Event Comment: We play'd the Beggar's Opera & ye Oracle by Children for the Benefit of some distress'd Actors who formerly belong'd to the Theatres. There was #102 in the House, the following Persons receiv'd from it Mr Marshall #23. Mr Morgan #21. Mrs Edgerton #5 5s. Mr Bowman #5 5s. Mr Phenix #10 10s. Mrs Gardner (formerly printer to ye house) #2 2s. N.B.: Mrs Clive refus'd to play her part of Lucy , it was done by Miss Young. New performers engag'd Y: Fletewood, Obrien, Packer, Perry, Miss Glen (Cross)

Event Comment: Benefit for Sparks. Afterpiece: Never acted there

Event Comment: Benefit for Author of the Farce [Dr Hiffernan]. Farce never perform'd in this version before [see Maiden Whim at dl, 24 April 1756]. Farce publish'd at 1s

Event Comment: Benefit for Mrs Mariet, Mrs Petit, and Miss Valcour. Tickets deliver'd by Hayes, Perry, Brownsmith, Miss Twist, and others will be taken. Receipts: #190 (Cross). Tickets to 12 (Cross)

Event Comment: Benefit for Verney (Housekeeper). Observations on the Importance of Theatres, with computation of the Sum they might raise by Taxation, published at 1s. Receipts: #300 (Cross)

Event Comment: Benefit for Clough, Raftor, Shawford, Walker. Tickets deliver'd by Mr Danny, and for Friday the 18th will be taken. Last time of performing the afterpiece this season. [Moody's actual first appearance was in Antony and Cleopatra, 12 Jan.] Receipts: #180 (Cross)

Event Comment: Receipts: #115 3s. [The Weekly Magazine; or, Gentleman and Lady's Polite Companion (1760), pp. 61-63, deplores the lack of new plays and lack of competition for the Patent houses. "Our theatres seem now to aim at glorious opposition: Harlequin is set against Harlequin, one dancing master opposes another; the scene shifters, the singers, and even the drummers figure at each house by turns, and it is to be hoped soon that the mere actor will become useless....The Fair has scarce even pantomime probability...for instance Harlequin should never exercise his magical power without reason, and should never make escapes without being pursued, but here he conjures, leaps, runs and waggles without any apparent design; and the whole seems destitute of plot, a if contrived by a dancing master. Harlequin's Invasion at the other House is still rather more absurd." The author expected a speaking Harlequin, Pantaloon, Pierot, Mezzetin, &c. but found the customary figures banished for the substitution of a "stupid Taylor and his more stupid wife." Regrets the sinking of stage performance to such absurdity.