Event Comment: Benefit for ye Middlesex Hospital. Part of Pit laid into Boxes. Tickets to be had at Mr John Horne's, Treasurer of the Hospital, in Market St., near Newport Market; At Tom's Coffee House, Cornhill; The White Hart Tavern, Holborn; The Bedford Coffee House, Covent Garden; Berkeley Square Coffee House; at the Hospital, and of Varney at the Theatre, where places may be taken. Receipts: #280 (Cross)

Event Comment: Benefit for a Widow Gentlewoman and her Children, who have suffered the loss by Two Ships, to the amount of #2000. Urged at the Desire of several Persons of Quality. Tickets to be had at Mr Harper's at the Corner of Avemary Lane; Mount's Coffee-House, Grosvenor St.; Smyrna Coffee-House, Pall Mall; Sam's Coffee-House in Change Alley, Cornhill; and of Sarjant at the Stage Door, where Places for the Boxes may be taken

Event Comment: Receipts: #115 3s. [The Weekly Magazine; or, Gentleman and Lady's Polite Companion (1760), pp. 61-63, deplores the lack of new plays and lack of competition for the Patent houses. "Our theatres seem now to aim at glorious opposition: Harlequin is set against Harlequin, one dancing master opposes another; the scene shifters, the singers, and even the drummers figure at each house by turns, and it is to be hoped soon that the mere actor will become useless....The Fair has scarce even pantomime probability...for instance Harlequin should never exercise his magical power without reason, and should never make escapes without being pursued, but here he conjures, leaps, runs and waggles without any apparent design; and the whole seems destitute of plot, a if contrived by a dancing master. Harlequin's Invasion at the other House is still rather more absurd." The author expected a speaking Harlequin, Pantaloon, Pierot, Mezzetin, &c. but found the customary figures banished for the substitution of a "stupid Taylor and his more stupid wife." Regrets the sinking of stage performance to such absurdity.

Event Comment: The Twenty-Third Day. Daily Advertiser, 18 Aug.: Last Saturday John Sterne was committed to Newgate by Justice Welch, for the Murder of Mr Matthews, an eminent Surgeon in Brook St., Holborn. [Sterne had been an usher in Mathews' Academy, was discharged, but Matthews let Sterne live in Matthews' house for a long time, then expelled him and put his belongings on the stairs. On Friday 15 Aug. Sterne got two pistols and came back to Owen's Coffee House. Here] he waited three Hours for Mr Matthews, who was gone with a Friend to the little Theatre in the Haymarket and afterwards into Company at the Pewter Platter, a publick house in Cross St. [There Sterne shot Matthews.

Event Comment: By His Majesty's Company. At the Theatre Royal in the Haymarket [repeated in all bills] will be performed, by particular Desire, a Comedy...Places to be taken of Mr Jewel, at the Theatre. 7 p.m. [Repeated in the bills.] The house has been altered, as there was formerly but one gallery. [Miss Ogilvie was the young gentlewoman.] Went at 5:30 (before ye doors were open) to Foote's new Theatre in ye Haymarket which was open for ye first time tonight, and is very neatly fitted up. Got a good place in ye Pit...a very humorous Prologue in Prose by J. Palmer as Snarl a writer of Political Letters for the newspapers. Weston as Laconic a newspaper poet--Foote as Manager and Scaffold ye Builder (ye real one of ye house as some said)...in Smirk (Foote) took off Langford to a hair, not forgetting his son's affair with Dr Chauncey. Shift and ye Epilogue as Dr Squintum by Bannister, who took off Holland, Dodd, Moody, and Champneys surprisingly well...The house pretty full. York there awhile (Neville MS Diary)

