Event Comment: 2nd ballet: With entirely new Scenery, Machinery, Dresses and Decorations. The Music entirely new, composed by Millerd, composer for the ballets at the Opera at Paris. In the course of the performance the Grand Procession of Iphiginia into Aulide. The Scenery, Machinery, &c. designed by Marinari, and executed by him and his assistants. The decorations by Johnston, the dresses by Sestini. [Scenario published by J. Hammond [1793].] The Managers beg leave particularly to request that no Gentleman will come behind the Scenes, as the number of people engaged in the ballet, and the variety of scenery and machinery, render such admission highly inconvenient. Morning Herald, 24 Apr,: The story [of the ballet] is perhaps not very intelligibly told; but the shew and the dance are admirable. It begins and concludes with magnificent processions, the last of which brings Iphiginia to the altar, where she is saved just as the holy knife is raised for the sacrifice. At this instant the chariot of the Sun, the brilliancy of which is much beyond any former representation of the sort, passes over the stage, and is, for some time, suspended over the altar, while the whole corps de ballet offer their adorations

Event Comment: Afterpiece: The Musick composed by Storace. Powell: Englishman in Paris rehearsed at 10; Children in the Wood at 11 (Master Welsh absent; rehearsal dismissed); Love a-la-Mode at 12 (Suett and Miss Heard, one scene). Receipts: #416 3s. (343/7/6; 61/19/0; 10/7/6; tickets not come in: 0/9/0)

Event Comment: Benefit for Mme Banti. A Grand Serious Opera (1st time in this country [1st performed at Vienna, 1767]), accompanied with Chorusses and Dances. The music entirely by Gluck. With entirely new Scenes, Dresses and Decorations. Books of the Opera now to be had at the Office of the Theatre, and at Beckett, Bookseller, Pall Mall. Morning Chronicle, 28 Apr.: To be performed exactly in the same manner as it was represented at Paris, under the direction of Gluck himself. Tickets to be had of Mme Banti, No. 3, Hay-market. Bartolozzi having presented Mme Banti, for her night, with a Ticket designed on purpose and engraved by himself, she proposes to give one of the engravings along with each Box and Pit Tickets, separately from the Ticket which will be admitted at the door. The Doors to be opened at 6:00. To begin at 7:15 [see 20 June]

Event Comment: Benefit for Mme Banti. A Grand Serious Opera (1st time in this Country [1st performed at Paris, 1779]); the Music by Gluck. Accompanied With Chorusses under the Direction of Kelly. With entirely new Scenes designed by Marinari, and executed under his direction, Dresses and Decorations. Tickets to be had of Mme Banti, No. 7, Hay Market. The Company are respectfully entreated not to come upon the Stage this Night, as the Iphigenia is accompanied with a degree of Spectacle on which the effect of the Performance chiefly depends; besides, the Machinery used in this Opera will make it dangerous for the Company to be upon the Stage during the time of the representation. "We never saw a House more splendid, more crowded, nor more gratified...In spite of the request not to crowd upon the stage, it was quite thronged; and it was impossible to move the complicated and superb scenery with effect. We lament that no means can be devised to save the stage from this perpetual intrusion" (Morning Chronicle, 8 Apr.). "Banti had a crowded house for her benefit, and is said to have netted 1500 guineas" (Monthly Magazine, May 1796 p. 321)

Event Comment: Benefit for Mrs Kemble, being the last Time of her Appearing on the Stage. 1st piece [1st time; T 2, by John Philip Kemble, altered from the same by Philip Massinger. Larpent MS 1040: not published]: In Act I the Triumphal Entry of Domitian into the Capitolv. 2nd piece [1st time; C 3, by John Philip Kemble, altered from The Comical Lovers, by John Dryden and Colley Cibber. Larpent MS 1133: not published. Genest, VII, 243: C. Kemble on being asked, in 1821, if the above cast was right, said that he believed it was, but that he was ill and did not act]. [Address by Bertie Greatheed (European Magazine, June 1796, p. 397).] Morning Herald, 10 May: Tickets to be had of Mrs Kemble, No. 13, Caroline-street, Bedford-square. Account-Book: Paid H. S. Hargraves, Box No. 95, his Servant being turn'd out by Force, #1 4s. Receipts: #190 9s. 6d. (130.9.0; 59.10.0; 0.10.0; tickets: none listed; odd money: 0.0.6) (charge: #216 17s.)

Event Comment: 2nd ballet: Revived, and brought forward under the direction of Barre. The Music, with additional Airs, by Mazzinghi. The Scenery entirely new, painted by Greenwood and assistants under his Direction. The Dresses new by Sestini. "This dance is the composition of the celebrated Noverre, and it is totally different from the ballet under the same title, brought out at Paris under Gardel...The torches and swords of fire in hands of Furies produced so tremendous an effect that a part of audience seemed petrified at agonies of Psyche. Much of this effect was produced by the strong reflection from glass pannels of boxes" (Morning Chronicle, 19 Dec.). The frequenters of Opera are respectfully acquainted that Posts with Chains are placed all along front of Theatre to prevent Carriages from driving upon the foot way, so that Chairs can in future come by great door in the Haymarket with perfect safety

Event Comment: A New, Grand, Serious Opera, with Chorusses (1st time [in London; 1st performed at Paris, 1788, as Arvire et Evelina]). The Music by Sacchini (being his last Work). With entirely new Scenes (painted by Greenwood), Dresses and Decorations. Books of the Opera may be had at the Office of the Theatre

Event Comment: Benefit for Mrs Rose Didelot. Tickets to be had of Mrs Rose Didelot, No. 8, Haymarket. 2nd ballet: 1st time; composed by J. D'Egville. [In all subsequent performances this was billed as Tarare.] "D'Egville, Laborie, and St.Pierre are excellent dancers and fine manly figures. Laborie possesses more elegance than St. Pierre; but the latter greater animation. D'Egville displays much taste and poetical spirit in the invention of ballets...[which] are far richer in naive situations, and possess a more free poetical spirit than those of Paris" (Goede, 265-66)