Event Comment: Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Brandon at the Theatre. The Doors to be opened at 5:30. To begin at 6:30 [see 13 Nov.]. [Macready was from the Smock Alley Theatre, Dublin. In mainpiece the playbill assigns Miss Ogle to Mrs T. Kennedy, but on the Kemble playbill her name is deleted, and a MS annotation substitutes Mrs Lewis's.] "The dress worn by Lewis, with small buttons innumerable, that gave it the air of a Hussar's jacket lengthened, was lately a coat won by the Prince of Wales" (Morning Chronicle, 20 Sept.). Receipts: #242 5s. 6d. (239.19.6; 2.6.0)

Event Comment: By Permission of the Lord Chamberlain. Benefit for Harwood, late prompter of the Theatre-Royal, Drury-Lane. Harwood's respectful compliments to his Friends in particular, and the publick in general, and assures them every effort in his power shall be exerted to render the Evening's Entertainment agreeable, and humbly hopes for their well-known candour and protection on the above occasion. Tickets and Places to be had of Harwood, next door to Drury-Lane Theatre, Little Russel-street, Covent Garden. [Harwood was prompter at dl from 1780 to 1786. Hooke was from cg.] Afterpiece: Written by the late Samuel Foote, Esq

Event Comment: Tickets to be had and Places for the Boxes to taken of Fosbrook, at the Stage Door of the Theatre. Boxes 10s. 6d. Pit 5s. 1st Gallery 3s. 6d. 2nd Gallery 2s. Books of the Performance to be had at the Theatre only. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]

Event Comment: [Browne was from the Richmond theatre; Mrs Kemble from the Edinburgh theatre.

Event Comment: Mainpiece: Never performed here. Public Advertiser, 26 Ma8: As it has been found impracticable to prepare a sufficient Variety of Entertainments, without the Assistance of more Performers, the Theatre is closed 'till further Notice; after which Plays will be continued as usual [see 11 June]. "Sat. May 26th 1787. When the performers assembled t[his] morning, with intent to rehearse, they were acquain[ted] that the Theatre would be shut till the close of Drury? Lane and Covent Garden" (MS annotation on Harvard playbill)

Event Comment: The playbill concludes with the following note: The frequenters of the Royalty Theatre, from the west end of the town, are hereby informed that there is an excellent access for carriages, from Whitechapel, through Red-Lion Street. [Future performances at this theatre will not be recorded.

Event Comment: "Palmer and Bannister having withdrawn from the theatre, The School for Scandal and The Quaker, which were intended for the opening pieces, were changed" (Town and Country Magazine, Oct. 1787, p. 445). [These two actors thought themselves ill-used because of the refusal of the dl management to acknowledge their right to open the Royalty (see 20 June 1787). Oulton, 1796, II, 1-8, prints an exchange of letters between Palmer, Bannister, and King (the dl acting manager) relating to this situation.] "Some twenty of thirty bars of Handel, on the approach of the court to the play [in III. ii of mainpiece]...made a fine preparation for the scene which followed" (World, 19 Sept.). Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Fosbrook at the Theatre. The Doors to be opened at 5:30. To begin at 6:30 [see 13 Nov.]. Receipts: #186 5s. 6d. (151.0.0; 35.4.6; 0.1.0)

Event Comment: [Wroughton was from cg. This was his 1st appearance as a regular member of the dl company; he had previously acted at this theatre on one occasion, 1 Apr. 1780. Mrs Taylor was from the York theatre.] "On every first appearance, it falls to a performer to chuse their own parts. They do that part once, and in all probability they never do it again. We fear this will happen to Mrs Taylor. In Elwina there was nothing to recommend [but see 4 Oct., 27 Nov.]" (World, 1 Oct.). Receipts: #189 0s. 6d. (134.4.0; 53.9.0; 1.7.6)

Event Comment: [Cambray was the stage name of James Fennell; he was from the Edinburgh theatre (and see 16 Oct. 1789). Ryder's 1st appearance as Iago was at the Smock Alley Theatre, Dublin, 14 Jan. 1767.] "Ryder wore his villainy on his sleeve, and evinced nothing of the insidiousness ordinarily expressed by other representatives of the part" (Public Advertiser, 13 Oct.). Receipts: #196 7s. (195.16; 0.11)

Event Comment: Tickets to be had, and Places for the Boxes to be taken of Fosbrook, at the Stage Door of the Theatre. Books of the Performance to be had at the Theatre. Boxes 10s. 6d. Pit 5s. 1st Gallery 3s. 6d. 2nd Gallery 2s. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]

Event Comment: [The performance was interrupted when "a piece of brass of upwards of a pound weight [was] hurled from the gallery into the pit, and much injured a lady on which it fell" (Public Advertiser, 8 Apr.). Advertisement from the theatre printed in the same newspaper, 9 Apr.: "For discovery of the offender the Theatre offers a reward of 10 guineas." Account-Book, 26 June: Paid Messrs Francis the reward offered #10 10s.] Receipts: #278 2s. 6d. (272.7.0; 5.15.6)

Event Comment: [Iliff was from the Edinburgh theatre; Mrs Farren from the York theatre.] Afterpiece [1st time; F 2, by John O'Keeffe]. Public Advertiser, 30 Aug. 1788: This Day is published The Prisoner at Large (1s. 6d.)

