Event Comment: The date of the premiere is not known, but the fact that the opera was advertized in the Post Man, 14-16 Jan. 1696@7, suggests that it was first acted not later than December 1696. As the title page indicates, the work had been intended for presentation before the Court, but the death of Queen Mary prevented its appearance at Court. A Comparison Between the Two Stages (1702), p. 19: Sullen: But to go on, Cynthia and Endymion. Ramble: What a Pox is that? I never heard on't. Sullen: I believe not; 'tis one of Durfey's Toys. Ramble: Durfey's? what again? 'twas just now we parted with him. Sullen: Ay but Sir, you must know this is an Opera--and as he tells us in the Title-page, design'd t be perform'd at court before the late Queen--there's for you; Durfey in his Altitudes--but notwithstanding the vain and conceited Title-page, 'tis good for nothing within: He's the very Antipodes to all the Poets, Antient and Modern: Other Poets treat the Deities civilly, but Mr Durfey makes the Gods Bullies, and Jilts of the chastest Goddesses. Ramble: So, I suppose that was mawl'd, notwithstanding the Honour which he says the Queen intended it. Sullen: 'Twas well for Durfey her late Majesty never saw it; Gad if she had, People wou'd ha' said, it had first been the cause of her Illness, and then of her Death; for 'tis a mortifying Piece o' my Word; Yes, yes,--it was Damn'd

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the London Gazette, 18-21 Jan. 1696@7 (Luttrell acquired his copy, Huntington Library, 20 Jan. 1696@7) suggests that it was first given not later than December 1696. A Comparison Between the Two Stages (1702), pp. 20-21, lists it among the "Masterpieces" on which Drury Lane "subsisted" in the early years after the separation of the theatres

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the Dedication of the play is dated 15 Jan. 1696@7 suggests that it was probably first acted not later than December 1696. The play was advertised in the Post Man, 21-23 Jan. 1696@7. The music was set by John Eccles. Dedication, Edition of 1697: I make you a Present of a Play, that miscarri'd on the first Nights Performance; tho' afterwards, without any farther Discouragement, it kept it self alive till the third day was over, and then I must confess the City Lady expir'd....This I am confident on, that the like Unfortunate Accidents which attended this Comedy, wou'd have been sufficient to have Dam'd a much better Play. The tedious waiting to have the Curtain drawn, after the Prologue was spoke, occasion'd by Mr Underhill's violent Bleeding, put the Audience out of Humour, and made it susceptible of the least Disgust; and when once the Torrent of its Displeasure break bounds, nothing cou'd put a stop to his Vehemence. After Mr Underhill was no longer able to come upon the Stage, scarce any thing was done but by Halves, and in much Confusion; in the midst of which, I think my self oblig'd to applaud the Justice I receiv'd from the Incomparable Mrs Barry. I very well know that the Ode in the third Act seems to be introduc'd something unseasonably. It was made and set long since, in hopes of having it perform'd before the King, at his return from Flanders; and the Music being so finely compos'd by Mr John Eccles, I was loath it shou'd be wholly lost to the Town. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Rich's Company. The date of the first performance is not known. A contract between Cibber and Rich was signed on 29 Oct. 1696 (L. C. 3@73, in Nicoll, Restoration Drama, pp. 381-82), with an agreement that it was not to be printed until a month after it was acted. Since the play was advertised in the Post Man, 20-23 March 1696@7, it may have been acted as early as January 1697, certainly not later than February 1697. Possibly Leveridge set the music for a song, Tell me, Belinda, prithee do, which is in A New Book of Songs by Mr Leveridge, advertised in the London Gazette, No. 3293, 3 June 1697. A Comparison Between the Two Stages (1702), p. 18: Lady in Fashion, by a Player, Damn'd. Preface, Edition of 1697: Not to miss the Advantage of Mr Doggett's Excellent Action; I prepar'd a low Character

