Event Comment: Mainpiece: A New English Burletta, never performed, by the Author of Midas [Kane O'Hara], in three parts. Books of the Burletta to be had at the Theatre. Receipts: #229 14s. [The mainpiece had been censored by Licenser 5 April 1772 (Larpent MS 330) but had been passed later. The MS indicates stage directions "Curtain rising discovers a splendid Pavilion in the Clouds, Juno, Pallas and Venus at card table." Reviewed in the Westminster Magazine. Rev. Charles Jenner wrote the following "Ode to Miss Catley in the character of Juno." (Harvard Library original MSS No. 65 [1930].)] @Hail vulgar Goddess of the foul mouth'd race!@If modest Bard may hail without offence)@In whose majestic, blush-disdaining face@The steady hand of Fate wrote Impudence;@Hail to thy dauntless front, and aspect bold;@Thrice hail, magnificent, immortal scold!@ @Thee, Goddess, from the upper gallery's height@With heedful look the jealous fish-wife eyes,@Tho early train'd to urge the mouthing flight,@She hears thy bellowing powers with surprize.@Returns instructed to the realms that bore her,@Adopts thy tones and carries all before her.@ @Proceed then, Catley, in thy great career@And nightly let our maidens hear and see@The sweetest voice disgust the listning ear@The fairest face assume deformity!@So shalt thou arm them with their best defense,@And teach them Modesty by Impudence.

Event Comment: Oratorio composed by Dr Arne. Not performed these eight years. Boxes 5s. Pit 4s. First Gallery 3s. Upper Gallery 2s. Tickets and places for the boxes to be taken of Mr Sarjeant (only) at the Stage Door. Books of the Oratorio to be sold at the theatre. Doors opened at Five o'clock. To Begin at Half past Six. [Note on prices, time, and books repeated each performance this season.] Charges: #35

Event Comment: The Words of the Music [for Alzuma] will be given away at the Theatre. Third Night. For the Author. Charges #67. Profit to author #96 13s. 6d. Paid Whitefield for Cloaths made #65 12s. 5d. Paid Scott (copper laceman) #59 9s. (Account Book). Receipts: #163 13s. 6d

Event Comment: [Maria Macklin wrote her father (13 March 1773): Smith has rais'd such a fury in the Town, owing to Colman's having refus'd Mrs Yates to play for him, that last Saturday [6 March] being the fifth night of Alzuma, when the play ought to have begun, the Audience made a most violent noise, called for Colman, insisted that the play should not begin till he was found & the reasons given why Mrs Yates was not suffered to play for Smith. In vain did Bensley endeavor frequently to speak and tell them that Colman was not to be found. The still continued hissing and roaring, and this last till past seven o'clock. Dagge and Harris were behind in a dreadful consternation least the house should be demolished, of which indeed it was in some danger. At last they said something must be said to quiet them, when Smith in the confusion ran on and told them that the managers had consented Mrs Yates should play for him. Then they sent him off to tell them that his day must be settled whenever he thought proper, to give her time to come here. He went off and made them fix it for the 19th of April, went on and told them it was settled. They then insisted that Smith should tell them whether everything was settled to his entire satisfaction. He assured them it was. The play was then ordered to begin. I am told they have given him up his articles for three years, at his desire. Several Gentlemen went round into the Hall and sent for Smith, telling him his private quarrels with the managers were nothing to them. That if Mrs Yates play'd they should be glad to see her, but that as she was not in the company it was not right in him to disturb the play and hinder them from seeing it. He expostulated with them and told his story. The Town rings with this affair. Various are the opinions. Some think it is her plan to get once more upon the stage, and they say there is a most powerful Party making to oppose her & that she shall not play that night. Others say Colman is very wrong to hinder her. I find she entirely built upon your playing for me, and there has been a very impatient card in the Ledger to Colman insisting upon his telling the town why Mrs Yates was hindered to play, and why Mr Macklin had any more right to be suffered to come over so long unmolested to play for Miss Macklin? But that everybody sees thru'....Colman I am certain has not a thing against your playing for me. He seems rather to wish for your coming....I do not think the Yeats's will be engag'd tho' the Town rail much at Mrs Hartley & Miss Miller, and sure enough they are bitter bad....On Tuesday I shall send you the fate of Dr Goldsmith's Comedy, which comes out on Monday next. It is call'd the Mistakes of a Night....Foote's Rary Shew has been rehears'd three mornings but he got no money, so he shews off again at night instead-but it does not fill violently. Alonzo goes on but Barry is too ill to play. The great support of it is Mrs Barry's acting." (Harvard Theatre Collection, A.L.S.)] Receipts: #196 19s

