DAVID GARRICK, ESQ.

THE firſt on the liſt of theatrical fame, ſtands the inimitable Roſ⯑cius; one of the greateſt orna⯑ments that ever decked the Eng⯑liſh Stage; but whoſe excellencies are beſt deſcribed in the words of his favourite and immortal poet Shakeſpeare.

[2] So many pens of almoſt all ranks and de⯑nominations in literature, for theſe thirty years paſt, have been employed in treating of Mr. Garrick, both as an actor and a wri⯑ter; that I muſt confeſs I find it a difficult taſk to collect untouched materials; as ſuch I ſhall not at this time preſume to enter into the merit, or demerit, of this firſt-rate ornament of the Britiſh Stage, for fear I ſhould become a vile encroacher, and con⯑ſequently make uſe of another man's pro⯑perty as my own: therefore, in order to a⯑void as much as poſſible this obſervation, I ſhall only give my courteous readers a de⯑ſcription of his perſon; though at the ſame time, I muſt beg leave to interſperſe a little borowed matter, in order to ſpeak of him with more preciſion than I probably might without theſe materials. But to his perſon, Mr. Garrick though low in ſtature, is regu⯑larly made, and well proportioned; his face is ſtrongly and finely featured, but on the whole not handſome; and yet, much leſs cannot be ſaid to the contrary. His eyes have [3] been ever and univerſally admired; their cut is what a painter would call bold and perfect, their ſize is big, the pupil large, ſtrong, lively, active, and variable; their colour dark, ſurrounded and ſet off with a due proportion of white, that gives to their every motion, a brilliancy, a diſtinctneſs, a life that ſpeaks in every glance. His com⯑plexion is dark; and laſtly his voice, which, from its harmony, ſweetneſs, and moreover from it's pliancy, and extenſive variety, has ever been admired. Having given a brief and juſt account of Mr. Garrick's perſon, I ſhall proceed to relate the names of ſome of the moſt celebrated characters this great actor ſhines in; without attempting to en⯑ter into his excellence in any particular, for fear I ſhould ſuffer for my preſumption, and run my account of this gentleman into a pro⯑lixity of uſeleſs and unmeaning matter; as ſuch my intention is to touch upon Mr. Gar⯑rick, (as well as the following performers in general) in as true and conciſe manner as poſſible. But I ſhall proceed to relate a few [4] of the various parts he is moſt eminent in; which in tragedy are Macbeth, Lear, Ri⯑chard, Hamlet, Luſignan, Dorilas, &c. &c. In comedy, Able Drugger, Benedick, Kite⯑ly, Ranger, Archer, Don Felix, &c. &c. Were I capable of communicating to the reader, the names of all the various charac⯑ters Mr. Garrick excels in, and likewiſe to point out his excellence in each particular part, it problably might ſwell to the ſize of a large volume; they are indeed ſo nume⯑rous as to leave ſufficient room for me to make this remark; that in ſhort, the moſt explicit and accurate manner I can find in ſumming up this gentleman's character as an actor, is by the following lines.

[5] Having ſaid thus much, on our Engliſh Roſcius, I ſhall conclude; and proceed to the next on the liſt at Drury-Lane theatre, which I believe is cordially allowed to ſtand

Mr. SMITH.

Mr. SMITH is a very pleaſing and judi⯑cious actor; and in the parts of the unaffected well-bred gentleman, he irreproachably claims the foremoſt rank on the ſtage, for uniform elegance, eaſe, and ſuitable viva⯑city. His perſon is likewiſe one of the genteeleſt that I know; and his whole de⯑portment admirably polite and affable. What a pity it is, that this actor ſhould ſo often miſtake his abilities, by ſtraying out of that road which nature has ſo happily placed him in; did he retain leſs thoughts of his unfavourable muſe Melpomene, and confine himſelf more to his beſt friend Thalia, I would inſure his ſucceſs to be much greater than it is, as not one upon [6] the ſtage would have a chance to equal him in his walk: not but I muſt allow Mr. Smith to have many capital requiſites for a trage⯑dian, but he is apt to wade out of his depth; and were it not for his agility and good ſenſe, I am perſuaded he would ſometimes be in danger of drowning: wherefore I greatly prefer in him the comedian to the tragedian; he is more ſelf-bred, and has a greater variety in the former than in the latter; in tragedy he has too much levity, and wants expreſſion, and his voice though clear and ſonorous, wants variation; as he ſcarce ever ſpeaks but in one continual tone: yet he poſſeſſes great fervour and manly ſpirit; particularly in his Richard, his Alexander, and the like; his Jachimo, his Phocyas in the ſiege of Damaſcus, &c. are inimitable; and his late attempt in Oreſtes in the Diſtreſſ'd Mother, has de⯑ſervedly gained him no ſmall ſhare of ap⯑plauſe, being chaſte and reſpectable through⯑out the whole. And were there not quite ſuch a repeated ſameneſs in Mr. Smith's [7] action and voice, there would be no doubt of his becoming a very accompliſhed actor.

Mr. REDDISH.

Mr. REDDISH poſſeſſes ſome ſtrokes of very conſpicuous merit, though many de⯑grees inferior to a gentleman he aſſumes to equal, I mean Mr. Barry; yet vanity (I am told) has often prompted him to declare himſelf ſecond to none but Mr. Garrick▪ O! man, man, why art thou ſo vain!—Till Mr. Reddiſh can diveſt himſelf of a ſtiff, heavy figure, a ſet face, and a broken mo⯑notony of voice, he may aſſure himſelf the ſeeing and ſagacious public will rate him far [8] inferior to the above gentleman. Mr. Red⯑diſh without doubt has a tolerable good ſhare of judgment in his profeſſion, whereby it renders him very uſeful in the various parts he performs; but with all the vanity he may poſſeſs himſelf with, he never will be able to fill a firſt form, at leaſt not at ſuch a theatre as Drury-Lane; for in many characters he wants variety, likewiſe ex⯑preſſion, and a pliancy of features to exert his exterior powers: were he endowed with Mr. Barry's features and voice, no doubt but he'd fall very little ſhort of that gentle⯑man's abilities; but as dame Nature has not been ſo favourable in adapting him with Mr. Barry's theatrical requiſites, I would adviſe him to content himſelf as he is, and not let ambition reign in his breaſt, for fear it ſhould prove hurtful to him, as he never can prefume to reach capital excellence, except in a few particular parts, as Edgar, in Lear; Moneſes, in Tamerlain, &c. wherefore I am under the indeſpenſable ne⯑ceſſity [9] of rating Mr. Reddiſh, not as a very capital, but an exceeding uſeful performer.

