THE detail of events, with which the former volume of this work concluded, has brought us to the termination of the theatrical campaign in May 1759. We have been there preſented [2] with that variety of unexpected and of unhappy occurrences by which Mr. Sheridan, after the continued exertions of many ſucceſſive years to ſuſtain the dignity of the dramatic throne of this kingdom, was at once compelled to reſign its ſeptre, and to yield its empire to his more fortunate competitors. The period, therefore, which has been mentioned, ſaw Meſſrs. Barry and Woodward in unrivalled poſſeſſion, exult⯑ing in the plenitude of their theatric power.

Fluſhed with this extraordinary ſucceſs, and highly elate with their conqueſts, the joint managers of Crow-ſtreet, beheld, in imagination, their utmoſt wiſhes accompliſhed, and looked forward to a long ſeries of years, in which they hoped to reap the harveſt which ſmiled to them in proſpect.

It might, indeed, have been reaſonably ex⯑pected, that thus victorious, crowned with public favour, with ſo excellent a company as they then commanded, and with ſuch brilliant future views, they had attained the ſummit of their deſires, and that oppoſition, ſo completely foiled, muſt ceaſe her fruitleſs efforts, and entirely leave the field to ſo powerful and re⯑ſiſtleſs [3] an enemy. Far different however were the conſequences.

The diſtreſſed and ſhattered remains of the Smock-alley company were ſtill to be provided for: But without a leader nothing could poſſibly be done. Various were the conferences held for the attainment of this object, innumerable were the projects formed, yet teeming with almoſt inſurmountable difficulties. However live they muſt, and ſome meaſure muſt be adopted with ſpeed: Every eye ſeemed turned upon Mr. Brown, as their laſt hope. Indeed, his known indolence of temper and extreme inat⯑tention to buſineſs, little qualified him for ſuch a ſtation as conductor of a Theatre; but his extraordinary abilities as an actor, the reputation he had ſo juſtly acquired with the town, joined to his knowledge of the ſtage, overbalanced theſe defects, and ſeemed, in ſome meaſure, to qua⯑lify him for this peculiarly arduous taſk. On his part, his fortunes were deſperate. He had not any thing to loſe, and might, if fortune ſmiled, reap ſome temporary advantage.

Deſperate ſituations, require deſperate exer⯑tions, and what, at one time, prudence would [4] condemn, at others, neceſſity juſtifies and ſanc⯑tions. No ſooner therefore was this, almoſt hopeleſs, project formed, than it was inſtantly embraced. Almoſt every performer in the theatre enliſted under the banner of this new monarch, and promiſed their utmoſt aſſiſtance.

Mr. Brown then commenced his reign by entering into treaty with Mr. Sheridan, for the poſſeſſion of the forlorn and deſerted domains of Smock-alley, for the enſuing winter. Tho' there appeared ſo little proſpect of ſucceſs, yet, as there was no other reſource, Mr. Sheridan was contented to reſign to him his dominions, with their every remaining appendage, upon very moderate conditions.

The principal object being thus accompliſh⯑ed, it was next reſolved to ſpend the intervening time, previous to the winter ſeaſon, at Cork and Limerick, where they might have leiſure to meliorate their plan, and deviſe the beſt methods of carrying it into execution. Accordingly, the remainder of the company, except Mr. Digges, and Mrs. Ward, who returned to Edingburh, in in a ſhort time after, repaired to Cork, where [5] they continued to perform for ſeveral weeks, with tolerable ſucceſs.

This unforeſeen ſtorm, however, did not diſ⯑courage the Crow-ſtreet managers; the oppoſi⯑tion wore an aſpect too feeble to create a ſeri⯑ous alarm. Yet, however they might deſpiſe the impotence of the attack, like prudent generals, they provided againſt the next campaign, with ſuch foreſight, as left very little hopes for the moſt ſanguine friends of the oppoſite party. Immediately on the cloſe of the ſeaſon, Mr. Sowdon ſailed for England and was quickly fol⯑lowed by Mr. Woodward and Mr. Barry, who haſtened up to London, where they entered into treaty with every performer of eminence whom they had any chance of engaging.

Their company, in the mean time, repaired to their reſpective ſummer engagements, which chiefly lay at Cheſter, Mancheſter, Liverpool, and other principal tows contiguous to the Iriſh coaſts; theſe performers were principally, Mr. and Mrs. Dancer, Mr. and Mrs. Jefferſon, Mr. and Mrs. Kennedy, Mr. Iſaac Sparks, Mr. Carmi⯑chael, &c.

[6]Mr. King, to the great regret of his numerous admirers in this kingdon, returned to London, where he made his firſt appearance at Drury-lane Theatre, in the October following, 1759, in Tom in the Conſcious Lovers.

The new managers, on their arrival in London, found little difficulty in their applications. The names of Barry and Woodward had great weight in their negociations: ſucceſs had eſtabliſhed their characters, and fame, the ſure attendant on victory, had prepared for them a moſt flatter⯑ing reception.

The only perſon, who could materially oppoſe them, was, Mr. Moſſop. He had been now ab⯑ſent upwards of two years from Ireland; his reputation, on leaving that kingdom, was equal to any actor's on the ſtage, and the eſtimation he at preſent ſtood in with the London audience added highly to his character. 'Twas no eaſy taſk to accommodate the buſineſs to his in⯑clinations, but he was too dangerous a rival to ſtand on punctilio with.

Fortunately, they found him in a mood not altogether friendly to Mr. Garrick, and, conſe⯑quently, [7] better diſpoſed to liſten to their propo⯑ſals. Great and unrivalled as the Roſcius was, yet was he not ſuperior to the ſtings of envy. The riſing fame of Mr. Moſſop appeared to have excited in him ſome ſuch ſenſation, and it was whilſt under this impreſſion, that the Crow-ſtreet managers addreſſed the former.

In an evil hour to himſelf did he yield to their ſolicitations, and they had the addreſs quickly to ſettle every thing to his ſatisfaction. He made his own terms, and the parts in Tragedy were to be divided between him and Mr. Barry in a very judicious manner.

Thus did a little pique urge him to a ſtep he had ever after reaſon to repent, and plunge him into difficulties, diſtreſs, and poverty, which ended but with his life: whereas, had he remain⯑ed at Drury-lane, there could not have been a doubt but his extraordinary merit would ſpeedily have placed him above every competitor but Mr. Garrick, and crowned him with the fullneſs both of fortune and of fame.

This capital point gained, they next turned their thoughts towards Mr. Foote, whoſe great faſhion and popularity pointed him out as a very [8] proper auxiliary at the commencement of the enſuing ſeaſon. They engaged him for a certain number of nights, during which he was to per⯑form thoſe pieces of his own writing then in ſuch reputation, and to bring out his Taſte and Minor, neither of which had ever been exhibited in Ireland.

By the beginning of the following September the managers had nearly completed their recruit⯑ing buſineſs. Several other engagements, which the future pages will bring forward, were complet⯑ed, and on the 7th of the above month Mr. Wood⯑ward arrived in Dublin, with expectations, as ſanguine, and as flattering, as the warmeſt fancy could ſuggeſt.

That thoſe expectations were founded on rea⯑ſon and probability, will be ſeen by a ſlight re⯑view of their recommendations. Their company was perhaps the ſtrongeſt, and beſt formed, of any hitherto beheld in Ireland. High in public favour, their credit eſtabliſhed, a new theatre, an excellent wardrobe, they had every advantage which could be derived from a combination of circumſtances ſo fortunate. To crown theſe, and give animation to the whole, they were in [9] a very eminent degree poſſeſſed of every influence which the court could give. Robert Wood, Eſq then maſter of the revels in this kingdom, ap⯑pointed Mr. Barry and Mr. Woodward his de⯑puties: by which act Crow-ſtreet became the theatre royal. Mr. Wood alſo conferred upon them the office of directors of his Majeſty's band; a poſt indeed of more honour than profit: but their principal dependance lay on the new Lord Lieutenant, the Duke of Dorſet. He was re⯑markably popular, and his countenance muſt add uncommon weight to the party he eſpouſed. In this reſpect they were not deceived. The Duke and Ducheſs of Dorſet were peculiarly fond of the theatre, and honoured it with their preſence once or twice every week during the ſeaſon.

Thus powerfully prepared, they took the field early in the ſeaſon. Mr. Barry remained in London, to finiſh his buſineſs there, and to wait the leiſure of Mr. Moſſop, who had agreed to accompany him on his return. Mr. Woodward, in the mean time, opened the theatre on Wedneſ⯑day, October 3d 1759, with a new occaſional prologue in the character of Rumour, written purpoſely to defeat the oppoſition formed againſt [10] them, and ſpoken by Mr. Woodward with great point and force. The play was the Comedy of

• Mirabel by Mr. Dexter,
• Fainall Mr. Sowdon,
• Witwood Mr. Jefferſon,
• Petulant Mr. Whyte,
• Waitwell Mr. Walker,
• Sir Wilful Witwood Mr. Sparks.
• Marwood Mrs. Kennedy,
• Mrs. Fainall Mrs. Jefferſon,
• Lady Wiſhfort Mrs. Mynitt,
• Mincing Mrs. Younger,
• Millimant Mrs. Dancer.

• Mock Doctor Mr. Sparks,
• Dorcas Mrs. Pye.

The houſe was tolerably full, and both pieces received with applauſe.

[11]But, as the above bill does not by any means convey to the public a juſt idea of the numbers or merits of the company, I ſhall, for their further information, ſubjoin the following liſt:

• Mr. Barry,
• Mr. Woodward,
• Mr. Moſſop,
• Mr. Foote,
• Mr. Dexter,
• Mr. Sowdon,
• Mr. Heaphy,
• Mr. Sparks,
• Mr. Vernon,
• Mr. Jefferſon,
• Mr. Walker,
• Mr. Glover,
• Mr. R. Elrington,
• Mr. Whyte,
• Mr. Read,
• Mr. Mynitt,
• Mr. Younger,
• Mr. Fiſher,
• Mr. Fiſher, jun.
• Mr. Hamilton,
• Mr. Knipe,
• Mr. Morris,
• Mr. Hayes,
• Mr. Corry,
• Mr. Olivier,
• Mr. Layfield,
• Mr. Meſſink,
• Mr. Aldridge,
• Mr. Mahon,
• Mr. Harvey,
• Mr. Stageldoir,
• Mr. Carmichael, Prompter.

• Mrs. Dancer,
• Mrs. Fitzhenry,
• Mrs. Kennedy,
• Miſs Oſborne,
• Mrs. Knipe,
• Mrs. Pye,
• Mrs. Younger.
• Mrs. Packenham,
• [12]Mrs. Jefferſon,
• Miſs Maſon,
• Miſs Roſco,
• Mrs. Chambers,
• Mrs. Walker,
• Miſs Whyte,
• Mrs. Mynitt,
• Signiora Coralina and her mother.

From the above ſtatement I am led to make the following obſervations, though they are ſomewhat premature:—So heavy and numerous a company had never before been collected for Dublin; the conſequences were obvious, the receipts of the theatre were not at that time nor, indeed, have they ever been ſince equal to the ſupport of ſo enormous an expence. The weekly payments to performers alone, often amounted to upwards of 170l. excluſive of tradeſ⯑mens bills, and ſervants ſalaries which many times were not leſs than 200l. more. The Theatre had not then, nor perhaps ever will, attain in this kingdom a degree of opulence ſufficient to juſtify ſuch expenditures; the public cannot in reaſon expect it; and the manager, who thus launches out into ſuch extravagance, will too late feel the conſequences of his imprudence. The preſent inſtance juſtifies theſe reflections. At the end of one of the moſt ſucceſsful ſeaſons ever then known, Mr. Barry and Mr. Woodward [13] found themſelves greatly deficient, a deficiency which every year increaſed, till in the end it involved them in total ruin.

But to return. Every thing ſeemed to wear a propitious aſpect with the new Theatre-royal Crow ſtreet. The town was highly pleaſed with the houſe, company, and the performances. So many difficulties had Mr. Brown to ſtruggle with that his moſt zealous partizans could en⯑tertain but little hopes of his being able to open Smock-alley. Almoſt every night produced ſome novelty at Crow-ſtreet, and the ſeveral exhibi⯑tions were in general well attended. A Signior Lucca Fabiano, a dancer, made his firſt appear⯑ance after the Beggars Opera, early in the ſea⯑ſon: his abilities were of the moderate kind, and could not be put in competition with Mr. Ald⯑ridge, then beginning to be a great favourite, and who, in one particular ſtile of dancing, was ſuperior to any man in Europe.

A few nights after two young ladies made their debut in the comedy of Love makes a man. A Miſs Roſco in the part of Narciſſa, and a Miſs Oſborne in that of Amanda, and both were received with a moderate ſhare of applauſe. [14] Miſs Roſco was the daughter of an actor of that name, of ſome eminence in the theatic world. This young lady had many claims on the pub⯑lic. Her figure and features, tho' full, and rather maſculine, were well adapted to the ſtage—ſhe had ſpirit, and poſſeſſed pleaſing muſical powers. Her forte lay principally in lively comedy, and ſinging characters, ſuch as Lucy in the Beggars Opera. She remained ſeveral years in this king⯑dom eſteemed and reſpected; at length, being rather diſguſted at the ſituation in which ſhe was, ſhe reſolved to try another. Having received an excellent education, and being miſtreſs of many elegant accompliſhments, ſhe quitted the ſtage, and returned to Bath, where ſhe opened a board⯑ing ſchool for young ladies, which ſhe conducted with the higheſt reputation and greateſt ſucceſs. Miſs Oſborne was of a reſpectable Engliſh family; the misfortunes and death of her father, obliged her mother to retire with this, her only daughter to Dublin, where ſhe lived with prudence and oeconomy. If fame is to be credited, the ſame chance which gave the abilities of Mrs. Oldfield to the world, diſcovered thoſe of Miſs Oſborne. A gentleman of much theatrical know⯑ledge, by accident one day overheard her reading the play of Venice Preſerved to her mother; [15] ſtruck with the propriety and elegance of her manner, he a few days, after mentioned this cir⯑cumſtance to Mr. Barry, who was his particu⯑lar friend, in ſo warm a manner, that Mr. Barry, in conſequence of his requeſt, viſited the young lady, and from a few ſpecimens which he pre⯑vailed on her timidity to give, found his friend had not exagerated in his report of her abilities. The concluſion was, after ſome intreaty he pre⯑vailed on the mother to conſent to Miſs Oſborne's going on the ſtage, where ſhe remained many years, and though her talents were not of the firſt rate, yet ſhe ſuſtained many ſecond parts in tragedy and comedy with reputation, whilſt her character in private rendered her an orna⯑ment to her profeſſion. In proceſs of time we ſhall find this young lady married to Mr. W. Barry, treaſurer.

To give every public ſanction to the theatre, the Duke and Ducheſs of Dorſet commanded a play ſo early in the ſeaſon as Saturday October 13th 1759, when the comedy of the Stratagem was performed—in which Mr. Woodward played Scrub, Mr. Dexter Archer, and Mrs. Dancer Mrs. Sullen; with the ballad farce of the Contrivances, then in great eſtimation; Rove⯑well [16] Mr. Vernon, and Arethuſa, Mrs. Chambers. Every preparation was made to receive theſe illuſtrious gueſts, the houſe was uncommonly brilliant and crowded, and ſo highly pleaſed were their Graces with their entertainment, that every Saturday, and ſometimes oftner, during the re⯑mainder of the ſeaſon, did they honour the theatre with their preſence.

Much about this time, a young Gentleman was announced for the character of Lord Townly, be⯑ing his firſt appearance on any ſtage. Curioſity prompted many to ſee this young adventurer, who on trial acquitted himſelf with great credit, and gave early promiſe of proving a powerful ſupport to the drama. His next appearance was in George Barnwell, when he confirmed the fa⯑vourable hopes conceived of him.

The latter end of October Mr. Barry arrived with Mr. Moſſop, whoſe appearance was imme⯑diately advertiſed for Wedneſday the 31ſt, in his favourite character of Zanga, a part, in which he certainly outſtript every competitor and truly merited the admiration of the dramatic world. At an early hour the houſe was filled, and the rei⯑terated plaudits which accompanied his entrance [17] ſpoke the genuine feelings of the public at the re⯑turn of one of the brighteſt ornaments of the Iriſh ſtage, and at the ſame time convinced the mana⯑gers that they had procured a moſt valuable ac⯑quiſition to their community.

But ſhort are our views, and erroneous too often our beſt concerted projects, oft do we graſp with eagerneſs and avidity at objects which when attained, prove the ſource of endleſs evils! Even ſo was it in the preſent caſe. Could Mr. Barry and Mr. Woodward have foreſeen but a part of the conſequences which flowed from their engage⯑ment of Mr. Moſſop, or the numberleſs train of calamities which for a ſucceſſion of years they were to experience, they would have ſubmitted to the greateſt temporary loſs or diſſappointment, rather than invite over, a man who alone, in a very ſhort time, was capable of diſputing their title to the dramatic ſovereingty of this kingdom.

Mr. Moſſop's ſecond character was Richard, his third Macbeth, in which Mrs. Fitzhenry made her firſt appearance that ſeaſon. In a few days after, Meaſure for Meaſure, which was revived for the purpoſe, was brought forward and moſt capitally ſupported throughout, eſpecially by Mr. [18] Moſſop in the Duke, Mr. Woodward in Lucio, and Mrs Fitzhenry in Iſabella. The reputation this comedy then acquired, ſupported it for many years, and it was often repeated, even after ſeveral of its principal ſupporters were diſu⯑nited.

Mr. Barry judiciouſly reſerved himſelf till the ſeaſon was ſomewhat more advanced, and the novelty of Mr. Moſſop had, in ſome meaſure, ſubſided. On Saturday, November 17th he came out with the utmoſt force and eclat in Oreſtes, in the Diſtreſt Mother; Pyrrhus, Mr. Sowdon; Andromache, Mrs. Dancer; and Her⯑mione, Mrs. Fitzhenry. The play was command⯑ed by the Lord Lieutenant. The characters were new dreſſed. No expence was ſpared, and every circumſtance concurred to render the houſe uncommonly faſhionable and brilliant.

Early in December Mr. Foote was brought forward in the comedy of the Old Batchelor, which was got up on purpoſe for his Fondlewife, after which was preſented his farce of the Knights. Amidſt ſuch a group of capital objects, Mr. Foote had not much reaſon to boaſt of his attraction; however his engagement anſwered the manager's [19] purpoſe: he played upon ſhares and filled up the vacant nights. In the courſe of a few weeks, he appeared in Sir Paul Plyant, Double Dealer, Shylock, beſides often repeating his farces of the Knights, Taſte, the Author, and the Engliſhman returned from Paris. His Minor, from which great expectations were formed, failed very much, and was not repeated. Its ſucceſs afterwards in Lon⯑don gave it a currency, it otherwiſe never would have obtained.

Mr. Foote's benefit was on the 11th, of Febru⯑ary, ſoon after which he returned to England, not much pleaſed with his expedition either as to fame or profit. The latter did not by any means anſwer; and he had the mortification to leave his pupil, Mr. Wilkinſon, at the other houſe in full poſſeſſion of the town, and riſing every day in the very line he ſo much excelled in, mimickry; even ſo much as to be acknowledged at leaſt equal, if not ſuperior, to his preceptor.

Much about this time, the comedy of the Lon⯑don Cuckolds was performed with ſuch ſtrength, as to render it popular enough to draw ſeveral houſes. Thank heaven! the taſte of the times has ſince undergone a material change. Were ſuch a [20] licentious piece to be now preſented to the pub⯑lic, they would reject it with the indignation it ſo highly merits.

The ſtage ſhould never be made the vehicle of immorality or vice; its intereſts ſhould ever be ſubſervient to the cauſe of religion and virtue. As long as this golden rule is obſerved, ſo long will the drama flouriſh, and be cheriſhed by the wiſe and good.

Here I cannot help obſerving, that a juſt and refined taſte in the public will ever have its due influence on the theatre. Was that taſte more univerſal, the manager and actor from inclination and intereſt would more ſtrictly conform to it— neither in ſuch a caſe, would introduce or per⯑form what could not ſtand the teſt of truth and reaſon—ſuch as the audience are—ſuch always will be the actor.

A circumſtance happened about this time which deſerves notice. At this period the arms of Great Britain were uncommonly ſucceſsful by ſea and land in every quarter of the globe. Amongſt her victorious ſons, Admiral Saunders eminently diſtinguiſhed himſelf; by accident the [21] ſhip he commanded put into Cork where he land⯑ed and immediately proceeded to Dublin—on his arrival in the evening he found that the Lord Lieu⯑tenant, to whom he intended to pay his reſpects, was at the play with the Ducheſs, upon which he haſtened to the theatre where he was introduc⯑ed to them—the moment the audience were in⯑formed who he was, they ſtood up and gave him three huzzas! and the managers, when the play was concluded ſent on Mr. Vernon, dreſt in cha⯑racter, attended by every vocal performer in the houſe, to ſing Rule Brittania; ſo unexpected a compliment produced an effect not to be diſ⯑cribed. Every ſpectator joined in chorus, and the houſe reſounded with acclamations.

CHAP. II.

BUT all this while, the reader may perhaps imagine, that I have entirely forgot the Smock-alley theatre—not ſo—innumerable were the dif⯑ficulties Mr. Brown, and the performers under his management, had to ſtruggle with—poverty, want of numbers, want of credit, a deſerted, ru⯑inous theatre contraſted to every advantage which power, ſucceſs, ſtrength of forces, univerſal favour, and full coffers could confer.

However, all that could be done by people in ſuch circumſtances was performed. Mr. Brown's abilities I have formerly mentioned. He had an eaſe, a manner, and addreſs which few could ever attain. His Copper Captain was allowed to be ſuperior to Woodward's—his Benedict at leaſt [23] equal—Mr. Ryder, whoſe merit, even at this early period, was univerſally acknowledged, proved of infinite ſervice to the cauſe. As few ever deſerv⯑ed public favour more, ſo have none enjoyed it longer than this excellent comedian. Mr. George Stayley, an actor of ſome ability and noticed as an author, joined the ſtandard, Mr. Hurſt, an actor of reſpectability and merit, Mr. Heatton, Mr. Waker, ſince well known to the Dublin audience, Mr. Johnſton, Mr. Adcock, Mr. Mahon formed the principal part of the male performers.

The ladies were, Mrs. Ibbot, who though far from being a good figure, was an excellent actreſs, and a remarkably good ſpeaker; ſhe played many characters in tragedy much above mediocrity, but in Mrs. Heidelberg, Lady Wrangle, Mrs. Oakly, and parts in that line, ſhe was ſuperior to any I have ever ſeen. The two Miſs Phillips's, Miſs Willis, Mrs. Adcock, Mrs. Johnſon, &c.

It is ſomewhat remarkable, that three ſiſters ſhould have been equally ſmitten with a love for the drama, and have devoted their abilities to the ſervice of the theatre. The three Miſs Phillips's were of a genteel family in England, and had received a finiſhed and accompliſhed education. [24] While young, they went upon the ſtage, and ſup⯑ported each of them a very principal and extended line of buſineſs, both in tragedy and comedy, for many years. The eldeſt died, unmarried, at York, where ſhe had reſided for ſome time, la⯑mented, and beloved. Of the other two, one was married to Mr. Uſher: the other, became a Mrs. Frances, and, what has principally diſtinguiſhed her, was mother to the now ſo celebrated Mrs. Jordan.

From circumſtances the leaſt expected, fre⯑quently ariſe events the moſt ſplendid. The diſagreeable predicament in which Mr. Brown was placed, proved the means of introducing to the world, talents, which have ſince excited its conſtant admiration. I mean no leſs than thoſe of the famous Mrs. Abington. This lady was at that time very young. We are told by Mr. Wil⯑kinſon in his Memoirs, that "She had played a few parts at Bath, when Mr. Brown was mana⯑ger; alſo, at Richmond, and in a few chance plays, with Theophilus Cibber, in the Hay⯑market." And though ſhe had at every opportuni⯑ty, given ſpecimens of thoſe comic powers, which were afterwards ſo amply diſplayed, yet it could ſcarcely have been ſuppoſed, that in ſo ſhort a [25] time, ſhe would have been acknowledged the firſt comic actreſs on the ſtage.

Mrs. Abington had been at Drury Lane with Mr. Garrick: but judging from every appear⯑ance, that at that time, ſhe could not have in London, ſo favourable a field for the diſplay of her abilities as Dublin preſented, ſhe liſtened to the propoſals of Mr. Brown, who was then in town on the recruiting ſervice. He entertained the higheſt opinion of her merit, and promiſed her every leading character ſhe could wiſh. His offers were accepted: accompanied by her huſ⯑band, ſhe embarked for Ireland, where ſhe ar⯑rived early in December.

Mr. Brown, having uſed every exertion poſſible in London, returned to Dublin the latter end of November. Having repaired, and decorated Smock Alley, as far as his ſlender finances would admit, and made every neceſſary preparation, he opened on Friday, the 11th of December, 1759, with the comedy of the Stratagem, in which he performed Archer; Mr. Waker, Scrub, and Mrs. Abington, Mrs. Sullen; being her firſt appearance on the Iriſh ſtage. On this occaſion, Mr. Brown ſpoke a prologue, written by himſelf, [26] entreating the favour and protection of the town.

Every effort which could be uſed, was tried, to procure a reſpectable audience for the firſt night, and the curioſity generally prevalent on ſuch oc⯑caſions, induced many to viſit their long-favoured ſcene of amuſement. The company was alto⯑gether tolerably liked, and hope animated their endeavours. Their next eſſay was on the Wed⯑neſday following, when Mr. Brown appeared in his favourite Benedict, which with Mrs. Abington's Beatrice, were as truly capital pieces of acting, as ever were preſented to the public.

As Mr. Brown was acknowledged to be equal to any comedian living in ſuch characters—as Braſs in the Confederacy, Bayes in the Rehear⯑ſal, Ranger in the Suſpicious Huſband, Sir John Brute, Felix, Roebuck, Marplot, Dr. Wolf in the Non Juror, Don John in the Chances, Mon⯑ſieur Le Medecin, Lord Chalkſtone, Aſpin, Abel Drugger; ſo did Mrs. Abington ſurpaſs the moſt ſanguine expectations in Corinna, Clarinda, Flora and Violante, Lady Fanciful, Leanthe, Maria in the Non Juror, Second Conſtantia, Fine Lady in Lethe, &c. Each night ſhe ap⯑peared, [27] ſhe added to her reputation, and before the ſeaſon cloſed, notwithſtanding every diſad⯑vantage, and many there were, particularly that of not having received the London ſtamp of fa⯑ſhion and approbation, ſhe was conſidered as one of the firſt and moſt promiſing actreſſes on the ſtage.

To this embarraſſed ſtate of the Smock Alley company, fortune raiſed an unexpected relief. This was the arrival of Mr. Wilkinſon in Ire⯑land, and his almoſt immediate engagement with Mr. Brown. This gentleman in his memoirs, which contain an infinite deal of dramatic infor⯑mation, and are well worthy the peruſal of every lover of the Theatre, relates the incidents of this campaign, with ſo much accuracy and fidelity, that he has left little for me to ſay.

I ſhall only therefore obſerve, that Mr. Wil⯑kinſon was a very ſeaſonable and neceſſary rein⯑forcement. He had great connections in Dublin, and general opinion gave him the preference to Mr. Foote. His terms were, ſhares above twenty pounds, and a clear benefit. The former proved of little emolument; the latter, highly produc⯑tive. He appeared on Friday, January 4th, [28] 1760, after the comedy of Much ado about Nothing, in a piece of Mr Foote's, never at that time acted in Ireland, called the Diverſions of the Morning. He was well ſupported, and re⯑ceived much applauſe. His imitation of his late friend Mr. Foote, was highly reliſhed, and he re⯑peated it on the Monday following, after Browne's Shylock, and Mrs. Abington's Portia, to about forty pounds.

Mr. Wilkinſon during his ſtay, repeatedly acted King Lear, Zampti in the Orphan of China, Mrs. Amlet in the Confederacy, Lord Chalk-ſtone and Cadwallader: Mrs. Abington Becky. His benefit was fixed for Friday, February 15th, Douglas, and for the firſt time in this kingdom, the farce of High Life below Stairs, when, not⯑withſtanding a very deep ſnow ſtorm, Meaſure for Meaſure performed at Crow Street, with Moſſop, Woodward and Fitzhenry, with the pantomime of Fortunatus, which drew one hun⯑dred and twenty pounds, and a concert for the benefit of a Miſs M'Neale, yet, ſo great was his intereſt, there was an overflow from every part, and the amount of the receipts was one hundred and ſeventy-two pounds, the greateſt then ſaid to have been ever known in that Theatre. A ſe⯑cond night was demanded for his outſtanding [29] tickets, and on Thurſday, February 21ſt, to the Orphan of China and High Life, there was one hundred and fifty pounds. Mr. Wilkinſon re⯑turned to London early in March 1750, much ſatisfied with his expedition.

And here I muſt notice, the extraordinary ſuc⯑ceſs of the farce of High Life below Stairs. It would exceed the limits preſcribed to this work, to copy at full length, the circumſtances attend⯑ing this piece, which Mr. Wilkinſon ſo agreea⯑bly deſcribes: ſuffice it to ſay, that this pleaſing farce had eſcaped the notice of the Crow Street managers. In the multiplicity of their buſineſs, engroſſed as they were, in the preparation of grand tragedies and pantomimes, they probably might not have thought it worthy of their atten⯑tion. Mr. Wilkinſon luckily fixed upon it. He communicated his intentions to Mrs. Abington, who not only approved of his choice, but con⯑ſented to play the part of Kitty. The piece had been brought out at Drury Lane, ſo early as the month of October, where it had met with the greateſt ſucceſs. They had both frequently ſeen it before they left London, and were therefore quite perfect in the ſtage buſineſs proper to it. It lay within the compaſs of the company; could be [30] got up at very little expence, and no compariſon could be drawn to their diſadvantage.