Event Comment: London Gazette, No. 3251, 4-7 Jan. 1696@7: At the two Golden Balls, the upper End of Bow-street, near Covent Garden, this day, being the 7th instant, will be performed a New Consort of Musick, with Trumpets, Flutes, Haught boys. Beginning exactly at 8 a Clock in the Evening; and to continue every Thursday following

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the box at Esop. 12s

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 17-20 April 1697, suggests a premiere preceding Easter; in addition, the large number of minor actors suggests a Lenten performance, possibly in February, certainly no later than early March. One song, So fair young Caelia's Charms, the music by Daniel Purcell and sung by Mr Magnus's Boy, was printed separately in 1697. A Comparison Between the Two Stages (1702), p. 18: Triumphs of Vertue, tho' I think this no ill Play, yet 'twas Damn'd

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two at the Indian Queen 15s

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the Box at the Libertine 12s. [This play was reprinted in 1697, but the edition has no actors' names.

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the Box at Psyche 15s

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and one in the Box at Plott and noe Plott 8s. [There is no certainty that this performance is the premiere; since the play was advertised in the Post Man, 25-27 May 1697, the first performance may have been late April or very early May.] Preface, Edition of 1697: As for the Spectators, tho, by reason of the advanc'd Season, and the extremity of the heat, which when the Play was first acted was intolerable, we have not had such numerous assemblies as might have been expected in Winter; yet as long as I have known the Play-house I never saw the Company there in better humour. A Comparison Between the Two Stages (1702), pp. 18-19: Ramble: Oh, that's Dennis's; and a very regular Farce, tho' he calls it a Comedy. Sullen: I think it did pretty well; 'tis laboriously Writ, as everything of his is: There's an Air of Formality in the Play agreeable to the slovenly Air in his Behaviour

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the Box at Esopp 12s

Event Comment: Betterton's Company. The date of the first performance is not known, but the Prologue refers to The World in the Moon, suggesting a premiere during (or shortly after) the run of that opera. Since The Innocent Mistress was advertised in the Post Boy, 29-31 July 1697, this fact points also to a late June premiere. A song, When I languished and wished, set by John Eccles and sung by Mrs Hodgson, is in Wit and Mirth, Second Edition, 1707. Gildon, English Dramatick Poets, p. iii: This is a diverting Play, and met with good Success, tho' acted in the hot Season of the Year. A Comparison Between the Two Stages (1702), p. 20: Tho' the Title calls this Innocent, yet it deserves to be Damn'd for its Obscenity

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the Box att Marryage Alamode 12s

Event Comment: Rich's Company. The date of the first performance is not certain, but the Preface refers to the Long Vacation and a thin house, suggesting a late summer production. As the play was advertised in the Post Boy, 16-18 Nov. 1697, a first performance in October 1697 is probably the latest date for this play, and September seems more likely. Among the songs are several for whom the composer and singer are named: Happy we who free from love, and How calm Eliza are these groves, the music set by Morgan and both sung by Mrs Lindsey. She comes my goddess comes, set by Morgan and sung by Mrs Cibber. Sleep shepherd sleep, the music set by Morgan and sung by Mrs Cross. All four are in A Collection of New Songs, 1697. Preface, Edition of 1698: To serve the wants of a thin Playhouse, and Long Vacation...This hasty Brat...had the Honor of keeping the Stage for five Days Reign. Animadversions on Mr Congreve's late Answer to Mr Collier (1698), pp. 34-35: The mighty Man of Wit [Congreve]...at the Representation of this Play...was seen very gravely with his Hat over his Eyes among his chief Actors, and Actresses, together with the two She Things, call'd Poetesses, which Write for his House, as 'tis nobly call'd; thus seated in State among those and some other of his Ingenious critical Friends, they fell all together upon a full cry of Damnation, but when they found the malicious Hiss would not take, this very generous, obliging Mr Congreve was heard to say, We'll find out a New way for this Spark, take my word there is a way of clapping of a Play down

