Event Comment: TThe London Chronicle for 1758 (p. 455): On Friday the 3rd instant was presented Coriolanus. The two first acts of this play, as it is performed at the above theatre, were written by Shakespear; the three last for the most part by Mr. Thomson. But how a man of Mr Sheridan's knowledge (who first introduc'd it there about four years ago) could think of pounding into one substance two things so heterogeneous in their natures as the productions of those authors, is to me amazing. Mr Smith enters in the first act, after having (as we are to suppose) just overcome the Volsci, to the tune of violins and hautboys; but I am a little afraid the grandeur of his triumph is a little misapplied, considering the early times in which Coriolanus lived, before the Roman empire had arrived to any degree of splendor and magnificence, and was great in virtue only. However it makes a fine show; and Mr Smith, who has an excellent person, by the help of a little burnt cork and a real coat of mail cuts a very martial appearance. I think it was one of the Gracchi, who, when he was speaking to the people, always had a servant behind him in the Rostrum with a pitch-pipe which he touched whenever he found his master's voice rising beyond a certain height; such an instrument as this would, in my opinion, be of service to Mr Smith, for his fault seems to be that of keeping too much at the top of his vioce. Mrs Hamilton in the part of Veturai, especially in the last act, excells herself; and in particular, she repeats that line: "He never can be lost who saves his country," with the genuine spirit of a free-born Englishman. By the unnatural conjunction which is attempted to be made in this tragedy, most of the other characters are robbed of their significance. Those two excellent actors, therefore, Ryan and Sparks, only give us just cause to regret that the parts of Tullus and Volscius are not longer....After the play was presented a Ballad Opera called The Contrivances; in which some good comedians are oblig'd to submit to the drudgery of supporting as contemptible a trifle as ever was acted on the stage

Event Comment: Full Prices. There will not be room behind the Scenes for more than the persons acting in the coronation, [Others] cannot possibly be admitted. The coronation of their Majesties was followed by a stage representation of it at both houses...Garrick knew that Rich would spare no expense in the presentation of his show; he knew too that he had a taste in the ordering, dressing, and setting out these pompous processions, superior to his own; he therefore was contented with the old dresses which had been occasionally used from 1721-1761. This show he repeated for near forty nights successively, sometimes at the end of a play, and at other times after a farce. The exhibition was the meanest, and the most unworthy of a theatre, I ever saw. The stage was...opened into Drury Lane; and a new and unexpected sight surprised the audience, of a real bonfire, and the populace huzzaing and drinking porter to the health of Queen Anne Bullen. The Stage in the meantime, amidst the parading of Dukes, duchesses, archbishops, peeresses, heralds &c. was covered with a thick fog from the smoke of the fire, which served to hide the tawdry dresses of the processionalists. During this idle piece of mockery, the actors, being exposed to the suffocations of smoke, and the raw air from the open street, were seized with colds, rheumatisms, and swelled faces. At length the indignation of the audience delivered the comedians from this wretched badge of nightly slavery, which gained nothing to the managers but disgrace and empty benches. Tired with the repeated insult of a show which had nothing to support it but gilt copper and old rags, they fairly drove the exhibitors of it from the stage by hooting and hissing, to the great joy of the whole theatre....Rich...fully satisfied [the publick's] warmest imaginations (Davies, Life of Garrick, I, 365 ff.)

Event Comment: Benefit for Shuter. Mainpiece: By Particular Desire. Daily Advertiser: Lost: a leather Pocket Book...containing 4 Box Tickets for Shuter's Benefit...As the Numbers are known, care is taken to have them stopped by the Box, Pit and Gallery Keepers. [The Daily Advertiser also lists as thefts at the theatres: 1 violin, 4 pocket books (two stolen in the 2s. gallery), 4 gold watches (one with baronial arms), 1 woman's coat, 1 diamond ring. At Drury Lane thieves has stolen 4 pockets books, 1 silver watch, 4 gold watches, 1 woman's coat, and 1 sable muff.

