SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Theatre at Edinburgh"/1) | (@(roleclean,performerclean) "Theatre at Edinburgh")') GROUP BY eventid ORDER BY weight() desc, eventdate asc OPTION field_weights=(perftitleclean=100, commentpclean=75, commentcclean=75, roleclean=100, performerclean=100, authnameclean=100), ranker=sph04

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We found 2495 matches on Event Comments, 376 matches on Performance Comments, 63 matches on Performance Title, 2 matches on Roles/Actors, and 0 matches on Author.
Event Comment: MMr Waldron from Edinburgh made his first appearance upon this Stage in Scrub he is a mean figure a small Impediment in his speaking and wants power he met with some applause (Hopkins Diary)

Performances

Mainpiece Title: The Stratagem

Afterpiece Title: The Ode

Dance: IV: The Wake-Giorgi, Mrs King

Event Comment: Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. No Persons to be admitted behind the scenes, nor any money returned after the Curtain is Drawn up. Places for the boxes to be had (only) of Mr Sarjant at the Stage Door. The Doors to be opened at Five o'clock. To begin exactly at Six o'clock. Vivant Rex & Regina! [Customary note for each bill. Only significant changes will be further noted. The company was weakened by the loss of Woodward (see 23 Oct.) who accompanied Foote to Edinburgh, and of Mrs Bellamy who was not engaged. Miss Catley, however, returned from Ireland after an absence of 9 years. And Ross returned after four years.

Performances

Mainpiece Title: The Way To Keep Him

Afterpiece Title: The Chaplet

Dance: The Dutch Milkmaid-Mas. Burton, Miss Besford. [See17691111.

Performances

Mainpiece Title: Every Man In His Humour

Performance Comment: Bobadil-Woodward (first appearance on this stage); Welbred-Robson; Young Knowell-Didier; Downright-Gardner; Old Knowell-Miller; Matthew-Hamilton; Cash-Dancer; Kitely-Fearon (from Edinburgh); first appearance on this stage; Cobb-Collett; Formal-Farrell; Brainworm-Vandermere; Stephen-Weston; Bridget-Mrs Didier; Tibb-Mrs Collett; Dame Kitely-Mrs Gardner.

Afterpiece Title: The Wrangling Lovers

Dance: End: The Shoemaker-Mrs West, Miss West, Mas. Williamson

Performances

Mainpiece Title: Patie And Roger; Or, The Gentle Shepherd

Performance Comment: Patie-M'Donald; Roger-Stewart; Bauldy-Walker; Symond-Millemist; Glaud-Boyack (who will introduce the Cries of Edinburgh); Peggy-Miss Stuart; Jenny-Miss Sterling; Mage-Wilson; Mause-Blair; Sir William-Blendel; Occasional Prologue-Walker.

Entertainment: II: Bucks have at ye all-a young Gentleman; with other entertainment of Music and Dancing-

Performances

Mainpiece Title: The Busy Body

Performance Comment: Marplot (with an address to the Town)-Brunsdon (from Edinburgh); Sir George Airy-Farren; Charles-Wilks; Sir Jealous-Morris; Whisper-Lamb; Butler-Mills; Sir Francis-Batson; Miranda-Mrs Batson; Isabinda-Mrs Gardner; Patch-Young Lady, first time on any stage.

Afterpiece Title: The Citizen

Entertainment: Between the Play and Farce: a Variety of Imitations-Young Lady who never appeared on any stage

Performances

Mainpiece Title: The Nabob

Performance Comment: Parts-Foote, Weston, Wilson, first time (from Edinburgh), Kennedy, Follett, Griffith, Owenson, Fearon, Davis, Jacobs, Jones, Castle, Lloyd, Courtney, Mrs Williams, Miss Ambrose, Mrs Palmer, Mrs Gardner.

Afterpiece Title: The Padlock

Dance: As17740516

Event Comment: Mainpiece: Never performed here. [Digges's 1st recorded appearance as Sir John Brute was at Edinburgh in 1757.