Mr. AICKIN.

This actor's forte ſeems to lie moſtly in the impaſſioned declamatory parts of tra⯑gedy, in which he without doubt deſerves notice. He has of late made ſome few at⯑tempts in comedy; but I cannot by any means admire him in the ſock; although his perſon and voice are both agreeable, yet he wants that natural eaſe and vivacity in his manner, ſo peculiarly neceſſary for the comedian, without which he never can render himſelf conſiderable in this; though there are ſome few parts wherein he makes a tolerable and decent appearance; as Stockwell in the Weſt Indian, and Sir John Flowerdale in the School for Fathers; theſe being beſt ſuited to his manner of acting; [10] ſo that take him altogether, from his judg⯑ment, &c. in the caſt of parts he is in poſ⯑ſeſſion of, he may be deemed a very uſeful and judicious actor.

*⁎* This gentleman has quitted Drury Lane Theatre.

Mr. KING.

This favourite gentleman's outſet was in ſome of the country companies. After being tired with his country purſuits, he came to London, and engaged himſelf at Drury-Lane Theatre, and what is very re⯑markable, Mr. King during the whole time of his engagement at this theatre, never was known once to fill a character that ſeemed ſuitable to his talents; this probably was the motive that induced him at that time to quit Drury-Lane, and engage himſelf [11] under the banners of Mr. Sheridan in Ire⯑land; it being here where he broke out a co⯑median of the firſt rank. He remained in Ireland for ſeveral years, but from a fracas happening among the principal performers of that theatre he quitted his ſervice like a valiant ſoldier, and came over once more to general Garrick, where ever ſince he has continued to be one of the greateſt favou⯑rites on the ſtage, by giving ſuch repeated proofs of his excellent performance, as rank him (Mr. Garrick excepted) the beſt come⯑dian on the Engliſh ſtage; take all in all, perhaps the beſt. And as a prologue ſpeaker in the comic ſtyle, I would aſk where is his equal? (the above gentleman once more ex⯑cepted); he poſſeſſes in an eminent degree, that lively, ſpirited, and quick ſenſation in his manner, which is ſo admirably adapted for ſpeaking this kind of writing. But a⯑bove all, is that ſly knowledge of the world, which is ſo excellently blended in Mr. King's features, and in his action, that it oftimes [12] ſends home effects to the furthermoſt and remoteſt ſeats of the galleries, &c.

Mr. MOODY.

This performer's juſtly admired abilities are in the parts of Iriſhmen; in thoſe cha⯑racters he has roſe to eminence, being pro⯑ſeſſedly the beſt exhibiter of Iriſhmen, now, on either ſtage; and yet it is not only in Iriſhmen Mr. Moody excels, for he is likewiſe capital in many parts of low come⯑dy; I believe we may wiſh in vain for a bet⯑ter Commodore Flip, in the Fair Quaker of Deal; and Adam, in As you like It; or a Vamp, in the Author. There is conſidera⯑ble eaſe and propriety in his manner of ac⯑ting, eſpecially in his Iriſhmen; theſe cha⯑racters [13] he ſupports with ſo much judgment, and humour, that of late Mr. Moody has be⯑come no leſs a favourite with the boxes, than he is with the galleries.

Mr. DODD.

Mr. DODD, in the genteel affected cox⯑comb, is certainly an original; and I am informed he is no leſs ſo by nature is his private deportment, as well as on the ſtage; if this circumſtance be true, we need not longer wonder at his excelling every other actor in this ſpecies of comedy, as he doubt⯑leſs muſt be quite at home in perſonating ſuch characters. Though I have ſeen him with equal merit in ſome parts of low co⯑medy; as ſuch, I ſhould imagine Mr. Dodd has it in his power to be as much the Sir Gravity as the Sir Fopling: for inſtance, [14] his Andrew Ague Cheek, in the Twelfth Night; his Criſpn, in the Anatomiſt; and Old Kickſy, in the Iriſh Widow; are laugh⯑able in the higheſt degree. He is likewiſe exceeding uſeful in ſeveral ſinging parts, having a tolerable good, though rather arti⯑ficial, voice. On the whole, Mr. Dodd will be found very acceptable in any theatre.

*⁎* I ſhould have mentioned Mr. WESTON, im⯑mediately after this gentleman, but being a principal member of Mr. FOOTE's ſociety, I think it rather inconſiſtent with my plan.

Mr. LOVE.

Mr. LOVE was a uſeful performer in the walk of comedy he was in poſſeſſion of; [15] as Falſtaff, Jaques, Sir Toby Belch, Caleban, Jobſon, &c. thoſe characters were beſt a⯑dapted to his unweildy figure, and more⯑over ſuited to his manner of acting; his voice was ſomewhat a [...]matical, and a⯑bounded with many inharmonious tones; however he more than ſupplied this defect, from his judgment and knowledge in his au⯑thors, ſo that he was unequalled in his caſt of parts. This actor was taken off this great ſtage of life about twelve months ſince; his loſs is regretted by all his admirers in his profeſſion, and by alll thoſe who knew him to be an honeſt, and [...].