Event Comment: Benefit for Theatrical Fund. Doors open at 5 o'clock. Play to begin at half past 6. Last night of season. Cash in the Galleries #88, from Mr Johnston #211 18s. Total #299 19s. Paid in sundries (Rent #8; Soldiers 14s.; Properties 2s.; Bill Stickers 18s.; Candles, Oyl, Lampmen #3 18s. 6d.; Printer #2 13s. 6d.; Total #16 5s. 6d.; Box tickets 680 #170). Ladies and Gentlemen who have taken tickets for the Pit and Boxes are requested to be early at the Theatre, to prevent their being incommoded in getting to their Place. [N.B. 27 June 1767 the Gentleman's Magazine reports that Sg Tenducci "renounced the errors of popery, and embraced the protestant religion in Dublin."] Receipts: #299 19s. (Treasurer's Book). Instead of going to dinner put The Suspicious Husband in my pocket and read Ranger's part at the Somerset Coffee House. Dressed and at half past 5 went into the Front Boxes at Drury Lane to see The Suspicious Husband for the Fund for the Relief of Decayed Actors, being the last time of performing this season. The Pit and Boxes were laid together. Mr Garrick spoke an occasional Prologue and played Ranger. Though in the back row I saw him very well by the help of my glass...Before the Dance Mr Garrick saying that he would not have been able to do it after, in the name of the company and managers thanked the public for the favors received this season. Mr @@ asked me to go to Vauxhall after ye Play, but I chose rather to see Daphne and Amintor ye characters as usual (Neville MS Diary)

Event Comment: Mainpiece: By Particular Desire. King of Denmark. Richard-Mr Garrick (Cross Diary). For the King of Denmark.--Richard by Mr Garrick, for the first time these six years-Beyond discription fine, -his voice clear to the last (Hopkins Diary). No money taken at stage door. None returned after curtain is up. The doors (by particular desire) will be opened at half an Hour after Five. To Begin at Seven. Neville MS Diary: Hearing about 7 o'clock that Garrick did Richard III, one of his very capital characters which he has not done these 7 or 8 years, resolved (if I could get in to see him) to bear the abhorred sight of that woman-like painted puppy, the King of Denmark. After one unsuccessful attempt got into the Pit with the greatest difficulty after the third act. Garrick is inimitably great in Richard & very different from the other Richards I have seen; his expression of the dying agony of that wretch is beyond description. Some actors speak with as strong & loud voice in that scene as if they had received no wound & were not dying. One Lloyd, who waits on Garrick sometimes, observed that he himself says he never acted better in his life, modestly observing that something must be allowed to the improvement of his judgment. During the dance (for there was no farce) I was within a yard of the Danish tyrant

Event Comment: [This New Comedy (by Mrs Elizabeth Griffith) seems not to have been performed this night, according to the author's Preface to her Edition of 1772. Shuter had been unattentive and absent from many rehearsals]: At length though late [in the season] a day was appointed for the representation, and on that morning Mr Shuter appeared at rehearsal, pretty much in the same state as before, and confessed himself incapable of performing his part, that night. Upon which the play was oblig'd to be further postponed, and handbills were sent about at noon, to advertise town of the disappointment....A further final day was afterwards determined on, but the audience being out of humour at their former disappointment, called Mr Shuter to account for it, on his first appearance; which threw him into such confusion, that he was not able to get the better of it, throughtout the whole performance...in the hurry of his spirits the actor not only forgot his part, the deficiency of which he endeavoured to supply with his own dialect, but also seemed to lose all idea of the character he was to perform; and made the Governor appear in a light which the author never intended: that of a mean, ridiculous buffoon. [Mrs Griffith concluded her preface by relating how her friends stood by the piece, but two or three in the gallery, when it was given out again objected and threw an apple at the chandeliers, which so perturbed the management that the play was withdrawn. She therefore published it by subscription, prefixing the names of about 440 subscribers, persons of the first quality, including James Boswell, Edmund Burke, Col. Burgoyne, the Duke of Devonshire, David Garrick, Mrs Montague, William Richardson, and a host of writers, players, and people of fashion. This list provides a pretty good roster of those who filled the boxes and part of the pit of both theatres at the time.] Paid Younger #2 2s. for the license for A Wife in the Right (Account Book). Receipts: #218 12s. (Account Book)