Performances

Mainpiece Title: The Provok'd Wife

Afterpiece Title: Midas

Dance: End: Dance-

Event Comment: [Extra night] By Permission [of the Lord Chamberlain]. Benefit for Mrs Lisley, late Miss Barsanti. T. Davis's benefit, which was intended for Tuesday next, is obliged to be deferred till a Future Day, of which Proper Notice will be given. [Digges's 1st recorded appearance as Lord Townly was at Edinburgh, 6 Mar. 1756.

Performances

Mainpiece Title: The Provoked Husband

Afterpiece Title: The Occasional Prelude

Afterpiece Title: The Mayor of Garratt

Event Comment: By Authority of the Lord Chamberlain. Benefit for Stewart and Walker. Mainpiece [1st time; PAST 5]: Done into English, from the Original of Allan Ramsay, by Cornelius Vanderstop, Esq. As it has long been the Desire of the Nobility and Gentry to have this celebrated Piece performed in English, the Gentleman who has undertaken this ardent Task hopes it will give Satisfaction to the Public in general. [Text 1st published For the Author, 1777.] Afterpiece [1st time; F 2, by James Stewart. Authors of Prologues unknown.]. The Doors to be opened at 5:00. To begin at 6:00. No Persons whatever to be admitted behind the Scenes, nor any Money returned after the Curtain is drawn up. Ladies are desired to send their Servants by Five to keep Places. Tickets to be had at the Edinburgh Coffee-house and Jamaica Coffee-house, Cornhill; the St. Andrew, Wapping; and of Walker, No. 4, New Round Court, Strand

Performances

Mainpiece Title: The Gentle Shepherd

Afterpiece Title: The Students; or The Humours of St

Event Comment: [This has hitherto been stated to be Ross's last appearance on the stage, but he acted subsequently in Edinburgh and Dublin, and at the Royalty, 21 Nov. 1787.] Receipts: #121 14s. (118.17.6; 2.16.6)

Performances

Mainpiece Title: The Careless Husband

Afterpiece Title: Poor Vulcan

Event Comment: Benefit for Edwin. [Digges's 1st appearance as Shylock was at Edinburgh, 8 Apr. 1772.] Tickets to be had of Edwin, No. 76, Long Acre. Tickets delivered by Stevens will be admitted

Performances

Mainpiece Title: The Merchant Of Venice

Afterpiece Title: The Son-in-law

Dance: End III: The Country Wake-; End IV: The Italian Peasants, as17800530

Song: End: the following Catches: Suppose we sing a Catch, Soldier take off thy Wine, Poor Thomas Day-Bannister, Du-Bellamy, Wood, Edwin

Event Comment: Benefit for T. Ansell, Pilford, Marks & Furkins. Tickets delivered by Clarridge, Doe, Roberts, Walker, Cox, Sarjent, Seymour, Sloper, Abbot, Akrey [Account-Book adds Rolles] will be admitted this Evening. Tickets sold at the Doors will not be admitted. [This was Yates's last appearance on the stage in London; he subsequently acted in Edinburgh in March, 1785. Afterpiece in place of The Country Mad-Cap, announced on playbill of 30 May.] Receipts: #255 3s. 6d. (20/5/0; 0/15/6; tickets: 234/3/0)

Performances

Mainpiece Title: The Mysterious Husband

Afterpiece Title: Barnaby Brittle, As17820930, but Jeremy-W

Dance: As17821231

Event Comment: Mainpiece [1st time; C 5, by Henry Mackenzie, based on La Fausse Inconstance; ou, Le Triomphe de l'Honnetete, by Fanny de Beauharnais. Larpent MS 852; text 1st published in Mackenzie's Works, Vol. VIII (Edinburgh, 1808), as False Shame; or, The White Hypocrite; it assigns no parts. Prologue and Epilogue by the author (see text)]. [Afterpiece in place of Love and War, advertised on playbill of 4 Dec.] Receipts: #202 13s. 6d. (191.3.6; 11.10.0)

