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: [Authorship uncertain. According to the dedicatory essay in 1705 edition it was left unfinished by Mountfort?," but the Diverting Post, 28 Oct., states that it was written by Mrs Mary Pix. This is probably the premiere. It was acted four times before 18 Nov., but on which evenings is unknown.

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 the Preface states:...the many inconveniences this hasty Peice has been expos'd to, as the Season of the being [sic] so near Christmas. [The Preface also refers to several scenes omitted in the action and expresses gratitude to Mountfort who wrote one scene of the fifth act.] This play was entered in the Term Catalogues, Feb. 1690@1

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: The United Company. On this evening William Mountfort, the actor, was killed by Lord Mohun and Captain Hill, but the name of the play given that night seems not to have been mentioned in the testimony at the trial. In a novel based on the event, The Player's Tragedy; or, Fatal Love (1693), Mrs Bracegirdle acted the Wife of Essex in The Unhappy Favourite, and the fiction may have been based on fact. Luttrell, A Brief Relation, II, 637, 10 Dec. 1692: Last night lord Mohun, captain Hill of collonel Earles regiment, and others, pursued Mountfort the actor from the playhouse to his lodgings in Norfolk Street, where one kist him while Hill run him thro' the belly: they ran away, but his lordship was this morning seized and committed to prison. Mountfort died of nis wounds this afternoon. The quarrell was about Bracegirdle the actresse, whom they would have trapan'd away, but Mountfort prevented it, wherefore they murthered him thus. [See also HMC, 14th Report, Appendix, Portland MSS., III, 509; The Ladies Lamentation for their Adonis, 16@2, a poem on Mountfort's death; The Player's Tragedy; or, Fatal Love, 1693, a fictional treatment of the affair; and, particularly, Borgman, The Life and Death of William Mountfort, pp. 123-69. See also Cibber, Apology, I, 108, for an account of Betterton's taking the role of Alexander after Mountfort's death.

Event Comment: Rich's Company. There is no certainty as to the date of the first performance, and the play has been sometimes assigned to mid-summer 1697 because the Preface refers to a summer production and the play was printed in 1697. Nevertheless, the presence of Verbruggen in the cast suggests that the summer of 1696 is more likely, as Verbruggen left Drury Lane on 1 Jan. 1696@7 and thereafter appeared at Lincoln's Inn Fields. Preface, Edition of 1697: Amongst a number of New Plays that of late have crowded the Stage.... As it is, it may bear up in the Winter, notwithstanding the little Encouragement it met with at its first Appearance from a thin Town, and the Scarcity of Money. A Comparison Between the Two Stages (1702): Sullen: Unhappy Kindness, the same Author's [as of Mock Marriage], but very word stole. Ramble: The success? Sullen: Damn'd

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: 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: Rich's Company. The date of the premiere is not known, but Cibber (see below) states that it was acted in January; the Dedication was signed 7 Feb. 1695@6, and the play was advertised in the London Gazette, No 3157, 10-13 Feb. 1695@6. Two songs were published separately: Go home, unhappy wench, set by Francks and sung by Mrs Cross and the Boy (in Thesaurus Musicus, The Fifth Book, 1696) and What an ungratefull devil moves you, set by Daniel Purcell (in Deliciae Musicae, The First Book of the Second Volume, 1696). A separately-printed sheet of the second song states that it was sung by "The Boy", Cibber, Apology, I, 212-14: The next Year I produc'd the Comedy of Love's last Shift; yet the Difficulty of getting it to the Stage was not easily surmounted; for, at that time, as little was expected from me, as an Author, as had been from my Pretensions to be an Actor. However, Mr Southern, the Author of Oroonoko, having had the Patience to hear me read it to him, happened to like it so well that he immediately recommended it to the Patentees, and it was accordingly acted in January 1695 [i.e., 1695@6]. In this Play I gave myself the Part of Sir Novelty, which was thought a good Portrait of the Foppery then in fashion. Here, too, Mr Southern, though he had approv'd my approv'd my Play, came into the common Diffidence of me as an Actor: For, when on the first Day of it I was standing, myself, to prompt the Prologue, he took me by the Hand and said, Young Man! I pronounce they Play a good one; I will answer for its Success, if thou dost not spoil it by thy own Action....I succeeded so well in both, that People seem'd at a loss which they should give the Preference to. A Comparison Between the Two Stages (1702), p. 16: Ramble: Ay, marry, that Play was the Philosopher's Stone; I think it did wonders. Sullen: It did so, and very deservedly; there being few Comedies that came up to 't for purity of Plot, Manners and Moral: It's often acted now a daies, and by the help of the Author's own good action, it pleases to this Day

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, 9-12 May 1696, suggests that it was first acted not later than April 1696. It may, however, have been first performed sometime earlier, for two songs for it were set by Henry Purcell, who had died in November 1695. See Purcell's Works, Purcell Society, XXI (1917), vi-vii. A Comparison Between the Two Stages (1702), p. 18: Pausanias, or Lover of his Country, Damn'd, tho writ by a person of Quality, and protected by Southern. One song, My dearest, my fairest, is a dialogue between Mr Cooke and Mrs Hodgson

