Event Comment: Last Night of the Company's performing this Season. Account-Book: Tickets delivered by Mrs Shotter, Wyatt, Waller, Gawdrey, Ratchford, the Band, Coombes, Page, Wilkins, Robson (door-keeper), Warwhick, Dosel, Paskin, Wells, Ansell, King will be admitted. Receipts: #467 13s. 6d. (67.10.0; 3.14.0; tickets: 396.9.6)

Event Comment: Mainpiece [1st time; T 5, by William Henry Ireland; incidental music by William Linley. Prologue by Sir James Bland Burges; Epilogue by Robert Merry (see text)]: With new Scenes, Dresses & Decorations. The Scenes designed and excuted by Greenwood and Capon. The Dresses by Johnston, Gay & Miss Rein. Printed slip attached to Kemble playbill: A malevolent and impotent attack on the Shakspeare MSS. [i.e. those forged by W. H. Ireland, of which this play was one] having appeared, on the Eve of representation of Vortigern, evidently intended to injure the interest of the Proprietor of the MSS., Mr Samuel? Ireland [W. H. Ireland's father] feels it impossible, within the short space of time that intervenes between the publishing and the representation, to produce an answer to the most illiberal and unfounded assertions in Mr Malone's enquiry [i.e. Edmond Malone, An Inquiry into the Authenticity of certain Papers attributed to Shakspeare, Queen Elizabeth, and Henry, Earl of Southampton, 1796]. He is therefore induced to request that Vortigern may be heard With that Candour that has ever distinguished a British Audience. The Play is now at the Press, and will in a very few days be laid before the Public. [But it was not issued until 1799 (see below). See also Bernard Grebanier, The Great Shakespeare Forgery, London, 1966.] 4 Apr., states that the first three acts were listened to with patience, but beginning with the fourth act the play was damned, when "one tremendous yell of indignation from the pit burst simultaneously." "At four o'clock the doors of the theatre were besieged; and, a few minutes after they were opened, the pit was crowded solely with gentlemen. Before six not a place was to be found in the boxes, and the passages were filled...The audience betrayed symptoms of impatience early in the representation; but, finding its taste insulted by bloated terms, which heightened the general insipidity, its reason puzzled by discordant images, false ornaments, and abortive efforts to elevate and astonish, pronounced its sentence of condemnation at the conclusion of the play" (Gentleman's Magazine, Apr. 1795, pp. 346-47). "Irelands play of Vortigern I went to. Prologue spoken at 35 minutes past 6 [see 29 Mar.]: Play over at 10. A strong party was evidently made to support it, which clapped without opposition frequently through near 3 acts, when some ridiculous passages caused a laugh, mixed with groans-Kemble requested the audience t o hear the play out abt. the end of 4th act and prevailed.-The Epilogue was spoken by Mrs Jordan who skipped over some lines which claimed the play as Shakespeares. Barrymore attempted to give the Play out for Monday next but was hooted off the stage. Kemble then came on, & after some time, was permitted to say that "School for Scandal would be given," which the House approved by clapping. Sturt of Dorsetshire was in a Stage Box drunk, & exposed himself indecently to support the Play, and when one of the stage attendants attempted to take up the green cloth [i.e. a carpet which, by custom, was laid on the stage during the concluding scene of a tragedy], Sturt seized him roughly by the head. He was slightly pelted with oranges" (Joseph Farington, Diary, 1922, I, 145). Account-Book, 4 Apr.: Paid Ireland his share for the 1st Night of Vortigern #102 13s. 3d. Morning Chronicle, 29 Mar. 1799: This Day is published Vortigern and Henry the Second (4s.). Receipts: #555 6s. 6d. (528.6.0; 26.9.6; 0.11.0)

Event Comment: [as Miss Mahon Mrs Second has sung in the cg oratorios in 1789 and 1790.] Receipts: #189 5s. (187.5.6; 1.19.6)

Event Comment: Mainpiece: Not acted these 4 years. [In mainpiece the playbill assigns Acasto to Murray, but "An apology was made for Murray, who was prevented by illness from playing Acasto, which, at a short notice, was taken by Hull" (True Briton, 14 Oct.).] "This whole of [Mrs Spencer's] performance was marked by such unaffected simplicity that it was almost impossible to consider it as the mere fiction of the scene. This lady is really a great aquisition to the house" (True Briton, ibid). Receipts: #254 6s. 6d. (244.18.6; 9.8.0)

Event Comment: By Authority of the Lord Chamberlain. Benefit for Lacy, formerly of the Theatre Royal, Drury-Lane. Tickets to be had of Fosbrook, at the Box Office of the Drury Lane Theatre, and Rice, at the Box Office of the Theatre-Royal, Haymarket, where Places for the Boxes may be taken. [Address by John Taylor (Monthly Mirror, Dec. 1798, p. 370). On this night the following appeared both at dl and at the hay: Hollingsworth, Caulfield, Bannister Jun., Suett, Miss Pope, Mrs Bland.

