Event Comment: Mainpiece: Written by the late Sir John Vanbrugh. Afterpiece: Taken from the French of Moliere. Lady Stafford to Lord Wentworth, 4 Jan.: I hear their will be a vast riot to night at the Play, for young Cibber is to act and the Templars are resolved to hiss him off the stage. 6 Jan.: Young Cibber was vastly hiss'd a Thursday, but his old friend Impudence kept him from being either out of countenance or in the least disturb'd at the noise.-Wentworth Papers, p. 541

Event Comment: Benefit Miss Jenny and Miss Betty Cibber?, Two Infant Daughters of the late Mrs Jane Cibber. Mainpiece: Written by the late Sir John Vanbrugh. Afterpiece: Taken from Moliere, and Intermixed with Songs. At 6:45 p.m

Event Comment: At the Desire of several Persons of Quality. Mainpiece: Written by the Sir John Vanbrugh. Afterpiece: Being the Sequel to the Dragon of Wantley. [It is difficult to determine whether this is the concluding performance of 1738-39 or the opening one of 1739-40.

Event Comment: Mainpiece: Written by the late Sir John Vanbrugh

Event Comment: Written by Sir John Vanbrugh. At the Particular Desire of several Persons of Quality

Event Comment: Mainpiece: Written by Sir John Vanbrugh

Event Comment: Written by Sir John Vanbrugh

Event Comment: [M$Mrs Barrington, formerly Mrs Hale.] To the Author of the General Advertiser, &c. Sir: I am far from being of the opinion of too many of my countrymen, who exclaim against the performances of foreigners be they ever so extraordinary: on the contrary whenever I hear of a person who merits Encouragement from the Publick, I use all my interest in his favour; and will always continue so to do, though he should come from the extremity of the globe--Nor am I of the opinion of another class, who imagine no man can by a great performer unless he comes from a strange land. I am convinced we have an artist at present among us, as excellent in his way as ever was seen in Britain. He is an Englishman, and citizen of London; and without any instruction (as I am inform'd) performs all the surprizing Equilibres on the Slack Rope that were exhibited by the famous Turk. I have seem his performances once already and they gave me infinite pleasure. Tomorrow evening I intend to see them again, at the Theatre in the Haymarket, and heartily wish him the success he deserves, Yours, &c A. B. [See 23 Dec. 1749 note about Rich's engaging Caratha@the@Turk, and note, 28 Oct. 1749.] Receipts: #67 9s

Event Comment: A New Comedy of three Acts [by Foote]. By Authority. Open'd by Mr Foote. Most of the performers entirely new. Boxes 5s. Pit 3s. Gallery 2s. Doors to be opened at five. Curtain drawn up at seven. [Notice repeated in subsequent bills. Genest, IV, 599, lists Smith as Sir George.

Event Comment: At 5 went into the Pit at Covent Garden to see Mrs Yates do Lady Townly. Yates is an excellent Sir Francis, but Powell does not shine in Lord Townly....The Entertainment was the new comedy in two acts called the Oxonian in Town, with a prologue by Woodward in the character of a student....It being suspected that a number of sharpers whose characters and practices are laid open in this piece, would attempt to damn it tonight (the 3rd of its being Performed) under pretence of its casting odium on the Irish, bills were dispersed in the House during the play vindicating it from any such intention. Woodward was allowed to speak the prologue, but as soon as the curtain drew up catcalls began. When the performers retired, Powell spoke several times, but was not heard. I was told that the author (Mr Colman) desires to know whom he has offended. The Pros were a very great majority, and at last after a contest of better than 1!2 an hour, the victory was over and the piece was performed. I think it contains many good sentiments, and excellent instruction to young men and is not unworthy of Mr Colman. If vice must not be exposed to hatred and contempt, the usefulness of our theatres is at an end. Only I think the Covent Garden pleasures are represented in too favourable a light. When all was over Powell came on the stage and thanked the audience for their generous protection (Neville MS Diary). Receipts: #212 12s. (Account Book)

