Event Comment: [The first payroll of the season was met this night. It includes 91 actors, actresses and dancers, plus 36 named servants to the theatre and 4 groups (women dressers, charwomen, guards, and barbers). The pay period covered was for 3 days. It came to #168 2s. 6d. The highest paid actor for this period was Ross at #8 5s.; the highest paid actress, Mrs Yates at #8 6s. 6d.; the highest paid dancer, Fichar at #3. The lowest paid in each category were: actors: C. Smith and Hollingsworth at 7s. 6d. apiece; actresses, 11 who receiv'd 10s. each (Mrs Ferguson, Evans, White, Allen, Cockayne, &c.); Dancers: 11 who receiv'd 15s. apiece (male) and 2 (female) who receiv'd 12s. 6d. apiece. The highest paid servant listed was Stables at 15s., and the lowest the charwomen.

Event Comment: Benefit of the New Building of the City of London Lying In Hospital, in the City Road, Old Street. Paid Weston's note to Mr Curtis #5; Mrs Bolter for 25 yds. white and silver silk, #28 15s.; 8 extra Trumpets 4 nights (13th inst. incl.) #12 (Treasurer's Book). This day published The Theatres; a poetical dissection by Sir Nicholas Nipclose (Gazetteer and New Daily Advertiser). [It is packed with embittered comments on managerial policy and upon theatrical personalities.] Receipts: #228 18s. 6d. Charges: #84; Profit to Hospital #144 18s. 6d. (Treasurer's Book)

Event Comment: Afterpiece: With the Stockwell Scenes. [For Stockwell Scenes, see 2 Nov.] Paid Frederick for Sattin #9 11s. 11d., Mrs Gisbitysky for a Lady's white and gold suit of cloaths #9 9s., and Mrs Barbaroux for gilt lea[the]r as per bill #2 9s. (Account Book). Receipts: #185 19s

Event Comment: Paid Cooper (printer) #42 8s., and Mrs Lynn for a Lady's white and gold Flower'd suit of Cloaths #12 12s. (Account Book). Receipts: #141 16s

Event Comment: The New Tragedy of Alzuma oblig'd to be deferr'd on account of Indisposition of Miss Miller. Paid Mrs Friar for a Lady's white & Silver tissue suit of cloaths with coloured flowers #7 (Account Book). Receipts: #162 19s

Event Comment: Benefit for Mrs Lessingham. Mainpiece: A Tragedy altered from Dryden [Aureng-Zebe] by Mr W. Addington, never performed before. Afterpiece: Not acted these 4 years. [See 16 May 1770.] Charges #71 2s. Profit to Mrs Lessingham #38 7s. 6d., plus #92 12s. from tickets (Box 186; Pit 146; Gallery 242). Paid Cooper (printer) #36 2s.; Paid Mrs Witaker for a woman's white & silver flower'd suit #10 10s.; Paid John Doe for sticking black bills #6 6s. Receipts: #109 9s. 6d. (Account Book)

Event Comment: Mrs King from the York Theatre made her first appearance on this stage in Rosalind. She is very Tall and would look well enough if she did not paint her face so much with white and Red. She has a course Voice-and does not speak very Naturally. She was received with great applause (Hopkins Diary). [Genest, V, 479, suggests Mrs King was used to offset and upset Miss Younge.] Paid Watch tax and Beadle for half a year #18 15s.; Mr Levy Fredrick bill for silks #154 1s. 6d. Receipts: #132 16s. 6d. (Treasurer's Book)

Event Comment: Benefit for Mons and Mme Simonet. Public Advertiser, 28 Mar.: Tickets to be had of Simonet, at Leary's, near the White Bear, Piccadilly

