Appendix A.3 Actor's Tablet.

THIS Repoſitory or Journal, is offered not only to young ſtage candidates, but at the ſame time to the attention of all amateurs of the Drama; as it will be a guide, and a more regular information to them, and indeed to the public in general, than any thing of the kind yet attempted—though I fear preſented in a bungling manner: Still this account of old ſta⯑gers muſt be in ſome degree venerable, as an old coin is in higher eſteem with antiquarians than the new, though of leſs intrinſic worth.—I wiſh it had the advantage of a better head, but that is paſt praying for; yet it will be a kind of guide, and convey information by no means pub⯑licly known, wherein the reader will find almoſt an exact liſt of every theatrical event, with the date of moſt of the new or revived plays and far⯑ces produced—the performers' engagements and [131] deſertions to and from Ireland to the London Theatres—their re-engagements, and the account of ſingers, dancers, burlettas, incidents, &c. from the year 1747, to the concluſion of 1757.

Mr. Garrick's eſtabliſhment, as joint manager with Mr. Lacey, was in 1747, and few perſons who have been readers of theatrical anecdotes have y [...]t, ſince the time of Colley Cibber, had any accurate or regular account of thoſe years more than in a general view, though there certainly has been able writers and men of genius who have treated on more important theatrical ſubjects.

I will here give a liſt of the companies at Drury-Lane and Covent-Garden in 1747, that the obſervant reader, unprejudiced, may ſee what a number of eſtabliſhed actors were at that period in one company, and whether there are the ſame number of equal eminence to be called ſo at preſent at either Theatre.

The modern critic and actor will undoubtedly admit that every fifty years will make havock and conſiderable alteration, and what is approved and applauded now, 1790, may not be ſanctioned in 184 [...].—When Mr. Garrick undertook the ma⯑na [...]ement, the company collected, was perhaps, take it for all in all, the moſt powerful ever muſtered in the preſent century.

[132] I will firſt give as correct a liſt as I can recol⯑lect, then preſent the caſt of two or three plays, and then inſtance the caſt of the ſame plays in 1789; by which means the unprejudiced reflector may draw a fair concluſion; and perhaps allow it not quite improbable but the play ſo acted might have been ſeen with equal pleaſure then as now.

DRURY-LANE THEATRE, 1747-8.

DRURY-LANE, 1747.

DRURY-LANE, 1789.

DRURY-LANE, 1747.

DRURY-LANE, 1789.

Of the foregoing caſts the reader will form an impartial judgment.

DRURY-LANE, 1747.

A ſet of very capital dancers was this year at Drury-Lane:—Mr. Cooke, Monſieur Grand⯑champs, Madam Auretti, (in the ſerious ſtyle) in great eſtimation, and Madamoiſelle Janeton Au⯑retti.

A favorite pantomime dance was ſerved up often, called the Savoyard Travellers.

Madame Auretti continued only the ſeaſon fol⯑lowing, when her benefit was commanded by his Majeſty George the Second.—Play, the Strata⯑gem.—Mr. Garrick acted Archer.—After which ſhe retired from the ſtage, and Mr. Cooke went over to Covent-Garden the ſeaſon follow⯑ing.

The FOUNDLING, by Mr. Moore, was firſt acted in February, 1748.

ALBUMAZER was revived in 1747, by Mr. Garrick, and did not ſucceed.—From which play the circumſtance of the robbery is evidently ſtolen, and converted into Tony Lumpkin's principal ſcene of Dr. Goldſmith's very entertaining Co⯑medy of "She Stoops to Conquer."

COVENT-GARDEN, 1747.

The Company was very weak indeed.—Mr. Rich, more from lazineſs than lack of genius, had not any pantomime in force, but the then very ſtale one of Merlin's Cave, or Harlequin Skeleton. They played in general only three or four times in the week in January, and often diſ⯑miſſed even in the month of February; for Gar⯑rick had ſwept moſt of the actors of merit from Covent-Garden to Drury-Lane, for his trium⯑phal entry as manager—Quin had retired to Bath in diſguſt at Garrick's unparalleled ſucceſs, and [...]here remained with Mr. Rich only as follows:

COVENT-GARDEN, 1747.

