Event Comment: New Scenes and Habits. Ladies send servants by 3 o'clock. The Music compiled from Favourite Airs of the most celebrated Composers. Books of the opera to be had at the Theatre. [See note 16 Oct. 1764. Edition of 1765 states music by Samuel Arnold.

Event Comment: Paid John Sutherland for playing the bagpipes in Midas 3 nights 15s. Paid Samuel Norman, carver, for 4 Grand state chairs #63 (Account Book). Receipts: #194 11s. 6d. (Account Book)

Event Comment: Mainpiece: Never performed. Founded [by Thomas Hull] on a Play wrote by the late Sir Samuel Tuke [Adventures of Five Hours]. The Afterpiece: A Masque (perform'd but once) [by Thomas Hull], With New Music, Dresses and Scenery. The Music by Mr Bach. Books of the Masque to be had at the Theatre. Paid for The Perplexities #2 2s. (Account Book). Receipts: #226 16s. (Account Book)

Event Comment: Mrs Barry continuing ill, the reviv'd play of Timon of Athens oblig'd to be deferr'd till Monday when it will be performed for the Second Time. Rec'd stopages #13 13s.; Paid Salary list #501 3s. 6d.; Mrs Abington on Cloaths acct #2; Mr Costain on note #4 4s.; Mr Samuel French 11 days (5th inst. incl.) #2 15s. (Treasurer's Book). Receipts: #156 16s. 6d. (Treasurer's Book)

Event Comment: [The Gentleman in the mainpiece under the pseudonym of Melmoth was the voluminous writer Samuel Jackson Pratt. Identification by Hopkins MS Notes. He had acted first in Dublin, 1772-73.

Event Comment: Mainpiece: With a New Scene and New Dresses. Afterpiece [1st time; CO 2, by Charles Dibdin and Edward Thompson. Thompson's name does not appear on the title-page of the text; it has been added by J. P. Kemble on the half-title of his copy now in the Huntington Library]: The Music chiefly composed by Dibdin [Public Advertiser, 15 Nov.: Three of the airs and the finale were composed by Samuel Arnold; one air by John Abraham Fisher]. With New Scenes [ibid: by Dall, Richards, and Carver], Dresses and Decorations. Books of the Songs to be had at the Theatre. Account-Book, 7 Feb. 1777: Paid Dibdin in full for copyright of the Seraglio #20; ibid, 2 June 1777: Received of Cooper for Songs & Books sold of The Seraglio #19 10s. 9d. [Mrs Ward was from the Birmingham theatre]. Receipts: #221 11s. 6d. (219.7.0; 2.4.6)

Event Comment: Mainpiece [1st time; BO 3]: Being the Sequel to The Beggar's Opera, Written by Gay, with Alterations [by George Colman elder; the overture (a compilation of airs from The Beggar's Opera) and 6 new airs by Samuel Arnold]. Books of the Opera to be had at the Theatre. [Mrs Colles is identified on playbill of 9 July.] Public Advertiser, 20 June: This Day is published Polly (1s.)

Event Comment: Afterpiece [1st time; MF 1, by James Cobb; music by Samuel Arnold. Larpent MS 530; not published]: Books of the Songs to be had at the Theatre

Event Comment: Mainpiece [1st time; T 5, by Thomas Hull; also ascribed to Samuel Jackson Pratt. Author of Prologue unknown. Epilogue by S. J. Pratt. {Miscellanies, 1785,1,271). MS: Larpent 603; not published]: With a grand Masquerade Scene, and Decorations incident to the Piece. Receipts: #234 17s. (223/13/0; 11/1/6; 0/2/6)

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Event Comment: Benefit for Munden. 2nd piece hst time; MF 2 , by Samuel Birch. MS: Larpent 1011; not published]: The Overture and Music composed by Attwood. Books of the Songs to be had at the Theatre. Murning Chronicle, 28 Apr.: Tickets to be had of Munden, No. 6, Frith-street, Soho. Receipts: #423 5s. (132/12/6; 6/18/0; tickets: 283/14/6)

Event Comment: Benefit for Mrs Siddons. Mainpiece: Translated from Voltaire. Not acted these 20 years [acted l6 Nov. 1779]. Afterpiece: Not acted these 18 years [not acted since 19 Apr. 1774]. Morning Chronicle, 9 Apr.: Tickets to be had of Mrs Siddons, No. 49, Great Marlborough-street. [Mrs Siddons's 1st appearance as Palmyra was at Manchester, 1 Apr. 1778. Adress by Samuel Rogers (European Magazine, May 1795, p. 344). Epilogue by David Garrick.] Receipts: #569 8s. 6d. (293.14.6; 59.10.6; 8.0.0; tickets:208.3.6) (charge:#204 1s.)