Performances

Mainpiece Title: The Force Of Fashion

Afterpiece Title: The Citizen

Performances

Mainpiece Title: The Gentle Shepherd

Performance Comment: Sir William Worthy-Sincock; Patie-A Young Gentleman (1st appearance [unidentified]); Roger-Baker; Symon-Johnson; Glaud (with The Cries of Edinburgh)-Shaw; Bauldy-Walker; Peggy-A Lady [unidentified]; Jenny-Miss Bonner; Madge, Elspy-Mr Service; Mause-Mr Blair.

Afterpiece Title: The Double Amour

Dance: End IV: a Dance-Allison, Pupils of Allison

Event Comment: [Mrs Esten's 1st appearance as Juliet was at Edinburgh, 19 Jan. 1790.] In Act I of mainpiece a Masquerade Scene incident to the Play. Afterpiece: The Overture and the rest of the Music composed new by Baumgarten. Receipts: #340 9s. 6d

Performances

Mainpiece Title: Romeo And Juliet

Afterpiece Title: Blue Beard; or, The Flight of Harlequin

Dance: In afterpiece: Dancing-Byrn, Platt, Ratchford

Song: End IV: Juliet's Funeral Procession-; with the Solemn Dirge Vocal Parts-Johnstone, Incledon, Darley, Gray, Rock, Lee, Letteney, Mrs Blanchard, Mrs Harlowe, Miss Stuart, Miss Barnett, Mrs Arnold, Mrs Cross, Miss Leserve, Mrs Davenett, Mrs Watts, Mrs Gray, Miss Francis, Mrs Masters, Miss Broadhurst

Event Comment: [This was Wilson's last appearance in London; subsequently he acted at Edinburgh, Manchester, &c.] Receipts: #250 10s. 6d

Performances

Mainpiece Title: Just In Time

Afterpiece Title: The Prisoner at Large

Event Comment: Benefit for Mrs Gibbs. Mainpiece: Not acted these 6 years [acted 22 June 1790. Miss Logan is identified in MS list, in hay playbills now at Harvard, of new performers for the 1795 season. Mrs Kemble's 1st recorded appearance as Portia was at Edinburgh, 26 Jan. 1795]