Plays ſo acted at Bath or York, now, would not be deemed more than decent.

The BEGGAR'S OPERA was repeated ſeve⯑veral nights, and drew more money than any [138] other play to the deſerted houſe of Covent-Gar⯑den at that time.

Mr. Rich having been ſo negligent in his un⯑rivalled pantomime department, was in conſe⯑quence little prepared for unfortunate events from the loſs of Mr. Garrick; Mr. Quin, Mrs. Prit⯑chard, Mrs. Cibber, Mr. Woodward, (who went to Ireland) and others of eminence, having the preceding year left him, Covent-Garden remained in an abject ruined ſtate.

WOMAN's A RIDDLE, was that ſeaſon revived.

(N. B. Mrs. Bland went to Ireland, and on [...]r return, from Mrs. Neceſſary ſhe ſuſtained the [...] caſt ſeveral years at Covent-Garden as Mrs. Hamilton.)

The ſeaſon was ſo bad, that in February the benefits commenced; and late in March 1748, Mr. Rich brought forward APOLLO and DAPHNE, which drew good houſes.—Harle⯑quin, Mr. PHILLIPS, (who ſupplied that charac⯑ter as Mr. Rich's ſubſtitute, when he did not chooſe to perform, as Mr. Lun.) The ſcene of the ſun riſing had a fine effect; and I am aſtoniſh⯑ed ſo ſuperb a conſtructed piece of machinery is not made uſe of now at Covent-Garden, as intro⯑ductory to ſome new pantomime: For the ſcene with Morpheus, Myſtery, and Slumber, prepa⯑ratory to the appearance of the ſun in its meri⯑dian had a wonderful effect, and might be diſ⯑played in any other pantomime, and be a good opening one: Alſo that of Daphne's being turn⯑ed into a tree by the purſuit of Apollo, from the aſſenting nod of Silenus, the riſing Dome, the Lion in Perſeus, the Snake, &c. would make good incidents.

[140] In the Spring 1748, was a remarkable an [...] dreadful fire in Cornhill, when Mr. Quin came purpoſely from Bath, and acted his favourite cha⯑racter of Cato, at Covent-Garden theatre, for the benefit of the poor ſufferers, by that dreadful conflagration.

Drury-Lane ſeaſon 1748-9, Mr. Macklin and wife quitted Drury-Lane for Ireland. Wood⯑ward returned to the old houſe from Dublin, and ſoon gr [...]w into amazing popularity. This year was revived

The play had a remarkable run. (Mr. Victor has not taken notice of this circumſtance; for the ſtrength of that play was the foundation for the de⯑ſertion of Mr. Barry, in the year 1750, with Mrs. Cibber.)

Irene, by Doctor Johnſon, was acted that ſea⯑ſon. Alſo Lethe, which was inimitably perform⯑ed; not a part but was truly excellent. Merop [...] was acted that year. Garrick looked and acte [...] like an angel (as the ladies ſaid) the part o Eumenes.

Mr. Lee and Mr. Palmer, promiſing actor [...] were introduced that ſeaſon.

[141] The ſame year the Emperor of the Moon, written by Mrs. Behn, was revived at Drury-lane as a ſecond piece.—Harlequin was toſſed in a [...]lanket with a good effect—he had two long ſlips [...]y which he held—they were imperceptible to the a [...] ience: So that Harlequin ſeemed to the eye [...] violently tumbled; and the galleries, who [...] the appearance of miſchief, were vaſtly [...].