Event Comment: The last night of the Subscription of this Season. N.B. By particular desire many of the Nobility and Gentry who are engag'd to Drury Lane Theatre on Tuesday next for the benefit of decay'd actors, the last serious opera of Demetrio (Music entirely new, Composed by Guglielmi) is deferred till Wednesday next when Mlle Heinel is to dance for the last time of her engagement in England

Event Comment: Eleventh and Last time of performing Mainpiece this season. Afterpiece: By Particular Desire. Othello and The Irish Widow, to have been performed this evening for Mr Barry's Benefit, oblig'd to be deferr'd till further notice (playbill). Mr Barry being Ill his Benefit which was to have been this Night is oblig'd to be deferr'd (Hopkins Diary). [So, according to Hopkins, the profits went to the house.] Receipts: #171 19s. 6d. To the Public Advertiser: Sir, I spent an agreeable evening lately with a Country Friend at the Primitive Puppet Show, and was not displeased at the ridicule pointed at the dull, spiritless stuff, which composes modern Sentimental Comedy. I was entertained too with the manner in which some of the Actors were taken off; But I cannot think mimicry worthy to furnish an Evening Entertainment for a Polite British Audience, or suited to the happy ridicule and pointed wit of Aristophanes. The old Roman comedy, as it was called, was designed for nobler purposes: it was directed to improve the head and mend the heart. The keen manly satire of that Comedy was pointed at Upstart, Braggart, Vice, and to expose the dangerous unfeeling craft of innocent Villainy, or to use the words of Mr Pope--Brand the bold front of shameless, guilty man. Such was, and such ought to be, the salutary Direction of Wit, and Satire by exhibiting characters in their genuine colours, when the mask, which disguises and conceals them from the eyes of the Weak the Credulous, and the Ignorant, is drawn off. The words of Horace are--Detrabere et pellam, mitidus qua quisque per ora Cederet, introrsum turpis. Yours, Dramaticus. Poetry for the Public Advertiser. Epigram on the New Tragedy Alonzo. @No wonder that each female voice@Resounds Alonzo's praise;@A sure foundation of Applause,@The crafty Author lays.@ @Against the Virtue of his Wife@A Husband, if he's wise@According to the Gallant HOME,@Should not believe his eyes.

Event Comment: Mainpiece: Not acted these 20 years. [See 11 Nov. 1752.] Characters New Dressed in the Habits of the Times. This play is alter'd by Mr Colman and receiv'd with Some Applause, but it don't seem to hit the present Taste a few hisses at the End (Hopkins Diary). [MacMillan's note from Kemble differs slightly.] Paid salary list #630 1s. 6d.; Widow Hunter #2 2s.; King's glass bill #3 17s. 6d. (Treasurer's Book). [Mainpiece reviewed and contrasted with the original in the Westminster Magazine for Jan.: "Upon the whole we cannot esteem this a striking comedy, even with the assistance it has now received,--the fine manner in which it is got up, and the great expence which the managers have been at in habiting the whole dramatis personae in splendid and characteristic Old English dresses. All the actors except Mr King and Mr Parsons performed but indifferently. Bensley is the worst Old Man we ever saw. He presents the countenace of a sickly old woman; and the uniform goggle of his eye, by which he means to express infirmity and distress is the look of a man in anguish from the colic. Mr Palmer, Mr Brereton, and Mr Davis have a bloated vulgarity about them, which should ever deter the manager from assigning them the parts of cavaliers or men of fashion. Baddeley, as usual, overdid his part, and Mr Yates, as usual, was not very perfect in his."] Receipts: #192 11s. (Treasurer's Book)

Event Comment: [Concerning the character Epicoene the Public Advertiser, 24 Jan.: 'The performance of this character by an actor rather than an actress, according to the original intention of the author was received with particular marks of Approbation, and the comedy will be repeated (for the fifth time) on Saturday."] Receipts: #134 6s. (Treasurer's Book)