Mr. PARSONS.

This Actor's forte lies in the characters of old men, in which he without doubt claims originality, from his admirable great eaſe, [16] and maſterly ſtrokes of humour, which he ſhows in thoſe parts; that for the moment, we are ſometimes led to believe him to be the man he repreſents; from that exqui⯑ſite feeble tottering in his manner, and the wrinkledneſs of old age, which appears ſo ve⯑ry conſpicuous in the muſcles of his face, and in his whole deportment, that we muſt ine⯑vitably rank him a finiſhed actor in his walk,

Mr. VERNON.

Though as the principal vocal performer of Drury-lane theatre, I muſt confeſs I can find but little entertainment from his ſing⯑ing; yet I make no doubt but Mr. Vernon has many admirers, but there appears to me to be ſuch an affected ſtiffneſs in his manner, as if he enjoyed more pleaſure from his own harmony than his audience [17] does. Vernon without doubt, has a very good knowledge of muſic, though in point of voice, I think him by no means in com⯑petition with your Mattocks's, Du-Bella⯑my's, &c. at the other houſe; notwith⯑ſtanding there are many may wantonly con⯑tradict what I have here ſet down; yet were they to hear him ſing in private com⯑pany without the help of muſic, they'd be as conſcious of this as myſelf, who have been ear witneſs of this aſſertion. As an actor, Mr. Vernon undoubtedly has merit in many parts of comedy; and did not too ap⯑parent a coxcomb eternally ſettle itſelf on his features, there would be no doubt of his acquiring much more applauſe in his pro⯑feſſion than he has yet attained.

Mr. BADDELEY.

Mr. BADDELEY is a uſeful man among the ſecondary claſs of actors; a good low comedian, and exceeding clever in foreign footmen, which ſeems to be chiefly his forte; his faults are but few, as he ſeldom ſtrays out of the common road, or beyond his abilities: a good Varland, in the Weſt-In⯑dian; a decent Trinculo, in the Tempeſt; or Polonius, in Hamlet; and not a bad Touch⯑ſtone; notwithſtanding Mr. King's ſuperior abilities in this part, he is far from being a contemptible copy; on the whole he is a very uſeful and juſt performer.

Mr. PALMER.

Mr. PALMER is a promiſing actor, and what we may call a handſome and portly figure, ſave an unpardonable ſtoop, and auk⯑ward gait; his voice is loud and command⯑ing, but neither pleaſing nor diſtinct; nor is his expreſſion and action ſo animated and refined as could be wiſhed. Yet he is re⯑ſpectable in ſeveral parts of tragedy and co⯑medy; and would he endeavour to give his body a little more ſteadineſs, he cannot fail (when placed in his proper ſphere of acting,) to meet applauſe.

Mr. CAUTHERLEY.

What apology can I make to the all⯑ſeeing public, for introducing this young [20] man, (who with ſcare one requiſite, except his perſon which is remarkably genteel) fi⯑gures away in your Hamlet's, Romeo's Do⯑rilaſs, Barnwells, &c. For Heaven ſake! ma⯑nagers, how can you impoſe on the public, and the goodnatured young man's abilities in ſo egregious a manner, to thruſt him into parts where he has not the leaſt glimmering merit to ſuport them; for be aſſured, (and your own judgments muſt needs tell ye,) that all the partiality you are pleaſed to in⯑dulge this actor with, will never render him a feaſt for public entertainment in the buſkin. From that prodigious ſameneſs in his man⯑ner, faintneſs and want of expreſſion, and above all, his effeminate look and voice, which are ſo very inconſiſtent for ſupport⯑ing the dignity of tragedy; that in ſhort, the only and beſt advice I can give Mr Cau⯑therley, is to reject all the managers' future favours of this kind, and never more ſacri⯑fice to his unmerciful performance, thoſe excellent compoſitions of blank verſe, he has hitherto been guilty of; but purſue the [21] ſame track of comedy he is in poſſeſſion with; where he is far ſuperior than in the [...]mer; or at laſt, decent in many parts; and with a little more cultivation of his ta⯑lents, and attention to his profeſſion, Mr. Cautherliy may become no inconſiderable performer in the ſock.

Mrs. YATES.

This great actreſs, in the preſent theatri⯑cal hemiſphere ſhines a perſect conſtellation, (i. e) in the haughty and paſſionate parts of tragedy; here ſhe ſurpaſſes all her female [22] co-temporaries, and aſcends to the topmoſt ſeat of perfection; particularly in her fa⯑vourite character Mandane in Cyrus, and the like. Hence we find excellence but barely anſwering her deſerts, from her noble preſence, majeſtic gait, piercing eyes and voice, with manner and action ſo ſuitably great, that ſhe ſeldom fails of tranſporting the moſt ruſtic or refined into admiration; but where tender paſſions, ſtiffled pangs, or ſoft feelings are to be expreſſed, Mrs. Yates is quite at a loſs: Here we muſt indiſputably call forth her rival Mrs. Barry, who appears in the former's deficiencies like Melpomene herſelf, and with ſuch tender expreſſion and graceful action, as muſt excite every feeling auditor, and ſtrike criticiſm dumb: thus we are to view Mrs. Yates amazingly great in ſcenes of rage and diſdain, and as cor⯑dially admire Mrs. Barry in grief and de⯑ſpair: though I ſhall not preſume to draw any farther competition of thoſe two ladies excellencies, for fear I ſhould exceed the bounds of ſimple truth, and render it too [23] profuſe for a work of this kind; wherefore I ſhall only give a conciſe account of Mrs. Yates in the comic walk, where I cannot ſpeak much in her praiſe, notwithſtanding ſhe ſupports ſeveral polite parts with tole⯑rable applauſe, as Lady Townly, Mrs. Oak⯑ley, Violante in the Wonder, &c. but we muſt impute her ſucceſs ſolely to her gen⯑teel figure and eaſy carriage, as ſuch, I am ſorry to differ ſo much from public opinion which ſeems ſo warm in this lady's favour, by pronouncing her far beneath Mrs. Bar⯑ry as a general actreſs,

Mrs. ABINGTON.