That ſeaſon Mr. King made his firſt attempt, as [...] candidate, in the Herald in King Lear; his [...] was not paid any attention to by Mr. Gar⯑ [...]ck; he was, as is theatrically termed, laid up⯑ [...] the ſhelf that year, but he was engaged for the [...] ſeaſon at Briſtol; where Mr. Whitehead, [...]e Poet Laureat, and Mrs. Pritchard, ſaw [...] play the character of Romeo with great ap⯑ [...]auſe. He returned to London the winter ſea⯑ [...], and was aſtoniſhed, without any notice [...] given him, to ſee his name in large let⯑ [...]s advertiſed for George Barnwell,—Millwood, [...]rs. [...]ritchard—He alſo played Valerius, in Mr. [...]h [...]tehead's Tragedy of the Roman Father— [...]e continued there till the end of the ſeaſon 1749, [...] the autumn went over to Ireland, and ac⯑ [...]ed a very liberal offer from Mr. Sheridan.— [...] Dublin he continued till the ſecond year after [...]r. Woodward's deſertion from Drury Lane, to [...]w-ſtreet Theatre, in Dublin.

[142] Mr. King returned to fill up Mr. Woodward [...] department, and made his firſt appearance early i [...] October 1759, in the character of Tom, in th [...] Conſcious Lovers: his ſecond part was Atall, an [...] his third Sir Amorous Vainwit.—In the characte of Braſs, Churchill allowed him great merit.

The Play, Friendſhip in Faſhion, was attempte [...] to be played in the ſpring 1749—Mr. Woodwar [...] and Mrs. Clive were to ſuſtain the principal cha⯑racters.—Be it noticed, Dame Clive was no bleſſed with beauty—though of infinite talents; ye ſhe unfortunately in that Comedy was ideally raviſh⯑ed twice or thrice before the fourth act ended, whic [...] the audience very properly judged to be too muc [...] for that lady's feelings; and not knowing wha [...] might truly happen in the fifth, they conſequentl [...] put a violent and final ſtop to all farther indecen [...] proceedings.

The French ambaſſador was at the play, an [...] ſeemed to enjoy John Bull engaged in a riot: Bu [...] at laſt violation was offered to the King's arms ove [...] the front box, at which he ſeemed much alarme [...] at the imagined ſacrilege, and precipitately retire [...] from the theatre—What an alteration in th [...] conduct of Frenchmen in forty years!

My true reſpect, duty, and veneration to hi [...] Majeſty, leads me to hope that no ſimilar acciden [...] [143] will ever occur at York, on any occaſion; as I can b [...]aſt the beſt finiſhed, and moſt elegant royal arms, for neatneſs and perfection, as to workmanſhip, of any theatre in his Majeſty's dominions.—All ſurpri [...]e at this aſſertion will ceaſe in Yorkſhire, when I anounce they were executed by thoſe in⯑genious and well-known artiſts, the deſerving brothers, John and Samuel Fiſher, of York.

COVENT-GARDEN, 1748-9.

Several theatrical alterations took place—Mr. Rich was rouſed from his ſlumber—Mr. Quin returned to the ſtage; and Mr. Delane, Mr. Sparks, Mr. Arthur, Mrs. Woffington, and Miſs Pitt were engaged from Drury-Lane; alſo Miſs Bellamy, (by Mr. Victor and others falſely related to have been drawn from her lucrative and ſplendid ſ tuation in Dublin, by Garrick) was actually [...]n⯑gaged by Mr. Rich.

Mrs. Bellamy's firſt appearance was in Belvi⯑ [...]ra; which proves Mr. Victor's account of Co⯑vent Garden very erroneous.—‘"Mr. Garrick, (ſays Mr. Victor and Mr. Hitchcock) from the many opportunities he had of ſeeing Miſs Bella⯑my's abilities, when they performed together in [144] Dublin, 1746, was too well convinced of her merit, not to uſe every means to engage her.—Accordingly he made her propoſals, which ſhe immediately accepted; and ſhe returned to Lon⯑don, where ſhe remained ſome years in high eſtimation."’

That Mrs. Bellamy remained for ſome time in high eſtimation is well known—but her firſt ap⯑pearance, after her departure from Dublin, was not at Mr. Garrick's theatre, but at Covent-garden, as before mentioned: a true and particular account of which, with Mr. Garrick's refuſal to engage her, is given in her Memoirs.

Mrs. Ward was alſo engaged—ſhe was a hand⯑ſome woman, and a good actreſs.

Coriolanus, by Thompſon, was produced that ſeaſon; in which Mr. Quin, Mr. Ryan, Mr. Delane, Mr. Sparks, Mr. Ridout, Mrs. Bellamy, and Mrs. Wo [...]ington acted.

