Event Comment: At The Chapel of the Foundling Hospital. [Deutsch, Handel, pp. 799-801, notes the performance and lists the "Orchestra Bill," for this performance: twelve violins-Brown, Collet, Freeks, Frowd, Claudio, Wood, Wood Jr, Denner, Abbington, Grosman, Jackson, Nicholson, the first three at 15s. and the rest at 10s. each; three "tenners" [violas]-Rash, Warner, Stockton at 8s. each: four hautbois-Eyferd, Teede, Vincent, Weichsel, the first three at 10s. 6d. and the fourth at 8s.; four bassoons-Miller, Baumgarden, Goodman, Owen, the first two at 10s. 6d. and the rest at 8s. each; three violoncellos-Gillier, Haron, Hebden at 10s. 6d. each; two double basses-Dietrich at 15s. and Sworms at 10s.; horns and drums by Adcock and Willis at 10s. 6d. each; trumpets and kettle drums-Trowa, Miller, and Fr Smith at 10s. 6d. for a total of #17 15s. He also lists the bill for the singers: Sga Frasi, #6 6s.; Miss Frederick, #4 4s.; Miss Young, #3 3s.; Beard with services gratis; Champness, #1, 11s. 6d.; Waas, Bailden, and Barrow at #1 1s. each; six boys, totalling #4 14s. 6d.; a second Champness, Ladd, Cox, Munck, Reinhold, Walz, Courtney, and Kurz, at 10s. 6d. each, for a total of #27 16s. 6d. Servants and music porters added #4 14s. 6d. What with #5 5s. 6d. for Smith brought the total bill to #55 11s. 6d. The Constable in addition cost #3 3s.

Event Comment: [This day Horace Walpole wrote as follows to George Montagu, forshadowing an event to take place on 27 July: "If you will stay with me a fortnight or three weeks, perhaps I may be able to carry you to a play of Mr Bentley's--you stare--but I am in earnest--nay, and de par le roy. In short, here is the history of it. You know the passion he always had for the Italian comedy. About two years ago he writ one, intending to get it offered to Rich--but without his name--he would have died to be supposed an author, and writing [I, 372] for gain. I kept this a most inviolable secret. Judge then of my surprise when about a fortnight or three weeks ago I found my Lord Melcomb reading this very Bentleiad in a circle at my Lady Hervey's. Cumberland had carried it to him, with a recommendatory copy of verses, containing more incense to the King and my Lord Bute, than the Magi brought in their portmanteaus to Jerusalem. The idols were propitious, and to do them justice, there is a great deal of wit in the piece, which is called The Wishes or Harlequin's Mouth Opened. A bank note of #200 was sent from the Treasury to the author, and the play ordered to be performed by the summer company. Foote was summoned to Lord Melcomb's, where Parnassus was composed of the peer himself, who, like Apollo as I am going to tell you, was dozing, the two Chief Justices and Lord Bute. Bubo read the play himself, with handkerchief and orange by his side. But the curious part is a prologue which I never saw. It represents the god of verse fast asleep by the side of Helicon. The race of modern bards try to wake him, but the more they repeat of their works, the louder he snores. At last "Ruin seize thee ruthless King" is heard, and the god starts from his trance. This is a good thought, but will offend the bards so much, that I think Dr Bentley's son will be abused at least as much as his father was. The prologue concludes with young Augustus, and how much he excels the ancient one, by the choice of his friend. Foote refused to act this prologue, and said it was too strong. 'Indeed,' said Augustus's friend, 'I think it is.' They have softened it a little, and I suppose it will be performed. You may depend upon the truth of all this; but what is much more credible, is that the comely young author appears every night in the Mall in a milkwhite coat with a blue cape, disclaims any benefit, and says he has done with the play now it is out of his own hands, and that Mrs Hannah Clio alias Bentley writ the best scenes in it. He is going to write a tragedy, and she, I suppose, is going--to court."--Horace Walpole's Correspondence with George Montagu. Ed. W. S. Lewis and Ralph S. Brown Jr (New Haven: Yale University Press, 1941), I, 372-73. [IX, 372-373.

