We find that 'Flora, or Hob in the Well,' was performed at the Courtroom, Charleston, in 1735, and that the New Theatre in the same city also produced 'Flora,' as well as 'The Devil to Pay,' in 1736. New York probably was giving similar performances at the same time, but we can discover nothing definite on the subject until 1739, when we note that at Henry Holt's Long Room there was performed 'A New Pantomime Entertainment in Grotesque Characters, call'd the Adventures of Harlequin and Scaramouch, or the Spaniard Trick'd. To which will be added an Optick'--whatever that was. A company of actors appeared in Philadelphia in 1749, but their advent inspired the city magistrates to 'take the most effectual measures for suppressing the disorder.' The unfortunate artists whose presence constituted a disorder then went to New York, where they fitted up a building of the Hon. Rip Van Dam as the 'Theatre in Nassau Street.' There, in 1750 and 1751, they gave a number of operatic performances, including Fielding's 'Mock Doctor,' 'The Beggar's Opera,' 'The Devil to Pay,' Cibber's 'Damon and Philida,' Fielding's 'Virgin Unmask'd,' 'Flora,' and 'Colin and Phœbe.' In 1751 they went South and, as the New York Company of Comedians, obtained from Acting Governor Lee of Virginia permission to build a theatre in Williamsburg. They played at Fredericksburg in 1752 and in the same year, as the Company of Comedians from Virginia, opened the New Theatre in Annapolis, Md., with 'The Beggar's Opera.' They also gave the 'Virgin Unmask'd,' the 'Mock Doctor,' 'Damon and Philida,' and 'The Devil to Pay.' Then, metamorphosed into the Company of Comedians from Annapolis, they appeared in upper Marlborough, where they gave 'The Beggar's Opera,' 'With Instrumental Music to each Air, given by a Set of private Gentlemen.' We have been unable to follow them further. Part of the original New York company to which they belonged remained in that city and formed the nucleus of a new company which in 1751-52 gave a number of operas at the Nassau Street Theatre, including Carey's 'Honest Yorkshireman.' Hallam's London Company of Comedians, subsequently the American Company and later the old American Company, continued the work of supplying Americans with regular theatrical performances, including operas. We have been unable to follow their activities in detail. In 1765 New York heard the pantomime ballad 'Harlequin's Vagaries,' perhaps the 'Harlequin Faustus' of Rich, with music by Gaillard. Three years later was given Bickerstaff's 'Love in a Village,' the music adapted by Arne from his own compositions and from the works of Handel, Boyce, Howard, Baildon, Festing, Geminiani, Galuppi, Giardini, Paradies, Abos and Agus. Everything was grist to the ballad-opera mill. Bickerstaff's 'The Maid of the Mill,' with music by Dr. S. Arnold, was played in New York in 1775. II