Event Comment: [In mainpiece the playbill retains Phillimore as Volscinius , but "Cooke Volscinius, Phillimore Ill" (Powell).] Account-Book: Paid Wilkinson, mercer, #303 0s. 6d. Powell: New Ballet rehearsed at 10. Receipts: #167 3s. (115.17; 46.4; 5.2)

Event Comment: [Extra night] Benefit for the General Lying-In Hospital, Bayswater, Under the Patronage of Her Majesty. Tickets to be had at the Hospital; of Longman and Wilkinson, Cheapside; Broderip andCo., Haymarket; and of Brandon at the Theatre, where Places for the Boxes may be taken. Many of the Re-Renters have generously relinquished their Privilege upon this Night. [Faulkner had acted at dl on 21 Dec. 1796, and Mrs Johnstone at cg on 4 Jan. 1798.] Receipts: none listed

Event Comment: Nahum Tate published a poem The Battle of the B@@d's in the Theatre Royal Dec. 3, 1680, in Poems Written on Several Occasions, 2d edition, 1684, pp. 153-54

Event Comment: The United Company. An order, 9 Feb. 1683@4, in L. C. 5@145, p. 14 (Nicoll, Restoration Drama, p. 356), and another, L. C. I, specify requirements for a play to be acted at Whitehall on 11 Feb. 1683@4, and name Valentinian as the drama. The first Prologue and the Epilogue Written by a Person of Quality were printed separately; Luttrell's copy (Bindley Collection, William Andrews Clark@Jr@Library) is dated 20 Feb. 1683@4. They are reprinted in Wiley, Rare Prologues and Epilogues, pp. 249-51. It is not certain on what date the first performance occurred, for premieres at court are quite rare in the Restoration period. In Nahum Tate's Poems by Several Hands (1685): Sir Francis Fane: A Masque Made at the Request of the Earl of Rochester, for the Tragedy of Vadentinian. Downes (p. 40): The well performance, and the vast Interest the Author made in Town, Crown'd the Play, with great Gain of Reputation; and Profit to the Actors. For an intended cast of Rochester's alteration of the play by John Fletcher, see the introductory note to the season of 1675-76. In A Pastoral in French by Lewis Grabu (published in 1684; advertised in the London Gazette, No. 1947, 17 July 1684) are two songs for this play for which Grabu apparently composed the music: Injurious charmer of my vanquished heart and Kindness hath resistless charms. In Choice Ayres and Songs, The Fourth Book, 1684, is: A new Song in the late reviv'd Play, call'd Valentinian: Where would coy Aminta run [the composer of the music not being indicated]

Event Comment: Gentleman's Journal, November 1693: An Ode upon His Majesty's Birth-day, Set to Musick by Dr Staggins; and Perform'd before Their Majesties, Nov. 4. 1693. The Words by N. Tate, Servant to Their Majesties. [The Ode was published separately as a broadside in 1693. A song, Gallic force, in vain, set by Staggins and sung to the King on his birthday, is in Comes Amoris, The Fifth Book, 1694.

Event Comment: Rich's Company. The date of the first production is not known, but A Comparison between the Two Stages (1702) (pp. 21-23) implies that this work preceded Rinaldo and Armida (performed at lif probably in November 1698). The Island Princess was not published until 1699 (the Masque being advertised in the Post Boy, 7-9 Feb. 1698@9, and the Opera in the Flying Post, 7-9 March 1698@9). A Comparison between the Two Stages (1702), pp. 21-22: Sullen: The old House have a Bawble offer'd 'em, made out of Fletcher's Island Princess, sometime after alter'd by Mr Tate, and now erected into an Opera by Motteux: The Actors labour at this like so many Galley Slaves at an Oar, they call in the Fiddle, the Voice, the Painter, and the Carpenter to help 'em; and what neither the Poet nor the Player cou'd do, the Mechanick must do for him:...but as I was saying-the Opera now possesses the Stage, and after a hard struggle, at length it prevail'd, and something more than Charges came in every Night: The Quality, who are always Lovers of good Musick, flock hither, and by almost a total revolt from the other House, give this new Life, and set it in some eminency above the New; this was a sad mortification to the old Stagers in Lincolns-Inn-fields. For a poem, The Confederates; or the first Happy Day of the Island Princess, see Poem on Affairs of State, 1703, II, 248-50

Event Comment: Luttrell, A Brief Relation, IV, 518-79: This day being the anniversary of the kings birth...there was also a fine ball at St. James to conclude the solemnity, where the king was present: their royal highnesses the prince and princesse dined with his majestie at Kensington, who all the while were diverted with a fine consort of musick; and Mr Tate, the poet laureat, presented the king with a curious ode

Event Comment: Not Acted these Fifteen Years [but see dl, 5 Dec. 1712]. Written by Mr Tate, late Poet Laureat. With all the Decorations proper to the Play

Event Comment: Written by Mr Tate, late Poet Laureat

Event Comment: At the Desire of several Persons of Quality. Mainpiece: Written by Mr Tate, late Poet Laureat. Afterpiece: The Words by Mr Motteux, and set to Musick by Mr Eccles. With Scenes, Machines, Dances, and all proper Decorations

Event Comment: At the Desire of several Persons of Quality. Mainpiece: Written by the late N. Tate, Esq; Poet Laureat, Author of the Tragedy of King Lear

Event Comment: Mainpiece: Alter'd from Shakespeare by N. Tate, Esq. Afterpiece: Taken from Moliere

Event Comment: Mainpiece: Alter'd from Shakespear by N. Tate, Esq

Event Comment: At the particular Desire of several Ladies of Quality. Mainpiece: Alter'd from Shakespear, by $N. Tate, Esq.

Event Comment: Benefit for Shuter and Miss Haughton. Tickets at stage door. [For criticism of Shuter and Miss Haughton, see Genest, IV, p. 363, from The Present State of the Stage in Great Britain and Ireland, 1753. Nineteen of the Fifty-five pages of this pamphlet defend the stage on classicial authority and moral grounds from attacks by the religious bigots, and present an ideal picture of a manager, laying under some contribution, it would seem, the character of a manager presented ten years earlier (1743) in Queries to be Answered. The author especially likes the moral of Tate's alteration of Lear. The remaining pages give a paragraph or two of criticism to the leading actors and actresses in some of their most affecting parts (sixteen pages to Drury Lane Performers, all of whom appear in the author's eye to be either "Excellent" or "Very Good.") The remaining space is devoted to the performers at Covent Garden and at the Theatre Royal in Dublin. All those spoken of fare well in the hands of this bound-to-be pleased critic. Shuter is here commended for ability to play an Old Man convincingly though he was but 22 years old, and to play at all considering his lack of education. He possesses a great fund of drollery, and bids fair to be as great in low comedy as it is possible for man to conceive.' Miss Haughton described as an actress of promise. Seems never to have got the better of a lisp, and a Newcastle manner of pronouncing the letter 'r.'] Receipts: #290 (Cross)

Event Comment: Mainpiece: Not acted these 10 years. [See 17 Oct. 1752. Review of this cast, if not of this particular performance, appeared in The Old Maid, 13 March. Favorable comment on Barry and Ryan. The reviewer disliked the Tate version, and the stage habit of making the Gentleman Usher a Fribble.