shou'd be wholly lost to the Town. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Betterton's Company. The date of the first performance is not certain, but the evidence points to this day as a strong Possibility. Downes, Roscius Anglicanus (p. 44) states that it was given thirteen days consecutively, and John Coke (see 16 March 1696@7) states that it was acted "till Saturday" (16 March 1696@7). If the tragedy was acted on Wednesdays but not Fridays, as was often the practice in Lent, and if the farce alluded to for Saturday, 16 March 1696@7, comprised the entire program, this day was probably the premiere. The following sequence of performances is based on these premises. Downes, Roscius Anglicanus, p. 44: The Mourning Bride...had such Success, that it continu'd Acting Uninterrupted 13 Days together. Gildon, English Dramatick Poets, p. 23: This Play had the greatest Success, not only of all Mr Congreve's, but indeed of all the Plays that ever I can remember on the English Stage, excepting some of the incomparable Otway's. Aston, A Brief Supplement (in Cibber, Apology, II, 302): His [Betterton's] Favourite, Mrs Barry, claims the next in Estimation. They were both never better pleas'd, than in Playing together.--Mrs Barry outshin'd Mrs Bracegirdle in the Character of Zara in the Mourning Bride, altho' Mr Congreve design'd Almeria for that Favour

Event Comment: Benefit of a Young Orphan-Child of the late Mr Verbruggen and Mrs Verbruggen