Perſeus and Andromeda was alſo produced, and brought ſeveral houſes—ſo that Mr. Rich then had three pantomimes on the ſtocks: the Skele⯑ton, Apollo and Daphne and Perſeus. The bu⯑ſineſs of the petit maitre in the laſt mentioned was inimitably done by Mr. Lalmaze; palpably ſtolen by Mr. Woodward, and placed in Queen Mab, at Drury Lane, in the year 1750. The ſcene of the [145] Dragon, and Perſeus on his flying horſe, with Andro⯑meda chained to the rock, the riſing Dome, and the Lion, were the principal parts of that entertain⯑ment; and all done well, as was all pantomime buſineſs under the direction of Mr. Rich.

Mr. Arthur did the clown in that pantomime, in which department he was unrivalled; and well underſtood all the mechanical parts of thoſe kind of productions.—Mr. Lowe was Perſeus; Mr. Miles, Harlequin; Miſs Falkener, Andromeda.—Mr. Quin's Falſtaff, and ſeveral of his characters drew great audiences—Mrs. Bellamy was much eſteemed—Mrs. Woffington was attractive in Sir Harry Wildair, &c.—and though Drury-Lane was faſhionable, yet Covent-Garden was reſpectable as to entertainment, and in general well attended.

The entertainments of the theatre were in⯑ [...]ſed by the addition of two excellent dancers, [146] Mr. Cooke, and Miſs Hilliard.—A Scotch danc [...] was ſo pleaſing, that it continued not only tha [...] but three or four ſeaſons after.

This was the year of the quart-bottle conjuror, at the Hay-market; where the joke drew ſuch [...] concourſe at the expence of John Bull.— [...] turned out advantageous to the proprietor of Co⯑vent-Garden, as at the latter part of that ſeaſon, Harlequin, to the amazement of crowded audi⯑ences, not only went into the quart bottle, but after that Don Jumpedo jumped down his own throat.—Theſe exploits were performed by Har⯑lequin Phillips.

The Provoked Wife was acted with approba⯑tion that ſeaſon at Covent-garden; for though Garrick was then performing Sir John Brute, yet there were many obſtinate critics of opinion, that the character was better conducted by Mr. Quin. Indeed there cannot be any one part acted more dif⯑ferently than that character was by Mr. Garrick and Mr. Quin Yet had the author been then living I may venture to pronounce he would have allowed both right. Even the petticoat ſcene was as op⯑poſite in dreſs and manner as Othello and Deſde⯑mona. Yet had Mr. Quin attempted Garrick' [...] mode, or Garrick Quin's, each would have cer⯑tainly failed.

[147] The play was thus caſt at Covent-Garden:

In the ſpring 1749, Cato was acted (by order of [...]is Royal Highneſs Frederick Prince of Wales) by the younger branches of the Royal Family:—His preſent Majeſty ſpoke the prologue at Leiceſter-Houſe on the occaſion. The conducting of the performance was entirely under the direction of Mr. Quin. His preſent Majeſty's father was a great advo [...]ate for the ſtage, and a warm patron of Mr. Quin's: Indeed his attachment was ſuch, that Quin's ſalary was equal to a thouſand pounds his [...]t ſeaſon 1750. One political reaſon was, that a [...] the commands of his Royal Highneſs (unleſs on ſo [...]e very particular occaſion) Covent Garden [148] theatre was honoured with, and chiefly out o [...] compliment to Mr. Quin.

The Emperor of the Moon, wrote by Mrs. Behn, was revived at Covent Garden as a firſt piece, and at ſome expence. A tapeſtry ſcene of figures was very well executed—Doctor Bellardo, by Mr. Sparks; Harlequin, Mr. Cuſhing; Sca⯑ramouch, Mr. Dunſtall:—Miſs Bellamy, Mrs. Woffington, and Mrs. Ward were in it, but the piece did not ſucceed; and Harlequin is the fiddle of the piece, Mr. Woodward muſt have been excellent, and Mr. Cuſhing contemptible. I recollect ſeeing it as a farce, but very wretched⯑ly ſupported as to decorations, ſcenery, &c. in Dublin, 1758, where Mr. King was truly whim⯑ſical in Harlequin.