Event Comment: Benefit for Bensley. Last time of performing till the Holidays. On Easter Monday (the Sixth Night, for the Author) the New Comedy, of She Stoops to Conquor; or, The Mistakes of a Night (playbill). Charges #67 5s. Profit to Bensley #68 1s. 6d. plus #34 4s. from tickets (Box 135; Pit 3). Paid one-half year's poor's Rate for theatre due Lady Day last #21 17s. 6d. and ditto for House in Bow Passage 15s. 8d. (Account Book). Receipts: #135 6s. 6d

Event Comment: Afterpiece: Added By Particular Desire. Rec'd from Mr Baks for his deficiency in 1771 #8 5s. 3d., and from Miss Stede her half value of tickets for same season. Rec'd #34 13s. 9d. from Davis, Curtat, Merrifield and Mrs Hartley for their deficiencies last season (Account Book). [Perhaps pressure was put on these actors and dancers to balance their accounts with the theatre before another benefit could be allowed to them.] Receipts: #229 11s

Event Comment: Benefit for Mrs Bulkley. Mainpiece: Not acted these 5 years. [See 19 April 1769.] Afterpiece: A Farce Never acted there [Wm Whitehead]. Tomorrow (for the only Time this Season) The Merchant of Venice with Love-a-la-Mode. Shylock and Sir Archy by Mr Macklin being the only time of his performing this season. For the Benefit of Miss Macklin (playbill). Charges #66. Profit to Mrs Bulkley #43 6s. 6d. plus #103 16s. from tickets (Box 194; Pit 298; Gallery 106). Paid one half year's paving &c. for the Theatre due Lady Day #26 5s. (Account Book). Receipts: #109 6s. 6d

Event Comment: Benefit for Ackman. Tickets to be had at Pond's in the Great Piazza, Covent Garden; and of Mr Johnston, at the Theatre. House charges #84. Profit to Ackman #123 10s.; Paid Mr Davies's note to Liddell, #3 3s.; Paid extra Flute and Hautboy 10s.; Chorus 2 nights (this incl.) #4 1s. Receipts: #207 10s. (Treasurer's Book)

Event Comment: By Order of the Grand Buck for the Benefit of Wignell and Davis. N.B. Places will be kept in the front boxes for the brethren of the Mcst Noble Order, who are desired to meet the Grand Buck and His Council at the Shakespeare's Head in the Great Piazza, by 5 o'clock, from thence to proceed to the theatre, and bring the ensigns of the Order with them (playbill). Charges #66 3s. 6d. Deficit to beneficiaries #4 6s. 3d. apiece, cover'd by income from tickets: Wignell #78 4s. (Box 82; Pit 290; Gallery 142); Davis #74 4s. (Box 59; Pit 281; Gallery 173) (Account Book). Receipts: #57 11s

Event Comment: A new Comedy (Newspaper clipping Harvard Theatre collection). [Cast from first edition differs from player's names of this night.

Event Comment: Public Advertiser: When the Disturbances of the Theatre at Rome, in the Days of Augustus, caus'd several Tumults, the Emperour interpos'd and pronounc'd the Sentence of Banishment on a very great Actor, for whose Sake these Disturbances were made. He observ'd at the same Time, that the Stage had a strong Tendency to disturb all as well as to amuse the People. The Actor said, with great Spirit, "'Tis for your Interest, Caesar, that they shoul d be amus'd any Way." The Civil War of England, 1641, did not commence 'til the Playhouses were shut. People are never more discontented than when depriv'd of their Favourite Diversions