Event Comment: Mainpiece [C 5, by the Hon. Henry Seymour Conway, adapted from Les Dehors Trompeurs; ou, L'Homme du Jour, by Louis de Boissy; incidental music by Michael Kelly. Prologue by the author. Epilogue by John Burgoyne (see text)]: 1st time at a public theatre. With new Scenes and Dresses. [This was 1st acted on 31 May 1788 at the private theatre in the town house of the Duke of Richmond, which was situated on what is now Richmond Terrace, Whitehall. It was demolished in 1819.] Diary, 16 June 1789: This Day is published False Appearances (1s. 6d.). Receipts: #138 3s. (114.15.0; 22.5.6; 1.2.6)

Event Comment: Afterpiece [1st time; M. INT I, by George Colman elder. Prologue by the author (see text, T. Cadell, 1789)]: Founded on Hogarth. With new Scenes, Dresses and Decorations. The Music by Dr Arnold. The Scenes painted by Rooker. Books of the Entertainment to be had at the Theatre. "A burlesque, taken from Hogarth's celebrated print of 'The Enraged Musician,' in which the poet has given a very entertaining personification of the ideas of the painter" (Universal Magazine, May 1789, p. 268). Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. Places for the Boxes to be had of Rice, at the Theatre. The Doors to be opened at 6:00, and begin at 7:00 [same throughout season]

Event Comment: Among the Instrumental Performers are G. Ashley (leader of the Band), Sperati, Sarjant, Patria, Reinagle, C. Ashley, Boyce, Mahon, Mountain, Holmes, Lyon, Schram, Kaye, the Leanders, &c. Double Drums by J. Ashley. The Organ on Fridays by Knyvett, and on Wednesdays by Greatorex. The whole conducted by Harrison and Ashley. The Band will consist of 150 Performers. Places for the Boxes to be taken of Brandon, at the Stage Door. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. No Money to be returned. Places may be taken in the Theatrical Orchestra at 5s. each [i.e. at the oratorios the instrumentalists sat on the stage]. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]. Books of the Performances, with the names of the performers to their respective songs, to be had at the Theatre. And to prevent imposition in the Streets, the Managers have directed that they should be sold in the Theatre, at 6d. each

Event Comment: Benefit for Miss Brunton. 1st piece [1st time; T 3, by Mariana Starke, based on La Veuve du Malabar, by Antoine Marin LeMierre. Prologue by William Thomas Fitzgerald. Epilogue by Richard John Hughes Starke (see text)]: With new Scenes and Dresses. And a Procession representing the Ceremonies attending the Sacrifice of an Indian Woman on the Funeral Pile of her deceased Hqsband. 2nd piece: Not acted these 18 years [acted 4 May 1776. Miss E. Brunton was from the Norwich theatre]. Morning Chronicle, 1 Feb. 1791: This Day is published The Widow of Malabar (1s. 6d.). Public Advertiser, 21 Apr.: Tickets to be had of Miss Brunton, No. 35, Gerrard-street, Soho. [The mainpiece is sometimes stated to have been 1st acted at Mrs Crespigny's private@theatre@in@Camberwell, 1790, but "'The Widow of Malabar' was not first produced at Mrs Crespigny's Theatre. The Tragedy performed there is called 'The British Orphan' (also by Mariana Starke)" (Gazetteer, 24 Jan. 1791).] Receipts: #338 13s. (208.7; 2.8; tickets: 127.18)

Event Comment: Benefit for Mrs Warrell and Darley. 1st piece: Not acted these 10 years [never previously acted at this theatre. Warrell was from the Bath theatre]. Receipts: #216 12s. (76.18; 4.15; tickets: 134.19)

Event Comment: Mainpiece: Not acted these 3 years. [acted 21 Jan. 1789. Mrs Esten has 1st acted Belvidera at Bath in the season of 1786-87]. Afterpiece [1st time; M. INT 2, by John Cartwright Cross. Larpent MS 883; not published. Prologue by John Taylor (his Taylor, Poems, I, 43). Rees' 1st appearance at this theatre was on 14 May 1788]: The Overture and the whole of the Music by Dibdin. Books of the Songs to be had at the Theatre. [Most of these songs had originally appeared in Dibdin's "table entertainment," The Oddities, 1st performed at the Lyceum, 7 Dec. 1789.] Receipts: #244 18s. 6d. (234.8.0; 10.10.6)

