Susannah Cibber published subtly insulting reports about Clive. By 1747, according to Samuel Foote, Clive’s once-storied ‘Popularity’ seemed now ‘of Little Consequence’. Caricatures, stage writings, and post-1750 career David Garrick, now co-manager of Drury Lane, strove to recover Clive’s following. Revising his 1740 Clive vehicle Lethe, in 1749 Garrick created the character of ‘Mrs Riot’ – an in propria persona role for Clive, with songs by Arne, that mocked Clive’s alleged foibles and perhaps also hinted at the same-sex desire suggested by Clive’s vitriol against men in epilogues, her declarations of love to her protégée Jane Pope in post-retirement letters, and posthumous claims that Clive was a ‘Sapphist’. As Garrick’s Mrs. Riot, a mannish gambler untethered from spousal control, Clive was formidable; helped by lots of puffing from Garrick, Lethe became a stage staple. And Clive found a new popularity in self-wounding roles, typically as a blousy, aged Fine Lady. Clive’s new parts, in for instance Catherine and Petruchio (1754), High Life Below Stairs (1759) and The Clandestine Marriage (1766), also dramatized her overreach. Since 1740, Clive had protested publicly against anti-female bias, especially the bias against women writers. Clive’s first self-authored afterpiece, The Rehearsal, or Bayes in Petticoats (1750), championed female playwrights, and she occasionally led new comedies written by women, such as Frances Sheridan’s The Dupe (1763) and Elizabeth Griffith’s The Platonick Wife (1765) and School for Rakes (1769). Clive channeled her musicianship after 1750 into burlesque, either baiting herself (as in the 1749 mock-pastoral The Chaplet and its 1751 sequel The Shepherd’s Lottery, and the 1754 London ‘Prentice, an ‘operetta’ with music by Willem DeFesch) or ‘taking off’ reigning Italian prima donne – as she had first done in Fielding’s Miss Lucy in Town (1742) – in mock musical numbers for which she earned separate billing in advertisements. Clive’s writings contain crucial evidence about her career, her reliance on Irish theatre personnel in London, and the eighteenth-century British playhouse generally. In addition to her 1744 pamphlet and her earlier letters to the press, from 1750 she added her own afterpieces to her season benefits. In The Rehearsal, she re-versified a c1740 masque by Boyce to tie off her career as a serious singer. Her other afterpieces – Every Woman in her Humour (1760) and Sketch of a Fine Lady’s Return from a Rout (1763) – are not easily available, nor is her extant correspondence. Clive retired from