Event Comment: Post Boy, 22-25 June 1695: On Saturday last Words arose betwixt Mr Cary and Mr Young in the Play-house about a Gentlewoman, and the next morning they fought a Duel in Hide-Park

Event Comment: Betterton's Company. The date of the premiere is not known, but the Epilogue refers to it as a summer production and the play was advertised in the London Gazette, No 3108, 22-26 Aug. 1695; hence, it appeared first not later than August. A song, Stretch'd in a dark and dismall grove, composed by John Eccles and sung by Mrs Hudson, is in Deliciae Musicae, The Third Book, 1696. A Comparison Between the Two Stages (p. 16): Sullen: Imprimis, Here's Pyrrhus King of Epire. Ramble: Whose is that? Sullen: Charles Hopkin's, an Irish Gentleman of good Sense, and an excellent Ovidian. Ramble: What was it's Fate? Sullen: Damn'd

Event Comment: Rich's Company. The date of the first performance is not known, but the Prologue to Bonduca refers to She Ventures and He Wins. As Bonduca was advertised in the London Gazette, No. 3126, 24-28 Oct. 1695, the play was certainly not acted later than early October 1695, probably not later than September 1695. The Edition of 1696 includes on the titlepage: With A New Entertainment of Musick, Vocal and Instrumental. [The music was composed by Henry Purcell. See Purcell's Works, Purcell Society, XVI, vii-xiii.] Those songs for which a performer is named are as follows: O lead me to some peaceful gloom, sung by Miss Cross, and Sing ye Druids, all your voices raise, sung by Mrs Ayliff, both in Songs in the Tragedy of Bonduca, ca. 1696. To arms, sung by Freeman and Edwards, is in Thesaurus Musicus, The Fifth Book, 1696

Event Comment: Rich's Company. The date of the first performance of this revision is uncertain. Although the play was not entered in the Term Catalogues until June 1696, the edition is date 1695. The production was certainly before May 1696, when Horden died, but the only fact which suggests a performance as early as December is the date on the title page. When the play was revived at Drury Lane on 13 Oct. 1711, the bill bore the heading: Not Acted these Fifteen Years

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, No. 3151, 20-23 Jan. 1695@6, and entered in the Term Catalogues, February 1695@6, suggests that it was probably acted not later than December 1695. According to the Edition of 1696, the music was set by John Eccles: Come, Thyrsis, come was sung by Reading and Mrs Hodgson; the other songs in the edition lack the names of the singers. In addition, Rich mines of hot love are rooted here, sung by Bowman, was in Deliciae Musicae, The First Book of the Second Volume, 1696; and Let us revel and roar, set by John Eccles and sung by Curco and Reading, was published in Thesaurus Musicus, The Fifth Book, 1696. Downes, Roscius Anglicanus, p. 44: Lovers Luck, a Comedy, Wrote by Captain Dilks, which fill'd the House 6 Days together, and above 50# the 8th, the Day it was left off. A Comparison Between the Two Stages (1702), p. 20, lists it among the plays under the heading: Damn'd

Event Comment: For the Prologue, See Prior, Dialogues of the Dead, ed. A. R. Waller (Cambridge, 1907), p. 195. It is not certain on which day during the holidays the play was given

Event Comment: Betterton's Company. The date of the first performance is not certain, but contemporary sources refer to the fact that William Smith, who died in the last week of December, fell ill on the fourth day of its run; hence, it probably was first presented in mid-December. One song, O take him gently from the pile, set by John Eccles and sung by Mrs Bracegirdle, is in Deliciae Musicae, The Fourth Book, 1696. Downes, Roscius Anglicanus, p. 44: The Grand Cyrus, wrote by Mr Banks; it was a good Play; but Mr Smith, having a long part in it, fell Sick upon the Fourth Day and Dy'd, upon that it lay by, and ne'er have bin Acted since. Gildon, English Dramatick Poets, p. 6: Tho' this Play had been formerly refus'd the Action, yet it held up its Head about Six Days together, and has been since Acted several Times. A Comparison Between the Two Stages: Sullen, p. 16: Banks's, which the Players damn'd and wou'd not Act of a great while, but at length it was acted, and damn'd then in manner and form

