Event Comment: Pepys, 7 March, refers to a new play at the King's Theatre. Possibly it was Thomas Porter's The Carnival, published in 1664, with no actors' names, no prologue, no epilogue, and announced in The Intelligencer, 2 May 1664

Event Comment: [No notice of production exists. See William VanLennep, "Thomas Killigrew Prepares His Plays for Production," Joseph Quincy Adams; Memorial Studies, p. 805

Event Comment: An unnamed play was given by the Duke's Company, with the usual fee of #20 received by Thomas Crosse. See A Calendar of the Middle Temple Records, ed. Hopwood, p. 171

Event Comment: Killigrew contemplated a revival of Cicilia and Clarinda in 1667, a memorandum of 14 Feb. 1666@7 ordering the parts to be written out. See William VanLennep, Thomas Killigrew Prepares his Plays, p. 805

Event Comment: Pepys, Diary I home to dinner, where Mr Pierce dined with us, who tells us what troubles me, that my Lord Buckhurst hath got Nell Gwin? away from the King's house, lies with her, and gives her #100 a year, so as she hath sent her parts to the house, and will act no more. And yesterday Sir Thomas Crew told me that Lacy lies a-dying of the pox

Event Comment: In L. C. 5@139, p. 373, is a list of plays allowed to the Duke's Company: The Poetaster [by Ben Jonson]. Cupids Reuenge [by Francis Beaumont and John Fletcher. See 17 Aug. 1668]. Timon of Athens [by William Shakespeare]. Troyolus and Grisseida [by William Shakespeare]. Three parts of H. ye 6 [by William Shakespeare]. The honest mans fortune [by John Fletcher and others]. Woemen pleas'd [by John Fletcher]. Witt at Seuerall Weapons [by Francis Beaumont and John Fletcher]. The Woemen Hater or The hungry Courtier [by Francis Beaumont]. All fooles [by George Chapman]. Birons Conspiracy [by George Chapman]. Broken heart [by John Ford]. Bird in a Cage [by James Shirley]. Chabot Admirall of ffranse [by James Shirley, with George Chapman]. ffaithful Shepherd [possibly Guarini's Il Pastor Fido]. Herod and Antipater [by Gervase Markham with William Sampson]. Humor out of breath [by John Day]. Jealous Louers [by Thomas Randolph]. Loues Melancholy [Lover's Melancholy, by John Ford]. Muliasses the Turke [by John Mason]. Queene of Arragon [by William Habington]. Revenge of Bussy D'Ambois [by George Chapman]. Revenge for Honor [or The Parricide, by Henry Glapthorne]

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@141, p. 2. See also Nicoll, Restoration Drama, p. 347. There is no certainty that this is the premiere. A song, A heart in love's empire, with music by Robert Smith, and another, Let's drink dear friends, set by Thomas? Farmer, are in Choice Songs and Ayres, The First Book, 1673. The Dedication in the edition of 1672 is to Prince Rupert and states: tho' of thirty times it has been acted, you seldom fail'd to honour it with your presence. Downes (Roscius Anglicanus, p. 32): The next new Comedy [at dg] was the Mamamouchi, or the Citizen turn'd Gentleman, Wrote by Mr Ravenscroft [cast as in edition of 1672 except French Tutor and Singing Master, by Mr Haines: (He having Affronted Mr Hart, he gave him a Discharge and then came into our House)]; This Comedy was look[ed] upon by the Criticks for a Foolish Play; yet it continu'd Acting 9 Days with a full House; upon the Sixth the House being very full: The Poet added 2 more Lines to his Epilogue, viz. @The Criticks came to Hiss, and Dam this Play,@Yet spite of themselves they can't keep away.@ However, Mr Nokes in performing the Mamomouchi pleas'd the King and Court, next Sir Martin, above all Plays

Event Comment: The King's Company. The Prologue and Epilogue are in New Poems, Songs, Prologues and Epilogues. Written by Thomas Duffett, 1676. See also Langbaine, English Dramatick Poets, p. 291

Event Comment: The King's Company. The date of the first production is not known. Although the play was not entered in the Term Catalogues until February 1677@8, it was advertised in the London Gazette, 29 Oct.-1 Nov. 1677, and was probably acted in October 1677 or earlier. See also, in the introductory list of plays, Thomas Rymer's Edgar, which may have been acted in opposition to Ravenscroft's play

