so lost his job as poet laureate to his rival Thomas Shadwell. Purcell's career had also suffered after the death of the music-loving Charles II. With their sources of royal patronage gone, both playwright and composer were looking to make money as freelance professionals and the London stage offered attractive opportunities. In 1690, the theatre manager Thomas Betterton decided to risk putting on another operatic work, the first since the ill-fated Albion and Albanius. This was the semi-opera Dioclesian (1690), an adaptation of a play by Beaumont and Fletcher. Purcell's music for the production and the lavish staging made it a triumph and Betterton was eager for another such success. He persuaded Dryden to dust off and revise the libretto for King Arthur so Purcell could set it. The two had already collaborated on stage works (Dryden had written the prologue for Dioclesian and Purcell the incidental music for Dryden's comedy Amphitryon) and Dryden was effusive in his praise of Purcell's musical abilities. In his preface to the printed edition, Dryden explained he had had to adapt the libretto to the changed political circumstances of 1691: "But not to offend the present Times, nor a Government which has hitherto protected me, I have been oblig'd so much to alter the first Design, and take away so many Beauties from the Writing, that it is now no more what it was formerly..." He also made alterations to suit Purcell's musical needs: "the Numbers of Poetry and Vocal Musick, are sometimes so contrary, that in many places I have been oblig'd to cramp my Verses, and make them rugged to the Reader, that they may be harmonious to the Hearer: Of which I have no Reason to repent me, because these sorts of Entertainments are principally design'd for the Ear and the Eye; and therefore in Reason my Art on this occasion, ought to be subservient to his." Performance history The exact date of the premiere is unknown but the wordbook was advertised in The London Gazette from 4 to 8 June 1691, suggesting a recent staging. Peter Holman believes it was performed in May. The production was not as spectacular as Dioclesian or the later The Fairy Queen but it proved the most financially successful for the theatre. Betterton himself took the role of King Arthur, despite being in his fifties. The contemporary writer Roger North was most impressed by Charlotte