Event Comment: By Permission of the Lord Chamberlain. Benefit for an Infant Orphan Family. Tickets to be had at No. 17, Tufton-street, Westminster; of Appleby, Hosier, Parliament-street; Mrs Cleaver, Cannon-row, Parliament-street; Newcomb, Confectioner, Bridge-street, Westminster; Taylor, Linen-draper, Whitehall; Thomas, Butcher, Charing-cross; Medhurst, Pastry Cook, Russel-court, Drury-lane; Rice, at the Theatre, where Places for the Boxes may be taken

Event Comment: [Extra night] Benefit for the General Lying-In Hospital, Bayswater, Under the Patronage of Her Majesty. Tickets to be had at the Hospital; of Longman and Wilkinson, Cheapside; Broderip andCo., Haymarket; and of Brandon at the Theatre, where Places for the Boxes may be taken. Many of the Re-Renters have generously relinquished their Privilege upon this Night. [Faulkner had acted at dl on 21 Dec. 1796, and Mrs Johnstone at cg on 4 Jan. 1798.] Receipts: none listed

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, 25-27 Aug. 1696, suggests that it was first acted not later than July 1696 and possibly in June 1696. In the edition of 1696 are two dialogues, set by Clarke, the words by Haynes, and sung by Bowen and Mrs Cross. A Comparison Between the Two Stages (1702), p. 18: Cornish Comedy: No matter whose, 'twas Damn'd

Event Comment: Rich's Company. The evidence for this date as the premiere of The Relapse is Jennens' report on 19 Nov. 1696 that Drury Lane expected to produce a new play on this date, coupled with the fact that Lady Morley saw this play on 25 Nov. 1696. The play was advertised in the Post Boy, 26-29 Dec. 1696. Preface, Edition of 1697: One word more about the Bawdy, and I have done. I own the first Night this thing was acted, some indecencies had like to have happen'd, but 'twas not my Fault. The fine Gentleman of the Play, drinking his Mistress's Health in Nants Brandy, from six in the Morning, to the time he wadled upon the Stage in the Evening, had toasted himself up, to such a pitch of Vigor, I confess I once gave Amanda for gone, and am since (with all due Respect to Mrs Rogers) very sorry she scap'd; for I am confident a certain Lady (let no one take it to herself that is handsome) who highly blames the Play, for the barenness of the conclusion, wou'd then have allowed it, a very natural Close. Gildon, English Dramatick Poets, p. 145: This Play was received with mighty applause. Cibber, Apology, I, 216: This Play (the Relapse) from its new and easy Turn of Wit, had great Success, and gave me, as a Comedian, a second Flight of Reputation along with it

Event Comment: The King's Company. This performance is on the L. C. list, 5@12, p. 17: King here. See also Nicoll, Restoration Drama, p. 344. See Noyes, Ben Jonson on the English Stage, p. 307, for a letter to Lady Sunderland on this performance, and, p. 308, for an anecdote from The Life of the Late Famous Comedian, Jo. Haynes, concerning Haynes and Hart in a scene. For another allusion to the action, see Henri Ferneron, Louise de Keroualle, Duchess of Portsmouth (London, 1807), p. 179n. Pepys, Diary: 15 Jan. 1668@9: It is about my Lady Harvy's being offended at Doll Common's [Mrs Corey's] acting of Sempronia, to imitate her; for which she got my Lord Chamberlain, her kinsman, to imprison Doll: when my Lady Castlemayne made the King to release her. Mrs John Evelyn to Mr Terryll, 10 Feb. 1668@9: There has not been any new lately revived and reformed, as Catiline, well set out with clothes and scenes (Diary and Correspondence of John Evelyn, ed. William Bray, IV, 14). See also 7 and 11 Dec. 1667