Event Comment: Never acted. [See Genest's comment (IV, 618) derived from Cumberland and the London Magazine-its appeal to the fashionable circles, its damnation at first performance because of the hanging of Harlequin in full view, and its modification thereafter. See 18 June and Horace Walpole to George Montagu [Arlington Street] July 28, 1761: I came to town yesterday through clouds of dust to see The Wishes, and went ac- [I, 381] tually feeling for Mr Bentley, and full of the emotions he must be suffering. What do [you] think in a house crowded was the first thing I saw! Mr and Madam Bentley perked up in the front boxes and acting audience at his own play--no, all the impudence of false patriotism never came up to it! Did one ever hear of an author that had couraee to see his own first night in public? I don't believe Fielding or Foote himself ever did--and this was the modest bashful Mr Bentley, that died at the thought of being known for an author, even by his own acquaintance! In the stage-box was Lady Bute, Lord Halifax and Lord Melcomb-I must say the two last entertained the house as much as the play-your King was prompter, and called out to the actors every minute to speak louder-the other went backwards and forwards behind the scenes, fetched the actors into the box, and was busier than Harlequin. The curious prologue was not spoken, the whole very ill-acted. It turned out just what I remembered it, the good parts extremely good, the rest very flat and vulgar-the genteel dialogue I believe might be written by Mrs Hannah. The audience was extremely fair. The first act they bore with patience, though it promised very ill-the second is admirable and was much applauded-so was the third-the fourth woeful-the beginning of the fifth it seemed expiring, but was revived by a delightful burlesque of the ancient chorus-which was followed by two dismal scenes, at which people yawned-but were awakened on a sudden by Harlequin's being drawn up to a gibbet nobody knew why or wherefore-this raised a prodigious and continued hiss, Harlequin all the while suspended in the air-at last they were suffered to finish the play, but nobody attended to the conclusion-modesty and his lady all the while sat with the utmost indifference-I suppose Lord Melcombe had fallen asleep [p. 382] before he came to this scene and had never read it. The epilogue was about the King and new Queen, and ended with a personal satire on Garrick-not very kind on his own stage-to add to the judge of this conduct, Cumberland two days ago published a pamphlet to abuse him. It was given out for tonight with more claps than hisses, but I think it will not do unless they reduce it to three acts." [p. 383]. Correspondence with George Montagu. Ed. W. S. Lewis & Ralph Brown. (New Haven: Yale University Press, 1941), I, 381-83] Note: (I, 381n): Bentley's play of The Wishes or Harlequin's Mouth Opened, was offered to Garrick and Rich the beginning of 1761, but wasrefused by both. His nephew Cumberland showed it to Lord Melcomb, who carried it to Lord Bute, with a compliment in verse to that Lord by Mr Cumberland. Lord Bute showed it to the King, who sent Bentley #200 and ordered the new summer company to play [it]. There was a prologue, flattering the King and Lord Bute which Foote refused to act. Two days before it was played, Cumberland wrote an anonymous pamphlet, addressed to Mr Bentley, and abusing Garrick, who had refused to act Cumberland's tragedy of Cicero's banishment, which he printed this year [1761], unacted. The Wishes were played for the first time July 27th, 1761; the 2d 3d and part of the 4th, acts were much applauded, but the conclusion extremely hissed. The Epilogue concluded with a satire on Garrick. It was acted five nights. About the same time he wrote a tragedy called Philodamus, which he was to read to Garrick, but the latter was so angry at their treatment of him, that he declared against seeing Mr Bentley" (MS account by HW of Bentley's writings, in the collection of Lord Waldegrave at Chewton Priory)

Event Comment: [See Theatrical Review; or, Annals of the Drama, 1 April, pp. 146-49.] Oratorio is a "Sacred Ode by Dr Brown. Adapted (by the Author of the Ode) to select Airs, Duets and Chorusses from Handel, Marcello, Purcell and other eminent composers" (Public Advertiser)