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the London Gazette, No. 3177, 20-23 April 1696, suggests that it was first performed not later than March 1696. Preface, Edition of 1696: This Comedy by the little success it met with in the Acting, has not at all deceived my Expectations....Give me leave to thank the Well-natur'd Town for Damning me so suddenly; They would not suffer me to linger in suspence, nor allow me any degrees of Mortification; neither my Sex, Dress, Musick and Dancing, cou'd allow it a three Days Reprieve. A Comparison Between the Two Stages (1702), p. 17: Ramble: I never heard of that. Sullen: Oh this is a Lady's

Event Comment: Rich's Company. The date of the first performance is not known. A contract between Cibber and Rich was signed on 29 Oct. 1696 (L. C. 3@73, in Nicoll, Restoration Drama, pp. 381-82), with an agreement that it was not to be printed until a month after it was acted. Since the play was advertised in the Post Man, 20-23 March 1696@7, it may have been acted as early as January 1697, certainly not later than February 1697. Possibly Leveridge set the music for a song, Tell me, Belinda, prithee do, which is in A New Book of Songs by Mr Leveridge, advertised in the London Gazette, No. 3293, 3 June 1697. A Comparison Between the Two Stages (1702), p. 18: Lady in Fashion, by a Player, Damn'd. Preface, Edition of 1697: Not to miss the Advantage of Mr Doggett's Excellent Action; I prepar'd a low Character

Event Comment: James Brydges, Diary: I went to ye Playhouse in Covent Garden where I met Mr Knight, after wch I went to yr other playhouse, & there saw Sr Charles Barinton, & Mr Mildmay; before ye play was done, I came hence home (Huntington MS St 26)

Event Comment: Betterton's Company. The date of the first performance is not known, but the Dedication to the Edition of 1698 is dated 16 Dec. 1697, suggesting a premiere in November 1697

Event Comment: In L. C. 5@152, pp. 202, 220--see Boswell, Restoration Court Stage, p. 105--is a reference to a performance given jointly by both companies. As this was the customary date of the celebration of King William's birthday, this musical work was probably given on this day. The BM copy has a MS date of 29 Nov. 1697; and a dialogue from this work was noticed in the Post Boy, 30 Nov.-2 Dec. 1697. The music was composed by John Eccles

Event Comment: London Gazette, No 3348, 9-13 Dec. 1697: The Song which was Sung on St Cecilia's Day will be performed in York-Buildings, on Thursday next being the 16th Instant, with an Addition of a new Pastoral on the Peace, Composed by Mr Jeremiah Clark, and for the Benefit of Mr La Riche only. The Musick begins at Eight. [See 22 Nov. 1697 and 9 Dec. 1697.

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, 17-21 Feb. 1697@8, suggests that it was first given not later than January 1697@8. Downes, Roscius Anglicanus, p. 44: Heroick Love, Wrote by Mr George Greenvil, Superlatively Writ; a very good Tragedy, well Acted, and mightly pleas'd the Court and City. A Comparison Between the Two Stages (1702), p. 20: The Language is very correct: But with submission to him [Granville], his Fable is not well chosen; there's too little Business in't for so long a Representation: But if Mr G. had taken the Story at a greater length, and contriv'd the Incidents to surprize, he had made it an admirable Tragedy

Event Comment: Post Man, No 419, 6-8 Jan. 1697@8: In York Buildings, on Monday the 10th of this instant January, at the request of several Persons of Quality, will be a Consort of Vocal and Instrumental Musick, never performed there before; beginning at the usual Hour, for the benefit of Mr King and Mr Banister

Event Comment: Post Man, No 413, 13-15 Jan. 1697@8: The Consort of Musick, which was performed last Monday in York-Buildings, will be performed there again, with an Addition of new Musick on Monday next, being the 17th of this instant January: beginning at the usual hour, for the benefit of Mr King and Mr Banister

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Man, 3-5 March 1697@8, suggests that the first performance occurred probably not later than early February 1697@8. The Preface is signed by George Powell, who refers to the author of the play as unknown. In addition, Powell mentions that his company has recently revived some of Dryden's plays: Don Sebastian, Secret Love; or, The Maiden Queen, Marriage a la Mode, King Arthur, and adds: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun...could not prop