Performances

Mainpiece Title: The Merchant Of Venice

Afterpiece Title: The Citizen

Event Comment: Directors of the Oratorios: Linley and Storace. Among the Principal Instrumental Performers are Ashe, W. Parke, Parkinson, Mason, Flack, Ashbridge, &c. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. No Money to be returned. Books of the performance to be had at the Theatre. [This was the 1st performance held in the new DL theatre]. Under the Management of Mr Kemble. The Box Office, for the present, is in Little Russell-Street, opposite to the Theatre, where Boxes and Places are to be taken of Fosbrook. The Box Doors are in Little Russell Street and Woburn Street. The whole of the Avenues [into the theatre], and the New Street ["which is intended to be called Woburn-street" (Carlton House Magazine, Apr. 1794, p. 136); see next paragraph] not being yet complete, Ladies and Gentlemen are particularly requested to direct their Coachmen to set down in Little Russell Street (where alone the Carriage Box Doors are at present) with the Horses heads toward Covent Garden, which is the only line in which Carriages can be permitted to pass. Carriages wanting to draw up after the performance should be headed to range in Drury Lane, toward Long Acre and Great Queen Street. The Chair Doors and Footway are in the Court in Woburn Street, where for the accomodation of those who may wish to have their Carriages wait out of the Croud, Chairs belonging to the Theatre and under proper regulations will attend. In order to keep the Colonnades quite clear no Servants can be permitted to wait there, but those belonging to the Carriages actually drawn up before the Pillars, and no Servants whatever can be permitted to pass the Doors of the Lower Saloon. Pit Door. The Temporary Pit Passage is in the center of the Theatre, in Bridges Street, which leads to a Spacious Saloon, which will be opened One Hour before the opening of the Pit Doors. All Carriages for the Pit Door are to wait in Catherine Street, or York-Street, to take up with the Horses heads towards Little Russel Street, and to pass through Great Russel-Street. Gallery Doors. The Gallery Doors, for Admittance, are in Little Russell-Street, and Woburn-Street, but, after the commencement of the Performance, the Gallery Doors, for the present can be only in Woburn Street. Every proper precaution is taken to prevent Croud and Inconvenience at the several Passages. The Doors to be opened at 5:15. To begin at 6:30 [same throughout oratorio season]. "The Orchestra represented the inside of a Gothic Cathedral [designed by Capon], and the Chorus Singers paid that attention to their attire that rendered the stage respectable. The house is so constructed that every note was distinctly heard at the remotest part of the theatre . . . The audience are so near the performers that the movement of every muscle is seen; a matter essentially necessary, particularly to the exhibition of an English Drama." [This opinion is greatly at variance with that of other commentators on the construction, the acoustics, &c. of the new theatre.] (European Magazine, Mar. 1794, p. 236). "The stage for the oratorios resembles a Gothic Cathedral, with illuminated stained glass windows, &c. The flies . . . [are] carved like the fretted roof of an antique pile, and the wings to the side scenes are removed for a complete screen, like those in use at the foreign theatres." (Thespian Magazine, Mar. 1794, p. 127). Account-Book, 12 Mar.: Paid Cabanel building Stage, on Acct. #130; Capon, painter, on Acct. #61 12s. Receipts: #358 6s. (281/2; 243 tickets sold by Fosbrook: 72/18; 4/6)

Performances

Mainpiece Title: A Grand Selection Of Sacred Music From The Works Of Handel

Event Comment: Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant at the Stage Door of the Theatre. [Only sagnificant changes from this regular notice will be recorded hereafter.] Paid Mrs Margaret Lamb 6 months interest on #315 due 8 Sept. #7 10s. (Account Book). Receipts: #155 15s. (Account Book). Estimate of a Constant@N.B. The Ground Rent and Taxes is calculated to be Paid in 150 Days.@Per Annum Per Day@To 50 Old Shares at 2s. --- #5@To 50 New Ditto at 2s. --- #5@T 50 New Ditto at 2s. --- #5@To Ground Rent for the Theatre #100@To Ditto for Buildings in Harte St. #30@To Ditto for Mr Thurmond's House in Bow Street Passage #25@ #155 #1 0s. 8d.@ #11 0s. 8d.@Taxes (Viz)@To Land and Window Taxes for Theatre #98 2s.@To Do for a House in Bow St. Passage #5 15s 6d.@To Poor's Rate for the Theatre #20@To Do for a House in Bow St. Passage #1 10s.@To Watch rate for the Theatre #8 6s. 8d@To Do for a House in Bow St. Passage 10s. 6d.@To Rector's rate for the Theatre #6 13s. 4d.@To Do for a House in Bow St. Passage 8s. 4d.@To Scavenger's Rate for the Theatre #6 17s. 4d.@To Do for a House in Bow St. Passage 6s. 4d.@To Water for the Theatre #4@ #152 10s.@ #1 4d.@To Renters, Ground Rent & Taxes #12 1s.@To Gawrds [sic] per Day 14s.@To Barbers Do 5s. 4d.@To Scenemen Do #2 10s.@To Music as Per List #4 9s 2d.@For 150 Days To Candles #3 3s.@Do To Coales 10s 10s.@Passages, Stage Etc. To Lamps #1 12s.@To Bills #1 7s.@To Advertisements 5s.@To Billsetters 4s. 6d.@#16 6s. Sallery [sic] #14 6s. Estimate To Wardrobe bill about #1 11s.@#2 Sallery #5 Estimate To Property Bill Do 7s.@To Chorus Singers Do 10s.@To Mr J. Rich #5 5s.@To Mr C. Rich #1@ #36 1s.@Nightly Charge@Musick List@Messrs Wood 5s.@Gillier 5s.@Miller 5s.@Chapman@ 3s. 4d.@Goodman 3s. 4d.@Woodson 5s.@Ward 6s. 8d.@Rolland 5s.@Rawlings 3s. 4d.@Vincent 6s. 8d.@Wrexell 5s.@Beale 5s.@Jones 4s. 2d.@Biche 3s. 4d.@Heron 4s. 2d.@Stockdon 3s. 4d.@Scovell 3s. 4d.@Lampe 3s. 4d.@Smart 3s. 4d.@Assistant Writer 10d.@Harpsicord 5s.@#4 9s. 2d.@Men Dressers Charg'd in the Wardrobe Bills@Messrs Mearns 2s. 6d.@Cason 2s.@Esbury 1s.@Fenwick 1s.@Winterton 1s.@Besford 1s.@Francis 1s.@Cawder 1s.@Hays 1s.@Hollingsworth 1s.@Cabell 1s.@Nicholls 1s.@Norris 1s.@Cole 1s.@16s. 6d.@Billstickers as per List@Messrs Abbott 2s.@Mislebrook 2s.@Dymuck 2s@Tidd 2s.@Gale 2s.@Cole 1s. 6d.@11s. 6d.