Event Comment: Mainpiece [1st time in London; DR. POEM 5, by William Mason, 1st acted at Crow Street Theatre, Dublin, 30 Mar. 1764]: Written on the Model of the ancient Greek Tragedy. The Overture and all the Music composed New by Dr Arne. With a New Scene designed and executed by Dahl [recte Dall]. The Dresses, Decorations, &c. all entirely New. Books of the Lyrical Part of the Drama to be had at the Theatre. 'But I had rather talk of Caractacus; I agree that he will not suffer by not being sputtered by Barry, who has lost all his teeth. Covent Garden is rather above Drury Lane in actors, but both sets are exceedingly bad, so bad-that I almost wish Caractacus was not to appear. Very seldom do I go to the play, for there is no bearing such strollers" (Walpole [to the author, 8 Oct. 1776], IX, 419-20). "I attended Caractacus last winter, and was greatly interested, both from my friendship for Mr Mason and from the excellence of the poetry. I was out of all patience; for though a young Lewis played a subordinate part very well, and Mrs Hartley looked her part charmingly, the Druids were so massacred, and Caractacus so much worse, that I never saw a more barbarous exhibition" (Walpole [13 July 1777], X, 81-82). Public Advertiser, 7 Dec. 1776: This Day is published the Lyrical Part of Caractacus (6d.). [The publisher, J. Wilkie, states that he also has the "whole Drama, as altered by the Author, 18d." Ibid., 9 Dec., contains an advertisement from Mason stating that this version is unauthorized.] Ibid., 12 Dec.: This Day is published [by A. Ward of York] a new Edition of Caractacus, now altered for Representation at the Theatre-Royal in Covent Garden (1s. 6d.). Receipts: #163 10s. (163.6; 0.4)

Event Comment: A new Serious Opera [1st time; SER 3, by Pietro Metastasio; a pasticcio]. The Music by Bertoni and other eminent Masters [Myslivecek, Monza, Sarti]. 'Pacchierotti, who on this night made his 1st appearance in London, was] conscious that the chief delight of singing, and his own supreme excellence, lay in touching expression, and exquisite pathos...As an actor, with many disadvantages of person, for he was tall and awkward in his figure, and his features were plain, he was nevertheless forcible and impressive: for he felt warmly, had excellent judgment, and was an enthusiast in his profession. His recitative was inimitably fine, so that even those who did not understand the language could not fail to comprehend, from his countenance, voice, and action, every sentiment he expressed" (Mount-Edgcumbe, pp.24-25)

Event Comment: [Mainpiece: Prologue by Nicholas Rowe.] Afterpiece [1st time; F 2, by Henry Knapp. Larpent MS 535; not published. Author of Prologue unknown]. The audience indulged "in the usual scornful hissing of theatrical displeasure. The Second act [of the afterpiece]...was not suffered to proceed to its conclusion; and the actors, when it was not more than half gone through, were driven from the stage by the clamours of almost all the spectators" (London Chronicle, 6 Nov.). Receipts: #192 5s. (188.14.6; 3.10.6)

Event Comment: A Serious Opera [1st time; SER 3, author unknown; a pasticcio]. The Music by several celebrated Composers, and conducted [i.e. arranged] by Bianchi. Public Advertiser, 4 Dec.: Roncaglia was welcomed with merited and very flattering Applause, yet he seemed hurt at sharing with Ansani those marks of public Favour. We exhort them both to remember that Persons of their superior Talents ought to lay aside every petty Prejudice and personal Animosity. "[Ansani] had a finely toned, full, and commanding voice, was a spirited actor, and in the first opera, called Ricimero, sustained the most prominent and important part. But he was unfortunately of a most peevish, quarrelsome temper; Roncaglia was saucy and conceited, and neither could brook the superiority claimed by the other. Their mutual jealousy, and the importance assumed by the tenor soon produced an irreconcilable breach, Ansani threw up his engagement, and the season went on heavily to its close for want of him"(Mount-Edgcumbe, p. 29)

