Event Comment: Benefit William Douglass, commonly called the Black Prince. At 7 p.m

Event Comment: Benefit William Douglas, commonly call'd Prince. Tickets 5s. At 7 p.m

Event Comment: Benefit William Douglas, commonly call'd Prince. Tickets 5s

Event Comment: Benefit William Douglass, commonly called Prince. Tickets 5s. At 7 p.m

Event Comment: [P$Potter reprinted his letter of 18 Jan., and added the footnote: "The person who took the House was a man of genteel appearance, said his name was William Nicholls, and directed letters to be left for him at the Bedford Coffee House, Covent Garden."] [The Prologue and Epilogue spoken by the children of the Prince of Wales on their performing Cato at Leicester House, printed in the General Advertiser.] [This day published] A Letter to Mr G-k, relative to his treble Capacity of Manager, Actor, and Author; with some remarks upon Lethe. All Three! All three! Gay. Sold by W. Reeve in Fleet St.; and A. Dodd, at the Peacock opposite St. Clements Church in the Strand (General Advertiser). [This day published] Lethe, A Dramatick Satire, by David Garrick as it is perform'd at Drury Lane. Printed for P. Vaillant, facing Southampton Street in the Strand. Receipts: #140 (Cross); #144 17s. 6d. (Powel)

Event Comment: The United Company. The date of the premiere is not known, but as the play was licensed to be published, 21 May 1688, it was probably first acted early in April 1688, perhaps in late March. In 1688, also was separately printed New Songs Sung in The Fool's Preferment: In I, I sigh'd and pin'd and There's nothing so fatal as Woman, the music composed by Henry Purcell. In III, Fled is my love, the music composed by Henry Purcell, and sung by Mountfort. 'Tis death alone and I'le mount to yon blue coelum, the music composed by Henry Purcell. In IV, I'le sail upon the Dog-star, and A Dialogue by Jockey and Jenny, Jenny, gin you can love, the composer not stated. In V, If thou wilt give me back my love, composed by Henry Purcell and sung by Mountfort. See also Purcell's Works, The Purcell Society, XX (1916), iv-vi. When this play was revived at Drury Lane on 16 July 1703, the bill was headed: Not Acted these Fifteen Years

Event Comment: The United Company. The date of the first performance is not known, but the Gentleman's Journal, June 1694 (apparently appearing in late June) indicated that both parts of Don Quixote had by then appeared, and the Songs to Part I were announced in the London Gazette, No. 2983, 11-14 June 1694, to be published on 16 June 1694. Very likely Part I appeared in May 1694. The publication of The Songs in the New Play of Don Quixote, Part the First lists the following pieces. Sing, sing, all ye muses, the first song in Act II, composed by Henry Purcell. Young Chrysostome had vertue, sense, the second song in Act II, was composed by John Eccles. The third song in Act II, Sleep, poor youth, was composedy John Eccles. When the world first knew creation, sung in Act III, was composed by Henry Purcell. Let the dreadful engines, sung for Cardenio in Act IV, was set by Henry Purcell. 'Twas early one morning, in Act IV, for Sancho, was set by John Eccles. With this, this sacred charming wand, in Act V for Montesmo, Mellissa and Urganda, was set by Henry Purcell

Event Comment: PPrince Frederick present. Receipts: #116 11s. Probable attendance: boxes, 114 paid and 21 orders; stage, 8 paid; pit, 256 paid and 10 orders; slips, 20 paid and 32 orders; first gallery, 254 paid and 2 orders; second gallery, 205 paid

Event Comment: Full Prices. [N.B. Winston MS 9, indicates from Rich's Register that Henry V was played this night by Royal Command. Playbill for 4 Dec. lends credence to this as it states Not Acted this season." For cast of Henry V see 18 Nov. TheAccount Book clinches the matter by listing Henry V with Dancing, and an indication that the Boxes this night held #70 5s., or some 281 people.] Present His Majesty and Attendance. House gave Yeomen of the Guards the usual gratuity of #1 1s. [Rich also paid that night #1 1s. for an Occasional Prologue for Henry V for 18 Nov. last, and #2 2s. for an occasional prologue to Thomas and Sally for 28 Nov. (Account Book).] Receipts: #210 (Account Book)

Event Comment: Pepys, Diary: Calling at Wotton's...he tells me...that Harris is come to the Duke's house again; and of a rare play to be acted this week of Sir William Davenant's; the story of Henry the Eighth with all his wives