The next on the liſt of female excellence, ſtands one of the greateſt favourites of Tha⯑lia, (Mrs. Abington;) this true and perfect actreſs's much admired abilities, lie chiefly [24] in genteel comedy; and in low comedy ſhe is unequalled by any in the parts ſhe is in poſſeſſion of; where her great variety, ele⯑gance of dreſs, and acquired accompliſh⯑ments, render her without exception, the beſt female comedian on the Engliſh ſtage. And what Colley Cibber obſerves in his a⯑pology of the celebrated Mrs Oldfield, I think may juſtly be applied to the accom⯑pliſhments of Mrs. Alington, which is, "That many women of the firſt rank might copy ſome part of her behaviour without the leaſt diminition of their ſenſe or dignity."

Miſs YOUNGE.

This thriving and meritorious actreſs, made her firſt appearance at Drury-lane theatre, about five or ſix years ago, in the part of Imogen, in Cymbeline; though a [25] a difficult part for a young actreſs to exe⯑cute, yet ſhe acquitted herſelf to the entire ſatisfaction and amazement of the audience▪ and like the laſt-mentioned lady, ſtands in the foremoſt circle of female excellence; as ſhe has ſince the firſt time of her commence⯑ment, given ſuch proofs of her theatrical powers, both in tragedy and comedy, for the critics to rate her an object of honour in candid criticiſm; her abilities being ſufficiently conſpicuous to induce them to make this obſervation; but her talents are moſtly inclined to the former. She is hap⯑pily ſuited to the dignity of tragedy; being perfectly well made, and much indebted to nature for a pliancy of features, which mark the paſſions ſhe would preſent with great expreſſion.—And I make no doubt in the walks of tragedy, of one day ſeeing her at the ſummit of perfection.

Miſs POPE.

Miſs POPE without doubt may be ac⯑counted a firſt ornament in her walk, which is moſtly in the parts of low comedy; and ſhe ſeems to be an imitation of the celebrated Mrs. Clive; or, as the critics ſtile her, a ſe⯑cond edition of that lady. Ever ſince Mrs. Clive's retreat from the ſtage, ſhe has been in poſſeſſion of moſt of her principal parts; and I muſt confeſs, I think her in ſome cha⯑racters very little deſicient in execution; as Nell, in the Devil to pay; Beatrice, in Much-a-do about Nothing; or Phillis, in the Conſcious Lovers; in theſe ſhe is, without exception, matchleſs; and in many other characters too numerous to mention, ſhe poſſeſſes great ſpirit, and agreeable pert⯑neſs in her manner. Though as to her figure it is rather bulky and unweildy, of which the critics have lately complained; [27] as they think it prevents her from giving that ſcope to her abilities they could wiſh; yet as Churchill remarks on two celebrated performers,

On the whole, from her extenſive judg⯑ment and eaſy manner, we muſt undoubt⯑edly rate her a very uſeful, judicious, and ca⯑pital performer.

Mrs. BADDELEY.

Mrs. BADDELEY is a ſmart and plea⯑ſing figure, an agreeable actreſs, and very uſeful as a ſinger; but for virtue, modeſty cries huſh! I ſhall not dwell upon this little defect, as it is a frailty moſt of our theatrical [28] ladies are ſo much accuſtomed to, that were I to commence on this topic, I ſhould extend my remarks beyond the bounds of decency and reaſon; not but I believe there are many amiable and virtuous women on the ſtage. But our heroine in particular, pleads the part of chaſtity in her characters, with ſo much grace, ſimplicity, and propriety, that were we not ſenſible to the contrary, we might, without a doubt, imagine it to be her natural qualification. However, as a paſſionate admirer of Mrs. Baddeley in her profeſſion, I heartily with her well, and all the applauſe her merit deſerves. Yet,

Mrs. EGERTON.

Mrs. EGERTON has merit in ſeveral parts of comedy; as Lady Townly, in the Provoked Huſband; Mrs. Cadwallader, in the Author; and a number of other charac⯑ters. She has likewiſe a very pleaſing per⯑ſon, and generally poſſeſſes the true ſpirit of her author; and her performance is eaſy, ſpirited, and enlivening; in a word, ſhe is a very uſeful and pleaſing actreſs.

*⁎* This lady has left the ſtage, and retired to love and enjoyment, where, an author obſerves, the righte⯑ous reſt from their labour.

Mrs. SMITH.

Mrs. SMITH came out the winter be⯑fore laſt at Drury-lane, where ſhe has in the ſeaſon continued to perform during that pe⯑riod; the part ſhe firſt acted was that of Syl⯑via, in the dramatic romance of Cymon; in which ſhe was received with univerſal ap⯑plauſe. She has ſince performed ſeveral other principal ſinging characters with great ſucceſs: particularly Polly, in the Beggar's Opera; Roſetta, in Love in a Vil⯑lage; Patty, in the Maid of the Mill, &c. She is a ſmart little figure, with an ad⯑mirable ſweet muſical voice, and ſings with the niceſt preciſion of any lady I ever remem⯑ber to have heard, excepting the late Mrs. Arne; ſhe ſeems to hit off that lady's manner exactly both in ſinging and action. Mrs. Smith, fince Mr. Garrick's alteration of Hamlet, has occaſionally appeared in that play, in the part of Ophelia, with ſo much [31] judgment and eaſe, as for us in reaſon to hope, we may one day admire her as much an actreſs, as we now do in her ſinging; and this, if ſhe adds a little more ſpirit to her manner, we have no room to doubt.