Mr. Wilkinſon tells us—‘Mr. Ryder's Sir Harry was a very excellent piece of acting, and helped the piece materially. A Mr. Gates, a very conceited actor, played Lord Duke. His faults and oddities ſerved but to heighten the extra⯑vagance of the character. Mr. Heatton's Philip, was as well as ſuch a part could be. He was a very good actor in all the dry clowns, Clod⯑poles, &c. Miſs Philips (aunt to the preſent Mrs. Jordan) our heroine, who was alſo of a conceited-turn, though ſenſible and well edu⯑cated, made the part of Lady Bab better than any other actreſs I ever ſaw attempt it; myſelf from obſervation and youth muſt have been ſtupid, not to have made a very good Jemmy, the Country Boy, and, as the great perſonage always appears laſt in triumphal entries and proceſſions; ſo in Mrs. Kitty, Mrs. Abington advanced. The whole circle were in ſurpriſe and rapture, each aſking the other how ſuch a treaſure could have poſſibly been in Dublin, and almoſt in a ſtate of obſcurity; ſuch a jewel was invaluable, and their own taſtes and judg⯑ments they feared, would juſtly be called in queſtion, if this daughter of Thalia was not [31] immediately taken by the hand, and diſtin⯑guiſhed as her certain and ſtriking merit de⯑manded.’ To this I ſhall only add, that ſo ſucceſsful were they in their repreſentation of this farce, that it was repeated upwards of a do⯑zen times, during the remaining part of the ſea⯑ſon.

Little more remains to be ſaid of the Smock Alley company, for the preſent. Notwithſtanding the great merit of the ſeveral performers I have mentioned, yet the conteſt was too unequal to be maintained with any degree of probable ſuc⯑ceſs. Mr. Brown varied the bill of fare as much as poſſible. He appeared alternately in Benedict, Richard, Captain Macheath, Copper Captain, Old Norval, Roman Father, &c. Though he diſplayed much merit in each, and was in ſeveral aided by the riſing favourite Mrs. Abington; though Mr. Ryder was allowed to be a promiſing and favourite actor, though Mr. Hurſt, Mr. Heatton, Mr. Stayley, Miſs Philips, Mrs. Ibbot, and ſeveral others, had diſtinguiſhed them⯑ſelves, yet ſtill all was ineffectual. The re⯑ceipts in common were from 15 l. to 40 l. many had good benefits, particularly Mrs. Abington, who had got up the play of A New Way to Pay [32] Old Debts, and who grew then ſo much the faſhion, that her houſe was crowded and bril⯑liant.

Mr. Brown, at length, cloſed a diſagreeable campaign, early in May 1760, heartily tired of his ſituation; his finances certainly could not be much more deranged than they were at the commencement, for he had nothing to loſe at the beginning: it is true, there was an accumu⯑lation of debts, which perhaps, have never ſince been diſcharged, and the reſt of the per⯑formers muſt have ſuffered materially in their circumſtances.

I ſhall cloſe for the preſent, my account of the Smock Alley Theatre, with the following bill of one of their beſt and moſt attracting comedies, which may afford ſome inſight into the ſtate of their performances.

By Permiſſion of the Right Honourable the Lord Mayor, at the Theatre in SMOCK-ALLEY. For the Benefit of Mr. SAMUEL JOHNSON, On Friday the 7th of March, 1760, will be preſented a Comedy, called, The CHANCES. [33] Don John, by Mr. BROWN, Don Frederick, by Mr. Mahon, Don Anthonio, by Mr. Johnſon. Duke, by Mr. Adcock, Petruchio, by Mr. Stayley, Peter, by Mr. Mittier, Anthony, by Mr. Jones, Firſt Conſtantia, by Miſs PHILLIPS, Landlady, by Mrs. Adcock, Mother, by Mrs. Johnſton, Second Conſtantia, by Mrs. ABINGTON. After the play, Bucks have at ye all, by Mr. VERNEL, (being his firſt appearance) To which will be added a Farce, called, The SHEEP SHEARER, Pan (with Songs in Character) by Mr. Mahon, Autolicus (the Pedlar) by Mr. Vernel, With entertainments of Dancing, as will be ex⯑preſſed in the Bills for the Day.

Tickets to be had at the Fruit-ſhop, oppoſite the Hoop-petticoat, in Smock-alley, and of Mr. Johnſon, at Mr. Nugents, Glaſs Ware Houſe, in Copper-alley.

Places in the Boxes to be taken of Mr. Cullen, Linnen-draper, Bride-ſtreet. Boxes and Lettices, 5s. 5d. Pit, 3s. 3d. Gallery, 2s. 2d. Upper Gallery, 1s. 2d.

Printed by Auguſtus Long, in Eſſex-ſtreet.

[34]Let us now return to the victorious party. Hitherto each event had anſwered to their utmoſt wiſh; the theatre was in the higheſt requeſt, and well attended. Indeed, in juſtice to the managers, it muſt be obſerved, that they were truly deſerving of public favour. They ſpared neither pains nor expence, in preparing their pieces for repreſentation; on the contrary, their profuſion was their only fault. They launched into expences, which the receipts of a Dublin theatre have hitherto never been able to repay; expences which, in the end, muſt, even with the greateſt ſucceſs, involve every manager who adopts them, in inevitable ruin.

The tragedies of Crow-ſtreet, were got up in a ſtile of ſuperior ſplendour. The expence of the mere guards in Coriolanus, amounted to 3l. 10s. per night. The guards and chorus ſingers in Alexander, to 8l. The acting of the trage⯑dies was firſt rate. The force of the Two Heroes of the Buſkin, was aided by the power⯑ful attractions of Mrs. Dancer and Mrs. Fitz⯑henry. A ſpecimen or two will ſhew the ſtrength of their repreſentations, as Othello, Mr. Barry, Roderigo, Mr. Woodward, Caſſio, Mr. Dexter, Brabantio, Mr. Walker, Iago, Mr. [35] Moſſop, Deſdemona, Mrs. Dancer, and Emelia, Mrs. Fitzhenry. Venice Preſerved; Pierre, Mr. Moſſop, Jaffier, Mr. Barry, Belvidera, Mrs. Dancer. In Jane Shore, Haſtings, Barry, Dumont, Moſſop, Jane Shore, Dancer, Alicia, Fitzhenry. All for Love, Antony, Barry, Dolabella, Dexter, Ventidius, Moſſop, Octavia, Dancer, Cleopatra, Fitzhenry. Theſe with Mr. Woodward's excellent pantomimes, where neither pains or expence were ſpared, were de⯑ſerving of every favour and encouragement.

There never were, perhaps, two tragedians, of ſuch uncommon excellence, whoſe abilities ſo well accorded, and whoſe reſpective lines of acting, ſo little interfered, as thoſe of Barry and of Moſſop. Nature had, indeed been pe⯑culiarly bountiful to both, and had gifted them with a liberal hand. But in the diſtribution of her favours, ſhe would appear to have promoted union, by diverſity. The talents of each, though great, were ſo diſtinct, their qualifications ſo oppoſed, as to preclude the probability of diſ⯑putes ariſing from immediate competition. Their performances, formed an almoſt total contraſt, the one to the other; hence, it would be natural to imagine, that thoſe theatrical de⯑mons, [36] envy and diſcord, ſhould have been for ever excluded from their intercourſe. Happy would it have been for themſelves, happy for a numerous lift of performers, who were after⯑wards attached to their fortunes, if ſuch had been the caſe. Truth obliges me to confeſs, it was the very reverſe. The real motives which originated the coolneſs between Mr. Barry and Mr. Moſſop, I am not able, at this diſtance of time, to aſcertain, but the effects were viſi⯑ble.

The fame of Mrs. Abington ſtill increaſing, ſhe became an object for the Crow-ſtreet ma⯑nagers to fix their attention upon; many perſons of the firſt rank earneſtly intereſted themſelves in her favour, and wiſhed much to ſee their new favourite tranſplanted to the genial ſun⯑ſhine of the royal theatre before the cloſe of the preſent ſeaſon; and they exerted themſelves ſo ſtrenuouſly, that an engagement was ſoon con⯑cluded. She was to perform a few nights for a clear benefit.

The firſt appearance of Mrs. Abington at Crow-ſtreet theatre was on the 22d of May, 1760, in the character of lady Townly, and [37] Lucinda in the Engliſhman in Paris, being the night appointed for her benefit; and, ſo gener⯑ally was ſhe patronized, that part of the pit was laid into the boxes, and there was a great over⯑flow from every part of the houſe. So rapidly did this charming actreſs riſe, and ſo highly was ſhe eſteemed by the public: even ſo early did ſhe diſcover a taſte in dreſs and a talent to lead the ton, that ſeveral of the ladies moſt faſhion⯑able ornaments were diſtinguiſhed by her name, and the Abington cap was the prevailing rage of the day.

As the ſeaſon advanced, it began to be ru⯑moured, that a new and more vigorous oppoſi⯑tion was intended. This at firſt was diſregarded, as an idle report; but every day added to its cer⯑tainty. The latter end of April put it paſt all doubt. On the managers réqueſting Mr. Moſſop to renew his articles, he frankly replied, he deſigned to open Smock-alley theatre the enſuing winter. This unforeſeen ſtroke they were not of courſe prepared to encounter. They had now a new, and much more powerful, rival to contend with; their viſionary hopes of having overcome all obſtacles, were by this declaration at an end, and they had their work to begin anew. How⯑ever, [38] remonſtrances were fruitleſs. Mr. Moſſop was offered terms even beyond their utmoſt ability to fulfil. Theſe he haughtily rejected. Nothing therefore but uncommon exertions could guard againſt ſo formidable an attack, and they now ſaw, in its fulleſt extent, their error in bringing over ſo great and dangerous a favourite.

Every ſtrength being thus required, a very eligible engagement was offered by them to Mrs. Abington, which ſhe thought it proper to ac⯑cept; rightly judging that her abilities would receive greater ſupport, and have better oppor⯑tunities of diſplay with Woodward, than with Moſſop. It was, indeed, no eaſy taſk to adjuſt the diſtribution of characters between her and Mrs. Dancer, who then was eminent as well in comedy as in tragedy. However, it was agreed, as nearly as poſſible, to divide them with impartiality.

On Monday, June the 9th, 1760, the Crow-ſtreet theatre cloſed one of the moſt brilliant and ſucceſsful ſeaſons ever known in Ireland, with the tragedy of Oroonoko. Oroonoko, Mr. Barry, Imo⯑inda, Mrs. Dancer, and the Virgin Unmaſked of Mr. Abington. Mr. Woodward, immediately [39] afterwards, ſet off for London, to endeavour to repair his loſſes and provide for the next cam⯑paign. He was followed, in a few weeks, by Mr. Moſſop on ſimilar buſineſs.

Mr. Barry, in the mean time, led his conquer⯑ing troops to Cork, where a new and beautiful theatre had been built in George's-ſtreet, on the model of Crow-ſtreet, capable of containing an hundred and fifty pounds.

It may here, not be amiſs to mention, that as this work is deſigned as an hiſtory of the Iriſh ſtage, I hope it will not be deemed, deviating from the general plan, to devote occaſionally a few pages to the dramatic occurrences of the ſecond city in the kingdom.

Cork has, from the earlieſt accounts, been uſed to have theatrical performances exhibited in a degree of perfection that has rendered the audience remarkably good judges. The reaſon is evident. The theatre was ſeldom opened but in ſummer, when the beſt of the Dublin com⯑pany uſed to be ſelected, with the addition of ſome of the moſt capital performers from [40] London. Before 1736, there never had been a regular theatre built.

In that year, they opened one tolerably com⯑modious, where the preſent Buſh Tavern ſtands in George's-ſtreet.

As Barry and Woodward had formed the moſt extenſive deſigns, ſo opulent a city as Cork, could not eſcape their notice. They purchaſed a piece of ground in George's-ſtreet, and opened a ſubſcription of fifty pounds each, for building a new theatre. The ſubſcription ſoon filled, as the ſubſcribers were each entitled to transferable tickets of admittance to every performance without exception. The theatre opened with an occaſional prologue in July 1760. The company was, perhaps, the beſt ever then ſeen in the city: the natural conſequence was, that the ſucceſs was equal to the excellence of the performers, and there was a continuation of the fulleſt houſes ever known. What in ſome meaſure contributed to this was the war, which at that time brought numbers of his majeſty's ſhips of war to Cove. Sailors have always been remarked as fond of a theatre, and as they earn their money harder than any other deſcription of people in the [41] world, ſo do they ſpend it more freely. A miſerly ſeaman is a prodigy.

There happened, however, an event, at the opening of the Cork theatre at this time, worthy of noticeing. The mayor of Cork had always been accuſtomed, when the company came to town, to be waited on by the manager, for his permiſſion to perform. This, though a mere ceremony, as leave never was refuſed, Mr. Barry did not chuſe to comply with. The mayor, willing to preſerve the etiquette, declar⯑ed he would not grant his licence. Mr. Barry informed him, he did not ſtand in need of his protection, as he could open his theatre with⯑out. The matter growing ſerious, friends inter⯑poſed, and Mr. Barry, to put an end to it, pro⯑duced the king's patent, granting to Mr. Wood, and his deputies, the office of maſter of the revels in the kingdom of Ireland, with liberty to open one or more theatres in Dublin, or any other place they ſhould chooſe. After this, he ſhewed the deputation granted to Mr. Wood⯑ward and himſelf, and to further ſatisfy the Mayor, he laid copies of both before the city council, who acknowledged their validity, and the Mayor forbore any further oppoſition.

[42]Mr. Woodward remained but a ſhort time in London, and having in the beſt manner poſſible, ſettled his affairs, then ſet off for Cork, where the company remained 'till the latter end of September, when each party prepared to take the field.

CHAP. III.

WHETHER the intereſts of the dramatic world, and of the public in general, are beſt ſerved by a ſingle Theatre, or by a plurality, has been matter of frequent diſpute. As on every ſpeculative point, ſo on this, advocates are to be found for each ſide of the queſtion. Nor are arguments, reſpectively, wanting.

[44]By ſome it is ſaid, that the excluſive eſtab⯑liſhment of a ſingle Theatre, under proper re⯑gulations, is ſufficient to ſecure the entertain⯑ment of the public; whilſt it precludes the diſtraction and diſtreſs, naturally incident to contending parties. Others, on the contrary, declaim againſt it, as againſt all monopolies; as partial and unjuſt, as fettering the will of the people, and depriving them of that freedom of choice, which is their natural right.

Without entering into the merits of this queſtion, a matter foreign to the purpoſe of this work, let it ſuffice, to ſtate facts, as they have been. Thus much has been extracted, by a contemplation of the oppoſition, upon the hiſ⯑tory of which we are now entering. It will ex⯑hibit to us, as in the caſe of all parties, many miſchiefs, and many exceſſes.

As the period for the commencement of ope⯑rations approached, all was expectation. Vari⯑ous were the reports in circulation; and curioſi⯑ty was eager for an examination, and compariſon of the two companies. Mr. Moſſop returned at the latter end of September. Smock-alley underwent a thorough repair, which, indeed, it [45] eſſentially wanted. An entirely new ſet of ſcenes were painted, by Edwards, and a tolera⯑ble new wardrobe was collected.

Crow-ſtreet Theatre was alſo new painted and decorated, and every thing being prepared, they took the lead, and opened on Friday October 24th 1760; with a new occaſional prologue, written and ſpoken by Mr. Woodward, who, with great ſpirit, affected to make light of the difficulties they had to encounter: Repeating thoſe lines of Hotſpur's,

The firſt night, at Crow-ſtreet, produced no novelty; it was purpoſely choſen for its title, All's Well that End's Well, Captain Parolles Mr. Woodward, Helena Mrs. Dancer, with the Lying Valet. The houſe was far from being crowded; on this occaſion, no judgment could be formed.

Mr. Moſſop had now, to all appearance, a fair claim to ſucceſs. With much diligence, he had collected a very excellent company. He [46] was univerſally admired as an actor, and had a powerful intereſt amongſt perſons of rank. The Counteſs of Brandon, and many leading ladies, were much attached to his cauſe; he had, in⯑dependant of his own great merit, every charm which novelty of management and performers could give. The comedy of the Old Batchelor was the play fixed on and advertiſed, when, be⯑hold! on the very morning announced for his opening, a ſolemn, and unforeſeen event put an entire ſtop to his career for the preſent, and overcaſt by its gloom, the immediate brightneſs of his proſpects.

On Wedneſday morning October 29th 1760, news arrived of the deceaſe of his majeſty King George the ſecond. This melancholy circum⯑ſtance, cauſed the theatre to be immediately ſhut: it was a ſevere ſtroke to both parties, but particu⯑larly unlucky to the new levies of Smock-alley, who could not be ſuppoſed to be overburthened with caſh, to ſuſtain this additional delay. In this ſituation, patience was their only remedy. For⯑tunately, the goodneſs and conſideration of government, diſplayed itſelf on this occaſion. It ſhortened, by much, the uſual time of mourn⯑ing, aſſured, that the grief implanted in the [47] heart of every ſubject, needed not this outward diſplay of ſorrow.

As ſoon as the limited time expired, both parties commenced their operations, with re⯑doubled vigour. Crow-ſtreet, which continued to be the royal theatre, opened with the Buſy Body, on Monday 17th November, Marplot, Woodward, Miranda, Dancer, and Intriguing Chambermaid, in neither of which any new Faces appeared. Smock-alley reſumed the Old Batchelor, when that genuine ſon of comic hu⯑mour, Weſton made his firſt appearance in the character of Fondlewife; and was received with much, and deſerved applauſe. This actor whoſe naiveté, and peculiar ſtile of playing has not ſince been ſurpaſſed, remained in Dublin the whole of the ſeaſon; and though he had not then attained the eminence, which afterwards he ſo juſtly acquired, yet he was received with great pleaſure, in the Lying Valet, Cymon in Damon and Phillida, Old Man in Lethe, Daniel in the Conſcious Lovers, Clown in Meaſure for Meaſure, Old Woman in Rule a Wife, and parts in that ſtile. Beſides Weſton, the firſt night preſented Mr. Sowdon in Heartwell and Mr. [48] Sparks in Noll Bluff, (both theſe gentlemen had changed ſides) and a Miſs Kennedy in Letitia.

The next night brought forward Mr. Griffith, a comedian of eminence in the dramatic world, who had been for ſome years a principal ſupport of the Bath theatre. This gentleman was a native of Dublin, ſon of Mr. Griffith mentioned with much reſpect in the former part of this work; he had received a liberal, and extended education, had, in the early part of his life, a genteel employment in the Cuſtom Houſe, and was brother to the celebrated Mrs. Griffith, an authoreſs of great repute, and whoſe ſhare in the letters of Henry and Frances, had raiſed her reputation high in the literary world.

This gentleman, poſſeſſed many abilities for the ſtage. His perſon was ſmall, but uncom⯑monly elegant and well made. He was eaſy, ſprightly, and faſhionable; had a marking eye, a pleaſing countenance, and a good voice; he perfectly underſtood his author, and had great judgment. With theſe requiſites, he ſupported the higheſt characters in comedy with eclat. He had much of the gentleman in his manner, [49] and was beloved, and eſteemed in private, for his many amiable and engaging qualities.

Ranger was the part he choſe to make his debut in: which he ſupported, with great ap⯑plauſe, and, by deſire, repeated it a few nights after. The public afterwards ſaw him with great pleaſure in Sir Harry Wildair, Jack Stoeks, in the ballad farce of the Lottery, got up on purpoſe, Archer, Captain Brazen, Lord Chalk⯑ſtone, and the Fine Gentleman in Lethe, Mer⯑cutio, Lothario, the Man of Taſte, Younger Would be, and a variety of other characters in the ſame line.

Two new Polly's made their appearance at the two Theatres, much about this time. At Crow-ſtreet, a Miſs Bridges, with the Macheath of Mr. Vernon, and the Lucy of Mrs. Abington, then eſteemed the beſt on the ſtage, and a Miſs Greene at Smock-alley, where Mr. Brown gained much applauſe in this, then popular hero. Peachum, Mr. Sparks; Lucy, Miſs Roſco. The opera was puſhed a few nights, and obliged to give way to other pieces of more conſe⯑quence.

[50]Though the town was much divided in its opinion, concerning the merits of the reſpective companies, yet upon a critical examination, the ballance ſeemed inclined towards Mr. Moſſop; ſeveral of the moſt reſpectable of the Crow-ſtreet performers, had enliſted under his banners, as Mr. Sowdon, Mr. Heaphy, Mr. Sparks, Miſs Maſon, Mr. Corry, Miſs Roſco, Mr. Aldridge, Miſs Coralina; to theſe he added a variety of other engagements which threw great weight into his ſcale. Mr. Griffith, Miſs Kennedy, and Miſs Greene, I have already mentioned.

In point of real merit, and public eſtimation, Mr. Digges certainly ſtood next to Mr. Moſſop and Mr. Barry. With ſome difficulty he was prevailed upon to return from Edinburgh, where he was an extraordinary favourite, and join once more the fortunes of Smock Alley. His name and abilities on this occaſion, were a tower of ſtrength, and amply counterbalanced any advan⯑tages on the other ſide.

But, the new managers greateſt expectations reſted on Mrs. Bellamy, from Covent Garden; he had entertained hopes of Mrs. Fitzhenry, but they were diſappointed. Upon mature delibe⯑ration, [51] ſhe preferred the certain ſituation ſhe then held, to the unſtable proſpects which the views of the other houſe afforded. Mrs. Bel⯑lamy was then in the very zenith of her reputa⯑tion, and without her aſſiſtance; Mr. Moſſop could not have played a ſingle tragedy with any probability of ſucceſs. Neceſſity, therefore, oblig⯑ed him to yield to her terms, and he agreed to give her a thouſand guineas, beſides two benefits for the ſeaſon: A very capital ſum for a mana⯑ger to riſque in thoſe days.

An Engliſh young gentleman of the name of Shaw, who had never yet appeared on any ſtage, was alſo engaged. He was remarkably tall and thin, but well made, and tolerably eaſy: from youth, figure, and manner, he ſupported a re⯑ſpectable line in tragedy and comedy.

The principal novelty of the Crow-ſtreet ma⯑nagers, was Mr. Fleetwood from Drury Lane, a very pleaſing and promiſing actor, but inde⯑pendant of him, they had undoubtedly great ſtrength in every line of the drama; not only in tragedy and comedy, but alſo in muſical pieces and pantomime.

[52]The merits of Mr. Barry and Mr. Woodward, were at this time too well eſtabliſhed to need en⯑larging on. Mrs. Dancer at this period ſtood high in general eſtimation. Every day juſtly added to her fame. Nature certainly had been uncommonly bountiful, and gifted her with re⯑quiſites that fell to the lot of very few actreſſes.. Happily for the drama, Mr. Barry, who was one of the beſt teachers in the world, had every in⯑clination and opportunity, to bring thoſe ripen⯑ing abilities to maturity: abilities I ſhall with pleaſure endeavour to deſcant on, at a future op⯑portunity.

Mrs. Fitzhenry was alſo moſt deſervedly eſ⯑teemed the firſt actreſs in her line. Admired on the ſtage, beloved for her reſpectable cha⯑racter in private. Mrs. Abington's comic pow⯑ers I have before noticed: they excited univer⯑ſal applauſe. She was already much the faſhion, and contributed highly to the ſucceſs of the pieces ſhe performed.

But that the reader may form a juſt idea of the two companies, I ſhall group them together, and leave his own judgment to form a conclu⯑ſion concerning their merits; only juſt premiſ⯑ing, [53] that Mr. Brown had with a good grace, re⯑ſigned the reins of government; and returned to the ranks, where he was of great ſervice; that Mr. Ryder led a ſelect, and well formed com⯑pany into the interior parts of Ireland, where he continued ſeveral years with character, reputa⯑tion and ſucceſs, annually viſiting the towns of Kilkenny, Wexford, Galway and ſeveral others; and that Mrs. Ibbot, the two Miſs Philips's, with ſeveral of leſs note returned to England.

• Mr. Barry,
• Mr. Woodward,
• Mr. Fleetwood,
• Mr. Dexter,
• Mr. Jefferſon,
• Mr. Walker,
• Mr. Glover,
• Mr. Vernon,
• Mr. Hamilton,
• Mr. Mahon, ſenior and junior,
• Mr. Knipe,
• Mr. Morris,
• [54]Mr. Glenville,
• Mr. Reed,
• Mr. Adcock,
• Mr. Hayes,
• Mr. Mynitt,
• Mr. Meſſink,
• Mr. Haſtings,
• Mr. Oliver,
• Mr. Slingſby,
• Mr. Stageldoir,
• Mr. Rayner,
• Mr. Carrol,
• Mr. Carmichael,
• Prompter.

• Mrs. Dancer,
• Mrs. Fitzhenry,
• Mrs. Abington,
• Mrs. Jefferſon,
• Miſs Oſborne,
• Mrs. Bridges,
• Mrs. Walker,
• Mrs. Adcock,
• Mrs. Mynitt,
• Mrs. Packenham,
• [55]Mrs. Knipe,
• Miſs Young,
• Mrs. Maxwell.

• Mr. Moſſop,
• Mr. Brown,
• Mr. Digges,
• Mr. Shaw,
• Mr. Griffith,
• Mr. Heaphy,
• Mr. Sowdon,
• Mr. Sadler,
• Mr. Sparks,
• Mr. Dawſon,
• Mr. Uſher,
• Mr. Kniveton,
• Mr. Heatton,
• [54]Mr. Verneil,
• Mr. Weſton,
• Mr. Ellard,
• Mr. Watſon,
• Mr. Longfield,
• Mr. Williams,
• Mr. Somers,
• Mr. Aldridge,
• Mr. Booth,
• Mr. M'George,
• Maſter Lewis.

• Mrs. Bellamy,
• Miſs Kennedy,
• Miſs Danvers,
• Mrs. Uſher,
• Miſs Greene,
• Miſs Roſco,
• Miſs Maſon,
• Mrs. Dawſon,
• Miſs Heatton,
• Miſs E. Heatton,
• [55] Miſs Willis,
• Miſs Clarke,
• Miſs Dillon,
• Signora Coralina, and Mother.

What a burthen muſt two ſuch numerous companies have been to the town! What a di⯑viſion of intereſts muſt ſuch a number of per⯑formers have occaſioned! What a tax on amuſe⯑ment, to ſupport upwards of ſixty actors and actreſſes, who with their unavoidable append⯑ages of ſervants, dreſſers, hair-dreſſers, &c. when united with the bands, muſt have amount⯑ed, on the loweſt calculation, to upwards of two hundred perſons. The very weekly ſalaries of the performers only at Crow-ſtreet, often amounted to one hundred and fifty pounds; ſometimes more; beſides tradeſmens bills, and other inevitable diſburſements, without the leaſt allowance for themſelves, as actors, or mana⯑gers. So enormous an expence, the receipts of a London theatre, at that time, could but barely ſuſtain; no wonder therefore, that our mana⯑gers were obliged in a little time, to give way to ſuch a preſſure, and though poſſeſſed of the greateſt rectitude of principle, be unable to ſa⯑tisfy their creditors.

[56]But to proceed, Mr. Woodward's prologue of "Harry to Harry ſhall, and Horſe to Horſe" was ſtrictly exemplified, on every opportunity during the ſeaſon. Intimation having been re⯑ceived, that Mr. Moſſop, Mr. Digges, and Mrs. Bellamy, were to make their firſt appearance in Pierre, Jaffier, and Belvidera, the Crow-ſtreet managers on the ſame evening, announced Mr. Barry in Pierre, Mr. Fleetwood in Jaffier, his entrè on the ſtage in this kingdom, and Mrs. Dancer in Belvidera: with the firſt time of the new Pantomime of Queen Mab; Harlequin, by Woodward; Columbine, Abington.

Curioſity and intereſt, operated powerfully on this occaſion, in favour of Smock Alley. There was a crowded and faſhionable houſe. Mr. Digges, on opening the play, was received with the warmeſt and moſt unfeigned plaudits. Mr. Moſſop's entrance was marked with three rounds of applauſe, as laſting as it was ſincere. Mrs. Bellamy alſo, in her turn, received the moſt flat⯑tering marks of approbation.

The two firſt, in the courſe of the play, ſup⯑ported their characters with a truth and energy, which juſtly entitled them to every praiſe. Mrs. [57] Bellamy, on the contrary, ſunk in the opinion of her auditors. Many years had elapſed ſince ſhe left Ireland. Time is ſeldom an improve⯑ment of a lady's charms. The roſes and lillies in her countenance had fled, and left a decay too evident. The ſweet tones of her voice had al⯑tered to a harſhneſs, which not being expected, produced the moſt unpleaſing ſenſations.

The attendance at Crow-ſtreet, the ſame even⯑ing, was not quite ſo crowded. But the ap⯑plauſe was at leaſt equal, and in many points more deſerving. If I might hazard an opinion, on the reſpective merits of each performance, I ſhould give the preference, if any, to Smock Alley.

In the character of Pierre, Mr. Moſſop was moſt deſervedly ſuperior. It was, according to the beſt judges, as fine and characteriſtic a piece of acting as ever was exhibited. His voice, manner, and judgment, were undeſcribable.

Mr. Barry, poſſeſſed of every requiſite which the moſt luxuriant fancy could ſuggeſt, for the ſupport of Jaffier, wanted many of the eſſentials for Pierre. With a form faultleſs, and a voice [58] modulated to the moſt perfect harmony, he did not poſſeſs the roughneſs of manners, nor the auſterity of demeanour neceſſary for the latter character. That grace, and thoſe tones, which in the expreſſion of every ſofter paſſion, were of irreſiſtible faſcination, but ill depicted the ſternneſs of the ſoldier, meditating dark and dangerous conſpiracies.

Mr. Fleetwood pleaſed much in Jaffier: his figure was rather intereſting, his voice and man⯑ner, ſuch as are well calculated to gain an in⯑tereſt with the audience; but, in each of theſe, he could by no means ſtand in competition with Mr. Digges, who, next to Mr. Barry, claimed the precedence in ſuch characters over every other competitor.

Between the ladies, the advantage was evi⯑dently in favour of Mrs. Dancer. Her talents were then improving rapidly; Mrs. Bellamy's, as rapidly declining. The firſt, gave every night incontrovertible ſpecimens, that ſhe would one day be the firſt actreſs of the age: the latter, gra⯑dually ſunk into oblivion, wretchedneſs and poverty. Mrs. Dancer's Belvidera, I believe, was equal to that of Mrs. Cibber.

[59]Venice Preſerved was repeated at each houſe, but with no great effect. The remainder of the ſeaſon, proved a continued diſagreeable ſcene of exertions and rivalſhip, productive of infinite trouble, great expence, and vexation, attended with loſs of reputation, and very little profit, and gradually involving the managers of each houſe in that ruin, which finally overtook both.

For the readers information, and amuſement, I ſhall ſelect a few inſtances of the above. It ſeemed to be laid down as a rule, by the reſpec⯑tive managers, that, no ſooner was a piece an⯑nounced to be in rehearſal or for exhibition by the one, than the other ſtrained every nerve, no matter with what propriety, to prepoſſeſs the public with an idea of its being preparing in a ſuperior ſtyle by him, or boldly advertizing the very piece, on the very ſame evening; ſome⯑times, without an idea of its being performed, but merely to divide or ſuſpend the general curioſity.

