Event Comment: The Doors to be opened at 5:30. To begin at 6:30 [see 2 Nov.]. Places for the Boxes to be taken of Brandon at the Theatre. No Money to be returned. No playbill this season lists the various prices of admission; they were probably, as usual: Boxes 5s. Pit 3s. 1st Gallery 2s. Upper Gallery 1s.] Mainpiece: In I a Masquerade Scene [incident to the Play. Receipts: #216 9s. 6d. (213.11.0; 2.18.6)

Event Comment: Gazetteer, 20 Sept.: [On Saturday morning] official notice was given from the Lord Chamberlain's Office to shut the Theatres [because of the death of the Duke of Cumberland, brother of George III]

Event Comment: Paid Music the 13th, 15th, 17th Inst. #23 9s. 6d.; Properties Ditto #2 5s.; Kettle Drum Ditto 15s.; Wardrobe #11 1s. 6d.; Supernumeraries #1 16s. 6d.; Chorus Singers #3; Cox for Scenemen #28 2s. 7d.; Hodgins [painter] #4 4s.; Extra Music #2 5s.; Richards, painter #20. [Wilson's last appearance at this theatre was on 20 Jan. 1786.] Receipts: #222 2s. 6d. (208.16.6; 13.6.0)

Event Comment: Mainpiece: Not acted these 4 years [acted 28 Dec. 1787. Toms is identified in Morning Herald, 22 Sept. 1795: A Mr Toms made a probationary essay last night in the character of Romeo. The bills erroneously announced it as his first appearance on this stage [cg]; for his unsuccessful attempt in Young Norval [i.e. Douglas], about five years ago, on the same boards, is perfectly within our recollection. London Chronicle, 22 Sept. 1795, also refers to Toms as Douglas. European Magazine, Oct. 1790, p. 305, gives the name as Turner, but in Oct. 1795, p. 273, states that Toms performed on one night only "a few years since."]. Afterpiece [1st time; BALL. P 2 (?), by James Byrne, based partly on his Nootka Sound, and in May 1793 agin altered as The Shipwreck; or, French Ingratitude. Not in Larpent MS; not published; synopsis of action in Diary, 5 Oct.]: A Ballet Pantomime, with new Scenes, Dresses, and Decorations. The Overture and Music compiled by Byrne, from Haydn, Rochefort, Pleyel, Gyrowetz, Reeve, Pieltain, Dibdin. The new Music by Shield. On account of some Scenes which are introduced from the Entertainment of Nootka Sound (performed last Season [on 4 June 1790]) Half Price will be taken. [This alludes to the custom of not llowing half-price during the run of entirely new pantomimes.] Paid Brodie, for Stoves for the Theatre, #19 8s. Receipts: #207 8s. 6d. (201.16.0; 5.12.6)

Event Comment: Mainpiece: 15th [recte 14th] Time [i.e. in continuation of the reckoning for the previous season]. With new Dresses, Scenes, Machinery and Decorations. The Music partly from Cimarosa, Gluck, Martin y Soler?, Reeve, Dr Arne. The rest by Shield. The Chorusses selected from Handel, to be sung by the Performers from the Concert of Ancient Music. [Miss Williams was from the Exeter theatre.] Receipts: #137 1s. 6d. (133.7.0; 3.14.6)

Event Comment: Afterpiece: A revived Grand Pantomimical Ballet. To conclude with a superb Prospect of the Infernal Regions. [This was included in all subsequent performances; and see 6 Nov.] Books of the Pantomime to be had at the Theatre. With new Scenes, Dresses and Decorations. The Scenes designed and painted by Greenwood. Receipts: #272 14s. (238.18; 32.4; 1.12)

Event Comment: A new and correct Edition of the Farce [J. Debrett, 1790] to be had at the Theatre. Paid Perrott, Coal Merchant, #139 13s. Receipts: #166 7s. (126.1; 39.7; 0.19)

Event Comment: Mainpiece: Not acted these 6 years. Afterpiece [1st time: CO 2, by John O'Keeffe; altered by the author from his The Czar. Larpent MS 881; not published]: In which will be introduced a few Scenes and Songs from The Czar, performed last season [on 8 Mar. 1790]. The Music composed and compiled by Shield. Books of the Songs to be had at the Theatre. [Mrs Harlowe was from Sadler's Wells.] Receipts: #194 11s. 6d. (181.18.6; 12.13.0)