Performances

Mainpiece Title: The Jovial Crew; Or, The Merry Beggars

Afterpiece Title: The Mock Doctor

Event Comment: The Last Time of Performing in This Theatre. Kemble Mem.: Sheridan wrote the Address [not listed on playbill; see Gazetteer, 6 June], Palmer delivered it. Universal Magazine, June 1791, p. 438: On Saturday night, of a gradual decay, and in the 117th year of her age, died old Madam Drury, who lived through six reigns, and saw many generations pass in review before her...She had a rout of near 2000 people at her house the very night of her death; and the old lady found herself in so much spirits, that she said she would give them 'No Supper' without a 'Song'; which being complied with, she fell back gently in her chair, and expired without a groan. Dr Palmer, one of her family physicians, attended her in her last moments, and announced her dissolution to the company. [This was written by George Colman, ynger.] Gazetteer, 6 June: Samuel Johnson was powerfully and pathetically shewn the universal horror which men feel of the last even towards things indifferent, or sometimes unpleasant; and there seemed to be some apprehension of this sort of pain on Saturday, for a very few attended to take their leave of the scene where they have been so often regaled with fictitious sorrow and gladness. [This theatre was first opened on 26 March 1674. It has been altered and redecorated on several occasions, notably by the architects Robert and James Adam in the summer of 1775, for which see illustration in The London Stage, Part IV, Vol. III, 1650. The new theatre was not in readiness until April, 1794. The principal reason for the delay was that the patent had lapsed, and "it being necessary to obtain one previous to the payment of their respective sums on the part of the subscribers, application was made to Mr Harris, of Covent Garden Theatre, who possessed a dormant patent." The price set was #15,000, and the patent was sent to a banker for inspection. A Mr George White, who had married a daughter of William Powell, one of the former patentees, and had thereby a financial interest, objected to this price, and "obtained a prohibition in the Court of Chancery which obliged the banker to restore the patent to the Manager of Covent Garden Theatre." The subscribers to the new Drury Lane thereupon refused to pay their subscriptions, and work on the demolition of the old theatre was halted (London Chronicle, 30 July 1792). Sheridan finally offered #20,000: #15,000 to Harris and #5,000 to White, which was accepted, and work on the theatre was resumed, the cornerstone being laid on 4 Sept. 1792 (Morning Chronicle, 6 Sept.; London Chronicle, 12 Sept. 1792). The Actual sum eventually paid to Harris was #11,667.] Paid in lieu of Benefits: Kelly #100; Miss Farren #300; Aickin #60; Williames #42. Received from Their Majesties for Season #78. Paid Renters #20 apiece (Account-Book). Receipts: #105 5s. 6d. (74.7.0; 24.0.6; 6.18.0)