SPRANGER BARRY, ESQ;

FEW people in the theatrical province, I believe, are ignorant that we are in⯑debted to Ireland for the birth of this gentle⯑man, and likewiſe to his early misfortunes that occaſioned him to make an attempt on the ſtage; a profeſſion he certainly by na⯑ture was deſigned for, and where he has ſhone for upwards of thirty years paſt, with ſo much profit to himſelf, and pleaſure to the public, as only to be rivalled by our Engliſh Roſcius.

[33] Mr. BARRY's firſt outſet in this ſphere of life was in the part of Othello, to the ſurprizing ſatisfaction and amazement of the general audience; for ſure never did young actor ſhew ſuch judgment in the choice of his firſt part; he ſeemed a finiſhed Othello (as Chetwood terms it) dropt from the clouds, which has ever ſince continued to be his favourite character; and if we take a ſlight ſurvey of Mr. Barry's features, &c. we need not wonder at his ſucceſs in this part. Firſt, the graces of manly beau⯑ty which are ſo favourably blended in his perſon; ſecondly, the prodigious flexibility and harmony of his voice, which is ſo ex⯑cellently adapted for the exhibition of Othello; in ſhort, in this part and others I ſhall mention, he is beyond critical excep⯑tion. For example, where is his equal in Jaffier, Romeo, and Caſtalio, he is not even ſurpaſſed by the mighty chief Mr. Garrick; though I am extremely partial to that gentleman's abilities, yet juſtice obliges me to make this obſervation, notwithſtand⯑ing [34] there are many ſcenes in the two firſt parts, in which Mr. Garrick eminently ex⯑cells: but upon critical examination, I be⯑lieve it will be generally allowed, through the whole courſe of thoſe characters, Mr. Barry takes the lead: though to draw any ſort of parallel between thoſe two gentle⯑men would be beyond my judgment, and conſequently preſumptive, therefore I ſhall content myſelf with only making mention of a circumſtance of this ſort, and leave the reſt for ſome more able critic to purſue. As to Caſtalio, I don't at this time recollect an inſtance of Mr. Garrick's performing it; Mr. Barry's ſuperiority over any other actor in the lover's part, &c. muſt undoubtedly render him in this character matchleſs, from his amorous harmony of features, melting eyes, and unequalled plaintiveneſs of voice, which are requiſites ſo peculiarly happy for forming the lover, that it is no wonder Mr. Barry ſhould excell ſo far be⯑yond any other performer in this province. [35] I remember once to have ſeen this gentle⯑man in Romeo, particularly in the garden ſcene of this favourite play, (where Juliet appears at the window) I thought he ſpoke the following lines incomparably fine, with a ſyrenic ſweetneſs of voice.

And afterwards when Juliet replies, "Ah! me," then with what extacy he immediate⯑ly ſpoke theſe words:

In the parting ſcene in the third act of this play, I likewiſe thought him exceeding pictureſque and affecting, where he takes [36] leave of Juliet in a ſhort ſentence, ending as follows:

He ſeemed to penetrate the foregoing line into the hearts of the moſt diſtant ſpec⯑tators: but what I moſtly admired in Mr. Barry's performance of this part, was the beginning of the tomb ſcene, where Juliet wakes; here a tranſport of joy, love, and tenderneſs flows within him; with what acclamation and rapture he delivered this ſentence:

[37] There are many more beauties and ex⯑cellencies I could remark in Mr. Barry's performances, in the pathetic and amor⯑ous; but being too long for the limits of my deſign, they would appear tedious: all the imperfections I can diſcover about Mr. Barry is in his action, which is ſometimes rather flat and unmeaning to the true ſenſe of his words, and likewiſe a ſtoop in his ſhoulders, and a bend in his knees, as if he was a [...]hamed of his ſuperior ſtature, (as a critic obſerves) and deſirous to level it to the common ſtandard: but I forget that he is bordering on the vale of years, conſe⯑quently ſuch blemiſhes as thoſe muſt now be pardoned and forgiven.

Mr. LEE.

This eſtabliſhed veteran from Ireland, made his appearance this winter at Covent Garden, in the part of Bayes in the Re⯑hearſal, though I was not ſo fortunate as to be preſent at this exhibition, I cannot therefore pretend to be a competent judge of his merit in that part: but by what I have ſeen of him ſince in Benedict, Richard the third, and Oſman in Zara, I think he has great abilities: he has numberleſs beau⯑ties which are entirely his own, as he ap⯑pears to be free from imitation, and built upon nature for his guide; wherefore his performances ſhew themſelves rather in a new dreſs; but how far it may be requiſite I will not preſume to ſay, though I muſt confeſs he gave pleaſure to me, yet might not to others. In regard to this actor's fi⯑gure, I can't ſpeak much in its praiſe, I think him too corpulent and maſculine; [39] notwithſtanding his features are expreſſive, his voice articulate and powerful, his action juſt and graceful, and his deportment tole⯑rable eaſy and refined, and what is more obſervable, free from that ſtiffneſs, (conſi⯑dering his part) many actors are ſubject to; theſe requiſites, joined to a true underſtand⯑ing of his merit, muſt render Mr. Lee a va⯑luable addition to the above ſtage.

Mr. ROSS.

This gentleman was formerly a great fa⯑vourite with the public, but is now upon the decline; his perſon, which uſed to be reckoned exceeding handſome and well⯑made, is grown fat and unwieldy; his face too plump to ſhew off the diſtention or re⯑laxation of the muſcles in exhibiting the paſſions; and his voice, which was pleaſing [40] and diſtinct, is upon the break; yet in his preſent ſtate he is maſter of great powers; and did he exert all of them oftener, and en⯑deavour to put as much action in his per⯑formance as he poſſibly can, there are few of his co-temporaries could equal him in his walk.

*⁎* This gentleman has left the London ſtage, and is I believe performing at Edinburgh.

Mr. MACKLIN.