Thus, the little ballad farce of the Lottery, which, from the limited number of after-pieces, more than its intrinſic merit, was then much in [60] faſhion, was no ſooner exhibited at Smock-alley, than the week following preſented it to the pub⯑lic at Crow-ſtreet; ſupported by the Jack Stocks of Mr. Griffith, and the admirable Chloe of Mrs. Abington.

The Wife's Reſentment, revived at the theatre royal, with Mr. Woodward, Mrs. Dan⯑cer, and Mrs. Abington, immediately produced an advertiſement, announcing the ſame play with Mr. Moſſop, though he had not the leaſt idea of exhibiting it. Mr. Colman's farce of Polly Honeycombe, then performing with eclat at Drury-lane, was, in like manner, advertiſ⯑ed by both parties, but only produced at Crow-ſtreet; on which occaſion, Mrs. Abington ac⯑quired infinite credit in the part of Polly.

The girliſh characters, I ſincerely think, ſhe then played ſuperior to any actreſs ever re⯑membered, and from her naiveté, and genuine traits of nature, the girls of the preſent actreſſes are copied.

But the greateſt piece of generalſhip, mani⯑feſted through the whole of this doubtful conteſt was reſpecting the new tragedy, of The Orphan [61] of China, written by Arthur Murphy, Eſq and at that time exhibiting with uncommon re⯑putation in London. The great fame and popu⯑larity of this piece, rendered it an object of peculiar attention to both houſes in Dublin; but, to attain their object, they purſued quite different lines of conduct.

The play being printed, was conſequently, in poſſeſſion of both. Mr. Moſſop obſerved a profound ſilence on the ſubject, and kept his de⯑ſigns as much a ſecret as poſſible. The mana⯑gers of Crow-ſtreet, on the contrary, confident of their ſtrength, but rather injudiciouſly I ſhould think, for ſeveral weeks, made a great parade of their intentions of producing it with a pomp and magnificence, equal to that of Drury-lane; informing the public, of the extraordina⯑ry expence they were at, in having all the dreſſes made in London, from models imported from China, and an entire new ſet of ſcenes paint⯑ed for the occaſion, in the true Chineſe ſtile, by the celebrated carver, then deſervedly in the higheſt reputation.

When the expectations of the town were raiſed to the utmoſt pitch, and curioſity ſtrain⯑ed [62] to the higheſt point, without the leaſt previous hint dropped, moſt unexpectedly, early on Monday morning January 5th, 1761, bills were poſted up, announcing the repreſentation of this much talked of tragedy, that very evening, at Smock-alley theatre. The ſcenery, dreſſes, and decorations entirely new; with this ſpecious, and popular addition, The characters will be all new dreſſed in the manufactures of this kingdom.

The truth was, they had beſpoke dreſſes, to be made in London, on the models of the Drury-lane habits, but had not the leaſt expectation of their arriving in time. As they knew that every thing depended on their producing it before the other houſe, certain they had not an equal chance on equal terms, the dreſſes and ſcenery of Crow-ſtreet being ſo much ſuperior, they uſed every exertion poſſible. The tragedy was rehearſed three times a day, and Mr. Tracey, then tailor to the theatre, working day and night on the dreſſes, they were completed in eight and forty hours.

The event proved that they acted right. The Orphan of China drew five tolerable houſes to Smock-alley, before they were able to get it out [63] at Crow-ſtreet; and then, it did not anſwer the expence they had been at. The dreſſes and ſcenery, were truly characteriſtic, but the curioſity of the public had been in a great mea⯑ſure previouſly gratified.

The following is the manner of its being per⯑formed at both houſes:

The Tempeſt, revived at this time, diſplayed another ſcene of contention. In this caſe, both companies ſtarted fairly, and brought it out on the ſame night; with, if I can judge, pretty nearly equal ſucceſs. They continued playing it, till both loſt money by it.

In point of performance, Mr. Moſſop had the advantage, as may be ſeen by the following view:

[64]

With reſpect to ſcenery, machinery, and de⯑corations Crow-ſtreet certainly was ſuperior. Carver was then one of the firſt ſcene painters in Europe; Mr. Meſſink the firſt machiniſt ever known in this kingdom, and Finny their carpen⯑ter had infinite merit.

The greateſt advantage the Crow-ſtreet ma⯑nagers obtained over their rivals, was with their pantomimes, which they exhibited on the moſt extenſive and finiſhed ſcale, and in which the Harlequin of Mr. Woodward was decidedly the greateſt on the ſtage.

[65]This ſeaſon, Queen Mab, and the Sorcerer, were brought out at an enormous expence, and performed many nights, yet, notwithſtanding they were exhibited in a ſtyle of perfection worthy the firſt theatre in Europe, and were univerſally admired, they by no means repaid the enormous expences, attending their repre⯑ſentation, and it is my opinion that the manager, who ventures a large ſum of money on this ſpecies of entertainment in Dublin, runs a very great riſk of not being reimburſed.

In London, the caſe is totally different, and the ſums laid out on proper objects, are ſure to return with ten-fold intereſt.

Againſt the pantomimes, Mr. Moſſop judici⯑ciouſly revived Henry the 8th, and got up a re⯑preſentation of the coronation, which, on ac⯑count of his preſent majeſty's acceſſion to the throne, was well timed, and brought money. It made a great bill, excited curioſity, and, though the dreſſes were not very ſplendid, nor numerous, yet they anſwered the purpoſe, and the play drew ſeveral houſes.

[66]I cannot, in this place, avoid noticing a cir⯑cumſtance, which ought to ſerve as a leſſon to every performer in future.

The farce of High Life was then in great reputation, at both houſes. One night, Mr. Stayley, of Smock-alley theatre, in one of the characters, gave the toaſt of "his majeſty king George the ſecond, God reſt his bones."

This very extraordinary toaſt, though it might be ſaid to expreſs nothing diſloyal, yet was certainly highly improper, and a liberty which ought not to be taken on any ſtage. Se⯑veral of the audience highly reſented it, and Mr. Moſſop with great propriety publickly reprimand⯑ed him for it. Mr. Stayley, endeavoured to juſtify himſelf; words enſued, and in the con⯑cluſion, he was diſmiſſed the theatre.

He then appealed to the public, but with lit⯑tle ſucceſs; and, as he had before created him⯑ſelf many enemies, by his writing and mimickry, he was pitied by few, blamed by moſt, and never after regained his ſituation.

[67]This occurrence leads me to remark, the very great impropriety of any performer taking ſuch liberties with an audience. They certainly ſhould introduce no joke, or matter, not ſtrictly conſonant to their author, and with which the manager was not acquainted. He is, in every caſe, reſponſible to the public, for what is ſaid and done on his ſtage. Audiences are as variable in their diſpoſitions as the individuals who com⯑poſe them. It is dangerous to ſport with their paſſions, and the manager, who has ſo much at ſtake, ought to be made acquainted with every innovation, however trifling. He alone ought to judge of their propriety, as he alone muſt be anſwerable for the conſequences.

The occurrences of the remaining part of the ſeaſon, worth mentioning, are but few. Mr. Murphy's excellent comedy, The Way to Keep Him, in five acts, was firſt performed in this kingdom, at Crow-ſtreet in February, 1761, where Mrs. Abington added much to her repu⯑tation, by the eaſy, elegant, finiſhed portrait, of the woman of faſhion, which ſhe exhibited in the widow Belmour. Mrs. Bellamy played Cleone, with ſome applauſe, at Smock-alley.

[68]Mr. Colman's new comedy of the Jealous Wife, was then bringing crowded houſes at Drury-lane. It's extraordinary merit, as it cer⯑tainly ranks amongſt the firſt comedies in the Engliſh language, and the ſucceſs attending its repreſentation, induced Mr. Moſſop to preſent it to the public, late in the month of May, ſup⯑ported in the following manner:

• Oakly, Mr. Brown
• Captain Cutter, Mr. Sparks
• Lord Trinket, Mr. Kniveton
• Sir Harry Beagle, Mr. Shaw
• Charles, Mr. Uſher
• Tom, Mr. Ellard
• Major Oakly, Mr. Dawſon
• Lady Freelove, Mrs. Kennedy
• Harriet, Miſs Uſher
• Mrs. Oakly, Mrs. Bellamy.

Mr. Moſſop towards the cloſe of the campaign, when the town was nearly tired, opened a ſubſcription for five revived plays, Don Sebaſ⯑tian, The Ambitious Step-Mother, Timon of Athens, Tamerlane, and Richard; theſe, though forced, and thinly attended, carried him through, and he finiſhed, with the laſt [69] mentioned play, June 6th, 1761, when he re⯑turned thanks to the public, for the great patro⯑nage, and ſupport he had experienced.

In the mean time, Mr. Woodward took another trip to London, from whence he re⯑turned, with Mr. Shuter.

This popular comedian, had never been in Ireland before; conſequently, was an object of importance. He played the Miſer and School Boy on the 3d of June, with much applauſe. His next appearance was, for his own bene⯑fit, the 8th of June following. Don Lewis, in Love makes a Man, Clodio, Mr. Woodward; Carlos, Mr. Dexter; Don Duart, Mr. Jefferſon; Governor, Mr. Walker; Sancho, Mr. Glover; with his Fribble, and Mr. Woodward's Flaſh.

Mr. Shuter remained but a ſhort time after in Dublin. The characters he played were, Lord Chalkſtone, and the Old Woman, in Lethe, Maſter Stephen twice, with Scapin.

Crow-ſtreet theatre cloſed on the 9th of June, with Every Man in his Humour.

CHAP. IV.

THE eminence of the Iriſh ſtage, at the period to which we are now arrived, and the very great ability, with which ſeveral of it's principal departments were filled, ſeem to point out this, as a proper place, to pauſe and take a ſlight review of ſome of its principal ſup⯑porters.

Meſſrs. Barry, Moſſop, Digges, and Woodward, were then in the zenith of their courſe: an im⯑partial, though imperfect, ſketch of their reſpec⯑tive merits, may, therefore, be beſt attempted here.

The character of Mr. Barry, has been already touched upon, in the firſt volume of this work. [71] In addition to that, I hope the following remarks, which I have with little alteration, copied from a gentleman, who had every opportunity of form⯑ing a juſt judgment of his abilities, will not prove unacceptable.

There never was, perhaps, an actor, who, altogether was ſo much indebted to nature, as Barry. As far as figure will warrant the expreſ⯑ſion, he was certainly, the finiſhed portrait of man. His perſon was noble, and commanding; his action graceful, and correct; his features regular, expreſſive, and rather handſome: his countenance, naturally open, placid, and bene⯑volent, yet eaſily wrought to the indications of haughtineſs, and contempt: but in the ſofter expreſſions of the tender, and feeling emotions, he principally excelled.

His voice was finely calculated to aid his ap⯑pearance. It had melody, depth, and ſtrength; there was a burſt of grief in it, which was pe⯑culiar to himſelf. In the laſt act of Eſſex, where the officers were preparing his departure, and where he pointed to his wife, lying on the ground, with ‘Oh look there!’ [72] His manner of expreſſion was ſo forcible and affecting, that the whole houſe always burſt into tears. He ſaw the effect, and often uſed the cauſe, ſometimes rather improperly. In ex⯑preſſing the blended paſſions of love, tenderneſs, and grief, Barry ſtood unrivalled.

With ſuch abilities, it would be difficult to point out which character was his maſter-piece. But it is generally given to his Othello. It was a performance, which could not be tranſ⯑cended. His addreſs to the ſenate, was ſupe⯑rior to that of any man who even ſpoke it. His various tranſitions, in the jealous ſcenes of that character, were beautiful, beyond deſcrip⯑tion.

The vanquiſher of Aſia, never appeared to more advantage in repreſentation, than in the perſon of Barry: he looked, moved, and acted the hero and lover, in a manner that charmed every audience that ſaw him: he gave new life and vigour to a play, which had lain neglected, ſince the death of Delane.

His Marc Antony had innumerable beauties. Indeed, his very appearance, in this magnifi⯑cent [73] Roman, who loſt the world for love, in the young conquering Macedonian hero, and in every other character in that line, was equal to what the moſt romantic imagination could paint.

The limits of this work, will not permit me to follow him through the various beauties of his numerous characters. Suffice it to ſay, that thoſe who were ſo happy as to ſee him in the above, or, in the courſe of years, in Varanes, Macbeth, Jaffier, Oſmyn, Oreſtes, Horatio, Haſtings, Romeo, Oroonoko, Caſtalio, Hotſpur, Lear, Lord Townly, Young Bevil, &c. univer⯑ſally concurred in the opinion, that, as they had never ſeen his equal, ſo would it be ages, per⯑haps, before another Barry would ariſe.

With very oppoſite powers, yet with ſuch dramatic abilities as fall to the lot of very few, Mr. Moſſop next claims our attention. Never was there a greater contraſt than between theſe heroes: never were two performers better cal⯑culated by nature to ſhine together, to reflect luſtre on each others performances, and ſupport the oppoſite characters in tragedy.

[74]I may not, perhaps, be ſeconded, in my opi⯑nion: but, I cannot help conſidering Mr. Moſſop, not only as an original, but as a ſingular actor: nor do I recollect, in the long liſt of capital performers, who preceded him, or whom we have ſince ſeen, one to whom he could ſtrictly be compared.

Mr. Moſſop poſſeſſed an agreeable perſon; he was of the middle ſize, well made: his action, at this time much improved, and with great propriety ſuited to the ſituation of the ſcene: his countenance, uncommonly marking, and expreſ⯑ſive, his eye, piercing, and big with what his mind contained.

But, what eminently diſtinguiſhed him from all his cotemporaries, was the excellence of his voice. It had a peculiarity of tone, equally diſ⯑tinguiſhing as Mr. Barry's; though in every reſpect, oppoſite: it was, perhaps, as fine, full toned, articulate, and ſolemnly impreſſive as any actor's that ever trod the ſtage: poſſeſſed of unuſual compaſs, it was admirably adapted, by its cadences, to diſplay the great, the grand, and the ſublime in tragedy: it conveyed, equally diſtinct, the loudeſt effuſions of rage, which the [75] warmth of paſſion required, and the moſt ſolemn ſentiments of the deepeſt declamation.

There were, I believe, many inſtances where he more forcibly impreſt his auditors, by the energy, ſpirit, and fire, of his tones, than they ever experienced from any other performer. In the great and terrible, he roſe beyond idea. There were many paſſages of his Zanga, Corio⯑lanus, Bajazet, Virginius and Richard, which aſtoniſhed, and were ſuperior to the boldeſt conception before formed of thoſe characters.

Mr. Moſſop had alſo received a claſſical educa⯑tion, in Trinity College. He poſſeſſed much judgment, and in general, did uncommon juſ⯑tice to his author.

To the parts above mentioned, I may add, his Duke in Meaſure for Meaſure, which was truly a capital piece of acting, his King John, Ventidius, Chamont, Zampti, Achmet in Bar⯑baroſſa, Cato, Macbeth, Hotſpur, Oſman in Zara, Horatio, Shore, Wolſey, Iago, Proſpero, and many others.

[76]Such were the tragic actors, Ireland then, with honeſt pride, could boaſt. I am afraid "we ne'er ſhall look upon their like again." Since their days, tragedy has rapidly declined in public eſtimation; nor is there, at preſent, any immediate proſpect of its re-eſtabliſhment.

I am well aware, that thoſe characters as above delineated, differ in ſeveral eſſentials from the accounts of Mr. Davies, and the multitude of Engliſh critics, who, as they do not allow them that extraordinary merit, which I have aſcribed, ſo neither do they ſpare charging them with glaring faults, which take much from their ſuperior excellence.

In reply, I can ſay; that thoſe criticiſms were formed in very unfavourable circumſtances; without the opportunities of beholding them, in their ſeveral capital characters, from whence a proper criterion could be formed. My portraits are drawn from a time, when they were in the meridian of life; when their powers had arrived at maturity, and the judgment had acquired i [...] rightful ſovereignty over the paſſions. Th [...] decided ſenſe of this kingdom, for many years, warrants my aſſertions, and at preſent, thou⯑ſands [77] are living witneſſes of the truth of my ob⯑ſervations.

It remains next to ſpeak of Mr. Digges. This gentleman then certainly ſtood next, in merit and reputation, to theſe juſtly admired perform⯑ers. Few men ever gave their auditors ſo happy an idea of the eaſy, finiſhed gentleman, and man of faſhion, as Mr. Digges. The elegance of his figure and deportment, the eaſe, and pro⯑priety of his action, with the juſtneſs of his conceptions and delivery, moſt deſervedly gained him numerous admirers.

He had, it muſt be acknowledged, a few pe⯑culiarities, which made ſome, at firſt view, ſtile him a manneriſt. But, an intimate ac⯑quaintance with his mode removed thoſe impreſ⯑ſions, and eſtabliſhed his abilities, on the firmeſt baſis.

During the courſe of the winter, Mr. Digges, entered into a connection, with Mrs. Bellamy, which continued for ſome years, and was pro⯑ductive of much unhappineſs. The fair apolo⯑giſt, in her life, gloſſes over this tranſaction, with the ſame happy facility with which ſhe has [78] done many others, that were not ſtrictly recon⯑cileable to the laws of virtue, or religion. She calls it a ſerious connection, which though not binding by the laws of the country, with per⯑ſons of her perſuaſion, was, notwithſtanding, valid to all moral intents and purpoſes.

For the following character of Mr. Wood⯑ward, I am obliged to a cotemporary of his, who ſeemed, with great judgment, and candour, to be well acquainted with his merits.

At this period alſo, the merits of Mrs. Dancer and Mrs. Abington, were riſing highly in eſti⯑mation, and they were conſidered, by the beſt judges, as the moſt promiſing actreſſes of the day; a promiſe, which, how well it has been performed, it is unneceſſary to ſay.

But the ſame reaſons which tempted me, in this place, to enter upon the character of the gentlemen I have juſt deſcribed, induce me to poſtpone the enquiry concerning theſe ladies, to a time when their fuller merits will yield them more adequate juſtice.

The review we have taken, ſ [...]ight as it is, may be ſufficient to give us ſome idea of the value of the performers of that period, and of the reſpectability, to which the Iriſh ſtage was then entitled.

CHAP. V.

IN a former chapter of this volume, ^* mention has been made of a new theatre, built and open⯑ed by Meſſrs. Barry and Woodward, at Cork. Upon ſubſequent conſideration, I find that there has been an error in the date. It was not [...]ill the ſummer of the year 1761, the period [...] which, we now are, that the new theatre was opened. The confuſion, created by a mul⯑tiplicity of other avocations, was the cauſe of this miſtake, and it was not diſcovered till too late to be rectified; a detail, ſomewhat more accurate, will, I hope, in ſome ſort apologiſe for the error.

[82]During the infancy of the ſtage in Ireland, Cork was frequently viſited by itinerant com⯑panies of comedians, who ſometimes ſpent an entire winter there with much emolument. The theatres, on thoſe occaſions, were generally temporary ſtructures, haſtily erected for the im⯑mediate purpoſe.

In proceſs of time, the Dublin managers ex⯑tended their views to a city, ſo capable of ſup⯑plying the intervening time, between the cloſe and the opening of their winter ſeaſons.

The country companies were obliged to give place to his majeſty's ſervants, and a new theatre was erected at the corner of Princes-ſtreet in George's-ſtreet, where the Buſh Tavern at pre⯑ſent ſtands, and opened in the year 1736. On this ſtage the Elrington's, Woffington, Sheridan, and the moſt capital performers of the age, diſ⯑played their powers.

Meſſrs. Barry and Woodward, with a judici⯑ous eye, beheld the many advantages likely to ariſe from a theatre, on a more extended ſcale in ſo capital a ſituation; the preſent one being much too ſmall for their proceſſions and panto⯑mimes. [83] They had accordingly advertiſed a ſub⯑ſcription, for raiſing a fund towards building a new theatre. The propoſal was eagerly em⯑braced; in a few weeks the money was raiſed. The ground was purchaſed in George's-ſtreet, not far from the former building, in a ſituation which every day improved, and the work be⯑gan.

The model adopted, was that of Crow-ſtreet. The dimenſions were nearly as large, ex⯑cept having but one gallery. It was finiſhed, and ready for the reception of the company this ſummer, and the public expreſſed great plea⯑ſure at ſo great an improvement in their fa⯑vourite amuſement.

The inſide was ſpacious, elegant, and con⯑venient: it held 150l. Engliſh, at 4 s. the boxes 3 s. the pit, and 2 s. the gallery. The ſtage was remarkably roomy, being nearly as large as Covent-garden was, before the late alterations; capable of exhibiting to advantage, Mr. Bar⯑ry's grand tragic proceſſions, and Mr. Wood⯑ward's pantomimes, both of which were there preſented in a ſtile of perfection, which there was not a poſſibility of doing before.

[84]The theatre was opened in July 1761. To all the charms of it's novelty, the ſtrength of the following company was added:

• Mr. Barry,
• Mr. Woodward,
• Mr. Shuter,
• Mr. Sowdon,
• Mr. Jefferſon,
• Mr. Heaphy,
• Mr. Vernon,
• Mr. Auſtin,
• Mr. Glover,
• Mr. Heatton,
• Mr. Glenvil,
• Mr. Hayes,
• Mr. Adcock,
• Mr. Ellard,
• Mr. Hamilton,
• Mr. Morris,
• Mr. Mynitt,
• Mr. Meffink,
• Mr. Knipe,
• Mr. Mahon,
• Mr. Bridges,
• Mr. Carrol,
• Mr. Oliver,
• Mr. Flury,
• Mr. Stageldoir,
• Mr. Raynor,
• Mr. Aldridge,
• Mr. Neil,
• Mr. Carmichael, Prompter.

• Mrs. Dancer,
• Mrs. Hamilton,
• Mrs. Jefferson,
• Miſs Oſborne,
• Two Miſs Heattons,
• Mrs. Knipe,
• Mrs. Ellard,
• Mrs. Clark,
• Mrs. Roche,
• Mrs. Packenham,
• [85]Mrs. Adcock,
• Mrs. Bridges,
• Mrs. Glover,
• Mrs. Stageldoir,
• Mrs. Williams.

From the above liſt of performers, and indeed from many others which could be given of other times, it will plainly appear that the Cork au⯑dience have been accuſtomed to the beſt of acting. From this circumſtance, in all probability, has ariſen, in a great meaſure, that juſtneſs of judg⯑ment in theatrical affairs, for which they are ſo remarkable.

The ſame reaſon will, I think, warrant me in aſſerting, that none but a Dublin manager can have the leaſt chance of ſucceeding with them. His ſituation during the winter in the capital, and the number of exotics, which he is obliged to import every ſummer, give him a ſuperiority, in point of entertainment, over every other com⯑petitor in this kingdom.

With ſuch recommendations, it is ſcarcely neceſſary to ſay, that the Cork ſeaſon of 1761, proved uncommonly brilliant and profitable. The company returned to Dublin, fluſhed with ſucceſs.

[86]Mr. Woodward loſt no time, but immediately ſailed for England, and the day following, Mr. Moſſop arrived with Mrs. Abington, whom he had gained over from the enemy.

The ſituation of the contending powers at this period, was nearly that of equality. If there was any ſuperiority, it lay on Mr. Moſſop's ſide. Beſides Mrs. Abington, who then ſtood ſo high in public eſtimation, Mrs. Fitzhenry had enliſted under his banners. Thoſe ladies ſeemed ap⯑prehenſive of the power, lately acquired by Mrs. Dancer, and choſe the proſpect of an undivided empire, at the other theatre. Mr. Ryder, who had been abſent the laſt winter, returned at this time to Smock-alley, where in future we ſhall find him take that lead which his merit ſo highly entitled him to.

To endeavour to balance theſe loſſes was Mr. Woodward's employment at preſent in Lon⯑don.

Smock-alley took the field at this juncture, and opened on the 12th of October, 1761, with the Spaniſh Fryar, in which Mr. Baddely of Drury-lane, made his firſt appearance in Gomez. [87] This actor has certainly a great deal of merit in ſeveral characters. There are many of the Frenchmen, Jews, and parts of a dry cynical humour, which from him have peculiar manner, and originality. Through the remainder of the ſeaſon, we find him ſupporting a very reſpecta⯑ble line of buſineſs; ſuch as, Touchſtone, Sir Francis Gripe, Frenchman in Lethe, Dr. Caius, Mr. Honeycombe, &c. The ſame night, Miſs Ambroſe made her entrè in Elvira; of her but little mention is afterwards made.

Amongſt the ill effects produced by two theatres, was that of ſeducing performers from their firſt engagements. Changing ſides was ſo much the faſhion, and ſome gentlemen were ſo much in this mode of manoevering, that they were ſometimes led into great miſtakes, and have often been called to begin a play at one theatre, when they have been found dreſſing at another.

The ſanction of the theatre royal, continued to be of great uſe to Crow-ſtreet, and Mr. Barry opened on the 24th of October, 1761, by com⯑mand of the Earl of Halifax, with Romeo.

[88]Soon after, Mr. Woodward returned with the celebrated Miſs Elliot, then in great reputation as a fine girl, and pleaſing actreſs. On the 11th of November following, ſhe came for⯑ward in her favourite character of Maria in the Citizen, which as it was purpoſely written by Mr. Murphy, to give ſcope to her abilities, ſo did ſhe excell in this elegant, ſprightly, playful girl, all her ſucceſſors. Mr. Woodward was the young Philpot, and the farce was ſeveral times repeated. Miſs Elliot afterwards played Mrs. Harlow, Jeſſica, Euphroſine, Miſs Notable, Cherry, Columbine, Polly Honeycombe, the School Boy, &c.

Much about this time, Mr. Thomas Barry, ſon to the manager, was firſt introduced to the public in Tamerlane; his father playing Bajaze [...]. This young gentleman's figure was light and pleaſing, but his abilities were far from being of the firſt rate. He juſt attained mediocrity, and might be ſaid, never to offend.

His next trial was in the intereſting Norval Douglas, where his age, abilities, and figure, conſpired to render him a proper repreſentative for the Scottiſh youth. He continued ſeveral [89] years on the ſtage, and though he could not be conſidered as a valuable acquiſition, yet was he of conſiderable ſervice in ſupporting a firſt and ſecond line of characters in tragedy and co⯑medy.

Buſineſs, notwithſtanding ſo much novelty, continuing but very indifferent, the managers, as their dernier reſort, produced the veteran Macklin, who at that time was acknowledged to be the firſt actor in his line, on the ſtage. He was then upwards of ſixty years of age. His Miſer, Shylock, Iago, drew money, and were often repeated.

In December, he brought out his Love A la mode, which met with uncommon ſucceſs, being performed upwards of ſixteen nights that ſeaſon. In this piece, Mr. Barry played Sir Callaghan, Mr. Woodward, Squire Groom; Mr. Meſſink, Beau Mordecai; and Mr. Mack⯑lin, Sir Archy M'Sarcaſm; a farce of ſuch merit, and ſo well ſupported, had not been ſeen for many years.

Amongſt the Crow-ſtreet imports of this year, Mr. Stamper requires to be remembered. He [90] was deſervedly eſteemed in ſuch characters as the Miſer, Scrub, &c. Some years after, he played at Edinburgh, and ſupported that line of buſineſs with much reputation.

Fortune, at this time, ſeemed to incline to⯑wards Mr. Moſſop. The town, though torn and divided by contending parties, which often produced diſagreeable conſequences, rather fa⯑voured his theatre, and he was remarkably hap⯑py in ſeveral of his engagements.

I have before mentioned Mr. Wilkinſon. His former popularity and ſucceſs, induced Mr. Moſſop to conſider him as a powerful auxiliary. He accordingly concluded a treaty with him for twelve nights, and a benefit, and he appeared in January, 1762, in Mr. Foote's comedy of the Minor, where he perſonified the characters of Mrs. Cole, Shift, Smirk, Transfer, and Dr. Squintum, and which, notwithſtanding its bad fortune two years before, pleaſed much and brought ſeveral houſes.

Mr. Wilkinſon's trip fully anſwered, both as to reputation and profit. He brought the manager money, and his own benefit was re⯑markbly [91] great. He then acceeded to overtures from Mr. Woodward, who offered him Twenty guineas for four nights, and a clear benefit. He conſequently appeared at Crow-ſtreet, in Kitely, in Every Man in his Humour, in which Wood⯑ward played Bobadil, to an excellent houſe.

In the June following, Mr. Wilkinſon re⯑turned to England, highly pleaſed with the flattering reception he had met with in Dublin.

But what Mr. Moſſop relied moſt on, and on which he had founded the moſt ſanguine expec⯑tations, was a ſpecies of entertainment which had novelty to recommend it. He opened a ſubſcription for an Italian Burletta, which fully anſwered his wiſhes. Moſt of the nobilith and gentry were pleaſed with the idea, and the ſub⯑ſcription filled ſo well as to enable him to carry his deſign into execution.

After much preparation, on the 19th of December, the comic opera of La Caſcina, was performed. The principal characters by, Signior Antonio Minelli, the director of the Burletta, Signior Dominico de Amicis, Signior Giovan [92] Battiſti Zingoni, Signiora Maria Anna de Amicis, Signiora Anna Dunlap, and Signiora Anna Lucia de Amicis, the muſic by Galuppi, the dances by Signior Tioli, Signior Giuſeppe Genoviſi, Signiora Ricci, and Signiora Vin⯑cenze Lucchi. The boxes and pit were laid to⯑gether, at five britiſh ſhillings; the galleries remained at their uſual prices.

The Burletta pleaſed much. The performers were approved of, eſpecially Anna Lucia de Amicis, who became a great favourite. It drew a great deal of money, and was continued during the ſeaſon. However, they quarrelled among themſelves, and Signior Minelli, the original director, was obliged to reſign to De Amicis, whoſe family compoſed the principal part of the entertainment. Minelli ſettled in Dublin, in the wine and ſpirit trade. He is ſtill living on the Bachelor's-walk, a gentleman of worth and character.

To oppoſe this rage of the public, the Bur⯑letta of Midas was firſt produced. It's author, Kane O'Hara, Eſq was a gentleman of good connections, and well known in the faſhionable world. The piece was put into rehearſal, with great expectations, and announced, in ridicule [93] of the others, under the conduct of Signior Joſephi Verneni, (honeſt Jo. Vernon) The principal characters by himſelf, Signior Patrico Mahoni, Signior Lewiſo Olivero, Signiora Fredriſunda Bridgeſa, Signiora Elizabetta Glo⯑verina, and Signiora Maria Juvanelli; with dancing by the afterwards celebrated Slingſby.