Event Comment: Doors open at 5 o'clock. Play to begin at 6 o'clock. Prices: Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places to be had of Mr Johnston at the Stage door. [Customary note, repeated.] Rec'd Mrs Groath's one year's rent to Xmas last #3; Paid Renters #8 (Treasurer's Book). This regular expenditure was made nightly for the 189 acting nights of the season, as well as for the 11 nights on which Oratorio's were given in the Spring. The total amount came to #1600. No further note will be made of this item this season. The Westminster Magazine this month, reiterated its doleful cry "that the stage is on its decline." In a long article on "Stage Effect, or Dramatic Cookery," it concluded that our "Theatrical managers and even our Theatrical Critics seem to have resolved all the merit of dramatic composition into stage trick, and rest their criterion of Dramatic Genius on the knowledge of what they are pleased to call Stage effect." The "Theatre" article for the month remarked upon the boldness of Garrick's opening with the Beggar's Opera, "notwithstanding he was requested by the Bench of Justices at Bow-Street, to suppress it, as they were of opinion it had done a great deal of mischief among the low class of people." Lloyd's Evening Post, 17 Sept., included extracts from letters against playing the Beggar's Opera, "because every performance makes from one two twenty thieves." Sir John Fielding and his associates had addressed a letter to Garrick requesting him not to perform the opera for the same reason. The Morning Chronicle, 23 Sept., praised Garrick for not complying with the Justices' request. Wm Augustus Miles published a Letter to Sir John Fielding occasioned by his extraordinary Request to Mr Garrick for the suppression of the Beggar's Opera (44 pp.). In this he vindicated the moral effect of the opera.] Receipts: #158 (Treasurer's Book). [Note: For perform ance at hay 18 and 20 September, see Season of 1772-1773, p. 1740

Event Comment: Mainpiece: Not acted these 16 years. [See 19 April 1751.] New Scenes, Machines, Decorations &c. The Characters dress'd in The Habits of the times. This Masque is very well got up with New Scenes & Decorations particularly a Representation of the Grand Naval Review design'd by Mons DeLoutherberg & vastly well Executed had great Applause the piece is very dull (Hopkins Diary). [Macmillan's note from Kemble differs slightly in wording.] Paid five day's salary at #86 13s. 10d. per diem, #433 9s. 2d.; Miss Younge 6 days not on the list #1; Mr Courtney 3 days not on list 7s. 6d.; Mr J. French on Act #10 (Treasurer's Book). The Songs, Chorusses, &c. in the Masque (in the order they are now performed) to be had at the Theatre. The Music by Dr Arne and other masters (playbill). Receipts: #158 12s. (Treasurer's Book)

Event Comment: Books of the Masque to be had at the Theatre. Paid Chorus 2 nights (this incl.) #4 1s.; Mr Vernon on note #28 1s. (Treasurer's Book). Receipts: #110 14s. (Treasurer's Book)

Event Comment: The proprietors of the Opera House think it is their duty to lay before the Nobility and Gentry to whose patronage they are highly endebted a list of the engagements made for the ensuing season. [No attention or expense spared to make the operas brilliant. Gordon spent two months in Italy, and made two trips to Paris to select the best singers and dancers.] The ill health of Sg Carabaldi having prevented his setting out in time and made it impossible for him to be here at the opening of the theatre. Sg Scheroli, the Tenor who has played the first Buffo with the greatest reputation in Italy, has kindly undertaken to play the part until his arrival. Company: Serious Opera-Millico, Mrs Davies, Scheroli (Tenor), Sga Galli, Sga Lodi. Comic Opera-Carabaldi, Scheroli, Sga Marchetti, Sga Galli, Fochetti, Sga Lodi, Sga Gardi. Poet-Sg Badini. Master of the Dances-Petro. Principal Dancers-Fierville, Pico, Vicenzo Lorenzo, Bocchini, Mariottini, Sga Mimi Faviere, Sga Mazzoni, Sga Nina Faviere, Colomba (from Milan), Mr Canter. Book-Boxkeeper-Yates. [Requests nobility and subscribers to pay up their subscriptions.