The irreparable loſs the ſtage has ſuſtain⯑ed ſince this gentleman has been diſcarded from it, ought to be daily lamented by every [41] friend to the drama, to ſee ſuch excellent comic abilities lie buried in oblivion: but I hope Mr. Macklin, by the exertion of his beſt friends, will be enabled to overcome the ill-grounded reſentment of his enemies, and be brought back to that ſeat of per⯑fection he has ſo long filled with admira⯑tion and aſtoniſhment. I ſhall not dwell upon this actor's merit, but the reader is to obſerve, that it is ſo very conſpicuous as to bear the ſtricteſt ſcrutiny, even from his adverſaries, though

Mr. WOODWARD.

What can I ſay of this gentleman, whoſe very conſpicuous abilities are ſo well known and admired in the ſock, by every fre⯑quenter of the theatre. The public I be⯑lieve, need not be told that this veteran's [42] outſet on the ſtage, was at firſt as an harle⯑quin; he being articled to the late Mr. Rich, the celebrated harlequin, and mana⯑ger of Covent-garden theatre; after being inſtructed in all the requiſites of pantomime, he acquired ſo extenſive a knowledge of the ſock, that at the expiration of his term, he was engaged by his pantomical maſter, as a comedian, at a very conſiderable ſalary; and ſoon after acquired a firſt-rate reputation in his caſt of parts. Few are the walks of co⯑medy Mr. Woodward has not attempted, and not any wherein he has not met with great and merited applauſe. His figure is genteel, his voice ſmart, agreeable, and pli⯑ant; and both ſeem to point out the politer caſt; yet is ſomewhat odd, that this actor never pleaſes his audience more, than when he is neceſſitated, from his characters, to diſtort that genteel figure into the aukward deportment of a country looby; or to ſwell his voice out of its natural tone, into the hectoring accents of a bully, or a bluſterer; and he never receives the firſt blow from any [43] of the drama on the ſtage with him, but he generally returns it with double the force of his antagoniſt. As a comedian, I look upon Mr Woodward to be unequalled by any in his caſt of parts; ſuch Bobadil, Marplot, Younger, Wou'd-be, Petrutio, Apprentice, Fine Gentleman in Lethe, &c. &c. Beſides he has ſupplied the ſtage with ſeveral well wrote prologues, pantomimes, &c.

Mr. SHUTER.

The ſon of drollery and low humour, owes almoſt every thing to nature; education or art claim very little ſhare in his ſucceſs; this is by ſome objected to, as a deſiciency in his profeſſion, yet it has been ſo ſar uſeful to Mr. Shuter, that it has left him his natural parts free, and uncorrupted by imitation; and renders him an original actor. He poſ⯑ſeſſes [44] in an eminent degree, a deal of hu⯑mour, though he is apt to ſcrew the ſea⯑tures of his face into deformity, but never laughs at his own jeſt, he has ſtrong ſea⯑tures, and is exceeding happy in a peculiar turn of face, which marks the reſpective characters he performs with great propriety and natural humour. But he is always more comical Ned Shuter, than any thing elſe.

Mr. DYER.

Mr. DYER was a uſeful and pleaſing come⯑dian, a good Modely, in the Cuſtom of the Manor; a Clodio; or a Tom, in the Conſcious Lovers; a man, amiable in his character, juſt in his principles, and of no inconſiderable ſhare of merit in his profeſſion; ſuch were the outlines of Mr Dyer, till unfortunately [45] for the lovers of the theatre, and his friends in general, he paid the laſt debt of nature we all owe, a few nights after performing Jeremy, in Mr. Congreve's celebrated co⯑medy of Love for Love, for his own benefit. ⁷

M. LEWIS.

This gentleman made his firſt appearance at Covent-garden theatre, laſt winter, in the part of Belcour, in the Weſt Indian; in which he met with great applauſe. He has ſince appeared in Sir George Airy, in [46] the Buſy Body; Valentine, in Love for Love; and ſeveral other characters both in tragedy and comedy; in the former, he has performed Poſthumus, in Cymbeline; the Prince of Wales, in the firſt part of Henry the fourth, &c. but I cannot admire him in the buſkin, his figure though exceeding gen⯑teel and well made, wants conſequence, and his voice is inharmonious and defective. Mr Lewis poſſeſſes great fire and ſpirit, but he is apt to carry them too far; and more eſ⯑pecially in his comic characters, which renders his performance almoſt unintelligi⯑ble; but I ſhould not condemn young me⯑rit, as the greateſt actors, ancient and mo⯑dern, have been obliged to time and atten⯑tion, for the cultivation of their talents; therefore, I think there is no doubt, but Mr. Lewis in the courſe of time may become a a very conſiderable performer.

Mr. BENSLEY.

Though as an actor, I muſt confeſs Mr. Benſley adds very little to this ſcience; yet from the caſt of parts he is in poſſeſſion of, and the ſalary he is in receipt with, ſome⯑what entitles him to a place among the principal performers. Though to enter critically upon this gentleman, he has nei⯑ther face, voice, manner, or ſcarce any the⯑atrical requiſite; his perſon to be looked at, is tolerable; but as ſoon as ſet in mo⯑tion, it becomes contemptible; or, at leaſt, as much intolerable; there however is one principal requiſite in this actor's favour, which deſerves notice; that is, his being generally more correct in his parts than the reſt of his profeſſors, together with a wil⯑lingneſs to pleaſe, as he appears to ſtudy his parts with unremitted diligence and care; which, from a pretty good education, and [48] his knowledge of the dramatic authors, car⯑ries him through his caſt of characters with a tolerable good grace. I cannot quit this gentleman, without doing him the juſtice to ſay, that human nature never produced a more amiable character in private life.

Mr. MATTOCKS.