Event Comment: Mainpiece [1st time; T 5, by Hannah Cowley. Prologue and Epilogue by the author (see text)]. @When first thy Tragedy I view'd@Where Sparta mourns her Lot severe;@I caught the Spartan Fortitude@And watch'd her Woes without a Tear.@ (William Parsons [not the actor], in Thraliana, II, 713.) Public Advertiser, 27 Feb. 1788: This Day is published The Fate of Sparta (1s. 6d.). Receipts: #203 15s. 6d. (171.13.0; 30.15.0; 1.7.6)

Event Comment: Benefit for the Author [of mainpiece, who is named in the Account-Book, but not on the playbill]. "A considerable tumult prevailed last night among the audience of this Theatre, on account of the unavoidable substitution of Miss Chapman and Mrs Harlowe for Mrs Esten and Mrs Wells (who are both indisposed). It was not that the audience objected to the former two, but because the names of Mrs Esten and Mrs Wells were printed in the bills usually sold about the Theatre, though not in those properly issued from the House. [Mrs Esten's name, however (but not Mrs Wells'), is listed in the "House" playbill for this night.] The audience were very violent, and the actors, after having nearly finished the first Act twice, were obliged to begin the Comedy a third time, before it was suffered quietly to proceed" (Morning Herald, 9 Feb.). "The fracas at Covent-garden Theatre on Wednesday evening was occasioned by the dexterity of certain Lottery Office keepers, who, in order to give notoriety to their shops, daily cause spurious Dramatis Personae of the theatres to be circulated; and on the reverse of these bills is conspicuously held forth the advantages of the public paying their cash into their gambling treasuries" (Morning Herald, 10 Feb.). Receipts: #191 17s. 6d. (187.2.6; 4.15.0; tickets: none listed)

Event Comment: Benefit for Shade, Cameron, Woollams, Wood, Wilson, Dangerfield, Irish, Edwards, Griffiths, Nix, Wooldridge, Panchaud & Cole [box-keepers]. [This was Dodd's last appearance on the stage.] "Dodd was one of the most perfect actors that I have ever seen. He was the fopling of the drama rather than the age. I mean by this, that his own times rarely shewed us anything so highly charged with the vanity of personal exhibition. He was, to be sure, the prince of pink heels, and the soul of empty eminence. As he tottered rather than walked down the stage, in all the protuberance of endless muslin and lace in his cravats and frills, he reminded you of the jutting motion of the pigeon. He took his snuff, or his bergamot, with a delight so beyond all grosser enjoyments that he left you no doubt whatever of the superior happiness of a coxcomb" (Boaden, Kemble, I, 55). Receipts: #580 17s. 6d. (25.17.0; 37.3.6; 11.0.0; tickets: 503.4.0; odd money: 3.13.0) (charge: #211 17s. 6d.)

Event Comment: [Afterpiece in place of The Honest Thieves, advertised on playbill of 17 Sept.] "The shameful neglect of Whitfield in the etiquette of dress in the character of Hastings must not pass unnoticed. He came on arranged in every point for the drawing-room, although he is supposed to be on his journey, and is informed by his companion Young Marlow that they must change their travelling dresses...An audience must naturally look to the Manager for due observance of stage decorum...and we trust that on future occasions the actor will not be allowed to sport with propriety by any fantastical display of his own, which is in direct oppostion to the character he ought to represent, and to the text with which he must be acquainted" (Times, 20 Sept.). Receipts: #197 1s. 6d. (186.0.6; 11.1.0)

Event Comment: Mainpiece [1st time; C 5, by Frederick Reynolds. Prologue by Counsellor Moore (Monthly Mirror, Dec. 1798, p. 368). Epilogue by John Taylor (see text)]: With new Scenes and Dresses. "Lewis's Gossamer is one of those characters which no actor could play but himself, because no man has that happy freedom and facility, that fashionable playfulness and spirit, so joyous, free, and unrelaxing, which distinguish all his performances of this nature" (Monthly Mirror, ibid). Morning Chronicle, 8 Mar. 1799: This Day is published Laugh When You Can (2s.). Receipts: #268 10s. (263.17; 4.13)