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: No Song No Supper

Event Comment: t foot of Bill]: Whenever a Pantomime or Farce shall be advertised, the advanced prices shall be returned to those who do not choose to stay; and on Thursday next will be published the Manager's reasons for his conduct in the present dispute. Winston MS.: Fleetwood, the manager, and servants driven from doors & all rushed in. Genest, IV, 137-38: A country gentleman was taken from an upper box and carried before a magistrate. This step when known by the audience occasioned much mischief. Acting the play not allowed. General Advertiser, 22 Nov.: An Address to the Public, dl Theatre 20 November. As the extraordinary disturbances which have lately happened at this theatre greatly affect the diversions of the publick, as well as the property of the manager, he thinks it incumbent on him to justify his conduct by giving a fair statement of the case....The reasons of complaint assigned, he apprehends, are the exhibition of Pantomimes, Advanced Prices, and Insults on the audience--as to the first, he submits it to be considered that however distasteful such pieces may be to the delicacy of some judgments, yet there are others to whose taste they are suited; as the playhouse may be considered as the general mart of pleasure, it is only from the variety of entertainment, the different tastes of the public can be supplied--of this the receipts of the house are a sufficient evidence, it being notorius, how necessary the addition of such pieces is towards procuring the best play a numerous audience. With regard to the advanced prices, the Manager hoped he should in some measure be justified by the great increase of the charges of the theatre which, notwithstanding any reduction that has been made, are still at least a fourth part greater than usual--but as in this point he has already submitted, he conceives it can no longer remain the subject of their displeasure, especially as by an advertisement handed about the theatre it was said that every objection would cease, when the manager consented to return the advanced prices to those, who did not choose to be tortured with entertainments. As to insults on the audience...last week upon some persons flinging the sconces and candles on the stage a quarrel arose, in the confusion of which a Gentleman was secured, but by whom the Manager knows not, nor ever gave any order, or was any acquainted with the affair till after he was discharged, for the truth of which he refers to the affidavit annexed. As to the accusation of several bruisers (as they are termed) being employed on Saturday night to insult Gentlemen, the Manager declares, that there was none but the Peace Officers, Carpenters, and Scene-men (which on account of the Entertainments are very numerous) and other servants belonging to the theatre; nor did they appear till urged by the tumult, by tearing up benches and threat'ning to come on the stage and demolish the scenes; nor could the Manager apprehend this legal precaution to prevent mischief and defend his property would ever be construed as an infringement on the liberty of an audience, especially when it is considered, what great damages he sustained some years ago on an attempt of the like nature--if any such persons appeared in the pit, the Manager presumes, they must have come in with the multitude, after his doorkeepers were drove from their posts, and the house was open to all; which was evident from several hundred persons more being present at the disturbance than were at the performance that night, who then came to a determination to prevent any performance on the Monday. After this impartial account of his conduct, the manager appeals to the judgment of the publick what foundation he has given for the outrageous disturbance on Monday night; and cannot help thinking, the real injuries he has sustained, too severe a punishment for an imaginary offence, having lost several hundred pounds already, by people being terrified from frequenting the theatre. A total exclusion is now insisted on, the Manager to resign his property, the Publick to be deprived of their diversions and the players of their subsistence; And all this after every concession, becoming one gentleman to ask, or another to make, has been submitted to. [Affidavit of Constable followed. See Genest, IV, 139-40.] The following three pamphlets came out expressing points of view concerning Fleetwood and his policy and management: I. The Disputes between the Director of d.l. and the Pit Potentates, 20 Nov. As a Letter to a Friend it tells the resolution: not to have old Pantomimes (so execrably bad that they were damn'd when new) imposed on them, unless the manager would take no more than common prices; reports how Fleetwood stocked the pit with Men of doughty valor...disguised in the habits of Gentlemen, to throw out all who protested; protests the system of casting employed whereby 2nd rate actors appeared in good parts; discusses hardship cases of certain actors (Mrs Roberts, Mrs Horton, Mrs Mills) and asks why Theophilus Cibber is not on the stage. 2. An Impartial Examen of the Present Contests, by Mr Neitherside, 1744: harks back to Fleetwood's finacial policies of the previous year, deploring his relations with the actors and with manager of cg; scourges him for miscasting his plays around one prominent actor, rather than giving a balanced performance; deplores his paying Mrs Cibber, Mrs Clive so much; revives the 1743 dispute which led to secession; dislikes the casting for 2 Nov. of Love's Last Shift; suggests better casts for many plays; scores the Licensing Act for reducing players to slavery; hopes for resumption of balanced performances. 3. Stage Policy Detected, or some Selcet Pieces of Theatrical Secret History Laid Open, in a Letter to a Certain Manager, 1744: takes apart Fleetwood's Defense, statement by statement, giving him the lie at each point. Suggests the real money from the house comes from Pit and Box, which are protesting his pantomimes; shows full attendance at Rehearsal and Macbeth with no afterpieces. Especially dislikes the hired bruisers, and the cast of the Alchemist for 6 Nov