As an actor, Mr. Mattocks has very little title to public favour; as a ſinger, he claims very reſpectful notice; his voice is clear, ſoft, melodious, and expreſſive; his perſon is tall, and well made; yet he wants the manly grace and vigour his ſex demands; and animation to inſpirit the ſeveral charac⯑ters he performs, that his performance in the ſock is rather flat and inſipid; as a vocal performer, I look upon Mr. Mattocks to be the beſt on either theatre in point of voice, [49] and did he poſſeſs more compaſs, he proba⯑bly might be the beſt on any ſtage.

Mr. CLARKE.

Mr. CLARKE is a judicious and exceed⯑ing uſeful actor, where he is confined to his own natural walk, which is the rough, honeſt parts of tragedy, ſuch as Henry the Eighth, Sciolto in the Fair Penitent, Clytus in Alexander the Great, or Kent in King Lear, &c. There is a manlineſs in his per⯑ſon, with a ſound and juſt tone of voice which renders him in this walk ſecond to none on either of the ſtages.

Mr. QUICK.

Though I may be called to an account for introducing this promiſing Actor among the capital performers, yet his merit in ſe⯑veral parts of low comedy, juſtly entitle him to a place here. There is a variety in his performance, with a peculiar turn of wit in his manner, though a little bordering on grimace, as he is too apt, like a fore⯑mentioned performer, to ſcrew the muſcles of his face up into many very ridiculous forms, which appears to be by way of imi⯑tating the former; however, Mr. Quick has lately given ſufficient proofs of his growing merit, particularly in Tony Lump⯑kin in She Stoops to Conquer, in which character I think he will bear a ſcrutiny from the niceſt critic or connoiſſeur.

Mrs. BARRY.

This Lady's eſtabliſhed reputation with the town, is too well known to require any further praiſe or cenſure, (than what ha been already ſaid in my account of Mr. Yates) her unequalled abilities being ſo uni⯑verſally known and admired by every lover of the theatre.—Her majeſtic deportment, elevated ſpeech, expreſſive manner, and alacrity, all pronounce her to be the moſt accompliſhed actreſs on the Engliſh, per⯑haps on the European ſtage, therefore I ſhall be brief, and conclude this Lady with the following lines:

Mrs. HARTLEY.

This Lady made her firſt appearance on the ſtage in one of the county towns of [52] England, but in what character, or where for a certainty, I will not preſume to ſay; however, be this as it will, it is now two ſeaſons ſince ſhe firſt appeared at Covent-Garden theatre, in the character of Jane Shore, in which ſhe was received with re⯑ſpectable marks of applauſe by a very bril⯑liant audience.—This Lady is an exceeding good ſigure; in her perſon ſhe is tall and elegant, her face is likewiſe remarkably handſome, and her whole deportment gen⯑teel and eaſy; in ſhort, ſhe is the fineſt figure on the London ſtage: therefore it is not to be wondered, a lady endued with ſuch requiſites for this profeſſion ſhould gain great applauſe, had ſhe abſolutely little or no merit. But this is not Mrs. Hartley's caſe, her excellent performance of the above, and many other parts ſhe has ſince appeared in, has fully convinced us to the contrary. Her performance of Elfrida, Sta⯑tira, and Roſamond in Mr. Hull's new play of King Henry the Second, I believe has given the public inconteſtable proofs of her [53] riſing genius. The only fault I can diſcover in this Lady, is, her voice is ſomewhat harſh, and ſhe is ſometimes apt to wind it beyond the bounds of harmony: did Mrs. Hartley take a little more pains in modulat⯑ing her accents, it would add greatly to her praiſe. But, as the poet remarks,

Mrs. MATTOCKS.

This uſeful and pleaſing actreſs is a child of the ſtage, her father and mother being both of that profeſſion at the time of her birth; her firſt outſet was in the ſinging parts, with no inconſiderable ſhare of ap⯑plauſe: but it was not ſinging alone con⯑ſtructed this Lady's abilities, it was her de⯑ſirous and ſucceſsful attempts in the lively, ſpirited parts of comedy, in which ſhe ſuc⯑ceeded [54] to her wiſhes, and now ſtands fore⯑moſt among the favourite daughters of Thalia: ſhe has ſince appeared in tragedy with all the ſucceſs the diminutive ſize of her figure will permit; and indeed ſhe is above mediocrity in any part ſhe has per⯑formed in the latter. This actreſs likewiſe poſſeſſes in all her various characters, a pro⯑digious fund of ſenſibility, and is moſtly perſect in the true ſenſe and ſpirit of her author; that take all in all, a pleaſing per⯑ſon, an agreeable voice, and a good ſhare of judgment, renders her one of the moſt uſeful performers belonging to Covent-Gar⯑den theatre.

Miſs MACKLIN.

Miſs MACKLIN, like the above Lady, is a child of the ſtage; her father is the fore-mentioned excluded, and celebrated co⯑median, [55] Mr. Charles Macklin.—This Lady like Mrs. Mattocks came out in the ſinging characters, in which her elegant figure, and profound taſte in muſic gained her conſider⯑able applauſe. From this, like the afore⯑ſaid Lady, ſhe ſtept forth into the walks of comedy and tragedy, where ſhe has ſhone for ſeveral years paſt with the public's un⯑limited approbation; but her talents are moſtly inclined to the former, as ſhe ſeldom appears in the latter, her parts be⯑ing but few, and are generally confined to the tender caſt; though did ſhe appear oft⯑ner in tragedy, it probably might be more entertaining to the public, (and I don't ſee why ſhe ſhould not) as it would be the means of credibly reſtoring many parts tha are now loſt to Covent-Garden ſtage.

Mrs. BULKLEY.