Event Comment: Benefit for Condell, Evans & Curteen, box-keepers. Tickets sold at the doors will not be admitted. Public Advertiser, 12 May: Tickets to be had of Condell, Cross-court, Duke's-court, Bow-street, Covent Garden; of Evans at Bromfield's, Trunk-maker, No. 118, Long-acre; of Curteen, No. 11, Temple-lane, White-friars. Receipts: #259 5s. (53.3; tickets: 206.2) (charge: #105)

Event Comment: Afterpiece [1st time at a public theatre; C 3, by Elizabeth Craven, Baroness Craven, afterwards Margravine of Anspach, 1st acted privately at the Town-Hall, Newbury, 6 Apr. 1780. Text (G. Riley, 1781) assigns no parts. Prologue by Richard Brinsley Sheridan. Epilogue by Joseph Jekyll (see text)]: With new Dresses, &c. "The Prologue [the first 30 lines and the concluding couplet of which were used by Sheridan as the Prologue to Pizarro (see dl, 24 May 1799)] was so much admired that at the request of the Duchess of Devonshire and several other of the nobility it was respoken after the piece; but as King was absent from the theatre, it was delivered by Palmer" (Town and Country Magazine, May 1780, p. 23 ). "The chief singularity was that [Lady Craven] went to it herself the second night, in form; sat in the middle of the front row of the stage-box, much dressed, with a profusion of white bugles and plumes, to receive the public homage due to her sex and loveliness. The Duchess of Richmond, Lady Harcourt,...Mrs Damer, Lord Craven,...and I were with her. It was amazing to see so young a woman entirely possess herself-but there is such an integrity and frankness in her consciousness of her own beauty and talents, that she speaks of them with a naivete as if she had no property in them, but only wore them as gifts of the gods. Lord Craven on the contrary was quite agitated by his fondness for her and with impatience at the bad performance of the actors, which was wretched indeed, yet the address of the plot, which is the chief merit of the piece, and some lively pencilling carried it off very well, though Parsons murdered the Scotch lord, and Mrs Robinson (who is supposed to be the favourite of the Prince of Wales) thought on nothing but her own charms, or him. There is a very good though endless prologue written by Sheridan and spoken in perfection by King, which was encored (an entire novelty) the first night: and an epilogue that I liked still better and which was full as well delivered by Mrs Abington, written by Mr. Jekyl. The audience, though very civil, missed a fair opportunity of being gallant, for in one of those ----logues, I forget which, the noble authoress was mentioned, and they did not applaud as they ought to have done, especially when she condescended to avow her pretty child and was there looking so very pretty...Yet Lady Craven's tranquillity had nothing displeasing;...and it was tempered by her infinite good nature, which made her make excuses for the actors instead of being provoked at them" (Walpole [28 May 1780], XI, 178-80). Public Advertiser, 14 July 1781: This Day at Noon will be published The Miniature Picture (price not listed). Receipts: #144 9s. (94.9; 48.3; 1.17)

Event Comment: [Me Rossi was from the Opera, Naples.] "Her very first step proclaimed her a perfect mistress in the art of pantomime. Her dress was a manteau a la reine, lately imported by our travelling milliners. The body, bones and trimming are puce, the sleeves and lower part of the garment a white gawze. Her partner, Lepicq, dressed in the same uniform, discovered such profusion of talents, if we may be allowed the expression, as 'beggar all praise'" (Public Advertiser, 3 Dec)

Event Comment: [A detailed account of all three pieces appears in Sophie v. la Roche, Sophie in London, 1933, pp. 93-95. The theatre is described as seeming "exceptionally small, but it is very prettily painted in blue and white; the boxes, as in Paris, are open and everything is well lit." In 3rd piece "A twelve-year-old girl dressed as a poor boy who walks around with a bundle of rushes, straw and reeds to patch up old chairs, then really sits down to work on one, sang and played unusually well; indeed, was obliged to give two encores; the third time, however, announced with dignity and candour that it would not be possible, and that she feared she might be unable to take her part the next day; which would grieve her excessively, as she liked having her modest talents appreciated and applauded. Everyone clapped and praised her aloud. She is beuatiful, and deserves to be the nation's darling, and will certainly become a great actress, competent to keep her voice, gesture and features in complete control, never using her talents wrongly or producing exaggerated effects."]