Event Comment: Mainpiece [1st time; T 5, by William Henry Ireland; incidental music by William Linley. Prologue by Sir James Bland Burges; Epilogue by Robert Merry (see text)]: With new Scenes, Dresses & Decorations. The Scenes designed and excuted by Greenwood and Capon. The Dresses by Johnston, Gay & Miss Rein. Printed slip attached to Kemble playbill: A malevolent and impotent attack on the Shakspeare MSS. [i.e. those forged by W. H. Ireland, of which this play was one] having appeared, on the Eve of representation of Vortigern, evidently intended to injure the interest of the Proprietor of the MSS., Mr Samuel? Ireland [W. H. Ireland's father] feels it impossible, within the short space of time that intervenes between the publishing and the representation, to produce an answer to the most illiberal and unfounded assertions in Mr Malone's enquiry [i.e. Edmond Malone, An Inquiry into the Authenticity of certain Papers attributed to Shakspeare, Queen Elizabeth, and Henry, Earl of Southampton, 1796]. He is therefore induced to request that Vortigern may be heard With that Candour that has ever distinguished a British Audience. The Play is now at the Press, and will in a very few days be laid before the Public. [But it was not issued until 1799 (see below). See also Bernard Grebanier, The Great Shakespeare Forgery, London, 1966.] 4 Apr., states that the first three acts were listened to with patience, but beginning with the fourth act the play was damned, when "one tremendous yell of indignation from the pit burst simultaneously." "At four o'clock the doors of the theatre were besieged; and, a few minutes after they were opened, the pit was crowded solely with gentlemen. Before six not a place was to be found in the boxes, and the passages were filled...The audience betrayed symptoms of impatience early in the representation; but, finding its taste insulted by bloated terms, which heightened the general insipidity, its reason puzzled by discordant images, false ornaments, and abortive efforts to elevate and astonish, pronounced its sentence of condemnation at the conclusion of the play" (Gentleman's Magazine, Apr. 1795, pp. 346-47). "Irelands play of Vortigern I went to. Prologue spoken at 35 minutes past 6 [see 29 Mar.]: Play over at 10. A strong party was evidently made to support it, which clapped without opposition frequently through near 3 acts, when some ridiculous passages caused a laugh, mixed with groans-Kemble requested the audience t o hear the play out abt. the end of 4th act and prevailed.-The Epilogue was spoken by Mrs Jordan who skipped over some lines which claimed the play as Shakespeares. Barrymore attempted to give the Play out for Monday next but was hooted off the stage. Kemble then came on, & after some time, was permitted to say that "School for Scandal would be given," which the House approved by clapping. Sturt of Dorsetshire was in a Stage Box drunk, & exposed himself indecently to support the Play, and when one of the stage attendants attempted to take up the green cloth [i.e. a carpet which, by custom, was laid on the stage during the concluding scene of a tragedy], Sturt seized him roughly by the head. He was slightly pelted with oranges" (Joseph Farington, Diary, 1922, I, 145). Account-Book, 4 Apr.: Paid Ireland his share for the 1st Night of Vortigern #102 13s. 3d. Morning Chronicle, 29 Mar. 1799: This Day is published Vortigern and Henry the Second (4s.). Receipts: #555 6s. 6d. (528.6.0; 26.9.6; 0.11.0)

Event Comment: Afterpiece [1st time; CO 2, by Samuel James Arnold]: The Overture and Musick by Dr Arnold. Books of the Songs to be had in the Theatre. Receipts: #224 7s. 6d. (121.19.0; 99.9.0; 2.19.6)

Event Comment: Mainpiece [1st time; C 5, by Frederick Reynolds. Prologue by John Taylor. Epilogue by Miles Peter Andrews (see text; although Boaden, Jordan, I, 286 says the Epilogue was by Samuel Rogers, being the same as that spoken on 27 Apr. 1795)]: With new Scenes, Dresses, and Decorations. [Afterpiece in place of No Song No Supper, advertised on playbill of 18 Apr.] Morning Herald, 29 Apr. 1797: On Monday [1 May] will be published The Will (2s.). Account-Book: Reynolds to receive #33 6s. 8d. for every night of The Will. Receipts: #413 4s. (344.12.6; 63.16.6; 4.15.0)

Event Comment: Mr Salomon having insinuated that he alone is in possession of a correct Score of this celebrated Oratorio, I feel compelled, in justice to myself, to state that the Oratorio was published by subscription at Vienna, and that the printed Copy, from which I had the Parts transcribed, was delivered by Dr Haydn to a subscriber in Vienna, and brought from thence expressly for me, and on which is the Doctor's initials. The accuracy with which it was performed, and the enthusiasm with which it was received, are, I hope, convincing proofs that no other directions are necessary to "produce the effect required by the Author." I should not thus have obtruded myself, but I conceived it requisite to justify myself from the imputation of having attempted to impose a spurious production upon that public to whom I am under so many obligations. I am, with the greatest respect and gratitude, their most obedient servant, John Ashley. March 29. [On 29 Mar. the following card had appeared in most of the daily newspapers: Mr Salomon having received from Dr Haydn an early Copy of his New Oratorio called The Creation of the World, and having been favoured by him exclusively with particular directions on the style and manner in which it must be executed, in order to produce the effects required by the Author, begs to acquaint the Nobility and Gentry, that he means to perform it on Monday, the 21st of April next, at the King's Theatre. The performance took place on that date in the Ancient Music Room, i.e. the large concert-room situated inside the King's, on the east side, level with the first tier of the boxes. The reason for this change was, states the playbill, "the present Performances in the Opera House not allowing sufficient time to erect an Orchestra on the Stage." The principal singers were Mme Mara, Mme Dussek, Small, Page, Denman, Bartleman. Samuel Wesley presided at the organ and at the piano forte.