Performances

Mainpiece Title: The Provoked Wife

Dance: Muilment

Event Comment: To be seen a Person who performs the most surprizing Things...he presents you with a common Wine bottle, which any of the Spectators may first examine; this Bottle is plac'd on a Table in the Middle of the Stage, and he (without any Equivocation) goes into it in Sight of all the Spectators, and sings in it; during his Stay in the Bottle, any Person may handle it, and see plainly that it does not exceed a common Tavern Bottle. The Performance continues about Two Hours and a Half. These Performances have been seen by most of the Crowned Heads of Asia, Africa, and Europe, and never appear'd anywhere Public but once. Stage 7s. 6d. where Masks may be worn. Boxes 5s. Pit 3s. Gallery 2s. [The famous Bottle Conjurer hoax.] Theatre was crowded...by five o'clock; at seven the house was lighted up [but not music]...a Person came before the Curtain, and, bowing, promis'd if Mr Conjurer did not arrive in half an Hour, their Money should be return'd...after near an Hour...a Gentleman in the Box snatch'd a Candle lighted, and in Violence threw it on the Stage; this was the Signal for the Onset of Battle...the Boxes, Seats, Glasses, Scenes, Chairs, Machinery, and all the Furniture of the Play House, were in less than ten Minutes carried into the Street...an excellent Bonfire was made of Mr Foote's Auction Room...it may put a [pe]riod to the Auction, till the Theatre can be refitted.--Charles Adams to John Gilbert-Cooper, Theatre Notebook, XI (1957) p. 139. [Potter was still owner of this theatre.] Those opposed to a recent late book would have been gratified had the Conjurer jumped into the bottle and proved that miracles had not yet ceased."--Daily Advertiser, 17 Jan. Last Night a numerous Audience, among whom were several Persons of Quality, was at the New Theatre in the Haymarket, in wonderful Expectation of seeing the Miraculous Man creep into a Bottle, and do several other Miracles; but the only one he perform'd was, that he render'd himself invisible (without any Equivocation) to the no small Disappointment of the gaping Multitude; who, being told from behind the Curtain that the Performer had not yet appear'd, but that if they would stay until the next Night, instead of a Quart Bottle he should creep into a Pint, immediately grew outrageous, and in a Quarter of an Hour's Time broke to Pieces all the Boxes, Benches, Scenes, and everything that was in their power to destroy, leaving only the Shell of the House remaining. Surely this will deter anyone from venturing to impose on the public in the like manner for the future.--General Advertiser, 17 Jan. [See also dl Comment 18, 19, 20, 27 Jan.

