Event Comment: Income from Boxes #49 5s. Expenses #38 13s. 11d. Receipts: #180 12s. (Winston Theatrical Record)

Event Comment: Income from Boxes #21 12s. 6d. Bought 7 full bottomed wigs, 3 fly wigs, 2 tye wigs & 1 short fly wig for the Coronation #12 12s. Receipts: #78 3s. (Winston Theatrical Record)

Event Comment: Income from Boxes #19 2s. 6d. Pay list &c. #340 8s. 5d. Receipts: #99 16s. 6d. (Winston Theatrical Record)

Event Comment: Income from Boxes #12 12s. 6d. Expenses #38 16s. 3d. Receipts: #122 7s. (Winston Theatrical Record)

Event Comment: Income from Boxes #17 6s. Paid subscription to St George's Hospital one year #5 5s. Paid Foote one-quarter part of #89 2s., being the surplus above #60, allow'd for charge as per agreement #22 5s. 6d. Receipts: #149 2s. (Winston Theatrical Record)

Event Comment: Income from Boxes #39 5s. Expense #35 15s. 11d. including a Chorus of Dibdin and seven others in Comus at #2. Receipts: #131 13s. 6d. (Winston Theatrical Record)

Event Comment: Income from Boxes #40 10s. Bought 4 suits of clothes embroider'd for Coronation #26 5s. Receipts: #168 (Winston Theatrical Record)

Event Comment: Full Prices. None admitted behind scenes. [Both pieces advertised regularly for three days in advance.] Income from Boxes #95 15s. Expenses #44 17s. 8d. Including #5 11s. extra for Coronation: viz. 2 men at 10s. 6d. each, chorus singers &c. eleven more at 5s. including Dibdin; 6 Trumpets and 1 fife at 5s. Receipts: #244 7s. (Winston Theatrical Record)

Event Comment: Income from Boxes #81 5s. Expenses, Salary list &c. #374 16s. 8d. Receipts: #213 18s. (Winston Theatrical Record)

Event Comment: Income from Boxes #95 5s. Expenses #50 6s. 2d. Receipts: #238 16s. (Winston Theatrical Record)

Event Comment: Income from Boxes #68 10s. Expenses #45 13s. 8d. Receipts: 207 (Winston Theatrical Record)

Event Comment: Income from Boxes #76 5s. Expenses #46 3s. 6d. Receipts: #217 17s. (Winston Theatrical Record)

Event Comment: [No analysis of Box income.] Expenses #46 16s. 5d. Paid Bill for velvet and White sattin for their Majesties' and the Prince of Wales's Box #138 10s. Bill for Crimson Duchess Velvet & White Sattin used in Coronation #107 16s. Paid Linen Draper's Bill [for 11 April 1759-14 Nov. 1761) #106. Receipts: #231 6s. (Winston Theatrical Record)

Event Comment: Income from Boxes #64 5s. Expenses #45 11s. 8d. Receipts: #191 1s. (Winston Theatrical Record)

Event Comment: Income from Boxes #77 5s. Salary list &c. #349 6s. 9d. Receipts: #219 3s. (Winston Theatrical Record)

Event Comment: Income from Boxes #82 5s. Expenses #52 11s. 2d. Receipts: #229 2s. (Winston Theatrical Record)

Event Comment: Income from Boxes #89. Expenses #47 2s. 8d. Receipts: #230 9s. (Winston Theatrical Record)

Event Comment: Income from Boxes #83 10s. Rec'd from Mrs Jansolin deficiency for 8 May last #7. Expenses #46 3s. 8d. Receipts: #225 (Winston Theatrical Record)

Event Comment: Ladies send servants by 3 o'clock. A Comic Opera, Never Perform'd [by Isaac Bickerstaffe]. The Scenes, Dresses and Dances entirely new (playbill). [The playbill does not assign parts. Assignment from Genest and Winston who both identify the Young Gentlewoman as Miss Brickler. The Music compiled from Favourite airs of the most celebrated composers." See note for 27 May relative to dances in this opera.] Receipts: #245 14s. (Account Book)

Event Comment: [The Young Gentleman who played Posthumus is identified by Kemble and Winston as Mr Warboys.] Gave Duke of Cumberland's Footmen #2 2s. (Account Book). [Town and Country Magazine (quoting Theatre No XIII) remarked on Warboys acting: "The success he met with will probably deter him from following the profession of the stage...not happy either in person or in physiognamy."] Receipts: #250 6s

Event Comment: The Duke's Company. Downes (p. 30): This Comedy in general was very well Perform'd. Pepys, Diary: I alone to the Duke of York's house, to see the new play, called The Man is the Master, where the house was, it being not above one o'clock, very full. But my wife and Deb. being there before, with Mrs Pierce and Corbet and Betty Turner, whom my Wife carried with her, they made me room; and there I sat, it costing me 8s. upon them in oranges, at 6d. apiece. By and by the King come; and we sat just under him, so that I durst not turn my back all the play. The play is a translation out of French, and the plot Spanish, but not anything extraordinary at all in it, though translated by Sir W. Davenant, and so I found the King and his company did think meanly of it, though there was here and there something Pretty: but the most of the mirth was sorry, poor stuffe, of eating of sack posset and slabbering themselves, and mirth fit for clownes; the prologue but poor, and the epilogue little in it but the extraordinariness of it, it being sung by Harris and another in the form of a ballet

Event Comment: [The King's Company. The date of the first performance is not known, but a letter--see 2 Jan. 1670@1--indicates that the first part had been acted before that date and that Part II was to be shortly staged. The point of the Prologue spoken by Ellen Gwyn seems to have derived from an incident at Dover (see Downes, Roscius Anglicanus, p. 20) in May 1670, when James Nokes attired himself in a ridiculous fashion, including "Broad wast Belts." The speakers of the Epilogue and the Prologue to the Second Part are mentioned in Sir William Haward's MS (Bodl. MS Don. b., pp. 248-49); see The Poems of John Dryden, ed. James Kinsley (Oxford, 1958), IV, 1848-49. In Part I a song Beneath a myrtle shade, with music by John Bannister, is in Choice Songs and Ayres, First Book, 1673. Another, Wherever I am, with music by Alphonso Marsh, is in the same collection, as is also How unhappy a lover am I, the music by Nicholas Staggins. Mrs John Evelyn to Mr Bohun, ca. Jan. 1670@1: Since my last to you I have seen The Siege of Grenada, a play so full of ideas that the most refined romance I ever read is not to compare with it; love is made so pure, and valour so nice, that one would image it designed for an Utopia rather than our stage. I do not quarrel with the poet, but admire one born in the decline of morality should be able to feign such exact virtue; and as poetic fiction has been instructive in former ages, I wish this the same event in ours. As to the strict law of comedy I dare not pretend to judge: some think the division of the story is not so well if it could all have been comprehended in the day's actions (The Diary and Correspondence of John Evelyn, ed. William Bray, IV, 25). According to John Evelyn--see 9 Feb. 1670@1--Robert Streeter did some of the scenes for this play. In the Preface to The Fatal Discovery, ca. February 1697@8, George Powell, in discussing revivals of Dryden's plays, stated: In relation to our reviving his Almanzor...very hard crutching up what Hart and Mohun could not prop