Event Comment: Benefit Miss Evans and Miss Mountfort. At the Desire of several Persons of Quality. Tickets given out for Hannibal taken at this play

Event Comment: Mainpiece: By Particular Desire. Paid Mr Vincent for 3 sets of Abels Symphonies #2 5s. (Account Book). Receipts: #116 11s. (Account Book). This was the last time Mr Beard appeared on the stage. John Beard Esq Buried in the vault (at Hampton) 12 Feb. 1791. This celebrated actor was bred up at the King's Chapel, and was afterwards one of the singers at the Duke of Chandos's Chapel at Canons, where he took a part in Handel's Oratorio of Hester. His first appearance on the stage was 30 August 1737, in the character of Sir John Loverule [Devil to Pay], at Drury Lane. In 1739 he married Lady Henrietta Herbert, daughter of James, Earl of Waldegrave, and Widow of Lord Edward Herbert. Upon this event he quitted the Stage. After a few years he returned to it again, and continued to be a great favourite with the public both as an actor and a vocal performer till 1767, when he finally retired from the theatre. Lady Henrietta Beard died in 1753; and in 1759 Mr Beard married a Daughter of John Rich Esq Patentee of Covent Garden Theatre. On this occasion he removed a second time to that theatre, where he had acted from 1744 to 1748; and on the death of his father-in-law in 1761, was appointed Manager. Mr Beard, who was as much esteem'd in private life as he was admired on the stage, was for many years an Inhabitant of Hampton. See Lysons's Middlesex Parishes, p. 89 and 80. Mr Beard died 4 Feb. 1791, aged 74 years. See his Epitaph, ibidem. See Lady Beard's Epitaph in St Pancreas Churchyard (Hopkins MS Notes)

Event Comment: The United Company. This performance is on the L. C. list, 5@149, p. 368: The Queene a Box, and a Box for the Maids of Honor at the Spanish Fryer. See also Nicoll, Restoration Drama, p. 352. A warrant, dated 8 June 1689, L. C. 5@149, p. 154 (see Nicoll, Restoration Drama, p. 356), calls for a payment of #25 to Mrs Barry and presumably represents payment for this performance. Daniel Finch, ca. June 1689: The only day Her Majesty gave herself the diversion of a play, and that on which she designed to see another, has furnished the town with discourse for a month. The choice of the play was the Spanish Fryar, the only play forbid by the late K@@. Some unhappy expressions, among which those that follow, put her in some disorder, and forc'd her to hold up her fan, and often look behind her and call for her palatine and hood, and any thing she could next think of, while those who were said. (Sir John Dalrymple, Memoirs of Great Britain [London, 1771-88], in the pit before her, whenever their fancy led them to make any application of what was Volume II, Appendix, Part II, pp. 78-80.) Henry Purcell's new setting for whilst I with grief did on you look may have been made by this date. It is in Deliciae Musicae, 1695

Event Comment: Never Perform'd. Founded on Beaumont and Fletcher. Music by Thomas Linley. A Comic Opera the Music entirely new. [By Thomas Hull altered from The Royal Merchant; or the Beggar's Bush (Biographia Dramatica). See 19 Dec. 1767 for further note on Music.] Paid Mr Horne for 4 Tambourines #1 10s. (Account Book). Went into the Pit to see the opera founded on Beaumont and Fletcher, performed for the first time....The music may be good, but the piece is trifling and childish, barren of incident and character except that of Clause played by Bensley and the frightened peasant. The performers are in the Flemish dresses of the times, and do the piece much justice. At the beginning of the 2nd act some fellows in the 2s. Gallery began a disturbance, but were turn'd out and carried before Sir John Fielding, where they confessed that they were hired to disturb this performance by a publican, but refused to say whom....Stood in the well (Neville MS Diary). Receipts: #225 1s. (Account Book)

Event Comment: [Lucy identified as Miss Dayes by Kemble note on playbill and by Winston MS 10.] At the opening of this season Justice Sir John Fielding wrote to Garrick not to play the Beggar's Opera fearing it had a bad influence on the minds of the young. But both Garrick and Colman continued to play it (Winston MS 10). Receipts. #183 13s. (Account Book)

Event Comment: [Playbill of 2 Dec. states, correctly, that mainpiece was "2nd time these 16 years." In it the playbill assigns Sir John Melvil to Farren, but "Macready was the substitute for Farren" (World, 28 Nov.).] Receipts: #192 8s. 6d. (189.12.6; 2.16.0)

Event Comment: The Duke's Company. The date of the first performance is not known. As Evelyn saw it on 27 April, it seems likely that it was first performed before Easter (April 10). It was not licensed for printing until 8 July 1664. Preface to edition of 1664: I Cou'd not have wish'd my self more fortunate than I have been in the success of this Poem:...The Acting of it has lost me no Reputation. Downes, Roscius Anglicanus, p. 25: @Sir Nich'las, Sir Fred'rick, Widow and Dufoy, Were not by any so well done, Mafoy.@ The clean and well performance of this Comedy, got the Company more Reputation and profit than any preceding Comedy; the Company taking in a months time at it #1000

Event Comment: Not Acted these Sixteen Years. For the Entertainment of his Excellency Sid Mahomet Ben Ali Abogly, Ambassador from the Emperor of Morocco. Written by Sir William D'Avenant, and very carefully revis'd with Alterations. Receipts: #31 9s. 6d

Event Comment: [Advertised as performed but once, but see 18 Jan. Sheridan in Preface to Edition of 1775 (2nd) refers to withdrawing the piece to remove those imperfections in the first representation which were too obvious to escape reprehension, and too numerous to admit of hasty correction." He blames his inexperience and want of judgment in theatrical effects, the extreme length of the play act by act, and haste in writing. From the Westminster Magazine Feb., which outlined the plot in five columns: The present state of the Rivals is widely different from that in which we found it on the first night's representation. Sir Lucius O'Trigger being re-touched, has now the appearance of a character; and his assigning Beverley's reflection on his country as the grounds for his desire to quarrel with him, is a reasonable pretence, and wipes off the former stigma undeservedly thrown on the sister Kingdom. An alteration of a principal incident gave a very favorable turn to the fable and the whole piece: that where young Acres now delivers his challenge to his friend Absolute, begging him to carry it to his Rival Beverly, not knowing the two characters composed but one man; its being at first given to Sir Lucius, the person who indited it, was highly inconsistent...we should be induced from many evident traits of literary genius to pronounce the Rivals a good comedy."

Event Comment: At the Desire of several Ladies of Quality. Written by Sir George Etheridge

Event Comment: Written by Sir George Etheridge

Event Comment: Written by Sir George Etheridge

Event Comment: Written by Sir George Etheridge

Event Comment: Benefit Ryan. Mainpiece: Written by Sir George Etheridge. Afterpiece: A Pastoral Entertainment of Vocal and Instrumental Musick. Receipts: money #54 7s. 6d.; tickets #100 1s

Event Comment: Not Acted these Seven Years. At the Desire of several Persons of Quality. Written by Sir George Etheridge

Event Comment: For the Entertainment of Tomo Chachi. . . Tenauki . . . Prince Toonahowi. Mainpiece: Written by Sir George Etheridge

Event Comment: At the Desire of several Persons of Quality. Written by Sir George Etheridge

Event Comment: Benefit Mrs Mills. Mainpiece: Written by Sir George Etheridge

Event Comment: By Command of Their Royal Highnesses the Prince and Princess of Wales. Mainpiece: Written by Sir George Etheridge