Event Comment: Last time of performing both pieces this season. Zenobia deferr'd. Hopkins MS Memorandum Book: waited on Mrs Dancer & told her the Managers gave their compliments to Mr Barry and her & as their going to Ireland would be of such advantage to 'em, they would not hinder 'em, & they had their permission to go the 15th. The only reason they wish'd they would have stay'd a few days longer, was to have kept up the reputation of Zenobia, as the play had got a reputation. They were sorry it had not been played oftener. Mrs Dancer's answer was: Their compliments to the Managers, that it was now too late, & that Mr Barry has wrote word they should not go to Ireland as the Managers seem'd against it & that Mr Barry & She was ready to do anything the Managers desir'd, as long as the House was open. I ask'd, if they stay'd, if she thought Mr Barry would be able to play in Zenobia the Thursday following, & if it would be agreeable to her do play Mrs Sullen [Stratagem] the next week. Her answer was she would play that or anything else the Managers pleas'd & that she was going to Mr Barry the next morning & that she would send word if he thought he should be able to play in Zenobia on Thursday next. When I left her the Maid follow'd me into the street & told me Mrs Dancer meant by saying as long as the House was open was--as long as the usual time of keeping the House open

Event Comment: Both pieces By Command of their Majesties. Present their Majesties. Gave Yeomen of Guards #2 2s. Paid Mr Burton for playing in the Pippin and Sorcerer last season #20. Paid half year's Land Tax for theatre due Mich. last #39 7s. 6d., and ditto for House in Bow Passage #1 8s. 2d.; Paid Window lights for theatre half year #6 10s. 6d., and ditto for House in Bow Passage 15s. Receipts: #224 18s. 6d. (Account Book)

Event Comment: The People flock'd about the doors by Two o'clock. there never was a greater Overflow-Mr G. was never happier in Lear -the Applause was beyond description 3 or 4 loud Claps Succeeding one another at all his exits and many Cry'd out Garrick for Ever &c., &c. House (Hopkins Diary). [Kemble's note differs slightly.] Paid Mr Short, Chorus Singer #1 10s. (Treasurer's Book). Hannah More wrote to Mrs Gwatkin: The eagerness of the people to see Garrick is beyond anything you can have an idea of. You will see half a dozen duchesses and countesses a night in the upper boxes: for the fear of not seeing him at all, has humbled those who used to go, not for the purpose of seeing but being seen; and they now courtsy to the ground for the worst places in the house" (Hampden, Journal). [Letter to David Garrick, Esq on his appearance in Lear last night 13 May: The correspondent who signs himself Stock Fish and who claims to have been one of the survivors of the Black Hole of Calcutta, and who took a young lady from the country to see Garrick's last performance, blames him for endangering the lives of his majesties subjects for not providing proper bars, lanes, and queue lines to handle the crowds: "I went with intention to get into the Pit as the most eligible Part of the House (for your Boxes are always engag'd) and we got to the Door in Vinegaryard about five o'clock. Here the Passage to the first Door was too full for me to entertain any Hopes of getting in that Way, we therefore made for Catharine-street but the Multitudes of People waiting for the Opening of the Gallery-doors, rendered it impossible for us to get along through the Court; we therefore made a Circuit, and at length arrived opposite the Door in Catharine-street, where it was with Difficulty we could keep our Stands on a Foot Pavement....You will be absolutely inexcusable, if after this Warning you neglect to adopt some Method for the Security of the Lives of his Majesties Subjects on similar Occasions.--What think you of the following Scheme, viz. To keep the outer Doors next the Street shut, till the inner ones are opened ; and then, by a Proper bar, to prevent more than one at a Time entering, who shall there pay Entrance-money, and receive the Tickets of Admission through the inner Doors' (Public Advertiser 18 May).] Receipts: #308 1s. (Treasurer's Book)