Midas was brought out in January, 1762, and for ſome time, was ſtrongly ſupported. The Earl of Halifax, honoured the 4th night with his preſence, and it continued to be occaſionally acted during the ſeaſon.

That the Burletta of Midas, poſſeſſes an ex⯑traordinary degree of merit, is univerſally al⯑lowed. It is, in my opinion, ſuperior to every one of the numerous productions of that ſpecies, which have ſince followed it. In its original ſtate, of three acts, it certainly was too long, and palled upon the audience; but reduced as at preſent to an after piece, its ſucceſs has been remarkable, and it ever will hold a diſtinguiſhed place amongſt the entertainments of the ſtage.

[94]Fortune ſtill continued to follow the banner of Mr. Moſſop; his houſes were, in general, better attended, and more faſhionable, than thoſe of Crow-ſtreet. The Counteſs of Brandon continued his ſteady patroneſs. The pieces in which himſelf and Mrs. Fitzhenry appeared, generally drew crowded audiences. Theſe were conſiderably ſtrengthened, by the acceſſion of another actor, who had then been but a ſhort time on the ſtage, yet had diſplayed great abili⯑ties, and who, a few years after, ſupported the principal characters of the drama with great reſpectability.

This was no other than Mr. Reddiſh, who made his firſt entrè on the Iriſh ſtage, in Etan, in the Orphan of China, and made a moſt fa⯑vourable impreſſion on the audience, by his fi⯑gure, voice, manner, and other requiſites. This gentleman remained ſeveral years in Ire⯑land, and then returned to London, where he was much eſteemed, and admired.

The comedy of All in the Wrong, written by Mr. Murphy, was then performing with ſuch eclat in London, as to make it well worthy the attention of the Dublin managers. Each party [95] prepared for its repreſentation. It was announc⯑ed with much pomp, as in rehearſal at Crow-ſtreet; when, after five or ſix days hard ſtudy, it was moſt unexpectedly one morning, without any previous notice, advertiſed for that evening at Smock-alley. The conſequence was, it was puſhed on ſix nights, before they could poſſibly bring it forward at Crow-ſtreet, and then it was not worth much to either parties. Not⯑withſtanding which, it was played ſixteen nights that ſeaſon, at Smock-alley.

But the greateſt treat, the Crow-ſtreet mana⯑gers preſented to the public, was the engagement of Mrs. Pritchard. That firſt of Engliſh actreſſes, appeared in Lady Macbeth, June 14th, 1762. Though in the decline of life, yet ſuch was the ſuperior force of her powers, that ſhe charmed the critical part of her auditors, to the higheſt degree But her figure operated much in her disfavour with many. Youth and beauty, on the ſtage, make impreſſions, which merit, un⯑aſſiſted by theſe powerful auxillaries, can ſeldom attain.

The firſt appearance of Mrs. Pritchard, drew a very crowded houſe. Mrs. Oakly was her [96] next, which ſhe repeated twice. Whether from neceſſity, or whatever other motive I know not, but we find this lady placed in ſeveral ſituations, in which, notwithſtanding her uncommon merit, ſhe muſt appear, from her figure, to little advantage. As Mrs. Sullen, Lady Betty Modiſh, Clarinda, and Jane Shore. However, ſhe made ample amends in Zara, and Merope, with the latter of which ſhe cloſed the theatre, July 19th, when ſhe returned to England, leaving as fa⯑vourable an impreſſion on the Iriſh audience, as her long tried abilities had unalterably fixed for the Engliſh.

But notwithſtanding any little temporary ſuc⯑ceſs, during the courſe of the ſeaſon, the in⯑tereſts of the Crow-ſtreet theatre were viſibly on the decline. The Lord Lieutenant, the Earl of Halifax, it is true, afforded his patronage, and generally commanded at leaſt once a week. Se⯑veral very excellent pantomimes alſo, particu⯑larly two new ones, the Fair, and the Sorcerer, were produced. Yet, in ſpite of all theſe ad⯑vantages and exertions, the managers found their receipts infinitely inferior to their diſburſements, which indeed were too heavy for a Dublin theatre to ſupport

[97]Mr. Woodward, who was a plain honeſt man, and who had ſunk a capital of ſome thouſands, the produce of many years oeconomy in London, be⯑gan to grow uneaſy, and inclined to withdraw himſelf from the partnerſhip, which ſeemed to threaten final ruin.

Mr. Barry had leſs at ſtake: his property was inconſiderable, and his fame ſuffered no diminu⯑tion, from this reverſe of fortune. He was therefore determined to perſevere.

The difficulties they were involved in, natu⯑rally occaſioned miſunderſtandings, which ſuc⯑ceſs would moſt probably have prevented. Barry thought Woodward's expences for pantomimes, too great, he, in return, exclaimed againſt Barry's tragedy proceſſions. Each day added to their differences, and towards the cloſe of the ſeaſon, it ſeemed to be the mutual wiſh of both, to ſeparate.

An arbitration appears to hare been entered into between the parties, but afterwards not abided by. This produced a paper war. Each, as is cuſtomary in ſuch caſes, laid the blame of [98] the rupture upon the other, and both, in all probability, were conducive towards it.

Mr. Woodward commenced hoſtilities by the following advertiſement, which appeared in Falkner's Journal.

This produced a recriminating advertiſement from Mr. Barry, which was followed by a ſecond and third, of the ſame nature. It would yield but little entertainment to follow the whole of this controverſy, through all it's ſtages. Much leſs to copy all which appeared in the newſpapers concerning it. Suffice it to ſay, it terminated in a total and final ſeperation.

[99]Thus ended a partnerſhip, which promiſed ſo much ſucceſs at the beginning, and from which, though the public occaſionally reaped ſuch extraordinary entertainment, yet altogether, the evils ariſing, more than overbalanced the advantages. The managers loſt many thouſand pounds, and involved themſelves in a ſuit in Chancery; many debts were contracted, not ſince diſcharged, and many obſtinate parties, and attachments formed, which the following years rather inflamed, than appeaſed.

The victorious party, to all appearance, finiſh⯑ed their career with eclat, and yet, if the truth were known, Mr. Moſſop had no great reaſon to boaſt of the ſtate of his finances. It was a victory for which the conquerors had reaſon to weep.

Mr. King, who on quitting Dublin, had re⯑turned to a high ſtation at Drury-lane, was at this time a moſt deſerving favourite with the town. Him Mr. Moſſop engaged for a few nights, to conclude his campaign with.

He appeared in Ranger, and Cadwallader, and was received with that warmth of applauſe, [100] which his former character, and preſent im⯑proved ſtate merited; during his ſhort ſtay, he played the Copper Captain, Sharp, Oakly, Lord George Brilliant, Benedick, Lovemore, Scrub, Fribble, and Bayes.

In theſe he was capitally ſupported by Mrs. Abington, then eſteemed one of the firſt comic actreſſes ever beheld in this kingdom.

Mr. Barry led his troops to Cork and Limerick, where they ſpent part of the intervening time, 'till the opening of the Crow-ſtreet theatre. The following is the bill of their laſt night at Cork.

Being poſitively the laſt Night of performing this Seaſon. By particular Deſire, For the Benefit of Mrs. KENNEDY. By Permiſſion of the Right Worſhipful BOYLE TRAVERS, Eſq Mayor of CORK. On WEDNESDAY next, the 3d of October, 1762, Will be preſented a COMEDY, (not acted this Seaſon) call'd, The CONSCIOUS LOVERS. (Written by Sir RICHARD STEELE.)

• Young Bevil Mr. Heatton,
• Mr. Sealand Mr. Heaphy,
• Myrtle Mr. Knipe,
• Daniel Maſter Kennedy,
• Humphry Mr. Glenvil,
• Cimberton Mr. Glover,
• And Tom by Mr. Auſtin.
• Phillis Mrs. Kennedy,
• Lucinda Mrs. Glover,
• Mrs. Sealand Miſs E. Heaton,
• And Indiana by Miſs Heaton.

With Dancing and other Entertainments. After the Play Mr. Auſtin will ſpeak the cele⯑brated Epilogue, call'd BUCKS HAVE AT YE ALL. To which will be added, a Dramatic Novel, (not acted this Seaſon) call'd POLLY HONEYCOMBE.

• Mr. Honeycombe Mr. Glover,
• Ledger Mr. Knipe,
• Scribble Mr. Auſtin,
• [102] Polly Honeycombe Mrs. Knipe,
• Mrs. Honeycombe Mrs. Kennedy,
• And the Nurſe by Miſs E. Heatton.

Boxes 4s. 4d. Pit, 3s. 3d. Gallery, 2s. 2d. Tickets to be had of Mrs. Kennedy, at Mr. Dynan's in George's-ſtreet; at the Coffee-houſes, and places in the Boxes to be taken of Mr. Burn, at the Theatre. Tickets delivered for the 2d will be taken.

CHAP. VI.

THE difficulties Mr. Barry had to ſtruggle with, did not deter him from continuing the competition. He ſtill had a very powerful party remaining in Dublin. His abilities as an actor were univerſally admired, and he hoped by his aſſiduity, to ſupply the loſs of his colleague. It was a loſs however, of too great conſequence to be eaſily ſuplied. Mr. Woodward was, with great juſtice, a favourite with the town, [104] whilſt his attention, induſtry, and punctuality, added great weight to his management.

That Mr. Woodward had great reaſon to be heartily tired of the ſcheme he was embarked in, every one muſt allow. As a private man, his character was unexceptionable; as a performer, he moſt deſervedly ſtood foremoſt in his profeſ⯑ſion; and as a manager, the public were under many obligations to him. Poſſeſſed of a capital, which, with prudence, would have rendered him independant for life, his evil genius laid the ſnare of ambition in his way, and, in a [...] unlucky hour, he conſented to lead an oppo⯑ſition.

After four years conſtant anxiety, fatigue, and trouble, he returned to his native country, with the loſs of the greateſt part of his fortune, obliged to begin the world again. This, it muſt be con⯑feſſed, was enough to four his temper; yet it were to be wiſhed, he had not, on his appearance at Covent-garden, when he ſpoke the following prologue, in the character of a returned prodi⯑gal, put on that humiliating ſubmiſſion which a Britiſh audience were too generous to expect, [105] and which the treatment he had experienced in Ireland never could juſtify.

[107]The ſucceeding ſeaſon in Dublin, exhibited nothing very remarkable. The theatres were viſibly on the decline; unable to ſupport the expence of ſo continued an oppoſition, the ma⯑nagers found every day added to the precariouſ⯑neſs, and danger of their ſituation, without the leaſt proſpect of relief. The receipts of the two theatres were ſcarcely ſufficient to defray the ex⯑penditure of one. The greateſt contention ſeemed to be, not who ſhould gain moſt, but who ſhould loſe the leaſt.

The comic muſs was alſo at this time de⯑prived of her greateſt ſupporters. Mr. Wood⯑ward I have juſt mentioned: Mrs. Abington was engaged at Drury-lane, and Mr. Browne, I be⯑lieve, returned to Bath. The two laſt were ſevere loſſes to Mr. Moſſop, and theſe were en⯑creaſed by the deſertion of Mr. Reddiſh and Mr. Sowdon, who had gone over to the adverſe party.

In ſome meaſure to counterballance theſe, he gained over Mr. Dexter, and imported Mrs. Burden, who was obliged to ſupport Mrs. Abington's line of buſineſs, with very little ad⯑vantage to herſelf; a Miſs Parſons, from the [108] Hay-market; a Miſs Skyddart, from the Cheſter company, who had a fine voice, and opened in Nell; and a Miſs Stratford, whoſe firſt appear⯑ance was in Cordelia. To theſe were added, Mr. Foote who opened in the Minor. His no⯑velty was now pretty much over, and out of his own eccentric pieces, little merit could be aſcribed to him.

The early part of this ſeaſon, introduced to the public a very reſpectable character: a Mr. Atkins made his entre at Smock-alley, in Sir John Loverule. Being a painter, machiniſt, and harlequin, he that winter brought out a panto⯑mime entertainment, called Harlequin's Funeral, which was liked, and brought ſome money.

Some years after, Mr. Atkins commenced country manager, and eſtabliſhed his circuit in the north of Ireland. His winter reſidence is chiefly at Belfaſt, where he has lately erected a beautiful elegant theatre, and ſome years ago, another at Londonderry. Theſe with Armagh, and Liſburn, form a regular circuit for the year, and every encomium is due to Mr. Atkins, for his conduct, character, and management.

[109]Although Mr. Barry's reſources were nearly exhauſted, yet altogether his company ſeemed ſuperior to Mr. Moſſop's. His tragedies were more uniformly ſupported, as will be ſeen by the following view of both companies.

• Mr. Barry,
• Mr. T. Barry,
• Mr. Macklin,
• Mr. Sowdon,
• Mr. Heaphy,
• Mr. Reddiſh,
• Mr. Sparks,
• Mr. Auſtin,
• Mr. Hamilton,
• Mr. Ellard,
• Mr. Glenvil,
• Mr. Glover,
• Mr. Morris,
• Mr. Adcock,
• Mr. Mahon,
• Mr. Meſſink,
• Mr. Corry,
• Mr. Lee,
• [110]Mr. Stewart,
• Mr. Carrol,
• Mr. Hartry
• Mr. Wilder.

• Slingſby & Signiora Ricci, Dancers.
• Mrs. Dancer,
• Mrs. Barry,
• Mrs. Kelf,
• Miſs Maſon,
• Mrs. Adcock,
• Miſs Adcock,
• Mrs. Glover,
• Mrs. Packenham,
• Miſs Heatton,
• Miſs Willis,
• Miſs Ambroſe,
• Miſs M'Neill,
• Miſs Paſſerini,
• Miſs Roche,
• Mrs. Maxwell.

• Mr. Moſſop,
• Mr. Dexter,
• Mr. Ryder,
• Mr. Aickin,
• Mr. Jefferſon,
• Mr. Bridges,
• Mr. Waker,
• Mr. Kniveton,
• Mr. Reed,
• Mr. Atkins,
• Mr. Verneil,
• Mr. Baddely

• Signiora Pietrot and Madam Gourville, Dancers.
• Mrs. Fitzhenry,
• Mrs. Burden,
• Mrs. Johnſon,
• Miſs Skyddart,
• Mrs. Jefferſon,
• Miſs Stratford,
• Miſs Parſons.

I have not been able to obtain complete liſt of Mr. Moſſop's company this ſea⯑ſon, but the above were the principals.

But the greateſt ſupport Mr. Barry received this ſeaſon, was from the dramatic maſque of King Arthur, which was performed, for the firſt time in Ireland, under his auſpices. This piec [...] [111] was got up with great care and attention; the paintings were executed, in the firſt ſtyle, by Carver; the machinery, by Meſſink, and Finny.

The muſic of king Arthur alone, immortaliz⯑ed the great Purcell; it proved him the firſt com⯑poſer of the age. No expence was ſpared in cloaths and decorations. The dances to this piece alſo, added much to its beauty, and were executed in the beſt ſtile.

It was brought out February 7th, 1763, in a manner that would have done honour to any ſtage. The effect it produced was equal to the pains beſtowed upon it. The pulic was charmed with its repreſentation.

Muſic, at this time, began to make ſome pro⯑greſs in this kingdom. It had always been cul⯑tivated, but in an inferior degree. Hitherto, it had been conſidered as an auxiliary to the theatre, but we ſhall ſoon find it beginning to take the lead, and conſtituting a principal fea⯑ture in it's amuſements.

[112]During the paſſion week, in April, 1763, oratorios were performed at Crow-ſtreet theatre, under the direction of Signior Paſſerini, who had viſited Dublin the preceding year.

The enſuing after ſeaſon, 1763, was memor⯑able for the number of London performers en⯑gaged by Mr. Barry. Mr. Shuter, Mr. Dyer, Mrs. Clive, Mr. O'Brien, Mr. Luke Sparks, Mrs. Leſſingham, and the celebrated Nancy Dawſon. Such a number of capital performers, was a great acceſſion of ſtrength, and kept the theatre open till Auguſt.

At this very advanced period, was the comic opera of Love in a Village, firſt brought out in this kingdom. It had been performed at Covent-garden, for a number of nights, the preceding winter, with that great ſucceſs and applauſe, it ſo highly merited.

In the infancy, as I may ſtile it, of the Engliſh vocal drama, the appearance of this beautiful opera attracted the attention, not only of the muſical cognoſcenti, but alſo of all ranks and degrees. It made an impreſſion, unknown ſince the days of Gay, and the Beggar's Opera, which [113] till then had ſtood unrivalled, but was now obliged to behold a very formidable competitor.

Indeed, I muſt confeſs it my opinion, that, though many excellent operas have ſince been preſented to the public, yet none have been more intitled to their approbation, than Love in a Village.

This opera was capitally ſupported, Young Meadows, Mr. Mahon; Juſtice Woodcock, Mr. Shuter; Hawthorn, Mr. Wilder; Euſtace, Mr. Dyer, (How few of our muſical gentlemen, of equal ability, would now play ſuch a character,) Hodge, Mr. Glover; Sir William Meadows, Mr. Morris; Cook, Mr. Meſſink; Mrs. Debo⯑rah Woodcock, Miſs Maſon; Lucinda, Mrs. Mahon; Madge, Miſs Willis; and Roſetta, Mrs. Leſſingham; a double hornpipe by Mr. Slingſby, and Nancy Dawſon.

In oppoſition to ſuch ſtrength, Mr. Moſſop produced Mrs. Abington, whoſe popularity ren⯑dered her at this time a welcome viſitor; but who not being ſo well ſupported as ſhe ought, had not▪ conſequently, ſo much attraction. Smock [...] much ſooner than Crow-ſtreet, [114] which kept open till the beginning of Auguſt, when they finiſhed with the Stratagem, Archer, Mr. O'Brien; Aimwell, Mr. Dyer; Sullen, Mr. Luke Sparks; Scrub, Mr. Shuter; Mrs. Sullen, Mrs. Leſſingham; with the Guar⯑dian; Young Clackit, Mrs. Reddiſh; Harriet, Mrs. Dancer.

Mr. Barry, after a profitable excurſion to Cork and Limerick, returned to Dublin, fraught with the hopes of a ſucceſsful campaign, the enſuing winter.

CHAP. VII.

THE vice regal favour, which had on ſo many occaſions, been of infinite ſervice to the theatre-royal, operated, at the beginning of the enſuing ſeaſon, very powerfully. The new Lord Lieutenant and his Lady, the Earl and Counteſs of Northumberland, were juſt arrived, and very popular. The theatre opened, October, 1763, a few days after they commanded Othelio, with the Virgin Unmaſked; and very often dur⯑ing the winter, honoured it with their preſence.

[116]In this place, I cannot help remarking, the to thoſe chief governors who court popularity, no place can preſent a better opportunity of at⯑taining it, than the theatre. Through the courſe of this work, I have had occaſion to obſerve, that the more popular the Lord Lieutenant was, the oftener he frequented the theatre.

But, Mr. Barry's principal reliance was on his engagement with Mr. Sheridan, whoſe abilities and many virtues had juſtly endeared him to the public. This much injured gentleman, was at this time induced once more to reviſit his native country. He had, during his abſence, the honour of being preceptor to the queen, and had obtained a penſion from his majeſty, which had rendered his circumſtances ſomewhat eaſier. He now returned with hopes, that the public, ſenſible of the wrongs he had ſuffered, might deviſe ſome means of recompenceing him.

Still more to weaken the adverſe party, Mr. Barry had the addreſs to bring over once more to his ſtandard Mrs. Fitzhenry. The laſt three years ſhe had ſpent at Smock-alley. Her return was of great ſervice, and it might then be ſaid [117] that Crow-ſtreet could exhibit tragedies, worthy the attention of the public, ſupported by Barry, Sheridan, Reddiſh, Heaphy, Jefferſon, Mrs. Fitzhenry, Miſs Oſborne, then Mrs. William Barry, and Mrs. Dancer.

In comedy, they could not boaſt ſo much; Mrs. Kennedy, from Drury-lane, was excellent in a peculiar line of characters; ſuch as the Old Maid, Mrs. Honeycombe, &c. but neither her age nor figure qualified her to lead in elegant comedy. Mr. Barry's greateſt ſtrength in that line was Mr. Wilkinſon. The late excurſions of this gentleman to Ireland, had proved ſo plea⯑ſant and profitable, that we find him early this ſeaſon, poſſeſſed of much attraction, and draw⯑ing money to Mr. Foote's pieces, particulary his Mayor of Garret, which was then firſt brought out in Dublin, and performed ſeveral nights.

Mr. Wilkinſon's engagement, ended in January, 1764; when, after an excellent bene⯑fit, he ſet off for Scotland; and Mr. Macklin having joined Mr. Moſſop, the remainder of the ſeaſon, we [...] had entirely [118] the aſcendancy, and that very few comedies were played in Crow-ſtreet.

Early in November, Mrs. Fitzhenry opened in Caliſta, and a few nights after, Mr. Sheridan came forward in Hamlet, a character he had ſuſtained with the greateſt reſpectability, both in London and Dublin. The firſt actreſſes then, did not think it beneath them give force and dignity to the Queen. Mrs. Pritchard played it in London, Mrs. Fitzhenry in Dublin. The houſe was crowded to receive Mr. Sheridan, and the reiterated applauſes which marked his firſt entrance, evidently ſpoke the feelings of the audience on the return of a man, whom the world juſtly conſidered as an ornament to the ſtage, and an honour to the kingdom that gave him birth.

His next appearance was in Richard, which was graced with the preſence of the Lord Lieutenant and his Counteſs. After this, the two tragedians combined their ſtrength, and played Pierre, and Jaffier, Brutus, and Caffius, King John, and the Baſtard, Haſtings, and Shore, Othello, and Iago, Deſdemona, Mrs. Dancer; Emelia, Mrs. Fitzhenry; Caſ⯑talio, [119] and Chamont. In many tragedies, we find the four: as All for Love, Marc Antony, and Ventidius, Octavia, and Cleopatra, Oreſtes, and Pyrrhus, Andromache, and Hermione, Alexander, and Clytus, Roxana, and Statira. The Penitent, Horatio, Mr. Sheridan; Sciolto, Mr. Heaphy; Altamont, Mr. T. Barry; Lothario, Mr. Barry, Lavinia, Mrs. T. Barry; Caliſta, Mrs. Fitzhenry.

Towards the latter end of the ſeaſon, buſineſs beginning to decline, Mr. Barry engaged a company, of Italian Burletta performers, who opened the 28th of April, by command, with the Burletta of La Serva Padrona, or the Maid the Miſtreſs. The characters, by Signor and Signora Guerina, &c. but, I believe, the ſucceſs of theſe Burletta's was but very moderate, and ſcarcely anſwered the expence attending them.

'Tis now time to take a view of Mr. Moſſop's operations. He judiciouſly, ſeemed ſenſible of the power of his competitor in tragedy; there⯑fore, inſtead of encountering him in the line where his principal ſtrength lay, lie directed the force of his own operations to comedy and mu⯑ſical pieces. His retaining Mrs. Abington, and [120] Mr. Ryder, and his junction with Mr. Macklin, were of great ſervice to him in the former; and fortune pointed out an object, which abundantly anſwered his purpoſe, in the latter.

Miſs Catley's vocal powers, and uncommon abilities, were then juſt beginning to captivate the public, in London. Mr. Moſſop invited her over to this kingdom, and ſhe arrived late in December, 1763. Her firſt appearance was in Polly, in the Beggar's Opera, in which the ap⯑plauſe ſhe gained was uncommon. She pleaſed beyond expreſſion, and ſo highly eſtabliſhed her fame, that even in the enſuing Chriſtmas holi⯑days, the moſt unfaſhionable part of the ſeaſon, the houſes were crowded each night, with the firſt auditors in the kingdom, to her Polly.

Opera now began to rear her head, and take the lead in the attractions of the drama; and ſhe has ever ſince retained this powerful charm, in a very ſuperior degree. Miſs Catley inſtant⯑ly became a decided favourite. The Beggar's Opera was often repeated, and her Roſetta, in [121] Love in a Village, drew much money to the theatrical treaſury.

Mr. Moſſop, although his genius did not, by any means, incline to the laughter loving goddeſs, had yet ſelected an excellent comedy com⯑pany. With Mrs. Abington, Mr. Macklin, Mr. Ryder, Mr. Dexter, Mrs. Leſſingham, from Covent-garden, who had played a few nights in the latter ſeaſon at Crow-ſtreet, Mr. Stamper, Mr. Hamilton, Mrs. Kelf, Miſs Ambroſe, Miſs Uſher, Mr. Walker, &c. many comedies were performed with much credit.

Few particulars of this ſeaſon remain worth noticing; one, however, was attended with circumſtances too ſhocking, to be paſſed over in ſilence.

On one of the crowded nights, at Crow-ſtreet, in the month of April, 1764, two gentlemen, leading ſome ladies to their chairs, were groſsly inſulted by a number of ſervants, waiting at the box doors, who not only abuſed them in the fouleſt manner, but followed them on their re⯑turn into the box room, till prevented by the centinels then on duty. Not content with outrage, [122] a number of them, threw their lighted flambeaux, into the box room, crying out at the ſame time, fire! fire!

Such an outery, joined to the ſmoke of the flambeaux, occaſioned an inſtantaneous terror, eaſier to be imagined, than deſcribed. Perhaps there is not a more alarming circumſtance in na⯑ture, than that of upwards of a thouſand people, confined in a theatre, being terrified with the ſudden exclamation of fire, without knowing from whence the danger ariſes, or how to avoid it. Terror magnifies the moſt petty trifles into objects of alarm, and fear takes from people the power of purſuing proper meaſures for their ſafety.

The conſternation this alarm excited, inſtantly communicated itſelf to every individual in the houſe. The cry of fire reſounded from every part of the theatre. The cries and ſhrieks of the females, and the efforts of the men to extricate themſelves, from this ſuppoſed danger, produc⯑ed a ſcene truly terrific, and ſhocking. The houſe was cleared as ſoon as poſſible. The miſ⯑take was diſcovered, but not till a great deal of miſchief had happened.

[123]Numberleſs were the accidents this wicked contrivance produced. Happily however, only two lives were loſt. Thoſe were, Mr. Eaton, a Butcher of Ormond Market, and his wife, who were trampled to death, by the violent preſſure of the crowd from the upper gallery. What added to the poignancy of the diſtreſs was, they left behind them eight children, totally unpro⯑vided for!

Where there are proper objects, the public is never deficient in compaſſion, and humanity. On this occaſion, they embraced every oppor⯑tunity of manifeſting this goodlike diſpoſition. A benefit, free of every expence, was announced at each theatre. Every performer of conſe⯑quence came forward, and was eager to offer his ſervices. Each night was crowded; be⯑ſides which, there was a ſubſcription ſet on foot, which altogether raiſed a ſum that provided very reſpectably for theſe unhappy orphans, thus be⯑reft of their parents.

Mr. Sheridan, who ſtill laboured under dif⯑ficulties, which his former misfortunes had in⯑volved him in, having nearly finiſhed his engage⯑ment with Mr. Barry, propoſed giving lectures [124] on oratory, and the Engliſh language, in the Muſic Hall, early in May. This his creditors, ungenerouſly, and injudiciouſly, prevented him from; and he was obliged to acquaint the pub⯑lic, that though he had appropriated three fourths of his income to the diſcharge of his debts, yet ſuch was their cruelty, that the ſafety of his perſon would have been endangered if he had ventured to go on with his lecture.

In June, 1764, Mr. Shuter again viſited Dublin, and appeared in ſeveral of his favourite characters, at Smock-alley, which with his ſup⯑port, kept open till the beginning of Auguſt, during which time, Love in a Village, Thomas and Sally, Comus, The Devil to Pay, &c. were often repeated.

Mr. Barry, notwithſtanding his exertion after an unſucceſsful campaign, cloſed in June, leaving Mr. Moſſop in poſſeſſion of the field, and repaired, as uſual, to Cork and Limerick, where he experienced better fortune; which the ex⯑cellence of his company highly entitled him to as many be ſeen by the following bill.

[125]By Permiſſion of the Right Worſhipful JOHN SMITH, Eſq Mayor of CORK. For the Benefit of the CHARITABLE INFIRMARY. St. Mary Shandon. At the Theatre-Royal, on Friday next the 14th of September, 1764, Will be preſented a Tragedy call'd, The DISTRESSED MOTHER.

• Oreſtes Mr. Barry,
• Pyrrhus Mr. Heaphy,
• Pylades Mr. Mahon,
• Phoenix Mr. Vernel,
• Hermione Mrs. Fitzhenry,
• Cleone Mrs. Glover.

Andromache, (with the original Epilogue,) Mrs. DANCER. End of the 3d act, the Duſt Cart Cantata, by Mr. Meſſink. End of the 4th act, a Hornpipe by a young Gentleman. To which will be added a Farce, (not acted theſe two years) call'd [...]LORA: or, HOB in the WELL.

• Friendly Mr. Mahon,
• Young Hob Mr. Glover,
• Sir Tho. Teſty Mr. Mynitt,
• Old Hob Mr. Vernel,
• Dick Mr. Hamilton,
• Betty Mrs. Ellard,
• Flora Mrs. Glover.

Boxes, 4s. 4d. Pit, 3s. 3d. Gallery, 2s. 2d. To begin preciſely at 7 o'clock. Places in the Boxes to be taken of Mr. Keane, Box-keeper, and Tickets to be had of Mr. Bourne, Houſe⯑keeper, the Charitable Infirmary, St. Mary Shandon, and at the Printers hereof.

A circumſtance happened, at this time, which contributed towards raiſing the popularity of Mr. Moſſop. The triennial perambulation of the city liberties, or riding the franchiſes, as they were then ſtiled, was ſo much the faſhion, that on thoſe occaſions the different corporations went to very great expence, in preparing the decorations and paraphernalia, which diſtinguiſh⯑ed their reſpective bodies; and thoſe only who have been ſpectators of the magnificence, no⯑velty, variety, and ſplendour, of this ſingular [127] cavalcade, can be proper judges of the effects it produced.

From the great variety of dreſſes which the wardrobe of a theatre muſt neceſſarily conſiſt of, it was always in a managers power, to aſſiſt in a peculiar manner ſuch repreſentations; and ſo amply did Mr. Moſſop contribute to the brillian⯑cy and pageantry, of the preſent, that ſeveral of the corporations returned their acknowledg⯑ments to him in the public papers, ‘for lend⯑ing them habits, ornaments, and decorati⯑ons which added conſiderably to the ſplendour of the franchiſes.’