Event Comment: Benefit for the Colleges of Philadelphia and New York. Mainpiece a Sacred Ode written by Dr Brown set to select Airs, Duets and Choruses from Mr Handel, and other Eminent Composers, with the addition of several new songs. Pit and Boxes to be put together. No Persons to be admitted without tickets, which will be deliver'd at the Office of the theatre at 1!2 a Guinea each; and also at the following Coffee House, viz: the Smyrna, Pall Mall; the Mount, Grosvenor St; George's, Temple Bar; the Rainbow, Cornhill, the New York, Sweetings's Alley; and the Pennsylvania, Birchin Lane. First Gallery 5s. Second Gallerp 3s. 6d. Galleries to be opened at half past Four, Pit and Boxes at Five. To begin at 1!2 after Six (playbill). This philanthropic enterprise, of which the theatrical benefit was but a part, seems not to have born much fruit for the respective Colleges. See Letter to the Governors of the Colleges of New York, respecting the Collection that was made in the Kingdom in 1762 and 1763, for the Colleges of Philadelphia and New York, to which are added Explanatory notes and appendix. By Sir James Jay, M. D. (London, 1771). The funds collected seem largely to have been used up in a law suit. The Governor of the College of New York, Rev. Dr Johnson, asked Jay to collect funds, which he did. Alderman Trecothick wrote Dr Johnson that the funds were not safe in Jay's hands. The Governors insulted Jay, and when they found they were wrong refused to apologize. They entered a bill against him in Chancery to gain the funds. It dragged out for four years. When the power of Attorney had been given to Trecothick, he claimed that a sum of #1437 15s. 6d. was unaccounted for by Jay, and was supposed to be in Jay's hands. Jay explained the Governors had not reckoned on reimbursement for his time and expenses for two years.

Event Comment: Written by Dr Brown; composed by Arnold. For the Benefit and Increase of a Fund, established for the Support of Decayed Musicians and their Families. Upper Gallery 3s. 6d. #694 5s. 2d. spent in previous fiscal year by this charity

Event Comment: Oratorio written by the late Mr Brown. Benefit for and Increase of a Fund established for the Support of decay'd Musicians and their Families. Pit and Boxes half a guinea. First Gallery 5s. Upper gallery 3s. 6d

Event Comment: The Last time of the Company's performing this season. The Oxonian in Town, cannot be perform'd on account of the indisposition of a performer. Doors open at Half past 5. To begin at Half past 6. [Account Book indicates the following as paying up their deficiencies or half value of tickets: Perry, Gardner, Legg, Mrs Lampe and Mrs Jones, Wignell, Barnshaw, Wild, Mrs Hartle, Miss Brown, Ellis and Sherratt. Master Harris receiv'd #5 5s. for his performances this season. The Salary list for 25 May, recording payments for a ten day Period, amounted to #639 2s. 2d., or about #63 per day. Basic house charges of #63 may have been based on this salary figure, with the extras of candles, music, wardrobe, &c. added. See 6 June.] Receipts: #67 12s. (Account Book)

Event Comment: A Concert of Vocal and Instrumental Music benefit for Mrs Pinto. Songs by Mrs Forbes, Master Brown, and Mrs Pinto. Concertos on the organ and Hautboy by Hook and Park. After which will be performed for the first time a Pastoral Serenata called Love and Innocence, in two acts composed by Mr Hook, with chorusses. An elegant transparent Temple of Apollo designed and painted by Sig Bigar, machinist to the Opera House. The Gardens will be additionally illuminated. Fireworks. The whole to conclude with a Ball

Event Comment: [Last time of performing till the Holidays. Miss Brown identifield by Winston MS 10 and playbill for 29 Oct. 1772 as the young lady, although Miss Potts and Mrs Woodman would seem likely candidates too.] Paid Dunstall the Balance of Theatrical Fund profit #68 1s. 6d. (Account Book). Receipts: #209 17s. 6d. (Account Book)

