SEASON OF
1786-1787
T
Throughout the course of this season several circumstances
occurred that made it a notable, as well as a financially profitable
one. A melodrama entitled Richard Coeur de Lion had lately
been acted with success in Paris ; it was written by Sedaine,
with music by Gretry. Both Drury Lane and Covent Garden had it translated,
and both produced it in October. The version at Covent Garden, acted
°n the 1 6th, was by Leonard Macnally, and after a brief run of four nights
ir Was converted into an afterpiece which was acted for eight further nights.
Drury Lane had better luck. Its managers procured a far better playwright,
John Burgoyne, to adapt it and, as an afterpiece, it came out on the 24th.
This season it was performed 38 times, and was frequently and successfully
revived throughout the next ten years.
Three distinguished singers were heard in London for the first time.
Michael Kelly, who in Vienna a year earlier had been the original Basilic
3n De Nozze di Figaro, made his debut at Drury Lane on 20 April. He did
n°t at first attract much attention, but in the next season he found his
P^ce as that theatre’s leading tenor. His musical activities were widespread,
as Slnger, composer, publisher. Later he not only sang at the opera house,
ut Mr several years was its acting manager.
On the night following Kelly’s first appearance a ten-year old boy,
Master John Braham, was heard at Covent Garden. This was the beginning
th 3 *0n^ arM eminent career as opera and concert singer. At the King’s
e famous bass, Morelli, on 24 April began a connection with that theatre
at Was not to terminate until 1815.
The Drury Lane Account-Book in September 1787 gives an indication
the profits derived from the patent to the theatre. Dividends were paid
909