Event Comment: The Duke's Company. This performance is on the L. C. list, 5@145, p. 120. See also Nicoll, Restoration Drama, p. 349. There is no certainty that this is the first performance, but a licensing date of 28 Jan. 1677@8 and Mrs Behn's statement in the Preface that she hurried the play into print suggest a premiere not far from this date. Edition of 1678: To the Reader: I Printed this Play with all the impatient haste one ought to do, who would be vindicated from the most unjust and silly aspersion, Woman could invent to cast on Woman; and which only my being a Woman has procured me, That it was Bawdy, the least and most Excusable fault in the Men Writers, to whose Plays they all crowd, as if they came to no other end then to hear what they condemn in this: but from a Woman it was unnaturall. One song, Sitting by yonder river side, with music by Thomas? Farmer, is in Choice Ayres and Songs, The Second Book, 1679

Event Comment: The Duke's Company. The date of the first performance is uncertain, but the fact that the play was entered in the Stationers' Register on 14 April 1679 suggests a premiere not later than April 1679. A song, Can life be a blessing, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Event Comment: The Duke's Company. The date of the first production is uncertain. The fact that the Epilogue suggests that it followed Settle's The Female Prelate is not a factor in the dating, as the Newdigate newsletters--see Wilson, Theatre Notes from the Newdigate Newsletters, p. 80--show that Settle's play was first acted on 31 May 1680, whereas Caesar Borgia was entered in the Term Catalogues, November 1679. Although the reference in the Epilogue to burning the Pope's Effigies" has been argued as referring to the Pope-burning procession of 17 Nov. 1679, the references in the Epilogue to Father Lewis, who was tried and convicted at York, 28 March 1679, suggest that it was written before his execution, 27 Aug. 1679. Hence the play may have been acted first some time in the late spring or the summer. A song, Blush not redder than the Morning, with music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Event Comment: The Duke's Company. The date of the first performance is not known. Luttrell, however, dated the copy he purchased 6 July 1680 (VanLennep, Two Restoration Comedies, pp. 57-58) and attributed it to Mrs Aphra Behn. If copies were available in early July, the play was most probably performed in June 1680. Langbaine (English Dramatick Poets, p. 547) had heard that Mrs Behn was the author, but A Comparison between the Two Stages (p. 11) attributed it to Thomas Betterton. For a discussion of the authorship, see also Ten English Farces, ed. Leo Hughes and A. H. Scouten (Austin, Texas, 1948), pp. 203-4

Event Comment: The Duke's Company. The date of the first performance is not known. An entry in L. C. 5@145, p. 120 (see also Nicoll, Restoration Drama, p. 349) lists a performance for 4 April, once thought to be 4 April 1680; but as this date falls on Sunday, it more likely represents a revival on 4 April 1681. As the Epilogue appears to appeal to Parliament (which existed from 15 Oct. 1680 to 18 Jan. 1680@1) to vote funds for King Charles, "Our King of Poets," it seems likely that the play was first performed before the close of Parliament. The play was not entered in the Term Catalogues until June 1681. A song, Phyllis whose heart was unconfined, set by Thomas? Farmer; and another, A pox upon this cursed life, set by Captain Pack, are in Choice Ayres and Songs, The Fourth Book, 1683

Event Comment: By Thomas Jordan. Luttrell (A Brief Relation, I, 232). There was little or no show by land. The expenditures for the Procession came to #139 9s. 10d. See R. T. D. Sayle, Lord Mayors' Pageants of the Merchant Taylors' Company in the 15th, 16th, and 17th Centuries, p. 139

Event Comment: The Lord Mayor's Show. By Thomas Jordan. Luttrell (A Brief Relation, I, 285-86): The 29th, sir Henry Tulse...was sworn before the barons of the exchequer at Westminster, whither he went by water, accompanied by the late lord mayor, the new recorder, aldermen, and sheriffs, and attended by diverse of the companies in their barges; their majesties and the duke of York being upon the leads at Whitehall when they passed by: being come back, they passed from the place where they landed, with the usual solemnity, to Grocers Hall, where the lords of the councill, severall of the nobility, judges, and other persons of quality dined