Event Comment: Paid half year's Poor's Rate for theatre due Mich last #24 15s. 10d., and ditto for House in Bow Passage 17s. 9d. Paid Palmer (wax chandler) #46 8s. Receipts: #136 1s. 6d. (Account Book)

Event Comment: Music of Afterpiece by Monsigny, Phillidor, and Dibdin. Books of songs at Theatre. The Farce was well rec'd the Music is very pretty. rather too long--much applause (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording.] Receipts: #183 18s. 6d. (Treasurer's Book)

Event Comment: Mainpiece: Not acted these 2 years. [See 25 Jan. 1772.] [Brown identified by Kemble note on playbill. Macklin no longer appears on the playlist. This day is published at 1s. 6d. The Duellist, a Comedy, as it was represented at the Theatre Royal in Covent Garden. To which is prefixed a concise Narrative of the very Extraordinary Circumstances attending its Reception. T. Evans Bookseller.] Receipts: #188 1s. (Account Book)

Event Comment: Afterpiece: A Comic Opera altered [by Colman] from Gay. The Music entirely new by Dr Arne. Now acted for the first time in 2 Acts. [The 1776 Edition in Bell's British Theatre lists: Achilles-Mattocks; Peripas-$Reinhold; Lycomedes-$DuBellamy; Diphilus-$Dyer; Ajax-$Dunstall; Ulysses-$Owenson; Diomedes-$Fox; Argytes-$Baker; Deidamia-$Mrs Mattocks; Artemona-$Miss Brown; Philoe-$Miss Valois; Thetis-$Miss Catley. [$Miss Pearce may have played Lesbia).] Paid Banks for the Head of a Figure used in The Fair #1 1s.; Paid Mr Gard for performing 5 nights in the Fair and 3 in the Sorcerer #1. Paid Joseph Besford for performing 5 nights in the Fair 12s. 6d. (Account Book). [Afterpiece unfavorably reviewed in the Westminster Magazine.] Receipts: #149 18s. 6d. (Account Book)

Event Comment: King not being sufficiently recover'd the School for Wives deferr'd. Paid half year's rent to the Duke of Bedford to Mich. last #165 2d.; Insurance of theatre and New Building to Christmas 1774 from this day #51 10s. 6d.; Mr G. Garrick on acct #100. Receipts: #183 (Treasurer's Book)

Event Comment: Books of the Opera to be had at the Theatre. Paid Pattinson (tallow chandler) #35 10s., and Evans for Spermecetti candles #14 8s. Receipts: #143 11s. 6d. (Account Book)

Event Comment: Receipts: #86 (Account Book). Charges #81 15s. Profit to Society #4 5s., plus #106 17s. from tickets (Box 242; Pit 309) (Account Book). Benefit for Use of the Society at the Thatched-House Tavern For the release and discharge of persons imprisoned for small debts. [The Epilogue was written by Cumberland. (See Folger Library Theatrical Clippings). The Curtain rises and discovers a prison; at some distance a woman, poorly habited, and in a disconsolate attitude; after standing some time montionless, in a posture of fixed attention she speaks]: @Woman: Thou loathsome dungeon in whose dreary womb@The pining Debtor finds a living tomb;@Where 'midst the Clank of Chains and Dismal yells@Of shakled felons my sad husband dwells;@From his dark cell, oh give him to my view!@Let him look forth and take a last adieu.@ [As she advances towards the prison, a person in Gentleman's apparel accosts her.] @Man: Stay, Child of Sorrow, thou whose piercing groans@Might move to pity e'en these senseless stones.@Why dost thou bend thy melancholy way@To that Drear Dungeon? Child of Sorrow stay.@Woman: Why should I stay, or my sad Griefs impart?@Can there be pity in a Human heart?@Away and let me die.@ [...The Man suggests a Human heart can have pity] @Woman: If there be such, O lead me to their sight,@And let me plead a wretched sufferer's right:@Can there be Truth, Humanity or Sense@In laws that make Misfortune an offence?@ [Her husband was a God-fearing weaver who fell ill for 10 weeks, lost his job and was seized upon by a relentless creditor.] @Steel'd to their trade, and deaf to all our cries,@Relentless ruffians seize their legal prize;@From my fond arms a dying Husband tear@And plunge their victims in a dungeon there!@Man: Enough! go speak the healing words of peace@To thy sad mate, and bear him this release;@Tell him the Muse, which on these Scenes attend@That balsam to his wounded spirit sends.@And Know this Truth thyself, 'tis not alone@The Preacher's pulpit and the Monarch's throne@That Charity frequents; but in this age,@She guides the Theatre and treads the stage;@Lo! She is present, cast your eyes around,@And here in each Spectator's heart she's found.