The following comedies were thus caſt, and acted with ſucceſs at Covent Garden that ſeaſon.

The ſeaſon concluded with the Conſtant Couple, and Apollo and Daphne.

DRURY LANE, 1749-50.

Mrs. Cibber did not play. That ſeaſon Mr. Garrick (ſhameful to relate) encouraged Mrs. Ward to break articles with Mr Rich, which ſhe was the eaſier tempted to do, as Miſs Bellamy was in poſſeſſion of moſt of the characters ſhe wiſhed to play. Edward the Black Prince was acted that ſeaſon—Barry gained great ground and honour in Ribemont. Maſter Mattocks appeared that year in the Chaplet, a very pretty enter⯑tainment at that time.—Muſical pieces then [150] (King Arthur and the Tempeſt excepted) were, on our Engliſh ſtage, confined to the common ballad farces.—Mr. Beard was, as a vocal per⯑former, the beſt actor of SONGS I ever remem⯑ber—Miſs Norris was a charming ſinger—and Paſtora cannot be known but by thoſe who had the pleaſure of ſeeing Mrs. Clive.

Mrs. Cibber having withdrawn was a ſevere ſtroke upon the Drury Lane tragedies, Mrs. Ward being but a cold and inanimate ſubſtitute; and it fell heavier on Mr. Barry's plays than Mr. Garrick's, as Lear, Macbeth, Richard, with Mrs. Pritchard's Lady Macbeth, &c. would do without Mrs. Cibber; but Caſtalio, Romeo, Varanes, &c. were ruined without her helping hand: Indeed Barry refuſed acting Romeo with Mrs. Ward. The Roman Father was brought out that ſeaſon, where Barry in Publius by no means could appear as an actor (though it ſhewed his fine figure) in competition with Garrick. Gil Blas was produced that year and damned, and ſome other pieces, but none of note. Rich not having any thing new, and only repeating the old plays, Lady Jane Gray excepted and the pantomime of the Fair, Drury Lane, unleſs on particular nights, bore the beil. Garrick's comedy characters, as well as his tragedy, (ſuch as Ranger, Benedick, [151] Archer, Bayes, Lear, Hamlet, &c.) were ſure cards, and all thoſe plays were thoroughly well acted.

COVENT GARDEN, 1749-50.

The company much the ſame as the year be⯑fore, unleſs the loſs of Mr. Theophilus Cibber: Mr. Dyer from Ireland was his ſubſtitute, a very good actor in ſprightly comedy; not ſtriking as to abilities, but ſure to pleaſe, and never to offend. He played ſeveral parts of Mr. Garrick's, ſuch as Ranger, &c. and in Tom was truly excellent;—that was his firſt part at Covent. Garden. Mr. Dyer's figure was very neat, not unlike that of Mr. Lewis's of Covent Garden; but it would be paying Mr. Lewis a very bad complement to draw a compariſon in any other reſpect, as that gentleman's vivacity, neatneſs, ſpirit, and energy of expreſſion, is ſo ſuperior as to caſt Mr. Dyer's abilities at a diſtance, were he now living; as wherever Mr. Lewis's Vapid, Twineall, Mercutio, &c. are men⯑t oned, which he ſupports with a peculiar whim and vivacity, he by that means ſends hundreds joyful to their reſpective homes: In truth he needs no eulogium, as the trueſt praiſe is deſervedly thus, that whether Mr. Lewis had pleaſed the audience in 1700, 1790, or in 1810, he would have an equal claim to the generoſity, pro⯑tection, [152] and approbation of a ſenſible, generous, and diſcerning public.

Garrick's reaſoning in verſe will explain that idea when perhaps I ſhould only perplex—

Lady Jane Gray was revived by command of his Royal Highneſs Frederick Prince of Wales, as a ſecond performance by the Royal Family, un⯑der the direction of Mr. Quin, at Leiceſter Houſe. It added much to Mrs. Woffington's reputation. The parts were thus diſpoſed of:—

The above play was performed a number of nights. The line of—

uſed to ſtrike my young imagination ſo forcibly at ten years old, that I remember it perfectly to this very minute.