Event Comment: The United Company. The date of the first performance is not known; It is one of several plays which may have been acted in or near December, for three were entered in the Term Catalogues at approximately the same time. Of the three, The Mistakes was given first near Christmas 1690; the other two may have come earlier in the month. A song, When Sylvia was kind, the music composed by John Eccles, is in Joyful Cuckoldom, ca. 1695. In the text of the play is a song, Corinna in the bloom of youth, sung by Mrs Botoler

Event Comment: Rich's Company. The date of the first production is not certain, but tradition states that Dryden died on the third day (1 May 1700); if this report is correct, the first performance occurred on 29 April 1700. In A Collection of New Songs...Compos'd by Mr Daniel Purcel, Perform'd in the Revis'd Comedy call'd the Pilgrim (1700) is a song, Chronos, Chronos, mend thy pace, with Janus sung by Freeman, Momus by Pate, Diana by Mrs Erwin. Gottfried Finger apparently composed the passage sung by Venus, Calms appear when storms are past. William Egerton, Faithful Memoirs of...Mrs Anne Oldfield (1731): The Pilgrim was indeed reviv'd for the Benefit of Mr Dryden, Ann. 1700, but he dying on third Night of its Representation, his Son attended the Run of it, and the Advantages accrued to his Family. Cibber, Apology, I, 269-70: This Epilogue, and the Prologue the same Play [The Pilgrim], written by Dryden, I spoke myself, which not being usually done by the same Person, I have a mind, while I think of it, to let you know on what Occasion they both fell to my Share....Sir John Vanbrugh, who had given some light touches of his Pen to the Pilgrim to assist the Benefit Day of Dryden, had the Disposal of the Parts, and I being then as an Actor in some Favour with him, he read the Play first with me alone, and was pleased to offer me my Choice of what I might like best for myself in it. But as the chief Characters were not (according to my Taste) the most shining, it was no great Self-denial in me that I desir'd he would first take care of those who were more difficult to be pleased; I therefore only chose for myself two short incidental Parts, that of the stuttering Cook and the mad Englishman....Sir John, upon my being contented with so little a Share in the Entertainment, gave me the Epilogue to make up my Mess; which being written so much above the Strain of common Authors, I confess I was not a little pleased with. And Dryden, upon his hearing me repeat it to him, made a farther Compliment of trusting me with the Prologue. Cibber, Apology, I, 305-6: In theYear 1699, Mrs Oldfield was first taken into the House, where she remain'd about a Twelve-month almost a Mute and unheeded, 'till Sir John Vanbrugh, who first recommended her, gave her the Part of Alinda in the Pilgrim revis'd. This gentle Character happily became that want of Confidence which is inseparable from young Beginners, who, without it, seldom arrive to any Excellence: Notwithstanding, I own I was then so far deceiv'd in my Opinion of her, that I thought she had little more than her Person that appear'd necessary to the forming a good Actress; for she set out with so extraordinary a Diffidence, that it kept her too despondingly down to a formal, plain (not to say) flat manner of speaking. Nor could the silver Tone of her Voice 'till after some time incline my Ear to any Hope in he favour. A Comparison Between the Two Stages (1702), p. 27: [After Drury Lane and Lincoln's Inn Fields had revived Shakespeare and Johnson] Nay then, says the whole party at D. Lane, faith we'll e'en put the Pilgrim upon him--ay faith, so we will, says Dryden, and if youll let my Son have the Profits of the Third Night, I'll give you a Secular Mask: Done, says the House, and so the Bargain was struck

Event Comment: Benefit for Wilson. Afterpiece [1st time; M. ENT 3]: The Dialogue and part of the Songs written by Richard? Wilson. The Overture, new Music and accompaniments composed by Reeve. The Songs, Duets, Glees compiled from Arnold, Rogers, Giordani, Shield, Hook, Dibdin, W. Wilson, Stevens, Broderip and David Rizzio. [Larpent MS 908; not published. Prologue probably by Richard Wilson. Epilogue by Joseph Haynes.] Public Advertiser, 14 May: Tickets to be had of Wilson. No. 10, Bow-street, Covent Garden. Receipts: #354 14s. 6d. (165.17.6; 5.4.0; tickets: 183.13.0)

Event Comment: The United Company. The date of this revival is not precisely known but that it occurred in mid-March is indicated by Luttrell's date of 21 March 1683@4 on his copy of the separately-printed Prologue and Epilogue (Bindley Collection, William Andrews Clark@Jr@Library). It should be noted, however, that Friday 21 March is a Friday in Lent, a day on which the companies sometimes did not act. The Prologue and Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 202-6. When this play was advertised to be acted on 8 Nov. 1704, the bill bore the heading: "Not Acted these 20 Years." Langbaine (English Dramatic Poets, p. 37): This Play was reviv'd by the Players, since the Union of the Two Houses, and reprinted in quarto Lond. 1684 with a new Prologue and Epilogue, the former written by Jo. Haynes the Comedian

