Event Comment: By Command of Their Majesties. "There were not an hundred persons in the Pit when their Majesties entered, and there were not double the number at any part of the evening. The Royal box being in the centre, fronting the stage, their Majesties were invisible to the Gallery; and on their entrance solemn stillness prevailed, until the Orchestra, for the first time in an Opera-house, for the first time by the Professional Band, Struck up God save the King. Never, we will venture to say, in any Theatre during the present reign, was there so thin an audience when their Majesties were present; and we pretend not to divine the cause. Whether it is the failure of the Theatre as a musical room--the general poverty of the performance--the little notice that was given of their Majesties' intention to be present we know not" (Morning Chronicle, 23 Feb.)

Event Comment: By Permission of the Lord Chamberlain, and also under the Patronage of their Royal Highnesses the Prince of Wales, the Duke of York, and the Duke of Clarence. Benefit for Lee Lewes. The Doors to be opened at 5:15. To begin at 6:15. Tickets and Places for the Boxes to be had of Lee Lewes, at Mr Brough's, No. 18, Portland-street, Soho. Afterpiece [1st time; F 2, by James Fennell. Larpent MS 924; not published. Synopsis of plot in Morning Post, 8 Mar.]

Event Comment: Mainpiece: In 5 Acts, altered from the Dramatic Romance by David Garrick, Esq. With a new Overture and new additional Musick by Storace [on 2 Jan. 1792 and thereafter, added: Shaw] and other Eminent Masters. Entirely new Scenery by Greenwood, and new Dresses, Decorations and Machinery. To conclude with a Grand Procession of the Hundred Knights of Chivalry, and the Representation of an Ancient Tournament. [These were included in all subsequent performances.] Books of the Songs to be had at the Theatre. Morning Post, 3 Jan. 1792, prints a full description of the Procession of over 100 persons: 1st, Anglo-Saxon Knights and banners; then ancient British knights, Norman knights, Indians, Turks, Scythians, Romans, a dwarf, a giant; at end, "soldiers drawing a superb picture of St. George, knights in chain mail, a cupid leading a knight covered with a silver net, Hymen, piping fauns, bands of cupids drawing an altar--flame burning, cupids hovering over it, and others feeding doves below, a troop of Arcadian shepherds drawing the car of Cymon and Sylvia, characters of the drama, and chorus." "At the conclusion of the procession, a tournament took place of both horse and foot, between several combatants in armour, who fought with lances, swords and battle-axes: three of Hughes' horses [from the Royal Circus] were introduced, and managed with much dexterity; the Prince of Wales' Highlander made one of the procession, and entered the lists as a champion, fighting with an enormous club; against him a small female warrior was opposed, by whom he was subdued. It was by far the grandest spectacle ever seen upon the stage. Many of the characters were taken from Sir Philip Sydney's Arcadia, in which the scene of the piece was laid; and the dresses of the knights, armour, &c. from the drawings and descriptions of the best antiquarians" (Oulton, 1796, II, 215). [This was Edmund Kean's 1st appearance on the stage; he was about four years old. He personated a cupid lying in Cymon and Sylvia's car (Kelly, Reminiscences, II, 21-22).] Account-Book, 13 Jan. 1792: Paid Hughes for his Horses #16 19s. 10d.; 23 Jan.: Paid Gough for his Greyhounds in Cymon #5 19s. 6d. Receipts: #420 6s. (385.0; 35.5; 0.1)

Event Comment: Account-Book: Present Their Majesties. [Their attendance this night is not indicated on the playbill, but "Though the Royal Command was not communicated to this Theatre till late yesterday morning, and consequently but a small part of the public could have notice of the public could have notice of the intention of Their Majesties to honour the house with their presence, yet it was crouded in all parts" (Morning Herald, 16 Mar.).] Receipts: #347 12s. (344.3.6; 3.8.6)

Event Comment: By Command of Their Majesties. "God save the King was sung by the audience, standing up, twice before the piece commenced, and twice after it was finished. At the end of the Divertisement, Rule Britannia was sung, the whole Royal Family joining" (London Chronicle, 17 Jan.). Receipts: #477 10s