Event Comment: Benefit for Mr Love--Sir John Brute. A fat performance (and as Mr L--- says) he wanted breath to blow the Jokes out (Hopkins Diary). On 1 April 4 n[umbers] of Dramatic Censor published (Winston MS 10)

Event Comment: The New Comedy, The School for Wives, (which was to have been performed this evening) oblig'd to be deferred till tomorrow. Reddish hoarse. Paid tallow chandler's 3rd bill #44 19s. 11d.; Mr Smeltzer for men's cloaths #5; J. Stevens on note #3 3s. (Treasurer's Book). [In the bill for the first planned performance of Twelfth Night this season (namely for 4 Dec.) Antonio was to be done by Fawcett; Sir Toby by Love; and the Clown by Davies.] Receipts: #122 6s. (Treasurer's Book)

Event Comment: Mainpiece: Not acted these 7 years. No joke ever raised such loud and repeated mirth, in the galleries, as Sir John 's labour in getting the body of Hotspur on his back...At length this upper-gallery merriment was done away [with] by the difficulties which Henderson encountered in getting Smith on his shoulders. So much time was consumed in this pick-a-pack business that the spectators grew tired, or rather, disgusted. It was thought best, for the future, that some of Falstaff 's ragamuffins should bear off the dead body" (Davies, I, 273-75). [For Henderson as Falstaff see hay, 24 July 1777.] Receipts: #207 10s. 6d. (185.6.0; 20.7.0; 1.17.6)

Event Comment: Mainpiece: Not acted these 2 years. With a Procession and Sacrificev. [These were included in both subsequent performances.] Afterpiece [1st time; F 2, by Thomas Sheridan. Not in Larpent MS; not published; synopsis of plot in London Chronicle, 21 Dec.]: Taken from the comedy of that name by Sir John Vanburghi [sic]. Receipts: #151 2s. 6d. (115.4.0; 35.16.0; 0.2.6)

Event Comment: [In afterpiece the playbill assigns Sir Harry's Servant to Dodd, but "King [asked that] Dodd, on account of illness, be released from his part in the farce. Whitfield was in consequence Sir Harry " (World, 24 Sept.).] Receipts: #185 12s. (133.18.0; 50.6.6; 1.7.6)

Event Comment: Benefit for Mrs Martyr. 3rd piece [1st time; M. INT 1, by John Cartwright Cross. Larpent MS 1124; not published]: Founded on the recent and glorious Achievement, at the above French Fort, of Sir Sydney Smith. [On 17 Mar. 1796 a force under Sir William Sydney Smith had destroyed six French vessels in the Bay of Herqui.] To conclude with the British striking the French Colours on the Fort, burning their Corvettes in the Harbour. The new Music by Shield. Oracle, 29 Mar.: Tickets to be had of Mrs Martyr at her house, No. 16, Martlett-court, Bow-street, Covent-Garden. Receipts: #384 11s. 6d. (192.14.0; 10.1.0; tickets: 181.16.6)

Event Comment: Benefit for Mrs Jordan. [In mainpiece the playbill retains King as Sir Peter Teazle, but "Murray, on account of the indisposition of King, was the Sir Peter to Mrs Jordan's Lady Teazle" (Monthly Mirror, May 1797, p. 311).] Tickets delivered for the 15th [for which day the benefit was first announced] will be admitted. "On the whole, Mrs Jordan's Lady Teazle, if not excellent, was respectable; and at a time when it was thought that it would be impossible to personify her Ladyship [i.e. after the retirement of Miss Farren], Mrs Jordan is commendable in having endeavoured it...[Sir Peter] was a part well suited to Murray, who excels in the still and the pathetic...In the screen scene his mirth in revealing to Charles the story of the French milliner, and his amazement the moment after when Charles, throwing down the screen, presented that milliner in the shape of Lady Teazle, must confirm the reputation of Murray. 'Lady Teazle!' (exclaimed he, turning from her towards the door, and in an accent alarmingly impressive), 'Lady Teazle, by all that is damnable!" (Monthly Visitor, June 1797, pp. 531-32). True Briton, 6 May: Tickets to be had of Mrs Jordan, No. 14, Somerset-street, Portman-square. Receipts: #550 3s. (232.4.0; 72.2.0; 7.10.6; tickets: 238.6.6) (charge: free)