Event Comment: Mainpiece: By Particular Desire. Last time of performing Mainpiece this season. House (Hopkins Diary). But Tickets delivered for Benefit of Mr W. Barry will be taken. Mr Wm. Barry's tickets this night (Box 88; Pit 76; Gallery 47) #38 2s.; Paid Printer's Bill #9 6s.; Master Brown 2 nights (26th incl.) 15s.; Extra trumpet 2 nights (March 31st incl.) #1 1s. (Treasurer's Book). Receipts: #155 13s. (Treasurer's Book)

Event Comment: Paid Miss Brown 2 weeks not on the list, #1; Mr Wright as per order Mr G. G. #3 10s. 10d.; Dorman for coals #46 5s.; Chorus (this night incl.) #6 16s. (Treasurer's Book). Receipts: #180 12s. (Treasurer's Book)

Event Comment: Paid Buxton and Enderby (oyl merchants) #116, and Brown (coal merchant) #44 9s. Receipts: #190 6s. 6d. (Account Book)

Event Comment: By Command of their Majesties. [From the Westminster Magazine for March: "On Friday the third instant the Entertainments peculiar to this season commenced. Messrs Bach and Abel were first, and have been at each successive Oratorio since (one night excepted when the King and Queen favored Mr Stanley, with bringing the only good House he has hitherto had), honoured with the presence of their Majesties, who have been accused, we think justly, of partiality to these foreigners, in overlooking Mr Stanley's past services and great personal merits. Justice, however, requires us to observe, that both in point of vocal and instrumental performers, the former have displayed a striking superiority over the latter. The singers at Messrs Bach and Abel's are, Parry, Corse, Mrs Weichsel, Miss Brown and Sga Corri. At Drury Lane, Norris, Reinhold, Mrs Mattocks, Mrs Barthelemon, and a young Lady from the Founding Hospital."

Event Comment: [Miss Brown had eloped. See 3 Jan. 1776.

Event Comment: Street Ballad, The Duenna or the Double Elopement, a new song to an old Tune: @In the days of Gay, they sing and say,@The town was full of folly:@For all day long, its sole sing-song@Was pretty, pretty Polly.@So now-a-days, as it was in Gay's,@The world's run mad again-a@From morn to night its whole delight@To cry up the Duenna.@One half the town still talks of Brown@The other of Leoni,@While those sly curs, the managers,@Keep pocketing the money... [Brown was the original Clara in the opera. See 16 Dec. 1775 (Hampden, Journal).

Event Comment: Benefit for Mrs Bulkley. 2nd piece [1st time; c 2, by James Brown Williamson. MS: Larpent 630; not published. Prologue probably by the author; Epilogue by the author; speakers' names (Public Advertiser, 3 Sept.)]

Event Comment: This [main] Piece, written by Dr Brown, is peculiarly happy in evincing to the world "That Virtue still shall conquer tho' in ruin." Mr Sterne presents his respectful Compliments to the Ladies and Gentlemen of Newington and its Vicinity, and now begs leave to inform them that he has been at a considerable Expence in procuring several Performers, in order that every Performance may give Satisfaction to those Ladies and Gentlemen who have so generously exerted their Interest for him and his Company; and as their Stay will be but very short, he hopes that his Care by obtaining so many fresh Members may meet with the Encouragement of a candid Public. N. B. Any Lady or Gentleman who will honor the Company by bespeaking a Play, their Commands will be thankfully received and attended to by applying to Mr Sterne

Event Comment: "Spectas, et tu Spectabere is the inscription over the curtain in the Little Haymarket Theatre. I was there on 29th [sic] July 1794: they gave a National opera, N. B. a piece in Scottish costumes. The men were dressed in flesh-coloured breeches, with white and red ribbons twisted round their stockings, a short, brightly-coloured, striped masons' apron, brown coat and waistcoat, over the coat a large, broad ensign's sash in the same style as the apron, and black cap shaped like a shoe and trimmed with ribbons. The women all in white muslin, brightly coloured ribbons in their hair, very broad bands in the same style round their bodies, also for their hats. They perform the same abominable trash as at Sadlers Wells. A fellow yelled an aria so horribly and with such exaggerated grimaces that I began to sweat all over. N. B. He had to repeat the aria. 0 che bestie!" (Haydn, pp. 294-95)