Event Comment: [Munden was from the Chester theatre. "His person is rather under the middle size, his figure good, his features more expressive than anything we have seen for many years, his voice powerful and melodious, and his articulation the clearest and most rapid we ever witnessed" (World, 3 Dec.). "Without the aid of grimace or buffoonery, he gave all the effect to the part that the author intended, and in his general stile of playing he seems to have studied nature more than any living model" (Gazetteer, 3 Dec.).] Receipts: #238 17s. 6d. (228.14.6; 10.3.0)

Event Comment: Paid 1@2 yrs Kings Taxes for Theatre #84 2s. 6d. Receipts: #146 3s. 6d. (140.3.6; 6.0.0)

Event Comment: Mainpiece: Not acted these 2 years. A new and accurate Edition of the Tragedy to be had at the Theatre. "[Mrs Siddons's] eyes possess a peculiar brilliancy and animation...Her voice is sonorous and variable" (Candid Strictures, 33). Receipts: #311 13s. (296.3; 13.0; 2.10)

Event Comment: By Desiire of the Cherokee Chiefs [see 12 Nov.]. Afterpiece: Not acted these 7 years. [European Magazine, Dec. 1790, p. 468, says that this was Mrs Ferguson's 1st appearance in London; she was from the Richmond theatre.] Receipts: #205 5s. (202.8.6; 2.16.6)

Event Comment: [Fennell had acted Douglas at Edinburgh on 5 July 1788, and perhaps Previously.] Afterpiece [1st time: P 2, by Charles Bonnor and Robert Merry. Larpent MS 886; not published. Synopsis of action in Universal Magazine, Dec. 1790, pp. 321-23. Author of Prologue unknown]: Interspersed with Dialogue, Airs, Duettos, Chorusses, Dances, &c. &c. &c. The Scenery, Machinery, and Decorations entirely new, and painted by Richards, Carver, Hodgins, Pugh, Malton, with many Assistants [including W. Hamilton (European Magazine, Dec. 1790, p. 468]. Among others will be exhibited the following Scenes taken from accurate Drawings made on the Spot: The Jacobines Convent, Rue St. Honorie; Places de Greve; Inside of the Hotel de Ville; View of the New Bridge called Pont Louis Seize; Fountain des Innocens; Palais Bourbon; View of the Champ de Mars, with the Grand Pavillion preparatory to the Festival; A Grand Assembly; View of the Triumphal Arch, prepared for the Procession to the Champ de Mars; Perspective View of the Champ de Mars, with the Bridge of Boats. With an exact Representation of the Banners, Oriflammes, &c. &c. in the Grand Procession to the Champ de Mars. The Whole to conclude with a Representation of the Grand Illuminated Platform, as prepared by the City of Paris, on the Ruins of the Bastille, for the Entertainment of the Provincial Deputies, and the Public. [The above has reference to the "Grand National Fete" held in Paris, 14 July 1790, in commemoration of the first anniversary of the fall of the Bastille. It is included in all subsequent playbills.] The Dances [composed] by Byrn. The Music composed and compiled [from Reeve and Naumann] by Shield. The Dresses all Characteristically French and New. Books of the Songs, &c. with a short Description of the Performance [T. Cadell, 1790] to be had at the Theatre. Nothing under Full Price will be taken. Account-Book, 11 Jan. 1791: Paid Bonnor #200. Receipts: #316 16s. (296.14; 20.2)

Event Comment: Afterpiece [1st time: P 1, by Roger Johnston. Not in Larpent MS; synopsis of action in World, 28 Dec.)]: The new Scenes designed and executed by Greenwood. Books of the Songs with a Description of the Pantomime [C. Lowndes, 1790] to be had at the Theatre. The Pantomime being partly compiled, Half Price will be taken. Receipts: #273 5s. (234.17.0; 35.11.6; 2.16.6)

Event Comment: ["When the Commemoration of King Charles's Death [on 30 Jan.] falls on a Sunday we always act on Monday. "This occurred for the first time, at both dl and cg, on 31 Jan. 1785. Previously, when 30 Jan. was a Sunday, both theatres had observed the commemoration on Monday 31 Jan. In mainpiece the playbill retains Kemble as Faulkland, but "Mr Benson read FaulklandR for me [this because Kemble was detained returning from Bath to London]" (Kemble Mem.).] Receipts: #231 7s. (180.12.0; 50.1.6; 0.13.6)