Performances

Mainpiece Title: None

Event Comment: [R$Ross this month wrote to Colman (Harvard Theatre Collection A.L.S.) inquiring about an intended new theatre at Bath, and opened his heart as follows: "My present situation is most irksome to me and must be to any gentleman or man of merit in his profession to have such an ignorant and now ill-bred fellow as Beard? presume to conduct the business of a theatre Royal, of which he is totally ignorant, and oblig'd to apply to the great Gibson, who naturally wishes to lower every man to his own standard, while the other despises every degree of merit that is not compris'd in Sol fa and wishes the theatre only to substitute as an Opera house." Ross wanted to be nominated for the manager's postition in the new theatre at Bath. N.B. He had already acted 23 times this season in his best parts.

Performances

Mainpiece Title: She Wou'd And She Wou'd Not; Or, The Kind Imposter

Afterpiece Title: The Royal Chace

Event Comment: Benefit for the London Hospital. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. Places for the Boxes to be taken at the Stage Door of the Theatre; the Doors of which will be opened at 5:30, and the Performance to begin precisely at 6:30. No Money to be returned after the Curtain is drawn up, nor will any Person be admitted behind the Scenes. [Master Braham is identified in Grove. Address by Arthur Murphy (Town and Country Magazine, July 1787, p. 324).] This was the opening night of this theatre, which had been built by and was under the management of John Palmer. Following the afterpiece he explained to the audience the objections of the proprietors of dl, cg and hay to his opening the theatre. He said that he had from the Lieutenant of the Tower of London what he considered to be sufficient permission, but that he would nevertheless close the theatre temporarily. Palmer's difficulty was that he had no really legal permission from anybody for the performance of actual plays. See 3 July, and for further details the head-note to this season. World, 18 July, prints an official accoudting for this night from the theatre's treasurer: Receipts were #273 12s.; paid for music, advertisements, servants, &c. #37 10s.; lost in bad silver #1 19s.; paid the London Hospital #234 4s.; the players acted without salary

Performances

Mainpiece Title: As You Like It

Afterpiece Title: Miss in her Teens

Song: Between acts: The Soldier tired of War's Alarms-a little boy [Master Braham]

Entertainment: Monologue Preceding: Occasional Address-Palmer

Event Comment: Mainpiece: 32nd Night [i.e. in continuation, erroneously, of the reckoning for the preceding season, when it was acted 28 times]. With new Music, Scenes, Dresses, and Decorations. The Music (with a few Exceptions) composed entirely new by Shield. And new Scenery designed and chiefly executed by Richards. Books of the Songs to be had at the Theatre. "Covent-garden is the National Theatre. I was there on 10th Dec. and saw an opera called The Woodman. It was the very day on which the life story of Madam Billington, both from the good as well as from the bad sides was announced [i.e. Memoirs of Mrs Billington, and An Answer to the Memoirs of Mrs Billington, both anonymous, both predated 1792]...She sang rather timidly this evening, but very well all the same. The first tenor [Incledon] has a good voice and quite a good style, but he uses the falsetto to excess. He sang a trill on high C and ran up to G. The 2nd tenor [Johnstone] tries to imitate him, but could not make the change from the falsetto to the natural voice, and apart from that is most unmusical...But the cast is entirely used to him. The leader is Herr Baumgartner [sic], a German who, however, has almost forgotten his mother-tongue. The Theatre is very dark and dirty, and is almost as large as the Vienna Court Theatre. The common people in the galleries of all the theatres are very impertinent; they set the fashion with all their unrestrained impetuosity, and whether something is repeated or not is determined by their yells. The parterre and all the boxes sometimes have to applaud a great deal to have something good repeated. That was just what happened this evening, with the Duet in the 3rd Act, which was very beautiful; and the pro's and contra's went on for nearly a quarter of an hour, till finally the parterre and the boxes won, and they repeated the Duet. Both the performers stood on the stage quite terrified, first retiring, then again coming forward. The orchestra is sleepy" (Haydn, 273-74). Receipts: #194 11s. (191.8; 3.3)

Performances

Mainpiece Title: The Woodman

Afterpiece Title: Modern Antiques