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Flying Post, 29-31 March 1698, suggests that the first performance probably occurred in late February or very early in March. One song, Though over all mankind, the music by Leveridge and sung by Mrs Lindsey, was published in A Second Book of Songs with a Through Bass, 1699

Event Comment: London Gazette, No. 3390, 5-9 May 1698: On Tuesday next being the 10th May, wil be perform'd in York Buildings, an Entertainment of Vocal and Instrumental Musick, being St Cecilia's Song, Compos'd by Dr Blow, and several other New Songs. For the Benefit of Mr Bowman and Mr Snow

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 26-28 July 1698, suggests that the premiere occurred probably in mid-June or late June 1698. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Flying Post, 23-25 Aug. 1698: At Mr Barns's and Mr Appleby's Booth, over against the Cross-Daggers in Smithfield, is to be seen the most famous Rope-Dancers of Europe, who have brought over the Morocco Woman, the two German Maidens, and the Danish Woman and her Company, which out-does all Men and Women that ever danced yet on the Ropes, the German Maiden outdoing all Men and Women, that ever Danc'd before her, both for high leaping and fine Dancing, and whatever has been done by any person on the Ground, as side, upright, cross or back Capers, is performed by her on the Dancing Rope, and rises to that prodigious height, as will startle all that see her. William King, A Journey to London in the Year 1698 (2d edition, corrected, 1699), pp. 27-28: I was at Bartholomew Fair....I went to the Dancing on the Ropes, which was admirable. Coming out I met a man that would have took off my Hat, but I secur'd it, and was going to draw my Sword, Crying out, Begar! Damn'd Rogue! Morblew, &c. when on a sudden I had a hundred People about me, Crying here, Monsieur, see Jephtha's Rash Vow, here, Monsieur, see the Tall Dutch Woman, see the Tyger, says another; see the Horse and no Horse, whose Tayl stands where his Head should do; see the German Artist, Monsieur; see the Siege of Namur, Monsieur: So that betwixt Rudeness and Civility, I was forc'd to get into a Fiacre, and with an air of Hast, and a full Trot, got home to my Lodgings

Event Comment: Post Man, No 515, 15-17 Sept. 1698: At Mr Barnes's and Mr Appleby's Booth in the Coachyard near St Georges Church, Southwark, during the space of 14 days, is to be seen the most famous Rope Dancers of Europe, viz. the English, High German, Dutch, and Morocco Companies, who perform strange and wonderful things on the Rope, the German Maiden outdoing all Men and Women, that ever danc'd before her, both for high leaping and fine Dancing, and whatever has been done by any person on the Ground, as side, upright, cross or back Capers, is performed by her on the Dancing Rope, and rises to that prodigious height, as will startle all that see her

Event Comment: Rich's Company. The date of the first performance is not known, but it cannot be later than December 1698, for the play was advertised in the Post Man, 27-29 Dec. 1698. The play may have been produced earlier in the season, but it apparently followed the two operatic works (The Island Princess and Rinaldo and Armida), as the Epilogue alludes to the "late Singers." It also refers to Sigismondo Fideli, as being lately arrived, and he is known to have given a concert on 22 Dec. 1698

Event Comment: Betterton's Company. The date of the premiere is not known. The Dedication is dated 20 April 1699, and the play was advertised in the Post Boy, 25-27 April 1699; hence, it is likely that the play was first given between mid-February and mid-March, certainly before Easter, which fell on 9 April 1699

Event Comment: James Brydges, Diary: I set Mr Bullock down at ye Playhouse, & came home (Huntington MS St 26). John Dryden wrote to Mrs Steward on 23 Feb. [1699@1700, but possibly 1698@99, as the letter concerns theatrical affairs of the autumn and winter of 1698-99]: The Poem of The Confederates [see The Island Princess, November 1698] some think to be Mr Walsh: the copies are both lik'd. And there are really two factions of ladyes, for the two play-houses. If you do not understand the names of some persons mention'd I can help you to the knowledge of them. You know, Sir Tho. Skipwith is master of the play-house in Drury-Lane; and my Lord Scarsdale is the patron of Betterton's house, being in love with somebody there [presumably Anne Bracegirdle] (The Letters of John Dryden, p. 133)