Event Comment: The United Company. The date of the first performance is not precisely known, but a broadside copy of the Epilogue, in the Bodleian Library, has a licensing date of 20 Aug. 1685, a MS date of 24 Aug. 1685. The play was licensed on 11 Sept. 1685. These dates suggest a premiere in mid-to late-August 1685. For Anne Bracegirdle as Clita and speaker of the Epilogue, see Lucyle Hook, Anne Bracegirdle's First Appearance, Theatre Notebook, XIII (1959), 135. The Prologue and Epilogue, separately printed, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 239-41. The broadside Prologue has a more detailed heading than that in the edition of 1686: Prologue To A Commonwealth of Women, Spoke by Mr Haynes, Habited like a Whig, Captain of the Scyth-men in the West, a Scythe in his Hand. Two songs, set by Samuel Ackroyde, are in The Theater of Musick, The Third Book, 1686

Event Comment: Mainpiece [1st time; CO 3, by James Cobb. Text: T. N. Longman and O. Rees, 1800. Miss Waters is identified in the Songs]: The Scenes, Music, Machinery, Dresses, and Decorations are all entirely new. The Music composed by Mazzinghi and Reeve. The Scenery painted by Richards, Phillips, Lupino, Hollogan, Backmore, &c. [based on drawings of Indian scenery by Thomas Daniell]. The Machinery and Decorations by Cresswell, Sloper, Goostree, &c. The Dresses by Dick and Mrs Egan. Books of the Songs, also describing the Scenes and Spectacle of the Return from the Tiger Hunt, to be had at the Theatre, price six pence. "The whole [forms] an exhibition of the utmost grandeur...The expense attending the decoration must have been immense...The dailogue is certainly not of the first description of writing, but it forms, on the whole, a very safe vehicle for some of the best music the English stage has for some time been able to boast"(Morning Herald, 13 Nov.). Account-Book, 27 Dec.: Paid Cuthbert for Wheels, &c. for the Elephants #13 18s. Receipts: #364 7s. 6d. (363.19.6; 0.8.0)

Event Comment: Mainpiece: 32nd Night [i.e. in continuation, erroneously, of the reckoning for the preceding season, when it was acted 28 times]. With new Music, Scenes, Dresses, and Decorations. The Music (with a few Exceptions) composed entirely new by Shield. And new Scenery designed and chiefly executed by Richards. Books of the Songs to be had at the Theatre. "Covent-garden is the National Theatre. I was there on 10th Dec. and saw an opera called The Woodman. It was the very day on which the life story of Madam Billington, both from the good as well as from the bad sides was announced [i.e. Memoirs of Mrs Billington, and An Answer to the Memoirs of Mrs Billington, both anonymous, both predated 1792]...She sang rather timidly this evening, but very well all the same. The first tenor [Incledon] has a good voice and quite a good style, but he uses the falsetto to excess. He sang a trill on high C and ran up to G. The 2nd tenor [Johnstone] tries to imitate him, but could not make the change from the falsetto to the natural voice, and apart from that is most unmusical...But the cast is entirely used to him. The leader is Herr Baumgartner [sic], a German who, however, has almost forgotten his mother-tongue. The Theatre is very dark and dirty, and is almost as large as the Vienna Court Theatre. The common people in the galleries of all the theatres are very impertinent; they set the fashion with all their unrestrained impetuosity, and whether something is repeated or not is determined by their yells. The parterre and all the boxes sometimes have to applaud a great deal to have something good repeated. That was just what happened this evening, with the Duet in the 3rd Act, which was very beautiful; and the pro's and contra's went on for nearly a quarter of an hour, till finally the parterre and the boxes won, and they repeated the Duet. Both the performers stood on the stage quite terrified, first retiring, then again coming forward. The orchestra is sleepy" (Haydn, 273-74). Receipts: #194 11s. (191.8; 3.3)