On this occaſion alſo, the Right Honourable William Forbes, then Lord Mayor, and in high favour with the city, deſired a play, Auguſt 14th, For the entertainment of the Alder⯑men, the Sheriffs, and the Maſter, Wardens, and Brethren of the city of Dublin.

The play choſen was Richard the 3d; Rich⯑ard, Mr. Moſſop; King Henry, Mr. Aickin; Treſſel, Mr. Ryder; Duke of York, Maſter Dawſon; Lady Anae, Mrs. Kelf; Queen, Mrs. Uſher.

[128]I muſt confeſs, I think it was a particular play for the Lord Mayor to chuſe, and I hope Mr. Moſſop took care to have his repreſentative more reſpectable, and better attended, than uſual. The farce was the True Born Iriſhman; Mur⯑rough O'Doghe [...]t [...], Mr. Macklin; Councellor Hamilton, Mr. [...]; Count Muſhroom, Mr. Ryder; Mr. O'Dogherty, Mrs. Kelf.

CHAP. VIII.

THE next ſeaſon produced much novelty at both theatres. Mr. Moſſop, who had exper⯑ienced the good effects of his late muſical en⯑gagements, reſolved to perſevere in that popular ſpecies of entertainment. He renewed his agree⯑ [...]ent with Miſs Catley, and entered into arti⯑cles with a new Burletta company.

Signiora Spiletta had, the ſeaſon before, per⯑f [...]med at the Opera houſe in London, with uncommon eclat. Connected with this cele⯑brated Italian, were her father, ſiſter, and ſeve⯑ral relations. Her brother was the ſince well known, and much admired, Signior Tomaſo [130] Giordani, whoſe muſical compoſitions will ever be held in the higheſt eſtimation, whilſt taſte or judgment exiſt. Very capital dancers were alſo engaged, and we find thoſe exotics conſtituted a leading feature in the enſuing winter's amuſe⯑ments.

As it will be impoſſible for me to follow all the new performers, through their firſt appear⯑ances, and as the ſtate of the companies was much the ſame through the ſeaſon, I ſhall pre⯑ſent my reader with a liſt of each as they ſtood November, 1764.

• Mr. Barry,
• Mr. T. Barry,
• Mr. Brown,
• Mr. Macklin,
• Mr. Sparks,
• Mr. Heaphy,
• Mr. Mahou,
• Mr. Kennedy,
• Mr. Glover,
• Mr. H [...]ſt,
• Mr. Uſher,
• [131]Mr. Vernel,
• Mr. Hamilton,
• Mr. Ellard,
• Mr. Glenville,
• Mr. Auſtin,
• Mr. Morris,
• Mr. Wm. Palmer,
• Mr. Mynitt,
• Mr. Meſſink,
• Mr. Lee,
• Mr. Billinghurſt,
• Mr. Slageldoir,
• Signior Colpi, ſlack Rope,
• Venetians & Children.

• Mrs. Dancer,
• Mrs. Abington,
• Mrs. Fitzhenry,
• Mrs. Kennedy,
• Miſs Maſon,
• Miſs Aſhmore,
• Mrs. Glover,
• Mrs. Ellard,
• [132]Miſs Parſons,
• Mrs. Hamilton,

• Mr. Moſſop,
• Mr. Ryder,
• Mr. Sowdon,
• Mr. Dawſon,
• Maſter Dawſon,
• Mr. Wilder,
• Mr. Aickin,
• Mr. Waker,
• Mr. Lewis,
• Mr. Collins,
• Mr. White,
• [131]Mr. Caſey,
• Mr. Harpet,
• Mr. Remington,
• Mr. Fawcet,
• Mr. Reilly,
• Mr. Connor,
• Mr. Smith,
• Mr. Reynolds,
• Mr. Jagger,
• Mr. Jefferies,
• Mr. Nepecker,
• Mr. Saunders, Equilibriſt.

• Miſs Catley,
• Mrs. Kelf,
• Miſs Willis,
• Mrs. Wilder,
• Miſs Ambroſe
• Mrs. Barry,
• Mrs. Johnſon,
• Mrs. Hartry,
• [132]Mrs. Packenham,
• Mrs. Dunlap,
• Miſs Dunlap,
• Miſs. Garvey.

• Signior Tomaſo Giordani,
• Signior Franciſco Giordani,
• Signior Peretti,
• Signior Guerini,
• Signiora Spiletta,
• Signiora Giordani,
• Signiora Guerini.

Smock-Alley theatre opened, October 15th. with Mr. Moſſop's Richard, and Mr. Ryder's Scapin. But as their hopes reſted chiefly on mu⯑ſical performances▪ the Beggar's Opera, with new accompaniments, by Signior Giordani, was next brought forward, which, with Love in a Village, and the new Burletta, were performed ternately, ſix or ſeven nights each. The bur⯑letta pleaſed much; Spiletta was a great favour⯑ite; but Catley's voice, and whimſical ſtile of [133] ſinging, ſoon took the lead, and drew crowded houſes.

Mr. Collins, whom the public have lately be⯑held with infinite pleaſure, entertaining an au⯑dience for three hours, entirely by the force of genuine humour, and native comic talents, made his firſt appearance on the boards of Smock-alley, in Young Mirabel, in the incon⯑ſtant, and proved a very reſpectable acquiſition to the Iriſh ſtage. I find his name afterwards, for Juſtice Woodcock, Dick in the Confederacy, Peachum, Sir Francis Wronghead, Baſtard in Lear, Angelo, Gibby, &c.

The early part of Mr. Barry's ſeaſon proved rather profitable. To the novelty of the Ve⯑netians, and rope dancing, he prefixed his ſtrongeſt tragedies. His receipts were encreaſed, but his expences were enormous. When public curioſity abated, he had recourſe to a ſtratagem, which, as it was attacking the enemy on their own ground, anſwered his purpoſe, equal to his moſt ſanguine expectations.

The rage for Catley was this time ſo great, that it was highly expedient to endeavour to [134] ſtem the torrent. Conſcious that his muſical performers were not equal to thoſe of Smock-alley, he boldly announced the Beggar's Opera, Captain Macheath by himſelf; Polly by Mrs. Dancer; and Lucy by Mrs. Abington. The novelty of the attempt, excited the curioſity of the public, and it drew much money.

Certain it is, that though his vocal abilities could not enable him to compaſs the common tunes of this well known piece, yet his figure, manner, and acting of this intrepid highwayman, made ample amends, and perhaps, he altoge⯑ther gave a portrait of this favourite character, equal, if not ſuperior, to any that ever attempted it, ſince the original. He really was, the ſine, gay, bold faced, gentleman of the road.

Gay's Polly received from Mrs. Dancer, a delicacy, a pathos, and intereſting colouring which few vocal performers have ever been able to give it. Mrs. Abington's Lucy, was eſteem⯑ed a capital piece of acting.

The remaining parts of the opera were ſup⯑ported, in the following manner: Peachum, [135] Mr. Macklin; Lockit, Mr. Sparks; Mat o'th' Mint, Mr. Mahon; Jenny Diver, Mrs. Mahon; Mrs. Peachum, Mrs. Kennedy.

The firſt night, it brought 160l. the ſecond 125 l. the third 50l. the fourth 120l. the fifth 97l. It was afterwards performed ſeveral nights, in the courſe of the ſeaſon, with varied ſucceſs.

To oppoſe this new, and unexpected ſtroke, Mr. Moſſop thought of another, equally nou⯑velle. Miſs Catley, had then got ſuch poſſeſ⯑ſion of the public, that whatever ſhe attempted, was ſure to meet with uncommon approbation. She had long drawn houſes in Polly. She now aſſumed the oppoſite character, and figured in the rakiſh, joyous Macheath.

This had the deſired effect, and excited cu⯑rioſity in a very high degree, and the Beggar's Opera proved another ſource of diſpute and con⯑tention, at Smock-alley; Mr. Collins played Peachum; Mr. Wilder, Mat o'th' Mint; Mrs. Wilder, Lucy; Mr. Rider, Mrs. Slammakin; Mrs. Uſher, Diana Trapes, and Miſs Dunlop, Polly. It was, with Love in a Village, given [136] once a week during moſt of the ſeaſon. The former was played fifteen nights: the latter, ten.

Mrs. Abington's return to Smock-alley theatre, about the middle of the ſeaſon, cauſed a new revolution in the Beggar's Opera; ſhe played Polly, and Signiora Spiletta appeared in Lucy.

The latter was indeed an arduous taſk. Being almoſt unacquainted with the language, ſhe was obliged to apologize to the public, before ſhe performed it. But favourites often have a li⯑cence to be abſurd, and in the preſent caſe, Spiletta got more applauſe, than if ſhe had been a native.

Scarce were the merits of this muſical ſtrugg [...] decided, when the comic opera of the Maid of the Mill, gave occaſion for a freſh conteſt. This excellent opera was then performing, with the greateſt ſucceſs, at Covent-garden.

Both managers thought it an object, worth their utmoſt attention. The words of the opera were publiſhed, and equally free for both. But [137] the muſic was in manuſcript, and the ſole pro⯑perty of the Covent-garden manager. From him Mr. Barry purchaſed it, and conſequently imagined, he had in this inſtance, ſecurely tri⯑umphed over his antagoniſt.

In this dilemma, Mr. Moſſop found an un⯑expected reſource, in the great abilities of Sig⯑nior Giordani. It is a fact well eſtabliſhed, that though the parts were writing out in Dublin for Mr. Barry, yet did Signior Giordani ſit down, and new compoſe the entire opera of the Maid of the Mill, in full ſcore, with all the accompaniments, in leſs than a fortnight: and it was written out, ſtudied, the ſcenes painted, and the opera brought out, two nights before they were able to accompliſh it at Crow-ſtreet.

The opera pleaſed much. The muſic did in⯑finite credit to the genius of Signior Giordani. It was conſidered, by every judge, as a wonder⯑ful effort of the human mind: and to it were applied Pope's words,

"The ſound becomes an echo to the ſenſe."

[138]I ſhould imagine, it will add to the entertain⯑ment of the reader, to compare the ſtrength of each company, in ſupporting the pieces in queſ⯑tion. The Maid of the Mill was thus perform⯑ed, at each theatre.

At Smock-alley, the Maid of the Mill, ran nine nights, beſides benefits. At Crow-ſtreet, they gave up the conteſt after the fifth time.

Much about this period, the ſerious opera of Artaxerxes, was, for the firſt time, performed in this kingdom, at Smock-alley; Arbaces, by [139] Signior Paſſerini; Artaxerxes, Signior Peretti; Artabanes, Mr. Wilder; Rimenes, Mr. Ryder; Semira, Mrs. Hawtrcy; and Mandane, Miſs Catley.

We may judge of the ſtrength of the muſical pieces this ſeaſon, under Mr. Moſſop, when we find the Beggar's Opera exhibited eleven nights, Love in a Village ſixteen, Artaxerxes fourteen; beſides the Maid of the Mill, Comus, the Jovial Crew, and the Italian Burlettas.

Catley cloſed her career, the 4th of May, in Roſetta, after which ſhe ſailed for England, being announced as engaged for the next winter, with her preſent manager, Mr. Moſſop. Her departure put an end to the muſical pieces.

Mr. Moſſop cloſed the 19th of May, inform⯑ing the public, that he intended opening ſpeedi⯑ly again, with Engliſh operas, having engaged ſeveral capital ſingers from England.

It is time now to return to Mr. Barry. Hard puſhed by the vocal powers of his opponents, and burthened with a very heavy company, he found his finances much impaired; towards [140] the end of this hard-fought campaign. Fortune however, ſeemed more propitious, when he confined his efforts within their proper ſphere.

The tragedy of the Counteſſ of Saliſbury was, at this time, offered to his acceptance. The author was a native of this kingdom, a gentle⯑man of good connections; and the piece poſ⯑ſeſſed much merit. The language was flowery, the ſtory which was founded on Dr. Leland's Langſword Earl of Saliſbury, pathetic and in⯑tereſting. It was got up with care, and met with great ſucceſs.

Saliſbury was well adapted to diſplay the pow⯑ers of Mr. Barry; and Mrs. Dancer, in the ori⯑ginal part of the Counteſs, exhibited thoſe amazing abilities, which have ſo often ſince, enraptured the admirers of melpom [...]e, and which have ſo deſervedly placed her at the very pinnacle of theatric excellence.

The Counteſs of Saliſbury was performed [...] nights, though brought out ſo late in the ſeaſon, and Mr. Barry finiſhed in July. Saliſbury was afterwards acted in the Hay-market, and Drury-lane.

[141]A few days after, Mr. Moſſop, according to his promiſe, brough out his firſt new Engliſh opera, as he was pleaſed to ſtile it. This was Amintas, or the Royal Shepherd, in which the celebrated Signior Tenducci, ſo much admired in the muſical world, firſt appeared. Alex⯑ander was performed by Signior Perretti, Age⯑nor, Mr. Wilder; Thamyris, Miſs Thomas, from Covent-garden, and Eliza by Signiora Cremonini, from the Opera houſe, their firſt appearance in this kingdom.

The uncommon vocal powers, and judgment, of Signior Tenducci, had already raiſed his fame, [...] moſt of the courts in Europe; nor did his me⯑rits make leſs impreſſion in Dublin. He was allowed to be, by far the moſt capital foreign ſinger, that ever viſited theſe kingdoms, and his reception was ſo flattering, that we find him em⯑bracing every opportunity of returning to this country.

Amintas and Alexander, were the only opera's performed at this time: but theſe were repeated twice a week, during the ſummer, and cloſed the beginning of October.

[142]In the interim, Mr. Barry was with a very capital company, performing at Cork, where, unrivalled, he gained reputation and profit.

There was alſo another very ſtrong detach⯑ment at this time at Drogheda. Amongſt the principal performers were, Mr. Macklin, Mr. Ryder, Mr. Lewis, Mr. Auſtin, Mrs. Kelf, Mrs. Auſtin, &c.

CHAP. IX.

AFTER a few weeks interval, Mr. Moſſop commenced the operations of his next campaign with vigour, and opened October 21ſt, 1765, with Miſs Catley in Macheath; Polly, Miſs Thomas, a new Lucy; and Mr. Ryder's Scapin.

Tenducci's operas were continued, with a very moderate ſhare of ſucceſs, and a crowd of new performers imported or recruited from the country: as Mrs. Pearſon, Mr. Tyler, Mr. [144] Pearſon, Mr. Richards, Mr. and Mrs. Gemea, Mr. Smith, Mr. Bliſſet, afterwards an actor of much merit.

Amongſt the group, unnoticed and unknown, was Mr. Edwin, who in Sir Philip Modelove, firſt courted the acquaintance of the Iriſh au⯑dience. Long were the abilities of this eccen⯑tric actor obſcured, nor could the profoundeſt dramatic judge then diſcover thoſe talents, which nature had ſo liberally endowed him with; o [...] [...] the extraordinary eminence he after⯑wards atta [...]ned. Mr. Edwin was, at that time very young. He remained here two ſeaſons, and we find him in Old Philpot, Lord Trinket, Juſtice Woodcock, &c.

This ſeaſon Mr. and Mrs. Reddiſh changed ſides and, with Mr. Glover, went over to Smock-alley. So much in faſhion indeed was the cuſtom, at this time, of performers chang⯑ing from one manager to another, that it would be impoſſible with accuracy to follow them through their various theatrical tranſitions.

Operas ſtill continued entirely the faſhion at Smock-alley, and drew conſiderable ſums to Mr. [145] Moſſop's treaſury. The new opera of Athridates, run upwards of a dozen nights.

In this piece, Miſs Aſhmore, ſince Mrs. Sparks, was firſt introduced to the public; ſhe ſung a pleaſing air, of "Deareſt Mother," much adapted to her powers, and in which ſhe was well inſtructed by Signior Tenducci. The au⯑dience were highly delighted with this new little favourite, who ſome years afterwards, charmed them in a variety of characters.

Towards the middle of the ſeaſon, like many others, ſhe changed ſides; and played Cupid in King Arthur, at Crow-ſtreet; ſhe there had part of a benefit, at which ſhe appeared in the Virgin Unmaſked.

It was with the utmoſt concern, Mr. Barry perceived his opponent crowned with ſucceſs, which his utmoſt exertions could not prevent. The credit and reputation of his theatre, had been for a long time gradually leſſening, and the certain conſequences appeared; ſalaries unpaid, and debts contracted, which he had not ability to diſcharge.

[146]Thus diſagreeably ſituated, he embraced an expedient which, though it procured him temporary relief, was attended with reproach and diſgrace to the theatre. He introduced a new ſet of performers to the town. Theſe were no other than Dutch dogs, and an Italian mon⯑key, who, in a new pantomime, diſplayed thoſe tricks which ought ſolely to be confined to their proper ſphere, a booth, where ſenſe and rea⯑ſon are ſet at defiance, and where an admir⯑er of the drama would be aſhamed to appear.

Nor were the common arts of oppoſition left untried. Performers, allured by empty promiſes, and imaginary honour, were continually chang⯑ing their ſituation: and beſides Miſs Aſhmore, whom I have juſt mentioned, Mr. and Mrs. Reddiſh, Miſs Slack, Signiora Spiletta, Ten⯑ducci, Cremonini, with ſeveral others were en⯑ticed from Smock-alley to Crow-ſtreet.

The novelty of Tenducci, and the foreigners, was nearly exhauſted; whilſt the attractions of Catley, who adhered with honour to Mr. Moſ⯑ſop, encreaſed every night. She had at this time, nearly arrived at the zenith of her reputa⯑tion [147] and I believe I may venture to affirm, that ſhe drew as much money to the Iriſh theatre, as any vocal performer ever did, either before or ſince; nor did ſhe confine herſelf to one line of ſinging. She played Polly, Macheath, and Lucy. She relinquiſhed Sally, and made a capital part of Dorcas, and gave up, what few capital ſingers would, Roſetta, and played Deborah Wood⯑cock.

It would be tedious, and I am afraid unenter⯑taining to my readers, to enter into the miniutiae of each theatre; ſuffice it then to mention merely, what may ſerve to convey to them a juſt idea of the more eſſential and important articles.

The following anecdote was given me from re⯑ſpectable authority, and is now mentioned as a proof that actors are not always the beſt judges of pieces. Notwithſtanding the uncommon merit, and extraordinary ſucceſs of the Clandeſtine Marriage, the early part of this ſeaſon at Drury Lane; a piece which one ſhould imagine, only ſlightly to peruſe, were ſufficient to make any reader of common underſtanding, pronounce it one of the beſt comedies in the Engliſh language; [...]et ſtrange to relate, at the firſt reading of it [148] in the Green Room of Crow-ſtreet, in Decem⯑ber, the whole company concurred in opinion, that it was not worth the trouble of getting up.

It was accordingly laid aſide, unil Mr. T. Barry's benefit. The novelty inclined him to have it ſtudied, and performed; when it pleaſed ſo wonderfully, that it was played twice a week at Cork the following ſummer, and many nights the enſuing winter.

Before I diſmiſs this ſeaſon, I muſt mention the death of Mr. Lewis Duval, the original pro⯑prietor of the Smock Alley theatre, and who, until his death, which was when he was up⯑wards of ninety, had an annual benefit at that theatre.

Though much embarraſſed, yet not entirely diſheartened, by the ill ſucceſs of the two laſt campaigns, Mr. Barry once more prepared to meet his competitor for public favour, and ſeemed to take the field with a force ſuperior to that of his adverſary, as may be ſeen by the ſub⯑joined liſt.

• Mr. Barry,
• Mr. T. Barry,
• Mr. Macklin,
• Mr. Brown,
• Mr. Lewis,
• Mr. Heaphy,
• Mr. Sparks,
• Mr. Dawſon,
• Mr. Uſher,
• Mr. Mahon,
• Mr. Auſtin,
• Mr. Glenville,
• Mr. Vernell,
• Mr. Maſſey,
• Mr. Meſſink,
• Mr. Palmer,
• Mr. Maguire,
• Mr. Lee,
• Mr. Aldridge.

• Mrs. Dancer,
• Mrs. Fitzhenry,
• Mrs. Kelf,
• Mrs. [...]
• [150]Signiora Cremonini,
• Miſs Slack,
• Miſs Aſhmore,
• Signiora Spiletta,
• Miſs Hearn.

• Mr. Moſſop,
• Mr. Duncan,
• Mr. Edwin,
• Mr. O'Keefe,
• Mr. Jefferies,
• Mr. Duffy,
• Mr. Remington,
• Mr. Ward,
• Mr. Waker,
• Mr. Richardſon,
• Mr. Jones,
• Mr. Loveman
• Mr. Taylor,
• Mr. Foſter.

• Miſs Catley,
• Mrs. Ellard,
• Miſs Eaton,
• [...]s. Loveman,
• [150]Mrs. Jefferis,
• Mrs. Colligan,
• Miſs & Mrs. Hutton▪
• Miſs Brewer,
• Mrs. Anftil,
• Miſs Harris,
• Miſs Vandermere,
• Miſs Browne,
• Miſs Ambroſe,
• Michel, Shuter and Jackſon, dancers.

From a view of the above, one would be apt to imagine that the advantage lay on Mr. Barry's ſide, but in reality it was the reverſe; every effort of his at the beginning of the ſeaſon, proved unſucceſsful, whilſt Catley brought crowded houſes at the other theatre.

In this exigence Mr. Barry turned his eyes towards Mr. Sheridan, with whom he conclud⯑ed a treaty, and who on this occaſion was of great ſervice. By accident it happens, that the receipts of Mr. Sheridan's firſt four houſes, are [151] in my poſſeſſion, which for the readers informa⯑tion, I am happy to aſcertain.

I muſt premiſe that at this period the buſineſs in general was very bad. Love in a Village [...]peated five nights, never reached 30l. ſome⯑times not 14l. other receipts have deſcended ſo low as 10l. to his Hamlet there was 171l. 19s. [...] d. Iriſh, Richard 113l. 15s. Cato 141l. 16s. 2d. Hamlet, ſecond time 148l. 9s. 5d.

I am ſorry it is not in my power to follow him through the remainder of his characters, but, by the above ſpecimen we may readily perceive that he contributed much towards the re-eſtabliſh⯑ment of Mr. Barry's ſhattered finances; but even with this extraordinary aſſiſtance it was not in his power to ſave himſelf, and at the con⯑cluſion of the winter, he found he was more involved than ever.

Few occurrences worth mentioning happened, at either theatre, during the preſent ſeaſon. Mr. Moſſop ſtill preſerved the ſuperiority he had obtained, though in truth, he had very little reaſon to boaſt.

[152]Amongſt the new performers he introduced▪ at this time, was Miſs Browne, daughter of Mr. Sowdon: an elegant figure, a pleaſing ſinger, and poſſeſſed of much merit, both in tragedy and comedy; ſhe played Polly ſix nights, then Roſetta, Patty, Fanny, in the Clandeſtine Mar⯑riage, &c.

This lady afterwards became the wife of Mr. Jackſon, a gentleman of abilities, as a writer and actor, and of a moſt reſpectable character, who made his firſt appearance in Dublin much about the ſame time, with deſerved repu⯑t [...]tion.

Mr. and Mrs. Jackſon remained in Dublin ſeveral ſeaſons, and ſuſtained a principal line of buſineſs, in the varied walks of the drama, with much credit. Some years after, Mr. Jack⯑ſon purchaſed the Edinburgh theatre and patent from Mr. Roſs, the then patentee, where he continued manager untill very lately, with much credit and character.

About this period, Mr. George Alexander Stevens, for the firſt time, viſited this kingdom, with his celebrated Lecture upon Heads, and [153] exhibited in the Little Theatre in Capel-ſtreet, with infinite applauſe. The novelty of his un⯑dertaking drew the attention of the public.

Though not poſſeſſed of much merit as an actor, yet he certainly delivered his lectures with vaſt humour, variety, and judgment; repu⯑tation and ſucceſs attended him in both king⯑doms, and in the courſe of a few years, he ac⯑quired an independant fortune, ſolely by the re⯑petition of this then ſingular ſpecies of enter⯑tainment.

CHAP. X.

BUT every circumſtance now ſeemed to in⯑dicate the rapid decline of the drama in Ireland. Novelty in a great meaſure, had loſt its charms; rancour, and ill will, prevailed amongſt the performers. The town was divided, and ex⯑hauſted between the Barryiſts and Moſſopians. Both parties were heartily tired of the conteſt, yet neither were willing to reſign their preten⯑ſions.

[155]The very great merits of the two managers procured them a number of zealous partizans, but theſe were not ſufficient to ſupport their reſpective theatres. The few moderate and diſcerning, beheld with concern, the ruin that attended the Dublin ſtage, from theſe diviſions, yet knew not how to remedy an evil, which every day's experience encreaſed, and rendered more apparent.

At length, the ſuperior genius of Mr. Moſſop prevailed. After a ſeven years conteſt, Mr. Bar⯑ry was obliged to reſign the field to his then ſeemingly, more fortunate rival; having, during that time, experienced more chagrin, vexation, and diſappointment, than imagination can well conceive. Harraſſed in mind and body, he had laviſhed ſo many years of the prime of his life, and, inſtead of reaping the fruits of ſuch ſhining abilities, as nature had bleſſed him with, had incurred debts he could never diſcharge, ruined many perſons connected with him, and involved himſelf in difficulties, which during the remain⯑der of his life, he could never ſurmount.

His, I c [...]nnot call him ſucceſsful, competitor, was not in a much more enviable ſituation. His [156] finances were alſo much deranged, his credit im⯑paired, and his reſources nearly exhauſted. However, he had the town now to himſelf, and he hoped that having accompliſhed ſo important a point, a few ſucceſsful ſeaſons would amply recompenſe him for the many diſagreeable days he had ſpent in the endeavour to effect it.

The firſt ſtep he took, was to obtain poſſeſſion of both theatres, which, as he imagined, ſtruck at the root of all future rivalſhip, and gave him leiſure to recruit his ſhattered fortunes.

He played about a month in Smock-alley, whilſt Crow-ſtreet was repairing, where he was aided by the novelty of Mrs. Fitzhenry, whoſe return from London was welcomed by her na⯑tive audience, with that warmth and cordiality, which evinced how dear ſhe was to them, and how high ſhe ſtood in their eſtimation.

The 7th of December, 1767, Mr. Moſſop came forward, for the firſt time, as ſole mo⯑narch of Crow-ſtreet domains, in the cha⯑racter of Richard the Third. Curioſity how⯑ever, did not produce the effect expected. The [157] houſe was far from being crowded: the receipts amounting only to 82l. 15s. 4d. Iriſh money.

Nevertheleſs, ſeveral of his tragedies brought large ſums of money to his treaſury. The Orphan of China, in particular, one night reached 140l. 4s. 6d.

Mr. Brown, ever a favourite with the public, was well attended, in his principal characters in comedy, and Mrs. Fitzhenry gave evident proofs, at her benefit, how reſpectable her in⯑tereſt was amongſt all ranks. She took the Counteſs of Saliſbury, and had 201l. 1s. 4d. Iriſh, in her houſe, which I believe, was as much as ever had then been known, on one night.

In the month of February, 1768, the tragedy of the Orphan was revived, for the purpoſe of introducing a young and new candidate for pub⯑lic favour. The character ſelected for his firſt appearance was Caſtalio, a favourite part of Mr. Barry's, and in which he had diſplayed ſuch ſweetneſs, tenderneſs, and variety. Arducus as the taſk was, our adventurer exceeded the moſt ſanguine expectations of his friends, and im⯑preſſed the town with the moſt lively hopes, that [158] in this youthful hero, they had found an ex⯑cellent ſubſtitute for their departed favourite.

Curioſity, and connections, drew numbers the firſt night which amounted to 133l. 14s. 9d. and ſo highly was the audience delighted with the performance of this promiſing ſon of Theſpis, that the play, in the courſe of a few weeks, drew a number of reſpectable audiences. His next attempts were Jaffier, Lothario, and Eſſex, which were attended with an equal degree of ſucceſs.

Fame a length, proclaimed the name of this promiſing actor to be Clinch, a young gentle⯑man of reſpectable family and connexions, and who had received a liberal education. The pub⯑lic certainly had every reaſon to expect a valu⯑able acquiſition in him. Nature had been very bountiful. His figure was excellent, his face manly, and expreſſive; his voice ſtrong, clear, impreſſive, poſſeſſed of great variety, and many of its tones bore a great reſemblance to their much loved Barry's.

Time has ſince proved their conjectures were well founded. The public are at preſent well [159] acquainted with his various merits, and he is not only juſtly conſidered as one of the principal ornaments of the Iriſh ſtage, but alſo univer⯑ſally beloved and eſteemed, for the many virtues which adorn his private character.

Though in poſſeſſion of the town, Mr. Moſſop did not neglect preſenting it with every novelty in his power; and none could be more accept⯑able than its darling Catley, who was engaged for ſix nights, and charmed once more with her muſical powers.

A Mr. Brownlow Forde, alſo made his appear⯑ance in Scrub, whilſt Mr. Moſſop, by way of variety, for it certainly could not be for its ex⯑cellence, endeavoured to repreſent the eaſy, elegant, faſhionable Archer. Mr. Forde, after⯑wards played Sir Joſeph Wittol, Briſk, &c.

Mr. Sheridan, who at this time was deliver⯑ing his lectures at the Muſic-hall in Fiſhamble-ſtreet, was alſo prevailed on, towards the end of the ſeaſon, to perform three of his principal characters; Hamlet, Richard, and Cato, at each of which times, he amply experienced [160] a continuance of public patronage and fa⯑vour.

In the latter ſeaſon, 1768, Mr. King and Mrs. Abington once more viſited this metropolis, and appeared in moſt of their favourite charac⯑ters. The Lord Ogleby of Mr. King was then new, and exceedingly popular. It was juſtly eſteemed one of the fineſt pieces of acting, the world ever beheld.

For many years, I have had the pleaſure of ſeeing this truly excellent actor, in this part, and can with juſtice affirm, that for correctneſs of conception, ſpirit of execution, and in ſhort, for every requiſite to conſtitute a finiſhed per⯑formance, I never beheld a more perfect re⯑preſentation than his Lord Ogleby. The whim⯑ſical traits of the Old Man of Quality, debilitated by years and intemperance, yet retaining the inclinations, and affecting the vigour of youth, are by him exhibited with a ſpirit and fidelity, which we have ſeldom ſeen equalled. I ſhall not dread correction, when I aſſert, that the ſtage, in all its various departments, cannot at preſent, produce better performance.