Event Comment: The United Company. The date of the first performance is not known, but the latest likely date is early summer, for it was licensed for publication on 14 Aug. 1685. if it did not appear before the death of Charles II, July 1685 is a likely date, as May was occupied with Sir Courtly Nice and June with Albion and Albanius. Dedication, Edition of 1685: [The Scenes] had no better Success on the Stage, was for this Reason: The principal Part (on which the Diversion depended) was, by Accident, disappointed of Mr Nokes's Performance, for whom it was design'd and only proper. A song, How great are the blessings of government made, set by Henry Purcell, is in The Musical Companion, The Second Book, 1686

Event Comment: Rich's Company. Lady Morley attended this performance: Lady Morley and two in the Box at Constant Couple. See Hotson, Commonwealth and Restoration Stage, p. 378. There is no certainty that this is the first performance, but the fact that the play was advertised in the Post Man, 7-9 Dec. 1699, suggests that the first production may have occurred in mid-November. The Prologue also refers to the abandonment of Dorset Garden to "That strong Dog Sampson" (see 15 and 25 Nov. 1699). A song, Thus Damon knock'd at Celia's door, set by Daniel Purcell, was published separately about this time. Preface, Edition of 1700: All will join with me in Commendation of the Actors, and allow, without detracting from the Merit of others, that the Theatre Royal affords an excellent and compleat Set of Comedians. Mr Wilks's Performance has set him so far above Competition in the Part of Wildair, that none can pretend to envy the Praise due to his Merit. Preface to The Inconstant (1702): I remember, that about two Years ago, I had a Gentleman from France [The Constant Couple] that brought the Play-house some fifty Audiences in five months. A Comparison between the Two Stages (1702), p. 32: Critick: But above all, commend me to the ingenious Author of the Trip to the Jubilee. Ramble: Oh Lord, Sir! you won't quarrel with that Play; never any thing did such wonders. Critick: Oh 'twas admirable! admirable! I wonder the Town did not just then bespeak the Bays for him. Sullen: Nay, for ought you and I know, he may live to enjoy 'em; I assure you all the run of the Town is on his side. The Owl was never more esteem'd at Athens than the Trip to the Jubilee was here. Critick: Indeed I have known a Footman have a great stroak with his Lord at begging a Favour; if all the Footmen in Town that admire him were to club for his Preferment, I don't know what might be done. Ramble: The Footmen? Ay, and the middle Gallery too, I assure you are of his side, and that's a strong Party. Critick: Why, I believe it, 'tis about the pitch of their Understanding; but if ever it diverted one Man of tolerable Sense I'll be hang'd. Sullen: I don't know who are your People of tolerable Sense, Mr Critick, but at the play I have seen the Pit, Box and Stage so crowded--and if that is not a sign

Event Comment: Rich's Company. The date of the premiere is not known, but the second edition (1700) states: The first appearance of this Play was on a Wednesday in Lent; for then (it seems) the Town look for a bad Entertainment. [As the play was advertised in the Flying Post, 2 April 1700, the first performance probably occurred in early March.] A Prologue by Sir Charles Sedley which may have been intended for this play is in Sedley's Works, ed. V. de Sola Pinto (London, 1928), I, 46-47, 288-89. A song in this play, separately printed ca. 1700, indicates that the music was composed by Daniel Purcell and that the song was sung by Mrs Erwin

Event Comment: Benefit Birkhead. At the Desire of several Ladies of Quality