Event Comment: The United Company. The date of the first performance is not known, but it followed The Gordian Knot Unty'd, which is mentioned in the Prologue. Edward III was advertised in the London Gazette, No. 2629, 19-22 Jan. 1690@1, and entered in the Term Catalogues, February 1690@1. The authorship is uncertain. The title page bears no author's name, but the Dedication is signed by Will. Mountfort. In addition, on 10 Oct. 1691 Mountfort received a grant of #10 when Edward III was played before the Queen (L. C. 5@150, p. 306, in Nicoll, Restoration Drama, p. 357). On tne other hand, the Gentleman's Journal, October 1692, stated that it was written by the author of Henry the Second, which has been attributed to John Bancroft. See Nicoll, Restoration Drama, pp. 388-89, for a summation of the evidence on this problem. Alfred Harbage, Elizabethan-Restoration Palimpsest, Modern Language Review, XXXV (1940), 319, thinks that this is a revision of Robert Davenport's The Politic Queen

Event Comment: The United Company. The date of the premiere is not certain, but the fact that a song in the play, composed by Henry Purcell and sung by Mrs Hudson, is in the Gentleman's Journal, January@February 1693@4 (advertised in the London Gazette, No 2955, 5-8 Marcn 1693@4) suggests that the play had its premiere in February. The play was advertised in the London Gazette, No 2959, 19-22 March 1693@4. The music for additional songs was composed by Henry Purcell: The danger is over, sung by Mrs Hudson, is in Joyful Cuckoldom, ca. 1695; I sighed and owned my love, sung by Mrs Ayliff, is in Thesaurus Musicus, Book III, 1695. See also Purcell's Works, Purcell Society, XX (1916), i-iii. Two songs were composed by John Eccles: Still, I'm grieving, sung by Mrs Bracegirdle; and Give then royal maid your sorrows o're, sung by Mrs Cibber, are in Thesaurus Musicus, 1695. Gentleman's Journal, March 1694 (advertised in London Gazette, No 2964,5-9 April 1694): Mr Southern's new Play call'd The Fatal Marriage; or, The Innocent Adultery, has been so kindly receiv'd, that you are by this time no stranger to its merit. As the world has done it justice, and it is above my praise, I need not expatiate on that subject. [See also 22 March 1693@4.

Event Comment: Betterton's Company. The date of the first performance is not known, but the Prologue refers to The World in the Moon, suggesting a premiere during (or shortly after) the run of that opera. Since The Innocent Mistress was advertised in the Post Boy, 29-31 July 1697, this fact points also to a late June premiere. A song, When I languished and wished, set by John Eccles and sung by Mrs Hodgson, is in Wit and Mirth, Second Edition, 1707. Gildon, English Dramatick Poets, p. iii: This is a diverting Play, and met with good Success, tho' acted in the hot Season of the Year. A Comparison Between the Two Stages (1702), p. 20: Tho' the Title calls this Innocent, yet it deserves to be Damn'd for its Obscenity

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: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the London Gazette, No. 3140, 12-16 Dec. 1695, to be published 17 Dec. 1695, suggests that its first appearance was not later than November 1695. According to the Edition of 1695, the music was set by the late Henry Purcell, Courteville, Samuel? Aykerod, and other composers. For Purcell's music, see Purcell's Works, Purcell Society, XVI (1906), xxix-xxxi. The songs were sung by Miss Cross and Mrs Verbruggen. Preface, Edition of 1696: I must inform the Reader, that this Third Part before it came upon the Stage was acknowledg'd and believ'd by all that saw it, and were concern'd (as well those that heard it read, as those that were Actors, who certainly, every one must own, are in their Affairs skilful enough to know the value of things of this Nature) to be much the best of all the Three Parts;...tho prepar'd by my indefatigable Diligence, Care, Pains, nay, the variety which I thought could not possibly miss the expected Success, yet by some Accidents happening in the Presentment, was disliked and explored; The Songish part which I used to succeed so well in, by the indifferent performance the first day, and the hurrying it on so soon, being streightned in time through ill management--(tho extreamly well set to Musick, and I'm sure the just Critick will say not ill Writ) yet being imperfectly performed, was consequently not pleasing; and the Dances too, for want of some good Performers, also disliked; all which, tho impossible for me to avoid, and not reasonably to be attributed any way to a fault in me, yet the noisy Party endeavour'd to use me as ill as if it were, till the generous Opposition of my Friends gave me as much reason to thank them for their Justice, as to despise the others Malice.... As to the Poppet Shew in the Fourth Act, the Accident of its being plac'd so far from the Audience, which hindred them from hearing what either they or the Prolocutor said, was the main and only reason of its diverting no better. A Comparison Between the Two Stages (1702) p. 17: Sullen: The third Part of Don Quixote. Ramble: Oh the ever-running Streams of Helicon! by all that's Poetical, my Friend Durfey; good lack! I thought I shou'd meet with him before we got half way: Well, in the name of Impudence, what luck? Sullen: Damn'd, Damn'd to all intents and purposes. Ramble: His first and second Part did well