Event Comment: Afterpiece [1st time; P 2, by Thomas John Dibdin; pantomime by Charles Farley]: With new Scenery, Machinery, Tricks, Dresses, and Decorations. The Overture, Airs and Chorusses by Attwood. The Pantomime Music by Attwood, Mountain, and Ealy [recte Eley]. The Scenery by Phillips, Lupino, Hollogan, Blackmore, Thorne, Wilkins, &c. The Machinery and Tricks by Cresswell, Sloper and Goostree. The Dresses by Dick and Mrs Egan. Books of the Songs to be had at the Theatre. Receipts: #364 (353.12; 10.8)

Event Comment: [Mainpiece in place of The Merry Wives of Windsor, advertised on playbill of 10 Feb.] Afterpiece [1st time; BALL. P 1 (?), by John Cartwright Cross. Airs (T. Woodfall, 1798)]: The Scenery, Machinery, Dresses and Decorations entirely new. The Music by Reeve. The Scenery painted by Richards, Phillips, Lupino, Hollogan, and Blackmore. The Machinery by Cresswell, Sloper, Goostree, &c. The Dresses by Dick, Mrs Egan, &c. Receipts: #294 0s. 6d. (270.16.6; 23.4.0)

Event Comment: [Miss Arne, who is identified by MS annotation on Kemble playbill, had previously appeared as a chorus singer; see 27 Oct. 1794. In mainpiece the playbill assigns Mrs Peachum to Mrs Hopkins, Suky Tawdry to Mrs Maddocks, Mrs Coaxer to Miss Stageldoir, but "Mrs Hopkins being ill, Mrs Maddocks play'd Mrs Peachum; Mrs Hedges Suky Tawdry for Mrs Maddocks; Miss Stageldoir Ill, Mrs Jones play'd Mrs Coaxer. [In afterpiece] Jones Ill, Lyons Snuffle; Evans 4th Mob for Lyons [both these characters omitted from playbill]" (Powell).] Powell: Mayor of Garratt rehearsed at 12; New Ballet at 12. Receipts: #174 10s. (121.14; 51.2; 1.14)

Event Comment: Mainpiece [1st time; C 4, by George Colman elder. Prologue by the author (Morning Chronicle, 13 Oct.). Scenery by Rooker (ibid. 1 Sept.). Larpent MS 490; not published; synopsis of plot in London Magazine, Sept. 1779, pp. 405-7]. "The first three acts want business, and the denouement is rather suddenly brought about...The greatness of the task of performing a character of which Mrs Abington had been announced as the intended representative seemed to inspire [Miss Farren] with additional zeal, and helped her to gain additional credit" (Morning Chronicle, 1 Sept.)

Event Comment: Afterpiece [1st time; P 2 (?), by John Cartwright Cross]: With new Music, Scenery, Machinery, Dresses, &c. The Overture and new Music by Reeve. The Scenery painted by Richards, Phillips, Lupino, Hollogan, and Blackmore. The Machinery by Cresswell, Sloper, Goostree, &c. The Dresses by Dick, Mrs Egan, &c. Receipts: #314 15s. (303.1; 11.14)

Event Comment: Mainpiece [1st time; C 5, by Hannah Cowley.] Miss Younge had a song [Wake, thou son of dullness] composed by Michael Arne. Authors of Prologue and Epilogue unknown]: New Scenes and Dresses. Account-Book, 16 June: Paid Mrs Cowley for suspending the publication of the Belle's Stratagem #100. Public Advertiser, 1 Apr. 1782: In a few Days will be published The Belle's Stratagem. A spurious Copy having been published in Ireland [in 1781] make[s] it necessary to observe that the above is the genuine Comedy, as performed at Covent Garden Theatre. Ibid., 9 Apr. 1782: This Day is published The Belle's Stratagem (1s. 6d.). Receipts: #213 19s. (212.15.6; 1.3.6)

Event Comment: Mainpiece [1st time; C 5, by John Philip Kemble]: Taken from [The Rover, by] Mrs Behn, with considerable Alterations. With new Dresses and Decorations. Receipts: #165 14s. 6d. (133.8.0; 31.14.0; 0.12.6)

Event Comment: Mainpiece [1st time; MD 3, by Miles Peter Andrews and Frederick Reynolds. Prologue by Edward Topham; Epilogue by Miles Peter Andrews (Crouch, II, 229)]: With new Scenes, Dresses and Decorations. The new Music composed, and the rest selected by Shield. Morning Chronicle, 25 Feb. 1795: This Day is published The Mysteries of the Castle (2s.). [Mrs Cornelys was from the Crow Street Theatre Dublin.] Receipts: #243 12s. (241.19; 1.13)