Next year she returned to Drury Lane, playing Amanda in "The Relapse", Margarita in "Rule a Wife and have a Wife", Elvira in "Love makes a Man", Jane Shore, Belvidera, and Kitty Pry in the "Lying Valet", and was, on 17 Feb. 1743, the original Clarinda in Fielding's "Wedding Day". In January 1744 she was once more at Covent Garden, where she remained until 1747, adding to her repertory Isabella in "Measure for Measure", Queen Katharine, Calista, Andromache, Lady in "Comus", Abra-Mulé, Lady Macbeth, Queen in "Richard III", Portia in "Julius Cæsar", Aspasia, Lætitia in "Old Bachelor", Evadne in "Maid's Tragedy", Mariamne, Lady Brute, Maria in the "Nonjuror", Mrs. Ford, Portia in "Merchant of Venice", Beatrice, Helena in "All's well that ends well", Marcia in "Cato", and numerous parts of corresponding importance. Her only 'creations' were Constance in Colley Cibber's "Papal Tyranny in the Reign of King John", 15 Feb. 1745; Tag in David Garrick's "Miss in her Teens", 17 Jan. 1747; and Clarinda in Hoadley's "The Suspicious Husband", 12 Feb. 1747.