CHAP. XI.

THE following winter, 1768, Mr. Moſſop reſolved to give novelty 'till it cloyed the appetite. The firſt night, he preſented a new Polly and Lucy, in the Beggar's Opera. The former was a Miſs Hudſon, the latter a Miſs Reade; they both poſſeſſed a moderate ſhare of merit, and were tolerably well received.

A few nights after, Mr. Cornely's made his debut in Ralph in the Maid of the Mill, and from his firſt entrè ſtamped an impreſſion on the [162] audience, which his merit afterwards amply confirmed.

Mr. Cornellys was followed by a Mr. Saun⯑ders, from Drury-lane, in Polonius, and Mrs. Wright in the Queen. The next night Mrs. Saunders, formerly Miſs Reynolds, an actreſs of real intrinſic merit, came forward in Violante in the Wonder, and Combruſh in the Honeſt Yorkſhireman. Theſe novelties how⯑ever, had no effect, and the theatre promiſed to be unfaſhionable and unfrequented.

This unfavourable proſpect made Mr. Moſſop haſten his intended operations. In November, Mr. Foote's new comedy of The Devil upon Two Sticks was got up, on purpoſe to introduce this eccentric hero again to this kingdom. The firſt night was commanded by the new and popular Lord Lieutenant, Lord Townſhend; the houſe was crowded, the receipts 166l. 13s. 5d. and the piece ſucceeded equal to his moſt ſanguine expectations. Mr. Foote at this time was of infinite ſervice. He ſeldom played to leſs than an hundred pounds, and ſometimes to an hun⯑dred and thirty.

[163]Mr. Moſſop's engagement with Le Nemora, Semanzati, and Signiora Roſſoli, was not ſo fortunate. Though excellent in their perfor⯑mances on the rope, the public were diſguſted with ſuch exhibitions. They had not attraction the firſt night, which amounted to only 39l.

I ſincerely wiſh the public were ever of the ſame mind: and, whilſt their bounty ſhould enable managers to provide the nobleſt, and moſt ra⯑tional entertainment, the human mind can re⯑ceive, a ſelection of the various beauties of the drama, to baniſh ſuch ſpecies of entertainment, to their proper ſphere of action.

Neceſſity, almoſt always, forces managers to reſources their judgment condemns, and there are few inſtances where they have been adopted, till every other exertion has failed. In ſuch caſes, I muſt confeſs, I think them more to be pitied, than condemned.

The remainder of the ſeaſon glided away, without any very remarkable occurrence.

Mr. and Mrs. Walker, after paſſing a few years at Covent-garden, returned to this kingdom, [164] and proved an addition to the Iriſh ſtage. Mr. Walker had much merit in tyrants, as Barba⯑roſſa, Timurkan, Bajazet, and Mrs. Walker great vivacity, life and ſpirit, in the Chamber⯑maids.

A Miſs Groſſe made her firſt appearance in Lady Townly, for which ſhe had hardly a re⯑quiſite. Her ſecond attempt, however, rectified this miſtake, and in Roſetta, ſhe gave hopes of adding to the entertainment of the public, to whom ſhe was afterwards known by the name of Mrs. Barre. She had a ſtrong, clear, com⯑manding voice, and afterwards proved a uſeful member of the dramatic ſociety.

Notwithſtanding the general ſucceſs of muſi⯑cal pieces of merit, the very excellent, and at preſent popular, comic opera of the Padlock, was at this time an exception. It was brought out in January, l769, with every advantage, after Mr. Moſſop's Hamlet, to 80l. when, ſo little impreſſion did it make, that the ſecond night there was only 51l. the third, 41l. afte [...] which, it was obliged to be tacked to Mr Moſſop's ſtrong tragedies.

[165]Yet notwithſtanding this, it is certain that there is not a more pleaſing muſical afterpiece in the Engliſh language, or one poſſeſſed of more merit, either in character, incident, or muſical compoſition. Indeed, it is the only inſtance I ever knew or heard, of its failing. Few pieces, I believe were ever oftner repeated, drew more money, or gained more applauſe.

The original caſt of it in Dublin was as follows: Leander, Mr. J. Banniſter, from Drury-lane, Mungo, Mr. Wilder; Don Diego, Mr. Vernel; Urſula, Mrs. Saunders, and Leonora, Mrs. Hudſon.

Miſs Catley, ſtill in faſhion, viſited Dublin in March, 1769, and, as uſual, brought crowd⯑ed houſes to her favourite characters, eſpecially to Comus, which at that time ſeemed to be the leading piece, in which her Euphroſine will be long remembered, and as it ought to be, re⯑corded amongſt the excellencies of dramatic performances. Her playing Leonora, in the Padlock, at this time, firſt gave it a reputation, which it has ever ſince maintained.

[166]The comedy of the ſchool for rakes, the production of our ingenious country woman, Mrs. Griffith, was then performing with eclat at Drury-lane. Mr. Moſſop preſented it to the public, towards the latter end of the campaign, when it proved highly acceptable, and was often repeated.

The ſeaſon, which was undiſputed and profita⯑ble, cloſed early in June, 1769, and Mr. Moſ⯑ſop, for the firſt time, viſited Cork, where his fame had long before rendered the public im⯑patient to gratify their curioſity, by beholding, ſuch uncommon merit, and eager to join the univerſal opinion, which concurred in admiring his extraordinary excellencies. He brought great houſes, and returned to Dublin, the latter end of September following, to commence his winter operations.

CHAP. XII.

NOTWITHSTANDING Mr. Moſſop opened ear⯑ly, the 11th of October, 1769, with the Polly of Catley, who was announced only for a few nights, yet the beginning of his ſeaſon was not very auſpicious. This great favourite had at that time loſt part of her attraction, and an in⯑diſpoſition confining her after ſhe had played a few nights, the manager was himſelf obliged to come forward, in Hamlet, which brought a tolerable houſe, 95l.

[168]With every requiſite of face, figure, voice and abilities, Miſs Aſhmore, then juſt riſing in her profeſſion, began to attract general notice, and with irreſiſtible force, put in her modeſt claim to public favour, a claim which was univerſally allowed, and which, for many years, ſhe moſt deſervedly enjoyed, without interruption.

Amongſt the parts ſhe was then moſt noticed in, were Polly and Lucy, in the Beggar's Opera, Roſetta, Arethuſa, in the Contrivances, Leo⯑nora in the Padlock, Patty in the Maid of the Mill, Phillida, Sally, Ophelia, Leonora, Re⯑venge; Irene, Barbaroſſa; Cordelia, Lear; Emeline in King Arthur, Flora in the Wonder; Portia, Hypolita, Kind Impoſtor, Cherry, &c. So promiſing an actreſs had not been ſeen in Ireland a long time, and we ſhall find that ſhe fully anſwered the high opinion conceived of her great talents.

Amongſt the new performers of the ſeaſon, were Miſs Glaſſington, who appeared in Vio⯑lante; Mr. and Mrs. Graham, in Scrub and Mrs. Sullen; Miſs Manſell, for the firſt time on any ſtage, in Juliet. Beſides theſe, the ma⯑nager preſented the town with Rope Dancers, [169] equilibriſts on the wire, &c. in every form and variety.

In poſſeſſion of both theatres, Mr. Moſſop indulged his fancy by playing by turns in each. Tragedies, which alone brought money, at Crow-ſtreet; comedies, with the rope and wire, at Smock-alley. Public taſte was never more conſpicuous than on this occaſion. Tragedies were ſeldom performed to leſs than to ninety or an hundred pounds, whilſt the performances on the wire and rope ſeldom ammounted to 40l. often under 20l.

Tamerlane was revived about this time, and brought ſeveral houſes. Mr. Moſſop's Bajazet, moſt certainly was amongſt his beſt performances, and added much to his reputation. Tamerlane, Mr. Heaphy; Moneſes Mr. Clinch; Axalla, Mr. Banniſter; Selima, Miſs Glaſſington, Arpaſia, Mrs. Fitzhenry.

The theatrical world may juſtly be conſidered as an epitome of the world at large. Her em⯑pires have as great a variety of intereſts, and are ſubject to as many viciſſitudes and revolutions. Firmly as Mr. Moſſop thought himſelf ſeated [170] on the dramatic throne of this kingdom, yet did he find conſpiracies formed againſt him, which, though at firſt he diſregarded them, yet did the hand of time mature and ripen into a ſucceſs he thought impoſſible.

Lulled into perfect ſecurity, by the certainty of having the two theatres of Crow-ſtreet and Smock-alley, he little imagined that a third could be opened. The event ſhewed how much he was miſtaken.

The little theatre in Capel-ſtreet, had for many years been ſhut up, and appropriated to other [...]es. It was certainly very ſmall; but even this was of advantage; as it could be fitted up at leſs expence, could be much eaſier filled, and conſequently, derive more credit from leſs ſhew.

This revolution was concerted and compaſſed, with much addreſs, and united the intereſts of Mr. Dawſon, Mr. Mahon, and Mr. Wilkes. Dawſon was the manager of this new erected company, and by the experience he had had, was, in many reſpects, equal to the taſk. He was active, induſtrious, and intelligent, well ac⯑quainted with the world, and prompt to im⯑prove [171] every opportunity fortune threw in his way. The theatre was elegantly ornamented and beautified; the ſcenes new painted, by Jolly. The wardrobe, as might be expected, light, but faſhionable, and ſhewy.

Every arrangement being adjuſted, in the beſt manner the times would permit, the new adventurers opened on Monday February 26th, 1770, with a new comedy, never performed in this kingdow, written by Hugh Kelly, Eſq and then in reputation in London, called

FALSE DELICACY. Repreſented in the following manner: Colonel Rivers, Mr. Mahon; From the Theatre-royal Covent-garden. Cecil, Mr. Herbert; Sir Harry Newburgh, Mr. Lewis; Sidney, Mr. Glenville; Lord Winworth, Mr. Wilkes; Being his firſt appearance in this Kingdom. Mrs. Harley, Mrs. Hoſkins; From the Theatre-royal Drury-lane. Lady Betty Lambton, Miſs Ambroſe; Miſs Rivers, Mrs. O'Neill; [172] Sally, Mrs. Price; And Miſs Marchmont, by Miſs Aſhmore; With an occaſional Prologue ſpoken by Mr. Lewis. To which will be added a Comic Opera, called THE PADLOCK. With alterations and additions by the author, as performed in London. Don Diego, Mr. Glenville; Leander, Mr. Wilkes; Mungo, Mr. Mahon; Urſula, Mrs. Hoſkins; And the part of Leonora, by Miſs Aſhmore.

It muſt be acknowledged, that though there were ſeveral performers of the firſt merit in the new erected company, yet they could not, in numbers, or indeed abilities, compare with the veterans of Crow-ſtreet, nor could they, from any apparent circumſtances, flatter themſelves with the hopes of that ſucceſs, which crowned their adventurous ſchemes.

[173]This obſervation will be better illuſtrated by a comparative view, at the commencement of the oppoſition.

• Mr. Moſſop,
• Mr. Clinch,
• Mr. Heaphy,
• Mr. Duncan,
• Mr. Banniſter,
• Mr. Wilder,
• Mr. Graham,
• Mr. Hollocombe,
• Mr. Paſſerini,
• Mr. Remington,
• Mr. Morris,
• Mr. Kelly,
• Mr. Brown,
• Mr. Fotteral,
• Mr. Richards,
• Mr. Chaplin,
• Mr. Spicer,
• Mr. White,
• Mr. Legge,
• Lenomora,
• [...]em [...]n [...]ati, &c.

• Mrs. Fitzhenry,
• Miſs Catley,
• Miſs Manſell,
• Miſs Glaſſington,
• Mrs. Heaphy,
• Mrs. Bardin,
• Miſs Vandermere,
• Mrs. Brown,
• Mrs. Hawtry,
• Mrs. Barry.

• Mr. Lewis,
• Mr. Dawſon,
• Mr. Mahon,
• Mr. Wilkes,
• Mr. Glenville,
• Mr. Herbert,
• Mr. Pearſon,
• Mr. Tyrer,
• Mr. Walſh,
• Mr. Beaver, &c.

• Miſs Aſhmore,
• Miſs Ambroſe,
• Mrs. Hoſkins,
• Mrs. Dawſon,
• Mrs. Barre,
• Mrs. Price,
• Mrs. O'Neill, &c.

From the above ſtatement, Mr. Moſſop might in ſome meaſure be juſtified, for holding in ſuch a contemptuous light, the new formed oppoſition. But, what human prudence could not foreſee, fortune ſpeedily accompliſhed.

Curioſity and intereſt, crowded Capel-ſtreet theatre, the firſt night, and the performances were received with the moſt unbounded applauſe. The new theatre, dreſſes, novelty of the play, and ſeveral of the performers, the brilliancy of every object and the ſpirit which animated the whole, operated with magical force, and eſtab⯑liſhed [175] a reputation, which afterwards proved of infinite ſervice.

What contributed eſſentially to the ſucceſs of the ſcheme, was the aſſiſtance which Mr. Lewis and Miſs Aſhmore rendered.

The former was, even at that early period, eſteemed one of the moſt promiſing young actors on the ſtage, and had ſupported a variety of characters, with the higheſt reputation.

The latter I have already mentioned. She was then an object of univerſal admiration, and poſſeſſed the favour of the town in an eminent degree. The new manager had the addreſs to attach her to his party, and ſhe proved of in⯑finite ſervice to the cauſe. A fortunate circum⯑ſtance added Mr. Wilkes, to the number of favourites.

Alarmed at the progreſs of this unforeſeen dan⯑ger, Mr. Moſſop uſed every effort, in his power, to counteract it's effects.

He brought forward thoſe tragedies in which he ſtood unrivalled, particularly his Coriolanus, [176] with every pomp, and magnificence. He ex⯑hibited Catley in her Euphroſine, which uſed to have ſuch attraction. He revived Woodward's popular pantomimes of Fortunatus, and the Sorcerer, and introduced in them the perfor⯑mances of Saunders on the wire, and Lenomo⯑ra, on the rope; but all with very little effect. His expences were heavy, his receipts were bad, and his competitors gained ground, though ra⯑ther ſlowly.

While matters were in this ſituation, a circum⯑ſtance occurred, which decided the conteſt in favour of the new theatre.

Bickerſtaff's opera of Lionel and Clariſſa, was then performing with uncommon reputation, at Covent-garden. Relying on his own pieces, and the plan he had laid down, the evil genius of Mr. Moſſop, prevented him from ſeizing the only opportunity, which might lead towards retrieving his embarraſſed circumſtances.

With Catley's fame and abilities, had he firſt preſented this celebrated piece to the public, he moſt probably would have attracted to his theatre [177] that tide of ſucceſs, which his opponents ſo amply experienced.

Not ſo Mr. Dawſon's diſcerning eye beheld the advantages in proſpect. He inſtantly ſet about getting it up, with every care and expedition. The 2d of April, 1770, it was announced, for the firſt time in this kingdom, and on it's ap⯑pearance, received that ſtamp of public approba⯑tion it has ever ſince ſo deeply retained.

Though Lionel and Clariſſa is certainly poſ⯑ſeſſed of great merit, being an excellent comedy, independant of the muſic, which is in general, a capital ſelection, and though it ſtands deſerv⯑edly high in the eſtimation of the ſiſter kingdom; yet was it reſerved for the Iriſh audience, to re⯑ceive it with that enthuſiaſm and partiality, which has ever peculiarly diſtinguiſhed its repre⯑ſentation in this kingdom.

The Clariſſa of Miſs Aſhmore, according to every opinion, was as affecting, natural, and intereſting a piece of acting, as had ever been ſeen: and the Jeſſamy of Mr. Wilkes, was con⯑ſidered, as the ſtandard of excellence. Every [178] other character of the opera, ſeemed to be alſo well ſupported.

The impreſſion it made was extraordinary, and the effects viſible. Whilſt Mr. Moſſop, with the ſtrength of his company, was exhibiting to or⯑ders or empty benches, an early overflow mark⯑ed every night this popular opera was an⯑nounced.

Some idea may be formed of it's power, and uncommon attraction, from the number of times it was acted. Late as it was brought out, it run twenty ſix nights, and cloſed a ſeaſon, that will always be diſtinguiſhed in the theatrical annal [...] of this kingdom.

Mr. Moſſop when too late, ſaw his error, and endeavoured in vain to repair it. In about three weeks after it's appearance at Capel-ſtreet, it was brought out at Crow-ſtreet, with this ridiculous diſtinction: Jenny the Chambermaid, Miſs Catley; the other characters by Mr. Wil⯑der, Mr. Duncan, Mr. Heaphy, Mr. Banniſter, Mr. Remington, Mrs. Brown, Mrs. Hawtry, Mrs. Barry.

[179]It languiſhed a few nights, and was then cut down into a farce, which compleatly finiſhed it in the opinion of every one.

The ſituation of the contending parties, at the cloſe of the campaign, may eaſily be conceived. With health impaired, and circumſtances much deranged, Mr. Moſſop's proſpects were of the moſt unpleaſant nature. Though the idol of the town, as an actor, and not cenſured as a mana⯑ger; (a thing extremely difficult to avoid) he ſaw himſelf deſerted by that public, to whoſe ſervice he had devoted thoſe abilities ſo much admired. A ſtriking leſſon to every manager, how little he can depend on that empty bubble popularity!

Elate with their ſucceſs, the oppoſite party, indeed, exulted in the confidence of it's con⯑tinuance. Time will tell, how far their expec⯑tations were anſwered.

CHAP. XIII.

THE perſevering induſtry of Mr. Dawſon, ſeemed reſolved to take every advantage of events ſo favourable. He obtained poſſeſſion of Crow-ſtreet theatre, abandoned by Mr. Moſſop, and transferred from it, the title of his majeſties ſervants, to that of Capel-ſtreet.

During the ſummer, he alſo made ſeveral capital engagements. In particular, Mr. Mack⯑lin, Miſs Young, and Mr. Clinch.

[181]However, notwithſtanding thoſe great advan⯑tages, it was rather late before either company took the field.

Capel-ſtreet was the firſt, which opened with it's new title, November 9th, 1770, with the Beggar's Opera, and the Anatomiſt. The former preſented no novelty: in the latter, Mr. Dodd made his firſt appearance, in Monſieur Le Medecin.

This gentleman, who has ſince diſtinguiſhed himſelf in the literary world, poſſeſſed theatrical abilities, which, if he had continued on the ſtage, and cultivated, would have gained him ſome eminence. His Frenchmen were excel⯑lent, and he diſplayed a good deal of merit, in ſeveral other characters.

In about a fortnight after, Miſs Young, from Drury-lane theatre, who was then advancing faſt to that eminence which ſhe ſpeedily attain⯑ed, and which ſhe has ſince conſtantly preſerved, made her entre in this kingdom, in Jane Shore. Haſtings, Mr. Lewis; Dumont, Mr. Clinch; Gloſter, Mr. Dawſon; and Alicia, Mrs. Burden.

[182]Her reception was ſuch as her merit amply juſtified: flattering, as her ſanguine hopes could form; and during the ſeaſon, ſhe ſupported a capital line, in tragedy and comedy, with in⯑creaſing reputation.

Mr. Macklin choſe his favourite character of Shylock, to receive the gratulations of his friends, on his reviſiting them, which on his appearance they loudly marked.

In the Merchant of Venice, we find Mr. O'Keefe's name, for the part of Gratiano, and ſpeedily after, in Filch, Fribble, Jeſſamy, in Lionel, in the room of Wilkes, who had left the company, Squire Richard, &c.

Againſt ſuch performers, Mr. Moſſop had but little to oppoſe. Smock-alley was once more fitted up, new painted and decorated, as well as circumſtances would allow, and as the city theatre, under the patronage of the Lord Mayor, opened on the 26th of November, with the tragedy of George Barnwell. The hero of the piece by Mr. L'Eſtrange, from the theatre Drury-lane, of whom little could be ſaid, and a Mrs. Day, in the Virgin Unmaſked.

[183]From this ſpecimen, much was not to be ex⯑pected. However, as his great reſource, the [...]own was informed, that Mr. Ryder, who had been abſent from the capital for the laſt five years, was again engaged, and would ſpeedily make his appearance.

The interval of abſence had been ſpent in the country of Ireland, where he had conducted a com⯑pany, which during that time he managed, with much credit and emolument to himſelf and his performers. The towns he chiefly viſited were, Kilkenny, Waterford, Sligo, Galway, Derry, Belfaſt, &c. where the general buſineſs was ex⯑cellent, and the benefits lucrative.

Mr. Ryder on his return, opened in Sir John Reſtleſs, and was received by the audience with that warmth of friendly applauſe, which ever marked his appearance.

His preſence was of infinite ſervice to Mr. Moſſop's drooping affairs: for though he was not able entirely to ſtem the tide of popular fa⯑vour, that continued to follow Capel-ſtreet theatre, yet he for a time upheld a cauſe, which, [184] without his aſſiſtance; muſt have ſunk under the preſſure of accumulated misfortunes.

Ever diſtinguiſhed, by the verſatility, as well as excellence of his genius, Mr. Ryder even then, might be deemed a theatrical Atlas, who at that time, and for many years after, princi⯑pally ſupported the heavy burthen of the Iriſh drama. This may eaſily be perceived by a re⯑view of the various characters he ſuſtained, during a period of eleven or twelve years, when it might be truly ſaid, he was almoſt every night before the public.

The favourite popular opera of Lionel, was often repeated at both houſes, the early part of the ſeaſon, but Capel-ſtreet ſtill maintained the advantage, although Mr. Ryder was the Lionel at Smock-alley.

Miſs Young and Mr. Macklin, were of in⯑finite ſ [...]rvice to the cauſe they eſpouſed. The latter brought out his Love a la Mode, and True born Scotchman, with every advantage which capital acting, aided by his inſtructions, could give. They were often repeated to good ho [...]es.

[185]The Romp, in which Miſs Aſhmore obtained ſuch reputation, was firſt acted at this period, and has continued to be a leading object in dra⯑matic exhibitions ever ſince. The comedy of 'Tis Well it is no Worſe, was alſo performed at this time.

The ſame ability which had ſo eminently diſ⯑tinguiſhed the Capel-ſtreet manager laſt ſeaſon, was of infinite ſervice during the preſent.

Mr. Cumberland had, in the early part of the winter, brought out his comedy of the Weſt Indian, with a ſucceſs ſuperior almoſt to any ever known. Its great and extraordinary fame, rendered it an object of the firſt magnitude to both theatres.

Capel-ſtreet, however, had the good fortune to produce it firſt to the public, and, it muſt be confeſſed, with much greater advantage than it could be given by Mr. Moſſop.

On Tueſday, February 19th, 1771, it was announced, for the firſt time in this kingdom. Belcour, Mr. Lewis; Enſign Dudley, Mr. Clinch; Stockwell, Mr. Holocombe; Captain Dudley, [186] Mr. Kane; Varland, Mr. Herbert; and Major O'Flaherty, Mr. Dawſon; Lady Ruſport, Mrs. Barry; Louiſa Dudley, Miſs Aſhmore, and Miſs Ruſport, Miſs Young.

The ſame ſucceſs, which attended this excel⯑lent comedy in London, purſued it here. The public was charmed with a piece which, with uncommon merit, preſented ſo amiable a por⯑trait of an Iriſh gentleman, and in Major O'Fla⯑herty, united the brave veteran ſoldier, with the man of feeling, whoſe heart was replete with the nobleſt impulſes of humanity.

And whilſt they admired the piece, they could not help ap [...]lauding the actors, whoſe merits were never more conſpicuous than in this co⯑medy. The Belcour of Mr. Lewis has ſo often been the ſubject of panegyric, that to mention it here would be uſeleſs: Mr. Dawſon's Major, Miſs Aſhmore's Louiſa, and Miſs Young's Char⯑lotte, were truly characteriſtic.

Such was its reputation, that they had four or five crouded houſes to it, before it could be produced at Smock-alley, and then it did very little. It was not the faſhion, and Mr. Moſſop [187] continued playing it to houſes compoſed of or⯑ders, whilſt at Capel-ſtreet, there was an over⯑flow every night.

It certainly could not be neceſſity which in⯑duced Mr. Moſſop to attempt the ſprightly, ele⯑gant, vivacious Belcour, ſo totally oppoſite to his own manner. But whatever was the motive, it helped to give additional force to the finiſhed Weſt Indian of the other houſe: and though Mr. Moſſop's merits as a tragedian, were the univerſal theme of praiſe and admiration, yet his warmeſt admirers could not but confeſs his great deficiency, and total want of manner, for this hero of comedy.

At the time this admirable comedy was per⯑forming, with the higheſt reputation in Dublin, as well as in London, the author happened to be on a viſit at a Mr. Cottingham's, a gentleman of great reſpectability and fortune, at the town of Cavan, in the north of Ireland.

At this very juncture, a company of players happened to be performing there. The news of his arrival being ſpread abroad, it inſpired them with the idea of ſeizing the golden oppor⯑tunity, [188] and whilſt he remained in the country, of performing his favourite comedy, which, from his being ſo well known and on the ſpot, they judged would receive every ſupport and encou⯑ragement from his friends.

Full of this project, they ſet about ſtudying the parts, with the greateſt alacrity, and the moſt profound ſecrecy, and the poor author one even⯑ing had the unſpeakable mortification, without the leaſt notice, to find the comedy of the Weſt Indian, "written by R. Cumberland, Eſq" and a long puff about it's ſucceſs in London, and the two houſes in Dublin, announced for repreſenta⯑tion the next night.

This, though not very pleaſing he was not only obliged to ſubmit to, but was alſo forced to attend this very extraordinary exhibition.

About an hour before the time of beginning, a ſervant came to keep places for Mr. Cotting⯑ham, Mr. Cumberland, and a large party. This news ſtruck the company into the greateſt pa⯑nick. They had not an idea of his coming to ſee them, and, almoſt petrified with fear, that [189] ſingle circumſtance drove the little they did know, entirely out of their heads.

A little before the beginning, Mr. Cumber⯑land and his party came into the theatre. The appearance of it did not prepoſſeſs him much in its favour. It was a temporary building, as is uſual in ſuch caſes, erected in the town hall. The ſtage, raiſed two or three feet: the audi⯑ence part, a range of ſeats, divided by a thin partition, into pit and gallery.

In the front of the pit, was Mr. Cumberland ſeated; the houſe crowded, every expectation raiſed on high, and all eyes turned on the author, when the curtain drew up, and diſcovered the manager ſeated, for Stockwell, at a table, with a book of the play before him, to refreſh his memory in caſe of accident, and Stukely wait⯑ing; when, caſting his eyes on the author, it effectually finiſhed him.

Had not Mr. Cumberland been there, he might, in the theatrical phraſe, have buſtled through; that is, he might have known the pur⯑port of the part, and where the original language failed him, ſubſtituted his own, ſo that an au⯑dience, [190] unacquainted with the piece, could not eaſily perceive where he was at a loſs; but here, conſcious of his being deprived of that re⯑ſource, the little he did know his fear hindered him from recollecting; and, inſtead of ſeveral pages of deſcription, developing the plot of his marriage, and the birth of the hero of the piece, after a long pauſe, he ſaid, "Belcour is arrived."

Confounded at this unexpected ſpeech, Stuke⯑ly, after ſome heſitation, replied, ‘I believe he is Sir.’ Another long ſtand enſued, when on popped Mr. Barret, (well known in the Iriſh theatric world,) for Belcour!

Now this gentleman, though poſſeſſed of much merit in a peculiar line, and an admir⯑able figure for the Jew in the School for Scan⯑dal, was by no means calculated, in any reſpect, to convey the idea of a young, volatile, elegant, fiery, Weſt Indian.

At the appearance of Mr. Barret, for this pe⯑culiar favourite of the author, the whole houſe, in ſpite of their reſpect for the writer, burſt into an involuntary and loud laugh, which continued [191] for ſome minutes, and ſerved to increaſe the con⯑fuſion of the actors.

But Mr. Barre [...] was very perfect, and ſoon recovering himſelf, the ſcene went on with to⯑lerable compoſure, till the appearance of Major O'Flaherty, who, as the company was rather thin, was obliged to be doubled by the manager with Stockwell.

This new and unexpected ſtroke, produced another roar of applauſe, and entirely completed the confuſion and vexation of the poor author, who, unable to bear this cruel mangling of ſo excellent a comedy, would have withdrawn, but was prevented by his numerous friends, many of whom having ſeen it in London and Dublin, en⯑joyed the preſent repreſentation with the higheſt pleaſure. The more laughable and ludicrous the performance was, the more acceptable it was to them, and the more they enjoyed it.

Not ſo with Mr. Cumberland; his feelings were too much alive to be able to bear it with pati⯑ence, and heartily glad was he when the con⯑cluſion of the play gave him leave to depart.

CHAP. XIV.

BEFORE the Weſt Indian had run it's career in Dublin, Mr. Dawſon exhibited another ſtroke of generalſhip, which deſerved to be remem⯑bered. Mr. Moſſop for above two years paſt, had been preparing the town for the reception of his dramatic romance of Cymon, which at [193] that time was very popular in London. The ſcenes were painted, the dreſſes made, and the moſt ſplendid decorations promiſed.

As the time approached for bringing it for⯑ward, each newſpaper was filled with para⯑graphs, and encomiums, on the excellence of the piece, the beauty of the muſic, and the ca⯑pital manner in which it was to be exhibited. At length, the day was appointed for the perfor⯑mance of this long expected and much fam⯑ed romance, which was to be on Friday March 8th.

On the Saturday night preceding this Friday, Mr. Dawſon, after the play was over at Capel-ſtreet theatre, ſtept forward and gave out for the Monday evening following, the celebrated dra⯑matic romance of Cymon, with all the original muſic, and entire new ſcenery, machinery, dreſ⯑ſes, and decorations, and a grand proceſſion of the knights of the different orders of chivalry.

The audience were aſtoniſhed, and his own performers could ſcarce credit their ſenſes. But he ſoon convinced them he was in earneſt, for ſo complete, ſecret, and maſterly were his [194] movements, that not a ſingle article was want⯑ing in the various requiſites.

Without diſcloſing his deſign, he had got a moſt capital ſet of ſcenes painted, and had pro⯑vided the different dreſſes, which were made by Lupino, tailor to the Opera Houſe, London. The muſic he had got practiced, and the princi⯑pal parts ſtudied, under the pretence that, after their opponents had played it a few nights as a firſt piece, he then would bring it out as a farce. In ſhort, a deſign ſo well concerted, and which required ſo much forethought and addreſs, would have done honour to the firſt general of the age.

