Event Comment: Benefit for Mrs James and Miss Minors. No building on stage. Tickets of Mrs James at her lodgings at Mr Saunder's Carpenter, in Little Wild St., Lincoln's Inn Fields; Miss Minors' at Mr Nicholl, a Baker in Catherine St., and at stage door. An Information was given to Henry Fielding, Esq; that a Set of Barber's apprentices, journeymen staymakers, maid-servants, &c. had taken a large Room at the Black Horse in the Strand, to act the tragedy of The Orphan; the Price of Admittance One Shilling. About eight o'clock the said Justice issued his warrant, directed to Mr Welch, High Constable, who apprehended the said actors, and brought them before the said Justice, who, out of compassion to their youth, only bound them over to their good behavior. They were all conducted through the streets in their Tragedy Dresses, to the no small Diversion of the Populace. (General Advertiser). Receipts: #138 (Cross)

Event Comment: Receipts: #157 15s. [The Account Book lists the payment of 2s. per acting night to each shareholder: @Shareholder Mrs Martha Bedwell No. Share 1@No. Nights 36@Payment #3 12s.@Shareholder Mrs Creighton No. Shares 1@No. Nights 36@Payment #3 12s.@Shareholder Mr Francis Bedwell No. Shares 1@No. Nights 37@Payment #3 14s.@Shareholder Mr Robert Griffin No. Share 1@No. Nights 37@Payment #3 14s.@Shareholder Mr John Mitchell No. Shares 1@No. Nights 87@Payment #8 14s.@Shareholder Mrs Mary Michell No. Shares 1@No. Nights 87@Payment #8 14s.@Shareholder Mr John Walsh No. Shares 1@No. Nights 86@Payment #8 12s.@Shareholder Mr Lucuss No. Shares 1@No. Nights 54@Payment #5 8s.@Shareholder Col. Wade No. Shares 1@No. Nights 8@Payment 16s.@Shareholder Sir Arthur Croft No Shares 1@No. Nights 8@Payment 16s.@Shareholder Mr John White No. Shares 1@No. Nights 5@Payment 10s.@Shareholder Mr John Croft, Esq No. Shares 1@No. Nights 5@Payment 10s.@Shareholder Mr Rubin Adolphus No. Shares 1@No. Nights 5@Payment 10s.@Shareholder Mr Henry Woodfall No. Shares 1@No. Nights 3@Payment 6s.@Total No. Shares 14@No. Nights 494@Payment #49 8s.@ Winston MS 8 notes that on 1 Feb. dl had only 20 renters at 2s. a night.

Event Comment: Receipts: #107 19s. [Additional Renters coming in at 1 share each were Frederick Hesse Esq and James Mann.] Paid Mr Blackmore a Bill for Sundrys for Dioclesian #104 14s. Paid Mr Bingner (Wigmaker) in full of Bill #13 13s. (Account Book)

Event Comment: Afterpiece: A Masque (in three parts) [by George Colman] never perform'd, in which will be introduc'd the Principal Solemnities at the Installation of the Knights of the Garter. With New Music, composed by Dr Arne, Habits, Decorations and Scenes. Books of the Masque to be had at the Theatre. Receipts: #220 10s. 6d. (Account Book). The greater part is borrowed with some variation from Ben Jonson [Masque of Oberon]. The same liberty has been taken with a few passages of Shakespeare, and a Chorus of the late Gilbert West, Esq. The final chorus is from Dryden...an effort to entertain the public by the combined powers of the most eminent proficients in the arts of Music, Painting and Poetry (Adv. to Printed Edn., Colman's Dramatic Works, IV, London, 1777)

Event Comment: Paid Mr Chapman for horsekeeping [for Jubilee] #12 6s. (Treasurer's Book). [Published this month A Letter to David Garrick, Esq. on his conduct as Principal Manager and Actor at Drury Lane. Printed for S. Bladon. Accuses Garrick of controlling the press, save for two papers, and thus getting more favourbale treatment than his position and actions deserve. "You are a mere actor. You affect to feel where you do not, and imitate tones, looks and gestures, while your heart is at ease. This should heighten our opinion of you as an artist, whatever we might think of you as a man. I believe you are not generally judged of in this manner. It is not difficult to impose on the world." The author (David Williams?) deprecates Garrick's supposed handling of the actors of his company, and desires to see more Shakespeare. Suggests Garricks' acting perfection lies in the extreme, in exaggerated gesture, and sudden bursts of passion." Suggests he is getting old and should try his hand at Shylock.] Receipts: #271 (Treasurer's Book)