Event Comment: Benefit for Kemble [who had 1st acted Macbeth at Hull, 30 Oct. 1778]. Public Advertiser, 17 Mar.: Tickets to be had of Kemble, No. 2, Leicester Court, Castle-street, Leicester Fields. [In mainpiece the playbill retains R. Palmer as Malcolm, but "Preceding the play there was an apology, on its appearance evidently exciting doubt and trepidation in the audience [probably for fear that Mrs Siddons would be unable to appear]; but Palmer's fourth word broke the spell. R. Palmer was suddenly prevented attending the house:--what could the house do, but laugh?--Laugh they did;--'and Barrymore will read his part.' The house laughed again. And so Britannia was delivered" (Morning Chronicle, 1 Apr.). The name of R. Palmer's substitute in the afterpiece is not given.] Receipts: #293 3s. (175/2; 9/16; 0/5; tickets: 108/0) (charge: #115 10s. 3d.)

Event Comment: By Permission of the Lord Chamberlain. Benefit for Griffiths. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened at 5:15. To begin at 6:30. Tickets to be had of Griffiths, No. 3, Southampton-buildings, Holborn; at the Royalty Coffee-house, Well Close Square; King's Arms, Leadenhall-street; Band Coffee-house; Sun-tavern, Foster-lane; Grotto, Southampton-buildings; Angel, St. Giles's; Cock and Bottle, Upper Brook-street; Nag's Head, Carnaby-market; One Tun, St. James's Market; Fox's Coffee-house, Bow-street; the Go, the Jump, and the Finish; and of Rice, at the Theatre

Event Comment: ["The Play to-night was to have been The Confederacy, by Desire of the Duchess of Leinster, with The Spoiled Child (both advertised on playbill of 7 May), for Mrs Jordan's benefit...but she suspecting the House would be thin, pretended to be ill, would not act" (Kemble Mem.). "Love for Love (announced in playbill of this present night) and The Spoiled Child were deferred on account of the indisposition of Mrs Jordan, and The West Indian and The Island of St. Marguerite substituted...Aickin and Packer...could not be met with, and no other means of presenting The West Indian remained than Messrs Williames and Maddocks being permitted to read the parts of Stockwell and Capt. Dudley. This the audience refused to comply with, and insisted on having their money returned, which was at last done. The pit was cleared, not even one person remaining; but during the second act, four people came in...About thirty stayed in the boxes, and not a sufficient number to fill the front rows in the galleries...The West Indian, with two parts in it read, and a house thus uncomfortably thin, dragged dismally through the three first acts. The half-price produced considerable amendment in the appearance of the house" (London Chronicle, 10 May).] Receipts: #45 0s. 6d. (11.13.0; 32.5.0; 1.2.6)

Event Comment: The Duke's Company. This performance, the premiere, is on the L. C. list, 5@141, p. 216: first Acting. See also Nicoll, Restoration Drama, p. 348. Nell Gwyn also attended this performance; see VanLennep, Nell Gwyn's Playgoing, p406. The title page states: The English Opera; or The Vocal Musick in Psyche, with the Instrumental Therein Intermix'd...By Matthew Lock. Preface: All the Instrumental Musick (which is not mingled with the Vocal) was Composed by that Great Master, Seignior Gio. Baptista Draghi, Master of the Italian Musick to the King. The Dances were made by the most famous Master of France, Monsieur St.Andree. The Scenes were Painted by the Ingenious Artist, Mr Stephenson. In those things that concern the Ornament or Decoration of the Play, the great industry and care of Mr Betterton ought to be remember'd, at whose desire I wrote upon this Subject. Roger North Upon Music: I am sure the musick in the Psyche was composed by Mr M. Lock, of whom wee may say, as the Greeks sayd of Cleomenes, that he was ultimus Heroum. This masque is also in print, and begins 'Great Psyche,' &c. and the book containing the whole musick of that entertainment is not unworthy of a place in a vertuoso's cabanet (ed. John Wilson [1959], pp. 306-7). Preface to Settle's Ibrahim (licensed 4 May 1676): I have often heard the Players cursing at their oversight in laying out so much on so disliked a play [Psyche]; and swearing that they thought they had lost more by making choice of such an Opera: writer than they had gained by all his Comedies; considering how much more they might have expected, had such an Entertainment had that scence in it, that it deserved: and that for the future they expect the Tempest, which cost not one Third of Psyche, will be in request when the other is forgotten. Downes (Roscius Anglicanus, pp. 35-36): In February 1672. The long expected Opera of Psyche, came forth in all her Ornaments; new Scenes, new Machines, new Cloaths, new French Dances: This Opera was Splendidly set out, especially in Scenes; the Charge of which amounted to above 800l. It had a Continuance of Performance about 8 Days together it prov'd very Beneficial to the Company; yet the Tempest got them more Money