This Lady's firſt outſet in liſe was as a dancer at Covent-Garden, a ſcience Mrs. Bulkley is moſt paſſionately fond of, and which I am given to underſtand ſhe purſued more for pleaſure than advantage to her⯑ſelf; however, dancing, like ſinging to Mrs. Mattocks and Miſs Macklin, was diſcover⯑ed to be not her only merit, in conſequence of which, (through the ardent perſuaſions of ſome friends) ſhe condeſcended to try what ſhe could do in the ſock and buſkin, in which ſhe has undoubtedly anſwered the expectation of thoſe who ſolicited her▪to purſue this undertaking; but I think the ſock ſeems to ſit much eaſier on this Lady than the buſkin; ^* there is an agreeableneſs [57] in her addreſs that appears to be beſt adapt⯑ed to comedy, though I have ſeen her with deſerved ſucceſs in ſeveral parts of tragedy; yet here I think ſhe ſometimes wants ex⯑preſſion, and variation in her features and voice. However, we may rate Mrs. Bulkley from the delicacy of her perſon, and her judgment, a very agreeable, uſeful, and judicious Actreſs.

Mrs. GREEN.

This Actreſs, (like Miſs Pope of Drury-Lane theatre), may in ſome meaſure be deemed as a copy of Mrs. Clive; but of the two, the laſt mentioned lady gains the pre⯑ference in this point; there is a greater va⯑riety in Miſs Pope than in Mrs. Green; or, in the theatrical term of expreſſing it, more of the viſ-comica, which ſo much abound⯑ed [58] in their great predeceſſor. Mrs. Green's chief abilities lie in Chamber-maids, where her humour and prodigious flow of ſpirits are beſt ſuited. It is obſerved by a cele⯑brated critic, that it is a ſort of misfortune for this Actreſs, that we have not yet adopt⯑ed in England the French cuſtom of making important characters of Chamber-maids, ſhe being poſſeſſed of all thoſe requiſites neceſſary to excell in that province, where her great humour, ſmart repartee, lively voice, and agreeable pertneſs, would be moſt fortunately placed. She is ſomewhat too affected in her manner, though it would be eſſentially meritable in the above; but in her preſent caſt of characters I think it rather a defect; nevertheleſs, we muſt ſet down Mrs. Green a very conſiderable and valuable Actreſs in her walk.

Miſs MILLER.

Miſs MILLER without doubt has merit in many parts of tragedy, ſuch as Roxana, Alicia, Juliet, Cordelia, &c. and in come⯑dy ſhe is uſeful in the few parts ſhe per⯑forms; but ſhe appears ſo ſeldom in the ſock, that it is almoſt needleſs for me to mention this. The faults of this Lady ge⯑nerally lie in a want of expreſſion, and in her voice which is not exactly tunable, and wants compaſs; and could ſhe break herſelf of that ſtiffneſs in her gait, it would add no ſmall ſhare towards her preferment; though this defect may be over-looked in her performance of the haughty Roxana, and Alicia, yet let me tell Miſs Miller, it does her great prejudice in perſonating the tender parts of tragedy which ſhe is in poſ⯑ſeſſion of, ſuch as Juliet, Cordelia, &c. by reaſon it prevents her from giving that ſoft [60] and tender expreſſion which is ſo much re⯑quired in thoſe parts: but,

*⁎* Miſs Miller at preſent is diſengaged from Covent-Garden, occaſioned by the late altera⯑tion at that theatre.

Miſs BARSANTI.

This lady made her firſt appearance at Covent-Garden theatre, in a new interlude wrote for that purpoſe by the late acting manager.—Miſs Barſanti is a promiſing young Actreſs; ſince her commencement ſhe has appeared in ſeveral parts of polite comedy with univerſal applauſe, particu⯑larly, in Eſtefania, in Rule a Wife and have a Wife; Mrs. Oakley, in the Jealous Wife; Charlotte Ruſport, in the Weſt Indian, &c. She is a ſmart, handſome figure, and not much unlike in ſtature, the favourite Mrs. [61] Abington; and I hear ſhe has fixed upon this lady as a model; if ſo, I don't know a better to copy, only I would have her take care, that this lady's mode of dreſſing her characters does not lead her into errors, as what would be allowable in Mrs. Abington from her exterior manner in conducting herſelf, might be prejudicial to Miſs Bar⯑ſanti; however, on the whole, I would have this young lady beware of imitation, as it ſometimes proves many a promiſing young actor's, or actreſs's ruin, by making their performance contemptible and ridi⯑culous; though,

Miſs CATLEY.

As an actreſs, this lady has little preten⯑tion to be ſpoke of; as a ſinger, ſhe is at preſent the ſweeteſt warbler on the Engliſh [62] ſtage. Her voice is ſtrong, clear, harmoni⯑ous, and expreſſive; notwithſtanding theſe muſical requiſites, through a careleſs, inex⯑cuſable negligence, ſhe ſings with great im⯑propriety, that often renders her vocal per⯑formance diſguſting; I mention this, as it is in her power (would ſhe take a little more pains) to remedy it. She likewiſe throws into her parts many indecent, and vulgar attitudes, which is ſtill worſe than the for⯑mer, for as the poet obſerves,

In the part of Juno, in the Burletta of the Golden Pippin, Miſs Catley is exceeding low and immodeſt; but why need I mention all this of a lady, whoſe private character is too much connected with ſuch behaviour; and I am almoſt led to imagine, the author of the Pippin has drawn his character of Juno from nature, there being ſuch a reſem⯑blance between the part, and the perform [63] er's private and public conduct, that I ſcarce think but it was ſo. But not to tire the reader's patience with too long a pre⯑amble on a ſubject of this kind, ſo many anecdotes, &c. having been publiſhed con⯑cerning this lady, it will be uſeleſs, beſides unbecoming, to dwell here upon Miſs Cat⯑ley's private character, as ſuch I ſhall con⯑clude this celebrated lady, and refer ſuch of my curious readers, as chuſe to trace the va⯑rious incidents of her paſt life) to her me⯑moirs, where they will find them more ex⯑tenſively authenticated, and juſtly adhered to.