Event Comment: "[Mrs Siddons's] dress was a French grey satin gown, trimmed with dark sage coloured ribbon, edged with steel, white satin petticoat covered With tiffany, and trimmed With the same as the gown, a girdle of the same colour, a dark sage coloured cane hat ornamented with feathers and edges with gold, with a band of gauze and large bows, the ends fastened to the waist" (Daily Universal Register, 4 Oct.). Receipts: #302 2s. (281.18.0; 19.6.6; 0.17.6)

Event Comment: Pit 1s. 6d. Gallery 1s. Upper Gallery 6d. The Doors to be opened at 6:00. To begin precisely at 7:00. Tickets to be had at the Eagle, Ram, White Horse, Antelope and King's Head. Geoghegan, printer, No. 3, Kent-Street, Borough, Southwark

Event Comment: Benefit for Jones. Tickets to be had of Jones at the White Horse, Parson's Green; at the King's Arms, Fulham; Ship, Fulham; and the George, Walham Green. Afterpiece: It is hoped that the greatest Attention will be paid, as it is impossible for the Company to cogitate throughtout the Cogibundity of Cogitations, unless the most profound Profundity of Thought is observed. Pit 2s. Gallery 1s. Good Fires in the Pit

Event Comment: Mainpiece [1st time; C 5, by Henry Mackenzie, based on La Fausse Inconstance; ou, Le Triomphe de l'Honnetete, by Fanny de Beauharnais. Larpent MS 852; text 1st published in Mackenzie's Works, Vol. VIII (Edinburgh, 1808), as False Shame; or, The White Hypocrite; it assigns no parts. Prologue and Epilogue by the author (see text)]. [Afterpiece in place of Love and War, advertised on playbill of 4 Dec.] Receipts: #202 13s. 6d. (191.3.6; 11.10.0)

Event Comment: A new Comic Opera; the music by Cimarosa, under the direction of Federici. The music of both dances by Miller. With entirely new Dresses, Scenes and Decorations, both in the Theatre itself, and in the Representations. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. No Money to be returned. The Subscribers are respectfully entreated to observe that they are to produce their Tickets at the doors. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season, except on 15 May). The Ladies at the Head of the Boxes arc respectfully reminded that such Boxes as shall not be paid for at the opening of the Theatre become then vacant, and may be claimed by any of the old Subscribers. No one to be admitted behind the scenes. For the greater Safety of the Company in coming and going out of the Theatre Mr Townsend has taken charge of the Peace Officers, and will himself attend every night of Performance. [Morning Herald, 12 Jan., notes than the original gallery is now divided into two, a lower and an upper, and that the chief colors used in the repainting of the auditorium are blue, white and gold. Ibid, 13 Jan.: The scenes [in the opera], which were entirely new, have never been exceeded in splendour of general effect...One, representing the hall of an Italian villa, shews a ceiling designed like that of the theatre itself [which the same newspaper, 4 Jan., describes as being Apollo and the Muses, in a cove enriched with allegorical figures, flowers, and medals, in chiaroscuro].]

Event Comment: [Mainpiece in place of The Foundling, advertised on playbill of 12 Feb.] Powell: Alexander 's car was completed, and drawn by two elephants, and accompanied by Darius ' car, drawn by three white horses, and another car laden with trophies, drawn by soldiers all of which [were] totally covered with burnished gold and silver...The Procession was still but indifferently conducted. New Ballet rehearsed at 12. Morning Chronicle, 18 Oct. 1794: Two hundred soldiers are to be employed in the spectacle; each of their dresses is estimated at #5. Account-Book: Paid Miller in full for music in Alexander the Great #30. Receipts: #263 11s. (173.16.6; 86.13.0; 3.1.6)