On the Monday evening following, March 4th, Cymon was exhibited at Capel-ſtreet theatre, with a correctneſs and brilliancy which were highly creditable. The ſcenery was beau⯑tiful, and well adapted; ſhe dreſſes pictureſque and according to the original models, and the proceſſion remarkably ſplendid and nouvelle. All the performers, without exception, walked in different characters, and upwards of forty ſupernumeries filled up the train, in proper habits.

[195]The repreſentation of this charming romance, as might be expected, afforded infinite ſatisfac⯑tion, and when given out again, was ſanctioned by reiterated plaudits.

This was a thunderſtroke to the other party, who beheld the hope of their long expected harveſt ſo ſuddenly blaſted and deſtroyed. It was performed four nights before they were able to bring it out at Smock-alley, and even then, though it was got up with great care and attention, yet as firſt impreſſions are not eaſily eraſed, the public were prepoſſeſſed in favour of Capel-ſtreet, and though it was often played during the ſeaſon, yet it never anſwered the expence, and was afterwards reduced to a farce.

In theſe conteſted pieces I judge that perhaps the reader may be intereſted more than in the common routine of buſineſs. I therefore ge⯑nerally ſubjoin the ſupport each received, at their reſpective theatres.

In compliance with this rule, the following is the drama of Cymon, as then repreſented.

[196]

The Romp, which has been already mentioned, was alſo about this time exhibited in Capel-ſtreet, in which Miſs Aſhmore acquired great and de⯑ſerved reputation. Theſe pieces, with Mr. Macklin's Love a la Mode, and Trueborn Scotchman, brought them through the remain⯑der of the ſeaſon. The Weſt Indian run up⯑wards of eighteen nights, Cymon nine, the Romp ſix or ſeven, the Trueborn Scotchman ſeven, and the ſucceſs which attended them [197] ſeemed to give the finiſhing ſtroke to Mr. Moſ⯑ſop's management.

Diſappointed in his hopes, harraſſed by in⯑numerable vexations, and oppreſſed with debts he had not the leaſt proſpect of being able to diſcharge, his ſpirits ſunk under the preſſure of ſuch accumulated misfortunes, and a ſevere ill⯑neſs prevented his appearing on the ſtage.

Thus unfortunately circumſtanced, he was obliged to ſolicit the generoſity of the public he had ſo many times delighted: and, in this diſ⯑treſſed ſituation, announced a benefit for himſelf, in which he was unable to perform, and in his advertiſement "humbly hoped his indiſpoſi⯑tion would not prevent the attendance of his friends."

The benefit was fixed for the 17th of April, 1771, when the comedy of Rule a Wife, was acted. The Copper Captain, Mr. Ryder; Leon, Mr. Heaphy; Margaritta, Miſs Manſell, and Eſtifania, Mrs. Brown, late Miſs Slack; with Cymon now reduced to an afterpiece.

[198]Though the houſe was very much crowded, yet the receipts afforded but a temporary relief. His affairs were ſo deſperate that it was next to an impoſſibility for any immediate efforts to retrieve them.

Much to the honour of the new managers, they would not attempt to oppreſs a fallen ene⯑my, and therefore did not oppoſe the benefit, by playing on that night. The greatneſs of their ſucceſs enlarged their hopes, and Mr. Moſſop being obliged to relinquiſh Crow-ſtreet theatre, they took poſſeſſion, and removed thither in the month of March, whither the favour of the town attended them with unabating warmth. A few benefits were taken at Smock-alley by the moſt capital performers, and they cloſed early in May.

Proſperity did not make the new managers of Crow-ſtreet ſlacken their endeavours. On the contrary, the three kingdoms were explored for novelty. They brought over that very excellent comedian and facetious companion Mr. Iſaac Sparks, who after a five years abſence made his appearance in John Moody.

[199]In May, Mr. and Mrs. Jackſon, from the theatre-royal Edinburgh, arrived. The public were already well acquainted with the merit of Mrs. Jackſon, late Miſs Browne, daughter of Mr. Sowdon. She had been abſent near five years, and appeared again, for the firſt time, in Polly, a character which her figure and voice pecu⯑liarly ſuited. Mr. Jackſon's debut was in Oroo⯑noko.

They were favourites with the town, and played a variety of parts with much reputa⯑tion.

But the moſt acceptable preſent to the public was Mr. Barry, who now diveſted of his royal honours, though not of his powers to charm, once more moved in a private ſtation.

He was accompanied by Mrs. Dancer, now Mrs. Barry, who on the 13th of June, played Roſalind, a part ſhe was peculiarly happy in; Orlando by Mr. Lewis, Jaques by Mr. Sowdon who was of his party in this expedition.

[200]A few nights after, Mr. Barry appeared in Jaffier, when his return was welcomed with the moſt unfeigned applauſe.

The remainder of the ſeaſon was chiefly de⯑voted to the tragic muſe; Mr. and Mrs. Barry repeated moſt of their favourite characters, as Othello and Deſdemona, Lear and Cordelia, Lord and Lady Townly, Rhadamiſtus and Zenobia, Alexander and Statira, Lord and Lady Saliſbury, Varanes and Athenais, Marc Anthony and Cleopatra, Romeo and Juliet, which cloſed the ſeaſon, Auguſt the third.

Early in June Miſs Young returned to Eng⯑land, highly pleaſed with her trip, in which ſhe acquired a great portion of the two great eſſen⯑tials of theatric life, fame and profit. So ſtrong and favourable an impreſſion did ſhe leave on the Iriſh audience, that time has never ſince obli⯑terated it, and every viſit which ſhe afterwards made to this kingdom, ſerved to ſtrengthen a prepoſſeſſion founded on merit, and aided by private character.

[201]A few nights previous to the concluſion, Mr. Iſaac Sparks introduced his ſon, Mr. Richard Sparks, to the public in the part of Lord Townly. His youth and figure pleaſed much, and a laudable partiality for the father made the town entertain hopes he would prove a valuable ac⯑quiſition to the drama.

CHAP. XV.

AS ſoon as the theatre cloſed, a ſmall party took poſſeſſion of Ranelagh gardens, where they exhibited Engliſh Burletta's, two or three times a week for the remainder of the ſeaſon.

This party conſiſted principally of Miſs Aſh⯑more, Miſs Hawtry, Mr. Ryder, Mr. Glenville, and Mr. Atkins. The Epheſian Matron was one of their capital exhibitions.

[203]The heavy hand of dire misfortune ſtill purſued, with unrelenting fury, the unhappy Mr. Moſſop. Recovered ſomewhat in his health, he embarked for England, and in London, endeavoured to procure reinforcements for the enſuing winter.

Hither his unrelenting creditors purſued him, and a Mr. Graham, one of his own performers, laid on the firſt arreſt for non-payment of ſalary due to him. This arreſt was ſpeedily followed by numbers of others, and he was confined in the King's Bench, without the leaſt proſpect of relief.

On every feeling mind his misfortunes made the deepeſt impreſſion. The public ſeemed much intereſted in his fate, and lamented that a man of ſuch genius ſhould be ſo involved, from a train of untoward circumſtances, in which his prudence could not fairly be im⯑peached.

Another benefit for him in Smock-alley was fixed on by his friends, previous to the com⯑mencement of the ſeaſon, when an occaſional prologue was ſpoken by Mr Ryder, who did every thing on [...] friendſhip could [204] ſuggeſt, or the nature of his ſituation would ad⯑mit of.

The following advertiſement appeared, pre⯑paratory to the benefit.

"The friends of Mr. Moſſop make no doubt, that the lovers of the drama in particular, and the nobility and gentry of this kingdom in ge⯑neral, ever eminent for their encouragement of merit, will exert themſelves on the above oc⯑caſion, as Mr. Moſſop's caſe is peculiarly ſevere, having at great trouble and vaſt expence, during the ſummer, made very conſiderable theatrical engagements in England for the entertainment of this city, when, on the very eve of his return to this kingdom, to reap the harveſt of his la⯑bours, he met with the hard hand of oppreſſion, and that chiefly from people of his own pro⯑feſſion."

The play was the Orphan, and never was there a more crowded houſe. The amount how⯑ever, was ſtill inadequate to the end propoſed, and, as there was a great overflow, the play was repeated two nights after, with this addition to the bills, "'tis humbly hoped the nobility and [205] gentry will ſtill exert themſelves, and bring to his native country, one of the beſt theatrical per⯑formers now living."

But ineffectual were theſe well-meant efforts of his friends. His native country never beheld him more! So great and various were his debts, that after a ſevere confinement, he was at laſt obliged to take the benefit of an act of bank⯑ruptcy, before he could regain his liberty.

Amidſt theſe diſcouraging circumſtances, Smock-alley theatre ſtill kept open, though with the utmoſt difficulty. Mr. Ryder had now an Herculean weight upon his ſhoulders. A ſinking theatre almoſt up-held, it might be ſaid, by the ſingle ſtrength of his abilities.

It is true Mr. and Mrs. Jackſon in this exi⯑gence were of the higheſt ſervice to the cauſe, eſpecially in tragedy. They performed Romeo and Juliet, Othello and Deſdemona, Tancred and Sigiſmunda, and a variety of other characters.

Mrs. Ryder alſo came forward at this period, and [...] Clementina, Con⯑ [...]tance [...] Macbeth, &c.

[206]The induſtry of Mr. Dawſon, and his co⯑partners, ſtill ſeemed to keep pace with their ſucceſs. Though detained by various matters till it was late, he in October ſet off for London, after having given the neceſſary directions for repairing and new decorating the Crow-ſtreet theatre.

The principal object of his journey was to cloſe an engagement with Mr. Macklin, with whom he had always lived on terms of ſtrict friend⯑ſhip.

The theatre opened on the 11th of November, 1771, with the Provoked Huſband, and Devil to Pay. Lord Townly, Mr. Sparks jun.! Manly, Mr. Heaphy; Count Baffett, Mr. Mahon; Squire Richard, Mr. O'Keefe; Sir Francis Wronghead, Mr. Macklin; Miſs Jenny, Miſs Aſhmore; Lady Grace, Miſs Hearne; Lady Wronghead, Mrs. Heaphy, and Lady Townly, Mrs. Lee, late Mrs. Jefferies of Drury-lane, her firſt appear⯑ance; with the Jobſon of Mr. Sparks, and Nell of Miſs Aſhmore.

[207]Mr. Sheridan was alſo engaged for ſix nights, and played his Cato, Hamlet, Richard, Lear, &c. Much about this time, Mr. Vandermere, a comedian of great merit, made his firſt ap⯑pearance on the Crow-ſtreet ſtage, in Lord Ogleby, a character he ſuſtained with much pro⯑priety, and for many years after continued a great and deſerving favourite with the town.

It would be injuſtice, were I not in this place to notice the riſing fame, popularity, and ſu⯑perior abilities of Mr. Lewis, who though ſo very young, gave every promiſe of attaining that dramatic excellence he has ſince ſo uniformly diſplayed. At this time he ſupported a very extenſive and varied line of buſineſs in tragedy and comedy with great ability.

Miſs Aſhmore was alſo at this period a pecu⯑liar favourite with the public. Each day ad⯑ded to her reputation. Had ſhe accepted of ſeveral offers made her from the London theatre, at that time, there is every probability that, in ſo correct and improving a ſchool, ſhe might have been claſſed amongſt the firſt actreſſes on the Britiſh ſtage.

[208]In the following ſpring ſhe married Mr. Richard Sparks, ſon of the celebrated come⯑dian of that name.

With ſo excellent a company, it ſhould ſeem an eaſy taſk to preſerve the popularity they had already gained, and yet, ſo little to be depend⯑ed upon is public favour, notwithſtanding every exertion and attention, the audiences began to decline, and the receipts of the theatre experi⯑enced a viſible decreaſe.

As merit is not confined to thoſe of mature years, it is but juſtice to mention a minor com⯑pany of actors, who at this time attracted the notice of the town.

Theſe were a number of young gentlemen, belonging to Mr. Whyte's grammar ſchool in Grafton-ſtreet, a gentleman to whom the pub⯑lic are highly indebted, for his judicious mode of educating youth, and whoſe numerous pupils have ſince ornamented every liberal, and exalted ſtation in life.

Under the tuition of ſo excellent a preceptor, the young gentlemen above mentioned, exhibited [209] the tragedy of Cato, during the Chriſtmaſs re⯑ceſs, at the little theatre in Capel-ſtreet, with a propriety and ſtrength of genius, that would have reflected credit on the firſt actors on the ſtage.

So uncommonly indeed, did thoſe junior per⯑formers diſtinguiſh themſelves, that, at the re⯑queſt of a great number of the nobility and gentry who were preſent, they repeated Cato a few nights after, for the relief of the confined debtors in the ſeveral marſhalſeas: the Marquis of Kildare, the Earl of Bellamont, and Lord Dunluce, condeſcending to act as truſtees on this occaſion.

Before I quit the preſent ſubject, juſtice obliges me to remark, that many are the obliga⯑tions which the community at large owe to the labours of Mr. Whyte.

Intimately connected with Mr. Sheridan, thoroughly acquainted with his principles and mode of communicating his ideas on the ad⯑vancement and perfection of the Engliſh tongue, he [...] that time has, I believe [...] underſtand⯑ing, [210] the various beauties, and critically reading, writing, and ſpeaking the language, than any other profeſſional gentleman in the kingdom.

Poſſeſſed of claſſical knowledge, and refined taſte, the youth committed to his care amply reaped from his inſtruction, every advantage which eminent abilities, and judicious obſerva⯑tion give, and he has the honour of ſaying, that many of the beſt orators in our ſenate, and great⯑eſt ornaments of the pulpit and bar, have re⯑ceived the early part of their education under his government.

CHAP. XVI.

THE heavy preſſure of adverſity, ſtill with increaſing rigour, purſued the ill-fated Mr. Moſſop.

On the 28th of January, 1772, we find the following intereſting intelligence reſpecting him in a London paper.

The latter part of the paragraph never took place. Various and inſurmountable difficulties prevented his ever again diſplaying to the public, thoſe abilities that merited a better fate.

Mean time his numerous friends in this king⯑dom, were far from deſerting his cauſe. Ap⯑plication was once more made to the public for another benefit. Mrs. Fitzhenry kindly offered her ſervices on the occaſion, and played Zaphira in Barbaroſſa, March the 23d.

[213]The emoluments ariſing from this benefit, though conſiderable, proved a temporary relief, but were by no means adequate to the humane end propoſed, and he ſtill was condemn⯑ed to ſtruggle with the rude gripe of adver⯑ſity.

The public now were, with much reaſon, heartily tired of the unceaſing contentions ex⯑cited by the different parties, which produced no one good effect, and of whoſe encreaſing evils they ſaw no end: many therefore of the moſt diſpaſſionate and unprejudiced united in the idea of applying to parliament for eſtabliſhing one theatre only. A committee was formed, and inſtructions given for preparing a petition, and an advertiſement was publiſhed, inviting all ſuch as were deſirous of co-operating in ſo uſe⯑ful and ſalutary a ſcheme to meet at Bardin's hotel, College-green.

Mr. Sheridan alſo in a pamphlet publiſhed at that time, which contained the purport of a ſpeech delivered to a number of auditors at the Muſic-hall in Fiſhamble-ſtreet, in a moſt judici⯑ous and maſterly manner, evinced the neceſſity of adopting ſuch a meaſure [...] the only [...] of [214] reſtoring the ſtage to a proper degree of credit and reſpectability. The meeting, however, was attended with very little effect, a contrariety of opinions which could not be reconciled, pre⯑vented the embracing ſo ſalutary a ſcheme.

The eſtabliſhed reputation which Mr. Cum⯑berland's Weſt Indian had obtained, rendered his next comedy of the Brothers, a deſirable object for both parties, and another ſcene of rivalſhip was again acted over by the contending powers. Each ſtrove to bring it out firſt, but on this occaſion, Smock-alley produced it one day before Crow-ſtreet.

As it did not poſſeſs the intrinſic merit of the former, ſo alſo was it's ſucceſs proportionably inferior: it was played ten or twelve nights at each, without any reaſon for either to boaſt of it's reception, or attraction. Every exertion ſeems, at this time, to have been made by both ma⯑nagers with very little effect. New and revived pieces, pantomimes in every ſhape and form, and all the various ſources of dramatic entertain⯑ment were explored and exhauſted to little pur⯑poſe. Novelty had loſt it's charms, variety it's power; even the Ruſſian dogs in a panto⯑mime, [215] and the Elephant introduced at Smock-alley in the coronation in Henry the 8th, on which "the champion made his public entry in armour of burniſhed gold," could not draw.

At this unfavourable period was Mr. Murphy's tragedy of the Grecian Daughter, then in the very zenith of its reputation, introduced on the Iriſh ſtage. The uncommon ſucceſs which at⯑tended it's exhibition in London, had fully eſtab⯑liſhed it's character in the dramatic world, and excited an earneſt deſire in the public to be⯑hold a piece, of which fame ſpoke ſo highly.

According to cuſtom, it was announced at both theatres, long before there was any poſ⯑ſibility of bringing it forward; it was advertiſed even to the morning of the very day on which it was to have been performed at Crow-ſtreet for the benefit of Mr. Sparks, jun. when in the evening there was an apology made, of the ſud⯑den illneſs of Mrs. Sparks, late Miſs Aſhmore, who was to have played Euphraſia. The play was conſequently deferred.

The next attempt was at Smock-alley, when after ſeveral [...] performed, May [216] 14th, for the benefit of Mrs. Ryder, who was the original Grecian Daughter in this kingdom. In about a fortnight after, Mr. Dawſon produced it for his benefit when Mrs. Sparks gave an im⯑preſſion of this popular heroine, with great truth of colouring and genuine touches of na⯑ture.

Brought out under ſuch diſadvantages, and ſo far advanced in the ſeaſon, it could not be expected to do much. Hereafter with Mr. Barry and Mrs. Dancer, we ſhall find it drawing large ſums to the theatrical treaſury.

Much about this time, Mr. Wilkinſon, al⯑ways attached to this kingdom, which upon every occaſion he celebrates for it [...]s hoſpitality, and fond of a theatric excurſion, quitted for a ſhort ſpace, his regal domains of York and Hull, once more to viſit Dublin. Inclination led him to ſupport the intereſts of Crow-ſtreet, induced perhaps by Mr. Dawſon, who ſome time before in a tour through England, had ſpent a few days at York, and probably laid the founda⯑tion of the preſent engagement.

[217]Captain Ironſides in the Brothers, and Major Sturgeon in the Mayor of Garrett, both good copies of the originals, were the characters in which he choſe to renew his acquaintance with the Iriſh audience, who received him with that cordiality and warmth his merit deſerved.

The very unpleaſant ſituation of the ſtage at this time, rendered Mr. Wilkinſon's ſtay very ſhort in Dublin. He remained about a month, during which he played Colonel Oldboy, The Upholſterer, Lord Ogleby, Shift, Smirk, and Mrs. Cole in the Minor, Cadwallader in the Author, the Commiſſary, his tragedy A-la-Mode, Colin Mc. Cleod in the Faſhionable Lover, and a few other of his favourites.

The remaining occurrences of the ſeaſon were but few. Mr. Macklin finiſhed his engagement with Sir Paul Plyant and Love a-la-Mode, and returned to London, taking with him his pupil, Miſs Leeſon, a young lady whom he firſt intro⯑duced on the ſtage at Crow-ſtreet theatre, early the preceding winter in Lady Townly, with much expectation, and who afterwards ap⯑peared not only in all his pieces, but ſeveral other principal parts in comedy with ſucceſs.

[218]This lady who ſeveral times ſince has viſited Ireland, is at preſent Mrs. Lewis of Covent-garden theatre, whoſe many virtues, and amiable private character, have juſtly endeared her to a numerous and reſpectable circle of valuable friends.

CHAP. XVII.

TOWARDS the cloſe of the laſt campaign, a variety of circumſtances indicated another theatric revolution, which the ſummer receſs forwarded, and brought to a concluſion. On the ruins of the preſent dramatic ſtate of Smock-alley, [220] a new empire aroſe that flouriſhed for ſeveral years, and in the beginning promiſed a perma⯑nency which it never attained. Mr. Ryder had long been juſtly conſidered as the animating ſpirit that gave life and motion to the theatre he upheld; it needed therefore, but little prepara⯑tion to diſſolve the old government, now too feeble to act with vigour, and form a new com⯑munity, which by having ſo favourite an actor for their manager, gave every reaſonable hope of ſucceſs.

Spurred on by ambition, unappalled by the numerous train of evils which had been recently experienced, and which are in ſome meaſure, the general attendants on dramatic dominion, and not in the leaſt intimidated by the perils by which his predeceſſors periſhed, Mr. Ryder aſ⯑ſumed the reins of theatric power at Smock-alley, and made every neceſſary arrangment his judgment and prudence could dictate.

It muſt be confeſſed, the times held forth many alluring inducements to Mr. Ryder to un⯑dertake ſo arduous and difficult a taſk, as that of directing an Iriſh theatre. The reduced, diſtreſt ſituation of the ſtage at Smock-alley, which [221] could not be ſupported under its preſent difficul⯑ties; his being in the prime of life, conſcious of being capable of ſuſtaining by the ſtrength of his own abilities, a varied and extenſive line of buſineſs; a great favourite with the public, by whom he was urged to the preſent undertak⯑ing; a tolerable knowledge of the theatric world, which his late practice in that capacity in the country had improved and extended; theſe mo⯑tives were more than ſufficient to excite in him an ardent deſire to commence manager. Hope pictured to his warm imagination, a long ſuc⯑ceſſion of viſionary bliſs, which he ſeldom taſted, and enjoyments which fall to the lot of few managers.

The ſummer vacation afforded excellent time for preparation. The theatre underwent a tho⯑rough repair, and received every embelliſhment it could admit of: a tolerable wardrobe was pro⯑vided, a compact company ſelected, light and not expenſive; capable of going through a good deal of buſineſs, and which received a powerful acceſſion in Mrs. Sparks, who then ſtood very high in public opinion, and who was prevailed on to quit the adverſe party.

[222]Every thing being in readineſs, as far as cir⯑cumſtances would admit, Mr. Ryder took the lead long before his opponent could draw his forces together, and opened ſo early as Monday September, 1772, with an occaſional prologue, after which was performed the ſame comedy that Meſſrs. Barry and Woodward opened with

• Trappanti Mr. Ryder, his firſt appearance in that character.
• Don Philip Mr. Sparks, jun.
• Octavio Mr. Wilmot,
• And Don Manuel Mr. Jſaac Sparks,
• Flora Mrs. Durravan,
• Roſara Mrs. Barry,
• Viletta Mrs. Brown,
• And Hypolita Mrs. Sparks, jun. be⯑ing her firſt appearance in that character.

• [223] Coupee Mr. Ryder,
• Bliſter Mr. Iſaac Sparks,
• Quaver Mr. Wilmot,
• And Miſs Lucy Mrs. Sparks.

"☞ The public may depend that the curtain will riſe at half paſt ſix preciſely.

"N. B. The houſe is fitted up and repaired in the moſt elegant manner, and will be lighted with wax, and as Mr. Ryder has been at the expence of covering the benches of the pit with green cloth, he humbly hopes no perſon will ſtand on them. Ladies will be admitted into the pit as in the London theatres.

"The ſcenery and decorations are entirely new, painted by Meſſrs. Jolly and Bamford."

From the above ſtatement it may be ſeen, that the firſt night promiſed but little; yet novelty, and that generoſity which generally actuates the public mind on thoſe occaſions, rendered the performance highly acceptable; great hopes were entertained of ſucceſs, which were after⯑wards [224] amply verified, and a ſucceſſion of crowded houſes, gave a ſtrength and ſtability to the new undertaking which were of the utmoſt ſervice.

The following liſt will convey ſome idea of Smock-alley company at the time of opening.

• Mr. Ryder,
• Mr. Iſaac Sparks,
• Mr. Sparks, jun.
• Mr. Wilder,
• Mr. Dodd,
• Mr. Wilmot,
• Mr. Waker,
• Mr. Durravan,
• Mr. Owens,
• Mr. Stewart,
• Mr. Kane,
• Mr. Maher,
• Mr. Hallion,
• Mr. Brown,
• Mr. Read,
• Mr. Duffy,
• Mr. Neill,
• Mr. Garland,
• Mr. Logan.

• Mrs. Sparks,
• Mrs. Brown,
• Mrs. Hoſkins,
• Mrs. Barry, &c.

To theſe were ſhortly after added Mr. and Mrs. Jackſon, Mr. T. Jackſon a comedian of ſome merit from Bath, Mr. Parker from Edin⯑burgh, who made his firſt appearance in Ben, in Love for Love, and Major Sturgeon; Mr. Cart⯑wright [225] on the muſical glaſſes, and ſeveral others whom Mr. Ryder had engaged to join his ſtandard.

For upwards of ſix weeks, Mr. Ryder had the town entirely to himſelf, an opportunity which he improved to the utmoſt. During this time Mr. Dawſon was far from remaining an idle ſpectator. He foreſaw the impending ſtorm, and though he was not able to avert its fall, yet he uſed his utmoſt endeavour to divert and break its force. Notwithſtanding every effort, ſuch were the difficulties he had to encounter, that he found it impoſſible to open Crow-ſtreet theatre before Monday, November 9th, when the Weſt Indian and Midas were performed with not the moſt pleaſing proſpect of ſucceſs.

However, what could be accompliſhed in ſuch a ſituation, he did. An engagement with Mr. Macklin and Miſs Leeſon was announced, and early in the ſeaſon he brought forward Mr. and Mrs. King, from the theatre-royal York, where they had reſided ſeveral years, much eſteemed, and great favourites. Fame had ſpoke highly of Mrs. King's theatric abilities. In the York circuit ſhe was eſteemed equal to [226] any actreſs on the ſtage, and from this extraor⯑dinary and general character, Mr. Dawſon con⯑ceived, that in his preſent exigence, he had made a very valuable acquiſition.

Mrs. King certainly poſſeſſed many requiſites for the ſtage. Nature had beſtowed on her a tall, commanding, elegant figure, with a face capable of exhibiting every diſcrimination of the various paſſions of the drama; to theſe ſhe added all the poliſhed grace of action which a mind well informed could ſuggeſt. Her voice and manner were in a great meaſure accordant to her figure, ſtrong and forcible, but devoid of thoſe delicate touches of nature, which Mrs. Barry had accuſtomed the Iriſh audience to.

Her choice of a character was judicious; Euphraſia in the Grecian Daughter, afforded her various opportunities of diſplaying her figure and powers to advantage. From her great re⯑putation, much was expected; and though ſhe did not entirely anſwer that expectation, yet ſhe proved a moſt valuable ſupport both in tragedy and comedy to the cauſe ſhe eſpouſed, during the remainder of the ſeaſon. Mandane, Roſa⯑lind, [227] Lady Townly, Viola, Sir Harry Wildair, Beatrice, &c. were amongſt the many charac⯑ters ſhe performed.

Mr. King's abilities, which were much more confined, lay chiefly in the line in which Mr. Lewis was ſo far ſuperior, that few opportuni⯑ties occurred of his performing. The enſuing ſummer they compoſed part of Mr. Heaphy's company at Cork, after which they returned to York, where Mr. Wilkinſon received them with much pleaſure. For ſeveral years paſt they have been ſettled off the ſtage at Lynn, in Norfolk, with much credit and reſpectability.

Mr. Macklin and Miſs Leeſon, followed Mrs. King, but though in great eſtimation with the town, yet was their attraction over, and, as is often the caſe in theatrical affairs, merit was obliged to give place to novelty; however, the arrival of the new lord lieutenant, the Earl of Harcourt, inſpired them with freſh hopes, which in ſome meaſure were gratified. At the commence⯑ment of his vice regency, he uſed every means to render himſelf popular, and amongſt others, did not neglect that, of courting it at the theatre, which he viſited once a week for ſome time.

[228]But to return to Mr. Ryder, the tide of ſuc⯑ceſs which continued to follow him with unabated force from his opening the theatre, received an increaſe from the return of Mr. Wilks the ori⯑ginal Jeſſamy, who, after an abſence of three years came forward once more in his favourite character, and gave new faſhion to this po⯑pular opera.

Shortly after, the Iriſh Widow, then perform⯑ing in London with much applauſe, was produc⯑ed at both theatres on the ſame night, but with far different ſucceſs. Mrs. Sparks gave ſuch a captivating, elegant, finiſhed portrait of the Widow Brady, as charmed the public, bore down all oppoſition, and added much to her riſing fame; at Crow-ſtreet it was only performed a few nights, at Smock-alley it was regularly pre⯑ſented every Wedneſday, for upwards of eigh⯑teen weeks to crowded houſes.

In this conteſt, tragedy had its ſhare of pub⯑lic attention at Smock-alley, where it was reſ⯑pectably ſupported by Mr. Sheridan, Mr. Jack⯑ſon, Mr. Ryder, (the moſt general actor in tragedy, comedy, opera, and farce, living) Mrs. Fitzhenry, Mrs. Jackſon, and Mrs. Sparks. [229] The favours he enjoyed, ſeemed to quicken Mr. Ryder's exertions, and ſuch a number of new and revived pieces were brought forward in ra⯑pid ſucceſſion, as evinced his activity and in⯑duſtry.

A new comic opera called the Mileſian, writ⯑ten by a Mr. Mc. Dermot, formerly a breeches-maker; (Jones was a bricklayer) but at preſent, ſurveyor of Dunleary, was at this time pro⯑duced, but though it was well acted, yet partly from the author's being unpopular, it was obliged to be laid aſide after the fourth or fifth night.

A new comedy called the South Briton, ſaid to be the production of a lady, followed, but was not much more favourably received.

Very late in the ſeaſon, the latter end of April, Dr. Goldſmith's comedy of She Stoops to Con⯑quer, was brought out at both theatres; at Crow-ſtreet on a Monday, and at Smock-alley the following evening, but with no great ſucceſs at either.

At this period a gentleman made his firſt eſſay on the ſtage at Smock-alley, who deſerves [230] to be particularly remembered. This was no other than Mr. Pratt, then known by the name of Courtney Melmoth, whoſe literary fame, and various excellent writings will be remembered as long as a friend to humanity remains. The part he choſe for his appearance was Marc Anthony in All for Love, preceded by a pro⯑logue of his writing, ſpoken by Mr. Ryder, pre⯑paratory to his reception, which was as flattering as he could wiſh.