Event Comment: The United Company. The date of the first performance is not known, but Luttrell's copy of the separately printed Prologue and Epilogue bears the date 12 Nov. 1683 (item 87, Sotheby's sale, 12 June 1939), and the premiere probably occurred shortly before that date. A revised version of the Epilogue, correcting errors, appeared almost immediately after the one first published; it bears Luttrell's date of 14 Nov. 1683. The Epilogue, in the revised version, bears the note: Written by Mr Dryden. The Prologue and both versions of the Epilogue are reprinted in Wiley, Rare Prologues and Epilogues, pp. 183-87. In addition, a song, Awake O Constantine awake, with music by Thomas Farmer, is in The Theater of Music, 1865; it also appeared in A Collection of the Newest and Choicest Songs, 1864 (which bears Luttrell's date, 10 March 1683@4, Bindley Collection, William Andrews Clark@Jr@Library)

Event Comment: The United Company. The date of the first performance is not known. The January issue of the Gentleman's Journal, wnich did not appear until some time in February, stated: Mr Congreve...hath written a Comedy, which will be acted in a little time, and is to be call'd, The Old Batchelor (p. 28). The Gentleman's Journal, February 1692@3 (issued in March 1693): The success of Mr Congreve's Old Batchelor has been so extraordinary, that I can tell you nothing new of that Comedy; you have doubtless read it before this, since it has been already printed thrice. And indeed the Wit which is diffus'd through it, makes it lose but few of those Charms in the Perusal, which yield such pleasure in the Representation. Mr Congreve will in some time give us another play; you may judge by this how acceptable it will be (p. 61). In addition, a reference in the Epilogue indicates that it was produced during Lent, ano since the third edition was advertized in the London Gazette, No. 2856, 23-27 March 1693, early March seems the most likely date for the premiere. According to The Female Wits (ca. 1696), The Old Batchelor was acted fourteen days successively. John Barnard of Yale University states that Narcissus Luttrell's copy of The Old Batchelor in the Newberry Library bears the notation: "10d Mar. 16 1692@3." BM Add. Mss. 4221 (341) Memoirs Relating to Mr Congreve Written by Mr Thomas Southern (in Macdonald, Bibliography of Dryden, p. 54n): When he began his Play the Old Batchelor haveing little Acquaintance with the traders in that way, his Cozens recommended him to a friend of theirs, who was very usefull to him in the whole course of his play, he engag'd Mr Dryden in its favour, who upon reading it sayd he never saw such a first play in his life, but the Author not being acquainted with the stage or the town, it woud be pity to have it miscarry for want of a little Assistance: the stuff was rich indeed, it wanted only the fashionable cutt of the town. To help that Mr Dryden, Mr Arthur Manwayring, and Mr Southern red it with great care, and Mr Dryden putt it in the order it was playd, Mr Southerne obtained of Mr Thos. Davenant who then governd the Playhouse, that Mr Congreve should have the privilege of the Playhouse half a year before his play was playd, wh. I never knew allowd any one before. The music for the play was composed by Henry Purcell. See Purcell's Works, Purcell Society, XXI (1917), iii-v

Event Comment: The United Company. The date of the first production is not known, but the Gentleman's Journal, February 1692@3 (issued in March) makes clear that it followed Congreve's play: We have had since a Comedy, call'd, The Wary Widow, or Sir Noisy Parrot, by Henry Higden Esq; I send by here the Prologue to it by Sir Charles Sedley, and you are too great an Admirer of Shakespeare, not to assent to the Praises given to the Fruits of his rare Genius (p. 61). The play was announced in the London Gazette, No. 2875, 29 May-June 1693. The music for one song, All hands up aloft, was by Berenclow, and the song appears in D'Urfey, Wit and Mirth, 1699. Dedication, edition of 1693: But now it is forced to beg for your Protection from the malice and severe usage it received from some of my Ill natured Friends, who with a Justice peculiar to themselves, passed sentence upon it unseen or heard and at the representation made it their business to persecute it with a barbarous variety of Noise and Tumult. Gildon, The Life of Mr Thomas Betterton (p. 20): The actors were completely drunk before the end of the third act, and being therefore unable to proceed with this "Pleasant Comedy," they very properly dismissed the audience

Event Comment: According to the testimony of Sir Thomas Skipwith, 10 Dec. 1694, the young actors played during the vacation nearly thirty days without Betterton, Williams, Bright, Kinaston, Sandford, or Mrs Betterton, and made sufficient money to keep them over the vacation. L. C. 7@3, 17 Dec. 1694, in Nicoll, Restoration Drama, p. 374

Event Comment: On this date Thomas Betterton and his associates received a license to form a company and to act. L. C. 7@1, in Nicoll, Restoration Drama, p. 361