Event Comment: Being desired, for one night only under thr direction of Dr Arne at the Theatre Royal...will be performed the celebrated Catches and Glees, after which by Authority will be performed a new Burletta...alter'd and plann'd for Music from a favourite piece written by Henry Fielding, Esq. Music entirely new composed by Dr Arne, with a new Irish and Scots Medley Overture. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. To begin at 6:00 p.m. Books of both performances to be had together at the Theatre at 1s. 6d

Event Comment: [Afterpiece in 3 acts, altered from Garrick's original 5 acts by Richard Brinsley Sheridan.] The Music composed by Dibdin. With New Dresses. The Scenes, Machines, &c. invented by DeLoutherbourg. The Christmas Tale reduced to three Acts (by R. B. Sheridan esq.) was performed for the first time as a Farce--was received with very great Applause--it is too long, and must be shortened (Hopkins Diary). Public Advertiser, 22 Oct. 1776: This Day at Four o'Clock will be published A Christmas Tale (1s.) [For Baker see 28 Sept.] Receipts: #241 14s

Event Comment: Mainpiece: Altered from Shirley, by David Garrick, Esq. Receipts: #193 0s. 6d. (185.10.0; 7.10.6)

Event Comment: By Permission of the Lord Chamberlain. Benefit for Berry. Afterpiece: Written by the late Samuel Foote, Esq. The Doors to be opened at 5:30. To begin at 6:30. Tickets to be had at Mrs Richman's@Masquerade@Warehouse, Oxford-street; of Berry, at the George in the Haymarket; and of Rice at the Theatre, where Places for the Boxes may be taken. No Money to be returned

Event Comment: Benefit for Bannister Jun. 1st piece: 1st Time at this Theatre. 2nd piece: By permission of G. Colman, Esq. [as owner of the copyright]. Morning Chronicle, 26 Mar.: Tickets to be had of Bannister Jun., No. 2, Frith-street, Soho. Receipts: #681 2s. (392.3.6; 57.18.0; 7.17.6; tickets: 223.3.0) (charge: #211 14s. 5d.)

Event Comment: Benefit for Fawcett. 1st piece: Never [previously] acted here (by Permission of George Colman, Esq., for that night only). 2nd piece [1st time; M. INT 1]. Morning Chronicle, 30 Apr.: Tickets to be had of Fawcett at his house, No. 9, Tottenham-court-road. Receipts: #447 14s. (158.4.6; 10.10.0; tickets: 278.19.6)

Event Comment: Benefit for Mrs Clendining. 2nd piece: Not acted these 10 years [acted 25 Apr. 1788]. 3rd piece [1st time; M 1, altered by John Gretton from his Ode performed at the Pantheon, 4 May. Larpent MS 1087; text printed in Morning Chronicle, 2 May 1795, with parts as above]: The Words by John Gretton, Esq. The Music by Spofforth; the Dances by Byrn. Books containing the Words of the Masque will be delivered gratis at the different Doors. Morning Herald, 5 June: Tickets to be had of Mrs Clendining, No. 13, King-street, Covent Garden. Receipts: #204 5s. (72.17; 7.15; tickets: 123.13)

Event Comment: Afterpiece [1st time; P 2 (?), by Thomas King. MS not in Larpent; not published; synopsis of action in Public Advertiser, 27 Dec.]: With Variety of new Scenes, Dresses and Decorations. With a Grand View of the Cumberland Fleet sailing for the Cup, and a Song and Chorus in Honour of the Institution. To conclude with a Pageant Rural and Pantomimical. [These were included in all subsequent performances.] The Music partly new and partly compiled [by Thomas Linley Sen.] from the best Masters. The Paintings by Greenwood and other eminent Artists. Nothing under Full Price will be taken. Account-Book, 17 Feb. 1783: Paid King in full for Harlequin's Wedding #47 1s. Receipts: #231 (225/10; 5/10)