Event Comment: The United Company. The date of the first performance is stated in Luttrell, A Brief Relation, II, 435, 28 April 1692: On Monday will be acted a new opera, call the Fairy Queen: exceeds former playes: the clothes, scenes, and musick cost 3000#. [According to Some Select Songs As they are Sung in the Fairy Queen (1692) tne singers were Mrs Ayliff, Mrs Dyer, Freeman, Mrs Butler, and Pate. See Purcell's Works, Purcell Society, XII (1903), ii; E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59 ), 45; and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter IV.] Downes, Roscius Anglicanus, pp. 42-43: The Fairy Queen, made into an Opera, from a Comedy of Mr Shakespeare s: This in Ornaments was Superior to the other Two [King Arthur and The Prophetess]; especially in Cloaths, for all the Singers and Dancers, Scenes, Machines and Decorations, all most profusely set off; and excellently perform'd, chiedly the Instrumental and Vocal part Compos'd by the said Mr Purcel, and Dances by Mr Priest. The Court and Town were wonderfully satisfy'd with it; but the Expences in setting it out being so great, the Company got very little by it. Gentleman's Journal, May 1692: The Opera of which I have spoke to you in my former hath at last appear'd, and continues to be represented daily: it is call'd, The Fairy Queen. The Drama is originally Shakespears, the Music and Decorations are extraordinary. I have heard the Dances commended, and without doubt the whole is very entertaining. [As the May issue of the Gentleman's Journal was licensed on 14 May, the statement that The Fairy Queen continued to be acted daily may indicate consecutive performances from 2 May to at le ast 14 May 1692.

Event Comment: [By Niccola Haym. Apparently never printed.] Colman's Opera Register: A new Pastorall Opera called Dorinda. The musick of this is taken out of Severall Italian operas by Nico Haym. In this Sigra Margarita had no part. The other Singers the same as in the former [The Faithful Shepherd], the Same Scene & Habits also & the same prices. It was performed 4 times on the opera days successively

Event Comment: New Dances, new Clothes, new Decorations. A new serious Opera; music by several celebrated Composers. Pit and Boxes put together and no Persons to be admitted without Tickets, which will be delivered this Day, at Half a Guinea each; First Gallery 5s. Second Gallery 3s. Gallery, Pit, and Boxes open at Five. By their Majesties Command, no Person whatsoever to be admitted behind the Scenes or into the Orchestra. 6:30 p.m. Vivant Rex et Regina. [Notice repeated in the bills.] [Messrs. Vincent and Gordon, Managers of the Operas had noted (Public Advertiser, 9 Sept.) their engagement of singers: For the Serious Opera: Guarducci, first Man; Signora Campolini, first Woman; Savoi, second Man; Signora Querzioli, second Woman; Signora Piatti, third Woman; Michelli The Comic Opera: Lovattini, first Man; Signora Guadagni, first Woman; Savoi, serious Man; Signora Querzoli, serious Woman; Moriggi (Bass); Signora Piatti, third Woman; Michelli. Also engaged: Guglielmi and Alessandri, Composers; Pugniani, first Violin; Signora Coradini a new Dancer.