Event Comment: The Duke's Company. It is uncertain whether this performance and those for 13 and 28 March belong to 1670@1 or 1671@2. They are on the L. C. list, 5@141, p. 2 (see also Nicoll, Restoration Drama, p. 347), but VanLennep's discovery of an L. C. list for the Duke's Company covering March 1670@1 but not including these plays led him to believe that they Pertain to March 1671@2. See VanLennep, Plays on the English Stage, p. 19. On 9 March 1670@1 or 1671@2 Henry Herbert qranted permission to the Duke's Company to act The Lady Errant. See The Plays and Poems of William Cartwright, ed. G. Blakemore Evans (Madison, Wisc., 1951), p. 85

Event Comment: This night Dr William Kenrick gave his first lecture in his series of The School of Shakespeare, at the Devil's Tavern, in Fleet Street. Topic, I Henry IV. This lecture and those of the two succeeding Wednesday evenings are reviewed in the Monthly Miscellany, Feb. 1774. Receipts: #190 1s. (Treasurer's Book)

Event Comment: Benefit for Mrs Jordan. Part of the Pit will be laid into the Boxes. To prevent Confusion Ladies are desired to send their Servants by half past Four. Mainpiece [1st time; C 5, by Richard (later) Sir Richard? Ford. Kemble Mem.: Altered by R. Ford from the Humourous Lieutenant. Epilogue by Henry William? Bunbury. Larpent MS 894; not published]: Altered from Beaumont and Fletcher (recte Fletcher alone). Oracle, 25 Feb.: Tickets to be had of Mrs Jordan at her house, No. 14, Somerset-street, Portman-square. Receipts: #346 8s. 6d. (102.18.0; 13.5.0; 3.6.6; tickets: 226.19.0) (charge: free)

Event Comment: On this day a quarrel occurred at lif between Henry Killigrew and George Villiers, Duke of Buckingham, but the play is not named in the various accounts of the affair. For details, see HMC, 12th Report, Part VII, p. 51; and Carl Niemeyer, "Henry Killigrew and the Duke of Buckingham", Review of English Studies, XII (1936), 326-28. Pepys, Diary: 22 July: Creed tells me of the fray between the Duke of Buckingham at the Duke's playhouse the last Saturday (and it is the first day I have heard that they have acted at either the King's or Duke's house this month or six weeks) and Henry Killigrew, whom the Duke of Buckingham did soundly beat and take away his sword, and make a fool of, till the fellow prayed him to spare his life; and I am glad of it; for it seems in this business the Duke of Buckingham did carry nimself very innocently and well

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 date of the first production is not known, but the fact that it was advertised in the London Gazette, No. 3122, 10-14 Oct. 1695, indicates that it was probably acted not later than September 1695. Three songs were published separately: O how you protest, possibly set by Henry Purcell and sung by Mrs Knight; 'Twas within a Furlong, the words by Thomas D'Urfey, set by Henry Purcell, and sung by the Girl [Miss Cross]; and Man is for the woman made, the words by Pierre Motteux and set by Henry Purcell, are in Deliciae Musicae, The Third Book, 1696. See also Purcell's Works, Purcell Society, XX (1916), xix-xx. Preface, Edition of 1696: Notwithstanding the many Accidents that concurr'd to the Ruin of this Play, it succeeded above my Expectations: And I must own my self infinitely oblig'd to the Town, in receiving so favourably, what I at first never design'd for the Stage. Gildon, English Dramatick Poets, p. 121: This particular Play met with pretty good Success, for the Season of the Year, considering it the first Essay by a Young Writer, unacquainted with the Town. A Comparison Between the Two Stages (1702), p. 18: Sullen: Mock-Marriage, a young Fellows of the Town, a Retainer, and kind of Pensioner to the Stage. Ramble: What was it's Fate? Sullen: Damn'd, Damn'd

Event Comment: A Comparison Between the Two Stages (1702), commenting upon Betterton's success with I Henry IV (see 9 Jan. 1699@1700) pictures Betterton entering his Closet and praying to Shakespeare for further assistance (p. 25), with the result that "tho' some of those Plays that Batterton Acted were Historical, and consequently highly irregular, yet they never fail'd to please" (p. 26). Sullen adds: Well, this lucky hit of Batterton's put D. Lane in a non-plus! Shakespear's Ghost was rais'd at the New-house, and he seem'd to inhabit it for ever: What's to be done then? Oh, says Rich I'll pray as well as he-What? Shall a Heathen Player have more Religion than a Lawyer? No, it shall never be said--with that Mr R@@ goes up to the Garret (a pair of Stairs higher than his own Apartment) and taking Ben Johnson's Picture with him, he implores. This work implies that Betterton presented Henry VIII in addition to I Henry IV and that Rich revived Volpone, The Alchymist, and The Silent Woman, which had, according to the author of this work, lain unacted for twenty years (p. 26)