[p. 29] The London-Cuckolds. Ravenscroft’s rollicking comedy, which had been produced with great success at the Duke’s House in 1682 (4to, 1682), long kept the boards with undiminished favour, being very frequently given each season. Genest has the following true and pertinent remark: ‘If it be the province of Comedy not to retail morality to a yawning pit but to make the audience laugh and to keep them in good humour this play must be allowed to be one of the best Comedies in the English language.’ 29 October (the old Lord Mayor’s Day), 1751, Garrick substituted Eastward Hoe at Drury Lane for the annual performance of The London Cuckolds, a change not approved by the audience, who promptly damned their new fare. Ravenscroft’s comedy was given that evening at Covent Garden, and on 9 November, the following year. It was also performed there in 1753. 9 November, 1754, George II ordered The Provoked Husband. It has often been stated (e.g. by Professor A. W. Ward—‘Ravenscroft’—Dictionary of National Biography) that this royal command gave The London Cuckolds its final congé, but such was neither the intent nor the case. The play is billed at Covent Garden, 10 November, 1755; in 1757; and 9 November, 1758. Shuter excelled as Dashwell. A two act version was played at Covent Garden, 10 April, 1782, and repeated on the 12th. This was for the benefit of Quick, who acted Doodle.
[p. 30] Your Honour . . . must be set down at Long’s. Long’s was a famous Ordinary in the Haymarket. It was here that in 1678 Lord Pembroke killed Mr. Coney with his fist. He was tried by his Peers and acquitted. There was at the same period a second tavern in Covent Garden kept by Ben Long, Long’s brother. In Dryden’s Mr. Limberham (1678), Brainsick cries: ‘I have won a wager to be spent luxuriously at Long’s.’ In Etheredge’s The Man of Mode (1676), the following conversation occurs:—
Bellair. Where do you dine?
Dorimant. At Long’s or Locket’s.
Medley. At Long’s let it be.
[p. 30] the King’s Box. The seats in the boxes of the Restoration Theatre were let out severally to separate persons, and although the King had, of course, his own private box when he saw a play, yet when he was not present even the royal box was apportioned to individuals as the rest. There are many allusions to this which prove, moreover, that the front row of the King’s box was the most conspicuous and highly coveted position in the house. In Etheredge’s The Man of Mode (1676), Dorimant, hearing of a young gentlewoman lately come to town and being taken with his own handsome face, wagers that she must be ‘some awkward, ill-fashioned, country toad, who, not having above four dozen of black hairs on her head, has adorned her baldness with a large white fruz, that she may look sparkishly in the forefront of the King’s box at an old play.’ In Tom Brown’s Letters from the Dead to the Living[1] we have one from Julian, ‘late Secretary to the Muses,’ to Will. Pierre of Lincoln’s Inn Fields Playhouse, wherein, recalling how in his lampoons whilst he lived characters about town were shown in no very enviable light, he particularizes that ‘the antiquated Coquet was told of her age and ugliness, tho’ her vanity plac’d her in the first row in the King’s box at the playhouse.’
[p. 31] Jermain-Street. Jermyn Street runs parallel with Piccadilly from the Haymarket to St. James. It was built circa 1667, and derives its name from Henry Jermyn, Earl of St. Albans. Shadwell spells it Germin Street, and it was in a house here that old Snarl was wont to receive amorous castigation at the hands of Mrs. Figgup.—The Virtuoso (1676), iii, II. It was a fashionable quarter. From 1675 to 1681 the Duke of Marlborough, then Colonel Churchill, lived here. La Belle Stuart, Duchess of Richmond, had a house near Eagle Passage, 1681-3, and was succeeded therein by the Countess of Northumberland. Next door dwelt Henry Saville, Rochester’s friend, 1681-3. Three doors from the Duchess again was living in 1683 Simon Verelest, the painter. In 1684 Sir William Soames followed him. In after years also there have been a large number of famous residents connected with this favourite street.
[p. 34] after having . . . thrown their Majesties own Shoes and Stockings. For this old bridal custom see ante, Vol. III (p. 223), The Lucky Chance, ii, II: ‘we’ll toss the Stocking’; and the note on that passage. [ Cross-Reference: The Lucky Chance.]
[1] This actual letter was written by Boyer, together with the reply which is dated 5 November, 1701. Julian was a well-known journalistic scribbler and ribald ballader of the time. William Peer [Pierre], a young actor of little account, is only cast for such walk-on rôles as Jasper, a valet, in Shadwell’s The Scowerers (1691); the Parson in D’Urfey’s Love for Money (1696).