Event Comment: A new Serious Opera in 2 acts [1st rime; author unknown]; the music by several eminent composers, under the direction of Bertoni. Books of the Opera [which are entitled Giunio Bruto], with an account of the new Dance, to be had at the Theatre. [Sga Macchierini was from the Opera, Cremona.] Public Advertiser, 14 Jan.: Pacchierotti sang "in a Stile the most superior--superior to any Singer heard in this country since Farinelli--superior to Pacchierotti himself!"

Event Comment: A New Comic Opera in 2 acts; The Music by Sacchini. [Opera in place of I Viaggiatori Felici, announced in Public Advertiser, 1 Mar. Nonini, who is unidentified, was from the Opera, Lisbon.] Public Advertiser, 6 Apr.: To the credit of Sacchini, it is the best Burletta extant. It is in all parts excellent . . . while it amuses, it does not fail equally to interest

Event Comment: The King's Company. This performance (entitled The French Opera) is on the L. C. list, 5@141, p. 73. See also Nicoll, Restoration Drama, p. 345. The edition of 1674 (appearing in both an English and a French version) states: An Opera, or, a Vocal Representation. First Compos'd by Monsieur P. P. Now put into Musick by Monsieur Grabut, Master of His Majesties Musick. And Acted by the Royall Academy of Musick, At the Theatre-Royal in Covent-Garden. The names of the singers for this production are not known, but it is possible that some of the French singers who appeared in Calisto in the following season, 1674-75, were in London for this production. See Boswell, Restoration Court Stage, pp. 201, 222, and W. J. Lawrence, Early French Players in England, The Elizabethan Playhouse and Other Studies, p. 145. French dancers in the opera were Pecurr [Preux], LeTemps, Shenan, D'muraile. See L. C. 5@140, p. 472, in Nicoll, Restoration Drama, p. 355

Event Comment: On this date the Czar of Muscovy attended an opera, but the title is not given. Lady Newton, Lyme Letter, 1660-1760, p. 209: On Saturday last the Czar of Muscovy, attended by the Marquis of Carmarthen, and some of his Bayers, was at the King's Playhouse in Drury Lane, and saw 3 acts of the Opera. Luttrell, A Brief Relation, IV, 343, 12 Feb. 1697@8: This evening the czar was at the playhouse in Drury Lane to see an opera

Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and one in the Box at the Grove an Opera. 10s. See Hotson, Commonwealth and Restoration Drama, p. 378. It is not known whether this performance was the premiere, but the publication of this work on 16 March 1699@1700 (Post Man, 14-16 March 1699@1700) suggests that if the usual month between premiere and publication intervened for this work, the premiere may have been in mid-February. On the other hand, a letter-see 20 Jan. 1699@1700-may refer to this work. The music was composed by Daniel Purcell. In Songs in the New Opera Called The Grove or Love's Paradice (1700) the following singers are listed: Mrs Irwin, Freeman, The Boy, Hughes, Mrs Lindsey, Pate, and Mrs Shaw. The Preface implies that the opera was a failure: As for the Persons who were not so generous...who thought the Catastrophe was not enough prepar'd, and that the discovery in the last Act was huddled and in confusion, they will now see if what he had writ had been spoken, every thing would have appear's clear and natural, which, to shorten the Entertainment had been before broken and disorder'd

Event Comment: [Text by Giacomo Rossi. Music by George Frederic Handel.] Never Perform'd before. Compos'd by Mr Hendel. Colman's Opera Register: This was not by Subscription but at ye usuall Opera Price of Boxes 8s. Pit 5s. Gallery 2s. 6d. The Scene represented only ye Country of Arcadia. ye Habits were old.--ye Opera Short. [Published as Pastor Fido.

Event Comment: Colman's Opera Register: They perform'd ye Opera Theseus at ye usuall Opera prices

Event Comment: Colman's Opera Register: March 24 they gave out in ye printed Bills they would revive ye Opera Rinaldo, but by some accident it was put off, & no Opera perform'd this Day