Event Comment: Christopher Rich's Company. The date of the resumption of playing is not certain, for Cibber (see below) beclouds the issue by referring to Easter-Monday in April, whereas the first Monday following Easter fell on 25 March 1694@5. Nevertheless, Monday 1 April 1695 seems the likely date of the resumption of playing, with Rich's Company ready to perform before the seceding company under Thomas Betterton was fully organized. A new song for Abdelazar, Lucinda is bewitching fair, the music by Henry Purcell and sung by "the Boy" (Jemmy? Bowen), is in Thesaurus Musicus, The Fourth Book, 1695. Cibber, Apology, I, 195: [The Patentees] were not able to take the Field till the Easter-Monday in April following. Their first Attempt was a reviv'd Play call'd Abdelazar, or the Moor's Revenge, poorly written, by Mrs Behn. The House was very full, but whether it was the Play or the Actors that were not approved, the next Day's Audience sunk to nothing. However, we assured that let the Audiences be never so low, our Masters would make good all Deficiencies, and so indeed they did, till towards the End of the Season, when Dues to Ballance came too think upon 'em. [See I, 195-96, for Cibber's account of his Prologue.] A Comparison Between the Two Stages, 1702, p. 7: But in my Opinion, 'twas strange that the general defection of the old Actors which left Drury-lane, and the fondness which the better sort shew'd for 'em at the opening of their Newhouse, and indeed the Novelty it self, had not quite destroy'd those few young ones that remain'd behind. The disproportion was so great at parting, that 'twas almost impossible, in Drury-lane, to muster up a sufficient number to take in all the Parts of any Play; and of them so few were tolerable, that a Play must of necessity be damn'd that had not extraordinary favour from the Audience: No fewer than Sixteen (most of the old standing) went away; and with them the very beauty and vigour of the Stage; they who were left behind being for the most part Learners, Boys and Girls, a very unequal match for them who revolted. According to a statement made in litigation, the company in Drury Lane acted 84 times between 25 March 1694@5 and 7 July 1695; and the Young Actors played 68 times from 6 July 1695 to 10 Oct. 1695 to 10 Oct. 1695. See Hotson, Commonwealth and Restoration Stage, p. 308

Event Comment: Robert Shirley to Thomas Coke, Chartly, 21 Jan. 1695@6: I must agree with you that Wit and Sense seem this winter to have suffered an eclipse, and the dramatic writers more especially have showed how little they consulted either. I do assure you, I have not of late met with more of both than in your ingenious diverting letter to me, so that I am satisfied Wit is not retired out of town, but has only forsaken the stage. We that live in these northern parts are forced to range over fields and woods to find subjects of diversion, for in the frozen season of the year, there is nothing that is more so in the country than conversation. In my last ramble, either my own innate fancy, or the aversion I had to see such plays wrote in English as would hardly bear the reading, made me imagine I met with one of the Muses that had left the town, and by her discourse seemed to be Patroness of Dramatic Poetry. You know, Sir, to meet with a Nymph in the desert was no rarity in some countries heretofore, but yet I vow and swear between us, I asked her the occasion of her leaving the town, to which she made this sudden answer: @Neglected Wit is silent at a time@When puns, or bombast, stuff each doggrill rhyme.@In comic strain when they'd describe a fool,@The author proves the only ridicule.@In tragic verse while others fain would boast,@Landing some thousand Romans on the coast,@In what they would express themselves are lost,@Make Romans cowards, and make English great,@And make Bonduca valiant, to be beat.@Would Congreve or would Blackmoor now engage,@They might with manly thoughts reform the stage:@ ... As for Mr Southern's play, I have not yet seen it, so that I cannot at present give you my thoughts on it (HMC, 12th Report, Appendix, Part II, Cowper MSS., II, 359-60)

Event Comment: Richard Pope to Thomas Coke, 2 April 1696:...play-house, where there has been two or three intolerable plays acted that had nothing to recommend them but their newness (HMC, 12th Report, Cowper MSS., Voluee II [London, 1888], p. 360)

Event Comment: Robert Jennens to Thomas Coke, 19 Nov. 1696: There has been for four or five days together at the play house in Lincolns Inn Fields acted a new farce translated out of the French by Mr Monteux called the Shame Sham? Doctor or the Anatomist, with a great concert of music, representing the loves of Venus and Mars, well enough done and pleases the town extremely. The other house has no company at all, and unless a new play comes out on Saturday revives their reputation, they must break (HMC, 12th Report, Appendix, Part II, Cowper MSS., II, 367)