Event Comment: By Command of Their Majesties. "There were not an hundred persons in the Pit when their Majesties entered, and there were not double the number at any part of the evening. The Royal box being in the centre, fronting the stage, their Majesties were invisible to the Gallery; and on their entrance solemn stillness prevailed, until the Orchestra, for the first time in an Opera-house, for the first time by the Professional Band, Struck up God save the King. Never, we will venture to say, in any Theatre during the present reign, was there so thin an audience when their Majesties were present; and we pretend not to divine the cause. Whether it is the failure of the Theatre as a musical room--the general poverty of the performance--the little notice that was given of their Majesties' intention to be present we know not" (Morning Chronicle, 23 Feb.)

Event Comment: Mainpiece [1st time; CO 3, by Henry Bate]: 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. [Williamson was formely a chorus singer at this theatre; Mme Pieltain had sung at the king's in the season of 1788-89. Afterpiece in place of The Deaf Lover, advertised on playbill of 25 Feb.] "The author is very little responsible for his part of the entertainment, which he acknowledges was composed chiefly for the purpose of [the music, which] in the taste of the present day is almost the only essential part of such an entertainment" (Gazetteer, 28 Feb.). Oracle, 7 May 1791: Thas Day is published The Woodman (1s. 6d.). Receipts: #243 2s. (239.17.6; 3.4.6)

Event Comment: Among the Instrumental Performers are Messrs Ashley and Sons, Patria, Sarjant, Billington, Mahon, Boyce, Mountain, J. Mahon, the Leanders, Ware, Kaye, Rawlings, Sharp, Lyon, &c. &c. &c. Double Drums by J. Ashley. The Whole under the Direction of Harrison and Ashley. No Money to be returned. Places for the Boxes to be had of Brandon at the Theatre. Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s. The Doors to be opened at 5:30. To begin at 6:30 [same throughout oratorio season]. Books of the Performances, with the Names of the Performers to their respective Songs, to be had at the Theatre, Price Six-pence. And to prevent imposition in the Streets, the Manager's Books are printed with the following Words at the bottom of each Title Page: "Printed by H. Macleish, Duke's-Court, Drury-Lane.

Event Comment: Benefit for Morelli. A new Comic Opera [1st time; COM 2, by Giovanni Bertati, adapted by Girolamo Tonioli]; the music composed on purpose for this Theatre by Paisiello. With new Scenes and Decorations painted by Moench; the dresses invented and executed by Lupino [from playbill of 28 June]. Under the direction of Mazzinghi. Tickets to be had of Morelli, No. 12, Poland-street. Morelli is happy in having succeeded to bring forward on his Benefit Night (though at a considerable expense) such an excellent new Opera for the entertainment of those who shall honor him with their presence; soliciting the kind patronage of the Nobility, Gentry and Public accordingly on the occasion. Morning Post, 4 June: The Subscribers and the Public are respectfully informed that the new Comic Opera of La Locanda, written expressly for this Theatre, and the only Opera ever composed by this great Master for an English audience, is some time since arrived, and will be brought out shortly

Event Comment: The Nobility and Gentry, Subscribers to this Theatre, are most respectfully acquainted that the engagements of the performers being now at an end, it is therefore impossible to complete, this year, the usual number of Subscription Nights; but that arrangements are at this time forming for next Season (the particulars of which will shortly be laid before them) when the deficient representations, unavoidable this year, will be made up by Extra Tickets to each Subscriber, to Entertainments which, it is hoped, that they will find more worthy of their liberality than those performances which, under the circumstances of the present season, have been permitted at this Theatre

Event Comment: [Mrs Fawcett was from the York theatre.] Afterpiece: 1st Time as an After Piece. With Dresses, Scenes, Machinery, and Decorations. The Music partly selected from Cimarosa, Gluck, Martin, Reeve, and Dr Arne. The rest composed by Shield. Books of the Songs to be had at the Theatre. Account-Book, 31 Oct.: Paid Reynolds in full for The Crusade #60. Receipts: #187 13s. (181.16.6; 5.16.6)

Event Comment: By Command of Their Majesties. "The crowd and the tumult at the doors of the Theatre last Wednesday [raised the question] why the Box and Pit passages, which were the same last year, are now separated. The answer is because at the Opera, the Boxes and the Pit are for the same price and company; at the Playhouse they are different in both respects. Repeated notices were sent by Kemble both to those on foot and in carriages that the house was full; and the doors were actually closed before the house was really filled in the hope of dispersing the crowd--but they were a second time forced open" (Morning Chronicle, 7 Jan.). Receipts: #582 8s. 6d. (552.15.6; 26.14.0; 2.19.0, being the largest amount received at this theatre during its occupancy by the dl company)