Event Comment: Receipts: #157 5s. 6d. (111.11.6; 44.0.0; 1.14.0)

Event Comment: Receipts: #221 11s. (172.12; 47.17; 1.2)

Event Comment: Receipts: #248 10s. (199.5; 47.19; 1.6)

Event Comment: Receipts: #169 9s. 6d. (137.14.6; 30.12.0; 0.17.0; tickets not come in: 0.6.0)

Event Comment: Receipts: #180 (135.1; 42.2; 2.14; ticket not come in: 0.3)

Event Comment: Receipts: #154 1s. (117.18; 35.5; 0.18)

Event Comment: Receipts: #178 13s. 6d. (129.19.6; 45.7.0; 2.18.0; tickets not come in: 0.9.0)

Event Comment: Receipts: #136 12s. 6d. (93.7.6; 41.18.0; 1.7.0)

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)