Event Comment: Post Man, 25 Sept. 1697: A Trumpet Song on the King, and a Song made for the Birth day of his Highness the Duke of Gloucester: with two Sonatas by Mr John Shore. And variety of other new Musick...being the last time of performance this Season

Event Comment: Betterton's Company. The date of the first performance is not known. For a discussion of the dating, see Baldwin Maxwell, Notes on Charles Hopkins' Boadicea, Review of English Studies, IV (1928), 79-83. Downes, Roscius Anglicanus, p. 44: Boadicea, the Brittish Queen, wrote by Mr Hopkins: 'twas a well Writ Play in an Ovidean Stile in Verse; it was lik'd and got the Company Money. A Comparison Between the Two Stages (1702), p. 20: This is Cha. Hopkins's and did very well

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the Box at Scornefull Lady 12s

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, 17-21 Feb. 1697@8, suggests that it was first given not later than January 1697@8. Downes, Roscius Anglicanus, p. 44: Heroick Love, Wrote by Mr George Greenvil, Superlatively Writ; a very good Tragedy, well Acted, and mightly pleas'd the Court and City. A Comparison Between the Two Stages (1702), p. 20: The Language is very correct: But with submission to him [Granville], his Fable is not well chosen; there's too little Business in't for so long a Representation: But if Mr G. had taken the Story at a greater length, and contriv'd the Incidents to surprize, he had made it an admirable Tragedy

Event Comment: Rich's Company. This play was also reprinted in 1698. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the Pitt at the Relapse 5s

Event Comment: Rich's Company. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and two in the Box at King Arthur 18s. [In The Female Wits--see September 1696--in Act I is a reference to the enlivening of King Arthur created by the Pudding and Dumbling Song.

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the Songs were advertised in the Post Boy, 29-31 March 1698, and performance probably occurred in early March. One song, All things seem deaf to my complaints, set by John Eccles and sung by Mrs Bowman, was published in The A'lamode Musician, 1698. According to the Post Boy, 17-19 March 1697@8, another song, Fair Amoret is gone Astray, had its words written by Congreve, and, according to the Post Boy, 29-31 March 1698, the music set by John Eccles. A Comparison Between the Two Stages (1702), p. 20: Damn'd. Gildon, English Dramatick Poets, p. 173: I have little to say to this Play, for 'tis not fair to attack a Man that's down, tho' I do not think (considering what Plays have pleas'd) that this ought to have met with so severe a Fate

Event Comment: Rich's Company. The date of the premiere is not known, but the fact that the play was advertised in the Post Boy, 28-30 April 1698, suggests a first performance in late March. The Songs, published separately, include: Come all ye shepherds, set by Daniel Purcell and sung by Freeman. Let every shepherd bring his lass, set by Daniel Purcell and sung by Magnus. Life is but a little span, set by Daniel Purcell and sung by Young Bowin and Mrs Campion. Fond shepherd, set by Daniel Purcell and sung by Pate. To pensive years resign your pining, set by Daniel Purcell and sung by Young Bowen. Look down, set by Daniel Purcell and sung by Pate. Dedication, edition of 1698: I have no Reason to complain of the Success it had on the Stage. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Betterton's Company. The date of the premiere is not known, but the fact that the play was advertised in the London Gazette, 18-20 June 1698, suggests that its first performance occurred in late April or early May 1698. A Comparison Between the Two Stages (1702), p. 20: Damn'd

Event Comment: Rich's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Man, 7-9 July 1698, suggests a premiere in June 1698. In addition, the Preface replies to Jeremy Collier, whose Short View had a second edition appear in mid-May, and the presence of some younger actors--Fairbank and Bullock, for example--in the cast suggests a summer performance. The music for the songs was composed by Daniel Purcell. A Comparison Between the Two Stages (1702), p. 20: Damn'd