An early instance of the explanatory address, signed by the dramatist or manager, which so frequently accompanies the modern playbill, is to be found in the fly-sheet issued by Dryden in 1665.  The poet thought it expedient in this way to inform the audience that his tragedy of “The Indian Emperor” was to be regarded as a sequel to a former work, “The Indian Queen,” which he had written in conjunction with his brother-in-law, Sir Robert Howard.  The handbill excited some amusement, by reason of its novelty, for in itself it was but a simple and useful intimation.  In ridicule of this proceeding, Bayes, the hero of the Duke of Buckingham’s burlesque, “The Rehearsal,” is made to say:  “I have printed above a hundred sheets of paper to insinuate the plot into the boxes.”

Chetwood, who had been twenty years prompter at Drury Lane, and in 1749 published a “History of the Stage,” describes a difficulty that had arisen in regard to printing the playbills.  Of old the list of characters had been set forth according to the books of the plays, without regard to the merits of the performers.  “As, for example, in ‘Macbeth,’ Duncan, King of Scotland, appeared first in the bill, though acted by an insignificant person, and so every other actor appeared according to his dramatic dignity, all of the same-sized letter.  But latterly, I can assure my readers, I have found it a difficult task to please some ladies as well as gentlemen, because I could not find letters large enough to please them; and some were so fond of elbow room that they would have shoved everybody out but themselves, as if one person was to do all and have the merit of all, like generals of an army.”  Garrick seems to have been the first actor honoured by capital letters of extra size in the playbills.  “The Connoisseur,” in 1754, says:  “The writer of the playbills deals out his capitals in so just a proportion that you may tell the salary of each actor by the size of the letter in which his name is printed.  When the present manager of Drury Lane first came on the stage, a new set of types, two inches long, were cast on purpose to do honour to his extraordinary merit.”  These distinctions in the matter of printing occasioned endless jealousies among the actors.  Macklin made it an express charge against his manager, Sheridan, the actor, that he was accustomed to print his own name in larger type than was permitted the other performers.  Kean threatened to throw up his engagement at Drury Lane on account of his name having been printed in capitals of a smaller size than usual.  His engagement of 1818 contained a condition, “and also that his name shall be continued in the bills of performance in the same manner as it is at present,” viz., large letters.  On the other hand, Dowton, the comedian, greatly objected to having his name thus particularised, and expostulated with Elliston, his manager, on the subject.  “I am sorry you have done this,” he wrote.  “You know well what I mean.  This cursed quackery.