The speed with which Holcroft was able to bring a version of Beaumarchais' play to the London stage — seen in September produced in December — indicates the time lapse between events, news of the events and their depiction or reflection in cultural production. In an age of electronic communication topicality is measured in days, but with handwritten reports, horseback couriers and movable-type newspapers, topicality was more a matter of months. Nevertheless, the arrival of news occasioned not only discussion in coffeehouses and journalistic commentary, but also, as Frederick Reynolds recorded, media exploitation:

At least three theatrical representations of the fall of the Bastille went into rehearsal. The one at Covent Garden ran into problems with the censor, as Reynolds continued: A piece under that title was written, and put into preparation at Covent Garden Theatre. But, when the parts were studied, the scenery completed, and the music composed, the Lord Chamberlain refused his licence.'