[153] That year Mr. Rich produced a little ſketch of a pantomime called the Fair, in which Mr. Lun (Rich) did Harlequin. Lun had been the name of the famous man who repreſented Harlequin at Paris; therefore whenever Mr. Rich appeared as Harlequin, the name of Lun was inſerted in the bil [...]s. Mr. Garrick paid a compliment to Mr. Rich's Harlequin in the following lines:—

The famous Turk on the wire was at that time introduced by Mr. Rich in the pantomime of the Fair; and indeed that was the ſole motive of his patching up that entertainment. Mr. Quin and Mrs. Woffington would not play during the re⯑preſentation of that piece, as they thought it de⯑grading to the theatre to have wire-dancers, &c. but as it did not interfere with their plays, and they were paid, and as that trifle brought ſeveral good houſes, by which means they would have appeared to advantage, they certainly acted wrong [154] in duty to the manager, the public, and their own intere [...]t:—The public were the only proper judges to decide on the propriety or impropriety; and if THEY ſuffered the Grand Turk to exhibit, they ſhould have acquieſced and not withdrawn and pointed out the fault; which might have worked up a fury againſt the theatre that would have fallen upon themſelves.

Romeo and Juliet was revived in the interim between Quin and Woffington's playing—Romeo, Mr. Lee; Juliet, Miſs Bellamy. Mr. Lee had broke his article and fled to Covent Garden.—Mr. Lee's very peculiar oddity of temper pre⯑vented him ever riſing to any fixed public eſti⯑mation.

DRURY LANE, 1750-1.

Miſs Bellamy was engaged from Covent Gar⯑den, and trained as the Juliet—Woodward was the Mercutio. Mr. Garrick divided the opinion of the town as to his performance in Romeo—Mr. Rich's proceſſion was very grand, and in thoſe ſpectacles he never had been equalled, nor can be ſurpaſſed; but Garrick did not promiſe any proceſſion or dirge in his bills, tho' they gave a ſtriking effect and an agreeable ſurpriſe.—Mr. Woodward aſſiſted Mr. Garrick with Queen Mab [155] that ſeaſon, which eaſed Garrick much; and the comedies were ſo well ſuſtained, where Mr. Woodward, Mr. Yates, Mr. Taſwell, Mrs. Pritchard, and Mrs. Clive, were capital, that the fairy wand ſailed with the old Drury hulk before the wind. A whimſical print was then produced, called the Steel Yards, in in which were placed Quin, Barry, Woffington, and Cibber; and in oppoſition Woodward and Queen Mab, which exultingly bore down all the greater load with the ſmall. This ſeaſon Mr. Shuter was coming forward greatly as a low comedian at Drury Lane—alſo Mr. Palmer in the gentlemen in comedy, who afterwards ſuſtained a very conſi⯑d [...]rable caſt of the celebrated Mr. Wilkes's co⯑medy-gentlemen, as Sir George Airy, &c.—He ſome years afterwards married Miſs Pritchard.

COVENT GARDEN, 1750-1.

Barry deſerted to Covent Garden—Mrs. Cib⯑ber alſo, after a year's retirement, engaged at the ſame theatre—Macklin and wife came from Dub⯑ [...] (alſo Mrs. Elmy) to that theatre—Quin and Woffington remained—Conſequently Garrick f [...]und the coalition ſo ſtrong, that he wiſhed to bri [...] over Quin to his intereſt; but Quin having had the command at Covent Garden, did not [...]ſh to be controuled by Mr. Garrick; he there⯑fore [156] ſtuck to his old maſter, Rich, but not without ſtipulating for one thouſand pounds a year—the greateſt ſalary ever then known to be complied with, or I believe ſince, except in the caſe of Mrs. Billington.