Event Comment: Mainpiece [1st time; C 5, by Thomas Morton. Prologue by William Thomas Fitzgerald. Epilogue by Edward Topham ( see text)]: With new Scenery, Dresses, &c. [Oracle, 1 Feb. 1796, recounts the financial transactions relative to this play. Thomas Harris, the cg proprietor, bought the copyright from Morton for #140; he was also to give Morton #100 on each of his benefit nights, i.e. the 3rd, 6th, 9th and 21st of the run of the play. Morton's profit was therefore #540.] Receipts: #281 16s. 6d. (278.9.6; 3.7.0)

Event Comment: The Duke's Company. Nell Gwyn attended this performance. See VanLennep, Nell Gwyn's Playgoing, p.408. It is not certain that this was the premiere, but, as the play was licensed for publication on 20 Nov. 1676, the first performance may well have been on this day. A song, Away with the causes of riches and cares, with music by Matthew Lock, is in Catch that Catch Can, No. 64, 1685. Another, Beneath a shady willow, with music by William Turner, is in A New Collection of Songs and Poems...by Thomas D'Urfey, 1683. Edition of 1677: That its only good Fortune was, in being the Subject of the Courts Diversion, where their Noble Clemency and Good Nature were extremely requisite, in covering its defects from the too Censorious; His Majesty, according to His accustomed Royal and Excellent Temper, was pleas'd to descend so far, as to give it a particular Applause, which was seconded by your Grace [The Duke of Ormond]

Event Comment: The King's Company. This performance is on the L. C. list, 5@141, p.359: See also Nicoll, Restoration Drama, p. 346. There is no indication as to whether this is the premiere. The music for four songs was composed by Matthew Lock. See A New Collection of Songs and Poems...by Thomas D'Urfey, 1683

Event Comment: The Duke's Company. The date of the first production is not known, and it may have been acted before this season; hence, it is entered also in the preliminary list in the season of 1676-77. As the play was licensed for printing on 4 Oct. 1677, September 1677 is probably the latest time at which it could have been produced. The play is an alteration of Thomas Middleton's No Wit, No Help, Like a Woman's. It has been attributed to both Mrs Aphra Behn and Thomas Betterton

Event Comment: The Duke's Company. There is no certainty as to the date of the first production; but as this play was entered in the Term Catalogues November 1679, it was certainly first acted by October 1679, possibly in September 1679. A musical number, The Loyal Protestant, the music by Thomas Farmer, is in Choice Ayres and Songs, The Third Book, 1681

Event Comment: The United Company. This play may have been revived during this month or earlier. A song, Come Jug my honey let's to bed, the music by Thomas Farmer, sung by Reading and Mrs Norris, was printed in Choice New Songs never before Printed [by Thomas D'Urfey, 1684]. Luttrell purchased a copy of this collection on 8 Jan. 1684@5 (Bindley Collection, William Andrews Clark@Jr@Library)

Event Comment: The United Company. This performance is indicated in the Newdigate newsletters, 11 Jan. 1693@4: On Tuesday the Prince of Baden dyned with ye D of Linster and yesterday his Highness saw the new Opera called Diaclessia acted at the Ks play house (Wilson, More Theatre Notes from the Newdigate Newsletters, p. 59). There is, however, some uncertainty about this performance. In the first place, Dioclesian was not a new play, although new songs frequently appeared in it. In the second place, Dryden's new play, Love Triumphant, was ready for its premiere about this time, and the compiler of the Newdigate newsletters might have been mistaken in identifying the play. Yet the certain performance of The Double Dealer on 13 Jan. 1693@4 would be an awkward interruption of the initial run of Love Triumphant if it were the new play the Newdigate newsletters refer to. It seems likely, then, that Love Triumphant did not make its first appearance until mid-January. In Thesaurus Musicus, 1694, is a new song in The Prophetess, Act III, When first I saw the bright Aurelia's eyes, set by Henry Purcell and sung by Mrs Ayliff. It is also in Joyful Cuckoldom 1695. In the latter compilation are three other songs for this play: Since from my dear, sung by Mrs Hudson "in the Prophetess, as it is newly reviv'd," set by Henry Purcell; Let monarchs fight, the words by Thomas Betterton, the music by Henry Purcell, and sung by Freeman; Let ye soldiers, the words by Thomas Betterton, set by Henry Purcell, and sung by Freeman