Event Comment: [The playbilll retains Bannister as Diego, but he, "whose absence from Covent-Garden Theatre on Thursday evening was represented to the audience as the effect of indispostion, appeared that night at the Ranelagh Masquerade. We can remember no instance of disrespect from a performer to the town equal to this" (Gazetteer, 14 Feb.). The name of his substitute is not given.] Receipts: #196 11s. (189.0; 7.11)

Event Comment: A new Edition of the Farce to be had at the Theatre. [Afterpiece in place of The Romp, advertised on playbill of 16 Feb.] Receipts: #192 2s. 6d. (160.17.0; 30.17.0; 0.8.6)

Event Comment: "Mrs Siddons's timid approach [in Act V] to the home of a friend whom she had robbed of a lover: 'She staggers up to the door, timidly lifts the knocker, releases it as if she had committed a mortal sin, seizes it a second time and--knocks. It is impossible to describe how she knocked, but I shall never forget her in this situation, never forget the tone of her voice in answer to the servant, never the timidity, the anguish of her expression and movements.'" (F. W. von Hassell quoted in J. A. Kelly, 144-45). Receipts: #337 7s. 6d. (321.16.0; 14.6.6; 1.5.0, being the largest amount taken at this theatre, on a night not devoted to a benefit, between 1776 and 4 June of this season, q. v.)

Event Comment: "There is no peace between the opera theatres; the Haymarket rather triumphs. They have opened twice, taking money in an evasive manner, pretending themselves concerts; the singers are in their own clothes, the dancers dressed, and no recitative--a sort of opera in deshabille (Walpole [31 Mar. 1791], XIV, 399-400)

Event Comment: [As afterpiece the playbill announces High Life below Stairs, but "A Disturbance of some length took place on Monday night at Drury-lane Theatre, occasioned by the substitution of The Deaf Lover for High Life below Stairs; and the confusion was augmented by the unadvised introduction of some soldiers into the galleries. The audience properly insisted on their removal, which being complied with, the tumult subsided" (Morning Post, 27 Apr.).] On this and every Evening for the remainder of the Season, the Doors will not be opened till 5:30, and the performance will commence exactly at 6:30. Receipts: #188 6s. (159.6; 27.8; 1.12)

Event Comment: Benefit for Barrymore. A new Edition of [The Country Girl] to be had at the Theatre. Morning Chronicle, 27 Apr.: Tickets to be had of Barrymore, No. 11, Bedford-street, Bedford-row. Receipts: #305 0s. 6d. (84.4.0; 25.13.6; 5.0.0; tickets: 190.3.0) (charge: #115 6s. 6d.)

Event Comment: Benefit for Mme Theodore D'Auberval. Tickets to be had of Mme Theodore D'Auberval, No. 52, Poland-street, Oxford-road. 2nd ballet: With new Decorations painted by Munich [recte Moench], late painter to the Theatre in the Haymarket, and new Machinery by Bernard. The Dresses entirely new, invented and executed by Lupino

Event Comment: Benefit for R. Palmer. The Public is respecfully inform'd that the Prelude of The Hop formerly advertised for Mr Palmer's Benefit is on a very particular account withdrawn from the Theatre. Oracle, 7 May: Tickets to be had of R. Palmer, No. 14, East Place, Lambeth. Receipts: #292 5s. 6d. (77.13.0; 30.15.6; 2.6.0; tickets: 181.11.0) (charge: #117 0s. 7d.)

Event Comment: Benefit for a Fund for the Relief of those whose Infirmities oblige them to retire from the Stage. The whole Pit will be laid into the Boxes. Those Ladies and Gentlemen who have seats in the Pit are earnestly requested to be early at the Theatre, and Servants are desired to attend at half past Four o'Clock to keep Places. "The fine tragic powers of [Mrs Siddons] and Kemble were but wasted on the turgid trumpery of the play...But Kemble in this scene [end of Act III] was so impassioned and transcendent that it killed all the rest of the piece. The scorn of Mrs Siddons at his dissimulation--her haughty bearing and marking emphasis, with the piercing powers of her eye, are all treasured where they should be" (Oracle, 16 May). Receipts: #117 14s. (107.11.0; 9.12.6; 0.10.6; tickets: none listed, but Oracle, 17 May, reports that tickets were purchased for as much as one guinea and a half) (charge: free)