In a few nights after he repeated Marc An⯑tony, and in the remaining part of the ſeaſon, played Publius Horatius in the Roman Father, Luſignan in Zara, Lord Saliſbury, Jaffier, and a few other characters. His ſucceſs on the ſtage, though by no means equal to that in the republic of letters, yet was reſpectable. His figure was tall and genteel, his deportment eaſy, from his education and knowledge he could not but be a ſenſible ſpeaker; yet he wanted powers and force.

At his benefit, which was the Orphan, in which he played Caſtalio, he introduced Mrs. Melmoth, then in the bloom of life, a beautiful figure, with a remarkably ſweet voice, to public [231] notice In Monimia, a part in which ſhe ſuc⯑ceeded ſo well, as to give every hope ſhe would prove a valuable acquiſition to the ſtage. Nor was the public judgment diſappointed. Mrs. Melmoth's abilities are capable of commanding a reſpectable ſituation in any theatre.

When the ſeaſon cloſed Mr. Melmoth led a company to Drogheda, where he built a theatre capable of containing about forty pounds when much crowded; it was opened with the Mer⯑chant of Venice, in which he played Shylock, and Mrs. Melmoth, Portia. After an unſuc⯑ceſsful campaign of upwards of three months, he was obliged to relinquiſh management, and with it all idea of the ſtage. This done he re⯑ſumed avocations more ſuitable to his genius, and from time to time produced a variety of pieces that did honour to his head and heart.

To fill up the meaſure of ſucceſs which marked this ſeaſon, we find, what appears re⯑markably ſingular. That though Crow-ſtreet was the theatre-royal, and conſequently entitled to every mark of vice-regal favour, yet the lord lieutenant ſeveral times honoured it's oppo⯑nent with his preſence, particularly to Mr. [232] Ryder's Sir John Reſtleſs, Mrs. Sparks's Iriſh Widow, and Mr. Sheridan's Hamlet.

In the month of May, Miſs Catley, who had been abſent three years, returned to Smock-alley, with, if poſſible, encreaſed attraction, and with "her native wood notes wild," once more charmed an admiring public. She played Ro⯑ſetta three times, Polly once, then took a be⯑nefit, and finiſhed with Ephroſine in Comus.

This very long and ſucceſsful campaign at Smock-alley, cloſed with an eclat equal to its commencement. Mr. and Mrs. Barry, in com⯑pany with Mr. Francis Aickin from Drury-lane, viſited Dublin in the month of June.

Owing to ſome diſpute with Mr. Dawſon, who was ſtill in poſſeſſion of the theatre-royal, and who according to every information, was unfairly, or rather cruelly treated in the matter, they performed a few nights at Mr. Ryder's theatre: but upon Mr. Dawſon's relinquiſhing Crow-ſtreet, they removed thither, where they finiſhed the ſeaſon about the latter end of July, with much advantage to themſelves and emolu⯑ment to the manager.

CHAP. XVIII.

BEFORE the commencement of the next ſeaſon, the Iriſh ſtage was deprived of one of its greateſt ornaments; Mr. Lewis, whoſe attach⯑ment to Mr. Dawſon had hitherto prevented his looking forward to that ſituation which his [234] merit ſo highly entitled him to, finding at length, that he was not likely to profit any longer by his aſſiſtance, liſtened to propoſals, and accepted of terms from Covent-garden, where he made his firſt appearance in the character of Belcour, in the Weſt Indian, on Monday, October 15th, 1773.

His ſucceſs may be eſtimated by the honour⯑able rank he has ſince ſuſtained in the drama, which certainly places him amongſt the firſt and moſt finiſhed comedians of the age. The fol⯑lowing critique on his performance that night which appeared the next day in one of the Lon⯑don papers, is written with ſo judicious and diſcriminating a taſte, as to render it worthy of inſertion. It was as follows:

"Laſt night was performed, at the theatre-royal, Covent-garden, the comedy of the Weſt Indian, Belcour by Mr. Lewis from Dublin, being his firſt appearance on this ſtage."

"On his firſt entrance, the agreeableneſs of his figure, and the vivacity of his manner, obtained for him that applauſe, which an Engliſh audi⯑ence is ever ready to beſtow on the efforts of [235] genius. Animated, therefore, by this reception, it took off in a great meaſure, that embarraſſ⯑ment which too generally clogs the powers of firſt appearances, and left us more at liberty to examine his pretenſions to public favour."

"His perſon we may pronounce to be a good ſtage figure, rather above the middle ſize, his voice clear, articulate, and commanding, his de⯑portment graceful and eaſy. As the part of Belcour demands great vivacity and ſpirit, Mr. Lewis filled the whole of it with propriety; judiciouſly ſteering between the pertneſs of the coxcomb, and the dapper manners of low comedy; ſo that on the whole, we may venture to congratulate the town upon the acquiſition of an actor, who ſeems to be ſo able a ſucceſ⯑ſor to Mr. O'Brien in the walk of genteel comedy."

I ſhall for the preſent, take my leave of this gentleman with the following obſervation. That as excellence of private character cannot be any diſadvantage to eminence in public, ſo does Mr. Lewis enjoy, as much as moſt men living, the happineſs that ariſes from being univerſally eſteemed; and ſuch has been the peculiar recti⯑tude [236] of his conduct, that he has for years filled one of the moſt difficult ſtations in life to ſup⯑port with credit, and has conducted himſelf with ſo much good ſenſe and propriety, as to defy malice to point out a blemiſh.

To return to my ſubject—Mr. Ryder's proſ⯑pects at this time, it muſt be confeſſed, were brilliant, and ſuch as might juſtify the moſt ſan⯑guine expectations. The ill ſucceſs of his com⯑petitor and his being, though unjuſtly, deprived of Crow-ſtreet theatre, rendered him, at leaſt in Mr. Ryder's opinion, no very formidable rival. Accordingly, after a few neceſſary arrangements, he opened Smock-alley theatre on the 27th of September, with She Stoops to Conquer, and the Miller of Mansfield.

The favour of the town, which ſo eminently diſtinguiſhed his former ſeaſon, he continued to enjoy with undiminiſhed force, and the foſtering hand of public patronage liberally rewarded his endeavours. She Stoops to Conquer, which amongſt the benefits of laſt year, had not a fair chance, was brought out with great care, pleaſ⯑ed much, and was generally played once a week; Lionel and the Iriſh Widow continued ſtill to [237] maintain their faſhion, and were played together every Wedneſday for ſome time.

Early in the ſeaſon, Mr. and Mrs. Miel from the theatre-royal Norwich, made their firſt ap⯑pearance in this kingdom the one in Archer in the Stratagem, the other in Diana in Lionel, and both with a tolerable ſhare of ſucceſs. The abilities of the former in light comedy parts, ſprightly gentlemen, and pert valets were far above medio-Since that, the public have had many opportuni⯑ties of ſeeing him ſupport a reſpectable line of buſineſs at different times.

For ſome years paſt, he has been manager of an excellent company, who yearly viſit Shrewſ⯑bury, Glouceſter, Wolverhampton, &c.

Mrs. Miel, poſſeſſed an excellent full toned, powerful voice, without much cultivation, but capable of much improvement.

Artaxerxes was revived at this time, for the purpoſe of introducing Mrs. Pinto, late Miſs Brent, who had been abſent eleven years, in Mandane. Her huſband Mr. Pinto, led the band. Yet notwithſtanding her former high cha⯑racter [238] in the muſical world, at preſent ſhe was but little followed, and performed but ſeldom during the ſeaſon.

The Comedy of the Macaroni, which I had written at York, in the Summer of 1772, when I had very little knowledge of the drama, but which from it's at that time popular title, and a few other happy circumſtances, met with remark⯑able ſucceſs in moſt of the provincial theatres in England, was at this time brought forward and performed a few nights. Whether from its want of merit or name, (never having been played in London) or perhaps from both com⯑bined, it was ſoon laid aſide to make room for more popular and deſerving pieces.

Mr. Ryder having concluded a treaty with Mr. Foote, this exotic arrived in November with Mrs. Jewell then his principal actreſs, and in high reputation, and a Mrs. Williams. This acceſſion of force did not much increaſe the re⯑ceipts of the theatrical treaſury. They opened in the Maid of Bath, which never had been acted in this kingdom: it was repeated, but with no great effect. Mr. Foote afterwards went through his uſual routine of characters, but ſtill [239] under par. His benefit, The Bankrupt, was however a good one.

The latter end of November, Mr. Fletewood, from the Haymarket theatre, made his appearance in Tancred. This Gentleman was of a good family and connections. He had been ſome years an officer in the army, where having diſſi⯑pated a ſmall fortune, he embraced the ſtage as a pleaſing and certain reſource; nor was he de⯑ceived in his expectations. He poſſeſſed abili⯑ties which had he lived to cultivate, would have ornamented the drama.

During the ſeaſon, he played a variety of characters, principally in tragedy, with encreaſ⯑ing reputation. On his quitting Smock-alley theatre, he engaged at Liverpool, where he ſpent the next winter. From thence he repaired to York, where he experienced much kindneſs from Mr. Wilkinſon and the public. Here his health began to decline, and he died about two years after at Leeds, eſteemed and regretted.

Mr. Sheridan and Mrs. Fitzhenry, who had renewed their engagements with Mr. Ryder, were purpoſely kept as a corps de reſerve, 'till [240] the enemy, who began to rally from all quarters, and collect to one point, began to grow for⯑midable, and make their approaches to diſpute once more the dramatic crown with the preſent poſſeſſor.

Though I have not had an opportunity till the preſent, of mentioning Mr. Dawſon's opera⯑tions for ſome time paſt, yet he was far from remaining inactive, during Mr. Ryder's rapid advances. His uſual fertility of genius and induſtry, employed each hour in making every diſpoſition which the nature of his circumſtances would admit.

Counteracted in his views reſpecting the theatre-royal, he once more had recourſe to his fortunate theatre Capel-ſtreet, which on a for⯑mer occaſion had proved of ſuch uncommon ſervice. This point ſettled, he inſtantly ſet about repairing, painting and decorating it with the utmoſt diligence.

His company he had collected with every poſſible care, and though they were not ſo nu⯑merous, nor ſo high in general eſtimation, yet were there many of approved merit and reſpec⯑tability. [241] Several had deſerted in the interim, and in return, ſeveral had been gained from the oppoſite party.

From a variety of untoward incidents, Mr. Dawſon found it impoſſible to open before Monday, the 23d of November, when the Weſt Indian was performed in the following manner.

By his Majeſties Servants, At the new THEATRE in CAPEL-STREET. This preſent Evening, the 22d Inſtant, Novem⯑ber, will be acted a Comedy, called, THE WEST INDIAN. Belcour, the Weſt Indian, Mr. Kennedy, From the Theatre-royal in Richmond, being his firſt appearance on this ſtage.

• Stockwell Mr. Mitchell,
• Captain Dudley Mr. Hollocombe,
• Enſign Dudley Mr. Leighton,

Being his firſt appearance on this ſtage.

• Varland Mr. Gaudrey,
• Fulmer Mr. Stewart,
• Stukely Mr. Richards,
• Major Dennis O'Flaherty Mr. Dawſon,
• [242] Charlotte Ruſport Mrs. Brown,

Her firſt appearance in this city theſe three years.

• Lady Ruſport Mrs. Gray,
• Mrs. Fulmer Mrs. Maxwell,
• Louiſa Dudley Mrs. Barry.

A new occaſional prologue written by a gentle⯑man of this city, to be ſpoken by Mr. Owens.

End of act 2d, a Solo Concerto on the German Flute, by Mynheer Schertie, With a Farce, called, FONDLEWIFE and LETITIA, Altered from the OLD BATCHELOR, by Mr. SHERIDAN.

• Fondlewife Mr. Mitchell,
• Belmour Mr. Hallion,
• Vainlove Mr. Hilliar,
• Wittol Mr. Gaudrey,
• Barnaby Mr. Hollocombe,
• Letitia Mrs. Brown.

The houſe will be illuminated with wax.

[243]N. B Half price to be taken after the third act, according to the eſtabliſhed cuſtom of the theatres in London.

Mr. Dawſon had many friends, who on this emergency, diſplayed their attachment. The houſe was crowded, and the entertainments went off with much applauſe; though the proſ⯑pect of the firſt night could not warrant his entertaining any great expectation of ſucceſs, yet ſtill, hope did not deſert him. Every exertion poſſible he uſed, to gain an equal ſhare of public favour, and adopted the principle of Portius in Cato.

To form a judgment how far the new eſtab⯑liſhed company was entitled to the patronage of the town it is neceſſary that I ſhould ſubjoin a liſt of the greater part of the performers who compoſed it at the commencement of the ſeaſon.

• Mr. Dawſon,
• Mr. Dawſon, jun.
• Mr. Jackſon,
• Mr. Owens,
• Mr. Kennedy,
• Mr. Mitchell,
• Mr. Leſtrange,
• Mr. Durravan,
• Mr. Durravan, jun.
• Mr. Tyrrell,
• Mr. Hallion,
• Mr. Hollocombe,
• Mr. Leighton,
• Mr. Barrett,
• Mr. Stewart,
• Mr. Tyrer,
• Mr. Gaudrey,
• Mr. Richards,
• Mr. O'Neill, &c.

• Mrs. Jackſon,
• Mrs. Dawſon,
• Mrs. Barry,
• Mrs. Brown,
• Miſs Danby,
• Mrs. Grey,
• Mrs. Durravan,
• Miſs Aſhmore,
• Mrs. Barrett,
• Mrs. Maxwell,
• Mrs. Smith, &c.

Shortly after, Mr. and Mrs. Simpſon from the Norwich theatre, made their entrè on the Capel-ſtreet ſtage, in Sir John Melvil and Fanny Sterling in the Clandeſtine Marriage. Their ar⯑rival was ſeaſonable, as Mr. Dawſon wanted numbers, and the lady was capable of ſupporting [245] a very extenſive line of buſineſs in tragedy, comedy, opera, and farce.

Mr. Simpſon was brother to Mrs. Inchbald, at preſent ſo celebrated in the literary world. He was very young, tall and genteel, with a good face, but not much accuſtomed to the ſtage, or likely to make any great progreſs in a pro⯑feſſion which requires uncommon endowments, and which his own good ſenſe long ſince pointed out the propriety of quitting. Mrs. Simpſon, formerly Miſs George, was on the contrary, a moſt valuable acquiſition; with a delicate ele⯑gant figure, (but rather under the ſize eſſential for a large ſtage) and a beautiful expreſſive coun⯑tenance, ſhe poſſeſſed abilities, which have ſince commanded the firſt ſituation in every theatre ſhe has been in. Towards the end of the ſeaſon, they accepted of an invitation from Mr. Ryder, with whom they remained ſome time.

Amongſt the number of new faces produced at Capel-ſtreet, a Mr. Robinſon deſerves to be remembered. This gentleman, a native of Dublin, enamoured of the drama, commenced his career in Mungo, in whic [...] [...] himſelf with ſuch eclat, [...] to [...] reſolution [246] he had taken. In the courſe of a few years that he remained on the ſtage, I had opportuni⯑ties of ſeeing him at York, and at Briſtol, a very valuable and reſpectable member of each community. Since then, he has thought proper to reſume the line of life he was originally de⯑ſigned for, the law, and he now practices as a barriſter at the Engliſh bar, with reputation and ſucceſs.

In the unequal conteſt of this ſeaſon, Mr. Dawſon had to encounter many inſurmountable difficulties; with a ſmall theatre, inferior com⯑pany, and contracted reſource [...] he had to con⯑tend againſt a great and popular favourite, at the head of a number of excellent performers, crowned with uncommon ſucceſs, and whoſe well repleniſhed treaſury enabled him to accom⯑pliſh objects beyond the reach of his oppo⯑nent.

However, that induſtry which characterized Mr. Dawſon's Management, did not deſert him at this juncture. He got up the Jubilee with much care and coſt; in which he introduced Mr. Aſtley and his performers, then exhibiting in Dublin; this drew him ſome money. The [247] School for Wives, then act [...] in London with ſucceſs, furniſhed another inſtance of his aſ [...]i⯑duity: he produced and played it at Capel-ſtreet ten nights before Mr. Ryder could get it ready. In vain he advertized it in rehearſal, with a pro⯑miſe of preſenting it in the moſt perfect ſtate: the public embraced the firſt opportunity, and it was of material advantage to Mr. Dawſon. At length it came forward, ſanctioned by the Earl of Harcourt, Lord Lieutenant, when it brought ſeven or eight good houſes. The following is the manner in which it was filled at each houſe.

[248]Mr. Layton was a young gentleman who had been in the army. Miſs Danby was afterwards Mrs. Tyrrell.

In the midſt of this ſtruggle, whilſt Mr. Daw⯑ſon was uſing every effort to maintain his ground, he received an unexpected and undeſerved ſtroke, which ſenſibly affected his future operations; a conſpiracy of which he had not the moſt diſ⯑tant idea, in a moment deprived him of eleven members of his community, who without the leaſt previous notice, early one morning in the latter end of January, ſet off in a body to Por⯑tarlington, where with the aſſiſtance of a few others, they formed a company and opened a ſmall temporary theatre. Though there were few amongſt the revolters of any eminence, yet the loſs of ſuch a number, when he could ill ſpare one, was a material inconvenience, and naturally affected his future operations.

What remains to be ſaid of Capel-ſtreet theatre, at this time, may be comprized in a few words. Notwithſtanding every effort which a fertile genius could deviſe, or unremitting in⯑duſtry could effect, Mr. Dawſon plainly per⯑ceived the abſolute neceſſity of bending to the [249] [...], and declining, at leaſt for the preſen [...] [...] oppoſition which he could no longer [...]upport with prudence. He accordingly adopted the moſt eligible mode his circumſtances would admit of. He ſhortened his ſeaſon con⯑ſiderably from his original intention; commenc⯑ed benefits directly, and early quit the field to his more fortunate adverſary.

CHAP. XIX.

LET us now turn our eyes on Mr. Ryder, whoſe proſpects each day brightened, and whoſe views each day extended. His theatre exhibited a pleaſing, buſy, buſtling ſcene, where crowded houſes ſweetened nightly toils, and public pa⯑tronage amply recompenſed each well meant effort. The Lord Lieutenant alſo frequently viſited Smock-alley, and whilſt his preſence [251] added faſhion to its circles, increaſed his own popularity.

The muſical entertainment of the Deſerter made its firſt appearance in this kingdom at that time, and was moſt favourably received. Its intrinſic merit, pleaſing muſic, and the excel⯑lence of its performance entitled it to this re⯑ception. Mrs. Sparks's Louiſa was much no⯑ticed, Mr. Vandermere's Skirmiſh added greatly to his reputation.

Amongſt the variety and novelty produced this ſeaſon were the Sieur Powlaſkie the Polan⯑der, Monſieur Biſſant on the Slack Rope, and an animal company of performers conſiſting of three monkies, a hare, a dog, and a horſe, who under the direction of the Sieur Mc. Crow⯑ſkie, performed a petite pantomime; but it muſt be confeſſed, without any great ſhare of public approbation: on the contrary, they were ſoon conſigned to places better adapted to ſuch ex⯑hibitions, and obliged to give place to enter⯑tainments more ſuited to the nature of a theatre.

[252]About this time, a number of gentlemen of the army and navy, aſſociated for the laudable and benevolent purpoſe of performing a number of plays and farces at Smock-alley, the emolu⯑ments ariſing to be applied to charitable uſes. For the benefit of the Meath hoſpital, the Hi⯑bernian ſchool, the relief of ſoldiers wives and children, &c.

The deſign, which was truly noble, fully an⯑ſwered each intent. The firſt night of their per⯑formance was the Conſtant Couple and Miſs in her Teens, with an occaſional prologue, writ⯑ten and ſpoken by Major Riddiſdale, when the theatre was ſo crowded, even behind the ſcenes, that there was ſcarce room to get on or off; and ſo highly in the opinion of the audience did theſe gentlemen acquit themſelves in their reſpective characters, that during a repetition of their performance for ſeven or eight nights, the houſe was filled with rank and faſhion. The Stratagem was acted ſix nights, The Devil to Pay-often. Amongſt the gentlemen who diſ⯑tinguiſhed themſelves on this honourable and humane occaſion, was Major French, whoſe theatric abilities ſtood the teſt of the ſevereſt [253] criticiſm. His Scrub and Jobſon will be long remembered, as excellent pieces of acting.

Mr. O'Keefe, the exuberance of whoſe fer⯑tile genius had ſeveral times before manifeſted itſelf in occaſional jeu d'eſprits, and petite pieces, brought out his Tony Lumkin in town for his benefit at this time. This farce was ſeveral years after produced under the auſpices of Mr. Colman, in the early part of his manage⯑ment at the Haymarket, and though it was far from being the beſt of his performances, yet it prepared the town for that ſpecies of dramatic writing, which till then they had been unac⯑quainted with.

And here I cannot help obſerving, the many obligations the public are under to Mr. Colman, ſen. for cheriſhing, cultivating, and directing a genius which has ſince added ſo much to their entertainment. I think I can venture to affirm, that to the great judgment of this excellent ma⯑nager, (one of the beſt the ſtage could ever boaſt of,) in adviſing, correcting, and preparing Mr. O'Keefe's firſt productions, and in afterwards exhibiting th [...] [...] perfection, [254] we are indebted for a ſucceſſion of many of the pleaſanteſt pieces that enrich the drama.

The popular dramatic romance of Cymon, always a favourite, was at this time acted with renovated ſtrength. Mr. Michael Arne, the compoſer of the muſic, was at this time in Dublin, and under his direction it was again brought out with great care and attention. Much of the original muſic was reſtored, ſeveral ſongs were new ſet. Mr. Ryder played Cymon; Mr. Wilder, Linco; Mr. Mahon, Merlin; Mr. Vandermere, Juſtice Dorus; Mrs. Pinto, Ur⯑ganda, Mrs. Sparks, Fatima; and that elegant little warbler, Mrs. Arne, formerly Miſs Wright, made her firſt appearance in this kingdom in Sylvia. Thus powerfully ſupported, it was highly received and brought ſeveral houſes.

Amongſt the theatrical candidates of this time, at Smock-alley, Mr. Waddy diſtinguiſhed himſelf ſo as to deſerve particular notice. His firſt cha⯑racter was Philotas, in the Grecian Daughter. His ſucceſs in this induced him afterwards to attempt Dumont in Jane Shore, the duke in Meaſure for Meaſure, Menes in the new Tragedy of Sethona, Caſſius in Julius Caeſar, and ſeveral [255] others, in which he acquired reputation, and was conſidered as a promiſing actor.

He continued at Smock-alley for the remainder of the preſent, and the whole of the enſuing ſeaſon. Hereafter we ſhall find him an active agent in the fortunes of the new theatre in Fiſhamble-ſtreet.

The ſucceſs which Mr. Ryder had experienced, and the weight of public confidence which he enjoyed, inſpired him, at this time, with the idea of a new ſpecies of entertainment. This was a kind of maſqued fancy ball, or ridotto.

Crow-ſtreet theatre had been ſhut up during the winter, notwithſtanding the earneſt ſolicitations of ſeveral perſons to have it opened. But as ſoon as Mr. Ryder had formed this new ſcheme, he reſolved to fit up this houſe for the occaſion. It was therefore immediately repaired, painted and decorated for that purpoſe.

This exhibition, however, appears to have ſuf⯑fered very conſiderable delays, and to have under⯑gone many alterations, before it could be brought to [...] under the title [256] of a Fancy Ball, and the plan propoſed was by ſubſcription. There were to have been ſixty ſubſcribers, at ten guineas a piece, each ſubſcriber to have eight tickets for the admiſſion either of ladies or gentlemen.

But, probably from want of ſucceſs in the ſubſcription, and finding the plan propoſed not ſufficient, it was ſome time after, changed. The entertainment was then deferred 'till a later day, and advertiſed under the name of a ridotto ball. Tickets for this were to be had at a guinea each, which in all probability, was found a more pro⯑ductive plan than that by ſubſcription.

It was announced as under the ſanction of the Lord Lieutenant, and Mr. Ryder had the addreſs to engage the ſupport of the Duke of Leinſter, the Counteſs of Shannon, Lady Newnham, and many others of the firſt rank. Indeed, the exhibition, at the ſame time that it was a matter of pleaſure, proved alſo a ſcource of utility, as every perſon who was admitted was to be dreſſ⯑ed in Iriſh manufacture.

The ſucceſs of this project, was ſuch as might have been expected, from the patronage under [257] which it was brought forward. It took place ſome time in May. The crowd of perſons of faſhion was ſo great, that Mr. Ryder was re⯑ported to have cleared upwards of a thouſand guineas by the ſcheme.

Much about this time, we find Mr. Aſtley and his whole family exhibited in various ways, in Dublin. Amongſt the reſt of his amuſements, Mrs. Aſtley propoſed to entertain the public by exhibiting a ſwarm of bees upon her arm, ſo cloſely compacted as to form altogether a ſtrik⯑ing reſemblance to a lady's muff. With his uſual activity, Mr. Aſtley had alſo a muſeum of cu⯑rioſities, going forward at the ſame time.

To reſiſt and in all probability counteract the influence of his exhibitions, the royal forces, be⯑ſides tumblers and rope dancers, received the powerful aid of a great little Phoenomenon, called the Corſican Fairy. The tragedy of Henry the Eighth was got up, and in the coronation of Anne Bullen, "the part of the Champion" is announc⯑ed to be performed ‘by Maria Tereſa, the amazing Corſican Fairy, who will make her public entry riding on the learned horſe, after which ſhe will deſcend and move a minuet [258] and dance a new Corſian jigg upon a table. This wonderful phaenomenon is but 34 inche [...] high, weighs but 26 pounds, and is allowed by all who have ſeen her, a perfect beauty. She ſpeaks Italian and French with the greateſt vivacity and elegance.’

However the lovers of curious ſights might have been gratified by the appearance of this little lady, it muſt be confeſſed, the admirers of Shakeſpeare could have no great reaſon to re⯑joice at her introduction into one of his moſt celebrated tragedies. But we muſt be at ſome loſs in which point of view moſt to admire the ingenuity of the contrivance, whether in re⯑gard to the happily ſuited figure of the choſen champion, or to the appropriate nature of the exhibitions which he was announced to diſplay. A champion of 34 inches high could at beſt inſpire us with but little opinion of his proweſs or dignity, but we muſt utterly loſe all ſight of both, when we behold him mounting a table, to dance a Corſican jigg.

For the conſiſtency of the proceedings as well as for the gratification of thoſe cognoſcenti who beheld this amuſing spectacle, it is much to be regretted [259] that the celebrated little count Borowlaſki, was not cotemporary with this lady, to have joined both in the fight and in the dance. The dig⯑nity of tragedy would then have been uniformly ſupported.

Yet ſuch are the wretched reſources to which a manager is frequently driven, not from choice, but from neceſſity, in order to counteract the rage of ſome ſimilar attraction and to pre⯑ſerve public attention.

However, it muſt be confeſſed that the latter end of the ſeaſon amply retrieved it's credit. The number and excellence of the performers who were brought over, was uncommonly great. This will ſufficiently appear by the mere repe⯑tition of their names. They were Mr. and Mrs. Barry, Mr. Aickin, Mr. Dodd and Mrs. Bulkely, and Mr. Smith and Mrs. Hartley.

Nor would it be fair to paſs over in ſilence the merits of honeſt Bob Aldridge. He alſo at this time, viſited his native country, and dur⯑ing his ſhort ſtay, delighted his ſpectators with all the various excellencies of Iriſh groteſque dancing: a ſtile of exhibition, in wich he has never been ſurpaſſed.

[260]But of the ſeveral great names above enu⯑merated, the ſucceſs was, as might perhaps have been expected, different. The merit of Mr. Dodd and Mrs. Bulkely was univerſally acknow⯑ledged. The firſt characters in comedy they had long ſupported, with the higheſt reputation. On this occaſion, however, private conſiderations ſeemed to fruſtate public ability. The connec⯑tion between them was not of the moſt moral kind, and ſome recent tranſactions had excited ſtrong prejudices againſt them.

They made their firſt appearance in Benedict and Beatrice, in which, notwithſtanding their confeſſed merit, they had the mortification to experience public neglect and inattention.

Exactly in the ſame predicament ſtood Mr. Smith and Mrs. Hartley. Their merits were conſiderable; but their ſituations were nearly the ſame, and their ſucceſs was proportionate.

Mr. Smith was a gentleman of reſpectable family, connections, and education, and of riſing reputation in his profeſſion. His firſt character was King Richard. Mrs. Hartley was poſſeſſed of at leaſt some of the leading requiſites for [261] attraction. She was of a lovely face and an ex⯑cellent figure, advantages which, with the aid of novelty, might have been expected to have proved ſucceſsful. But the fate of theſe tragic ſtars was not more auſpicious than that of the comic luminaries already mentioned.

Perhaps it might be owing to the ſuperior attraction of Mr. and Mrs. Barry, as much as to any thing elſe, that theſe failures took place. It has been always experienced, that in Dublin but one object of favour can be ſupported at one time. In this caſe, it is not to be wondered at, that the very ſuperior abilities of Mr. and Mrs. Barry, and their eſtabliſhed ſame ſhould have born down all competition.

At all events, ſuch was the fact. Their firſt appearances were in Lear and Cordelia, two characters than which none, I may venture to ſay, were ever more capitally repreſented. They were alſo very conſiderably ſupported, in their ſeveral repreſentations, by Mr. Francis Aickin, whoſe abilities have always rendered him an acceptable viſitor on thoſe summer excurſions

[262]During the ſtay of Mr. and Mrs. Barry and Mr. Aickin they performed moſt of their fa⯑vourite characters, and with a ſucceſs which compenſated for any other deficiencies. The coffers of the theatre were amply repleniſhed by their acquiſitions.

With ſuch performers, and with ſuch eclat, was the ſeaſon of 1774 concluded, on the 16th of July, with the Grecian Daughter, and Midas, for the benefit of Mr. William Barry, treaſurer.

The review of this ſeaſon, will ſhew it to have been one of the moſt ſplendid ever known in this kingdom. Whatever might have been the occaſional ſtruggles of the contending par⯑ties, whatever the diſappointment of ſome in⯑dividuals, the public cauſe was amply provided for. The entertainments, upon the whole, were excellent, and the emoluments of the prevailing party, very conſiderable. At no time has the town been preſented with a greater variety of excellence: at none, has it more li⯑berally rewarded it's providers.

[263]Upon the whole, the ſeaſon of 1774 may be ſaid to have exhibited the Iriſh ſtage in a light of reſpectability, which has been ſeldom equalled, perhaps never excelled.