Event Comment: Double Drums by Ashbridge. Trombones by Flack, Dressler, Zwingham, Schubert. The Chorusses, which will be far more numerous than on any former occasion, will be supported by the Young Gentlemen of His Majesty's Chapel Royal, and the Choristers of St. Paul's. A Subscription of Two Guineas and a Half will receive Eleven Tickets for the Boxes, transferable either to a Lady or a Gentleman; any number of Tickets may be used nightly at the pleasure of the Subscriber. Books of the performance to be had at the Theatre, price #6d. Boxes 6s. Pit 3s. 6d. Gallery 2s. No Money to be returned. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]

Event Comment: Benefit for Bannister. Under the Patronage of His Royal Highness The Prince of Wales. [In mainpiece the playbill retains Mrs Bland as Ariel , but "Ariel was, on account of the sudden indisposition of Mrs Bland, read by Miss Heard" (Diary, 8 May). Miss Heard may also have substituted for Mrs Bland in the afterpiece.] Afterpiece [1st time; F 2, by James Cobb, for whose authorship see Kemble Mem. Larpent MS 982; not published]. Public Advertiser, 2 May: Tickets to be had of Bannister, No. 7, Suffolk-street, Charing Cross. Receipts: #227 8s. (95.17; 7.5; tickets: 124.6) (charge: #90 2s. 6d.)

Event Comment: Mainpiece: With new Scenery, Dresses and Decorations. [This was the version, altered probably by Joseph George Holman, in which he appeared in Dublin on 29 July 1794, on which occasion the playbill reads, "Dressed in the Habits of the Times, and with other Alterations, adopted in its Representations 19 [recte 11] Nights last Winter, at the Theatre Royal, Covent Garden." It further states that the part of Ophelia would be performed "without the Airs, and with a considerable Restoration of the Text." No record of what these alterations consisted of has come to light. In III.iv Hamlet's father was represented by a life-sized portrait that hung over the chimney, and the Queen wore a large miniature of Claudius on her arm as a bracelet (London Chronicle, 10 Oct.). The words of the Dirge are printed in European Magazine, Nov. 1793, p. 393; they are stanza X of Shakespeare's Passionate Pilgrim. Miss Poole had appeared as a singer at king's and at Vauxhall in 1787 and at the cg oratories in 1791.] Afterpiece: Not acted these 2 years [and in place of The Prisoner at Large, advertised on playbill of 8 Oct.]. Receipts: #332 4s. (330.3; 2.1)

Event Comment: [The playbill announces the performances for this evening as by command of Their Majesties, but "The melancholy tidings of the death of the Queen of France prevented the royal visit" (Thespian Magazine, Dec. 1793, p. 357).) Receipts: #392 13s. (383/11; 9/2)

Event Comment: By Command of Their Majesties. "God save the King was several times repeated, and other songs suitable to the circumstances of the night" (World, 21 Nov.). " As the taste of the Royal Family is well known to be equal to the delight they take in encouraging genius, it is, we presume, the Lord Chamberlain that so frequently orders, for their entertainment, a hash of old Pantomimes, which even children cannot relish more than once" (Morning Chronicle, 21 Nov.). Receipts: #521 11s. (514/17; 6/14)

Event Comment: Benefit for Sga Storace. Mainpiece: By Permission of the Proprietors of the Theatre Royal, Drury Lane. Afterpiece [1st time; MF 2, by Prince Hoare, based partly on LE TABLEAU PARLANT, by Louis Anseaume]: The Music by Storace. "The songs are written with taste, and set to very lively and agreeable tunes by Storace's brother...[They are] calculated to afford her a complete opportunity of displaying that mixture of laughable levity, friskiness and merriment which on the stage give her so much attraction" (Public Advertiser, 18 Dec.). Tickets to be had of Sga Storace, No. 36, Howland Street, and of Rice at the Theatre, where Places for the Boxes may be taken