This collected body of Imperial forces might ſtrike the boldeſt with diſmay.—The whole con⯑verſation was, that Garrick would be ruined by ſuch a powerful oppoſition; but they did not, or would not, comprehend that Garrick was really, as he expreſſed himſelf—

His Macbeth, Lear, Hamlet, Richard, Bayes, &c. ſtood alone, nor, as he foretold, did his Lear or Hamlet loſe their force:—Beſides, he had induſtry, and his troops were under excellent diſcipline:—Woodward aſſiſted him too in a material point—that of attacking Rich in his deemed invulnerable part—the harlequin department:—for tho' Rich deſpiſed actors, he for once in his life, in this ſeaſon, relied on them, and had nothing to produce as to novelty in the pantomime way of any kind whatever.—Added to that, the performers at Co⯑vent Garden were not under any controul: they deſpiſed their maſter—he deſpiſed them—and they heartily hated each other.—Quin diſliked Barry, [157] and Barry Quin—and Mrs. Cibber and Mrs. Woffington held each other in the higheſt con⯑tempt.—Mrs. Cibber, when called upon by the manager, was often feignedly or really ill; and though Mrs. Woffington was ever ready for any undertaking for the general welfare, yet that year her pride was touched and irritated ſo much, that by a refuſal one night a great riot enſued, as be⯑fore mentioned in Vol. III.

Quin and Barry were alſo averſe to aſſiſt each other.—King John was called to rehearſal, and Barry was not there. Quin would not attend the next rehearſal; and what Barry ſettled, Quin was ſure, when he came, to contradict.

The Houſe opened that ſeaſon September 24th, with the MISER.

Second Play was the BUSY BODY.

And on Friday, October 3, was the commence⯑ment of the ſcene of battle between the two houſes with the run of Romeo and Juliet.

[158] KING JOHN was revived that ſeaſon thus:

Two very odd incidents happened during th [...] run of that play. They are in Mr. Davies's Miſcellanies; but as I related them to Mr. Davies, I claim a right to inſert them here.—For he was not in London at the time, as he played ſome ſeaſons at York, Edinburgh, and Dublin; they were as follows:

The Refuſal was revived by Macklin that win⯑ter. Mr. Lee played Granger; but Mr. Gar⯑rick put the law in force for breach of his article, and he was obliged to return to Drury-Lane, where Garrick from that day held a rod of iron over him.

She Would if ſhe Could was revived—a vile play indeed—not reliſhed then by any means—now, to the credit of the audience, would not be tolerated.—The principal characters were per⯑formed by Mr. and Mrs. Macklin, and Mrs. Elmy.

Mrs. Cibber was ill great part of the ſeaſon. It was the laſt year of Mr. Quin's playing.—His benefit was about the twelfth of March—Othello the play.—The Moor was ac [...]ed alternately by him and Barry. When Barry acted Othello, Macklin played Iago: And when Quin acted Othello, Ryan was the Iago.—I wonder Quin's underſtanding would let him perſiſt in acting Othello, where he was ſo inferior in every reſpect to Mr. Barry. Indeed for his laſt benefit the Prince of Wales commanded Othello.—Quin acted Iago to Barry's Othello; but ſtrange to relate, with the change of characters, and the command, the houſe [161] to that old favorite was very bad. There was not any farce that night; nor any new play at Co⯑vent-garden from the year 1748 till 1753.

The laſt character Mr. Quin acted, as a regular engaged performer, was on the concluſive night but two in the ſeaſon, May 20, 1751, Horatio, in the [...]air Penitent—Lothario, Barry; and Caliſta Mrs. Cibber: the beſt Caliſta I ever ſaw, and moſt likely, at my time of life, that I ever ſhall.—Barry not happy in Lothario.

In March 1751—His Royal Highneſs Frederick Prince of Wales died; when the theatres wer [...] ſhut up for three weeks; which proves Miſs Bella⯑my's aſſertion wrong as to her being at Leiceſter-Houſe, and the Princeſs of Wales patronizing her benefit, &c.—the play to be the Siege of Damaſ⯑cus, wiſhing to ſee their favourite veteran Quin, in his character of Caled; which if the reader will obſerve muſt be erroneous, for that year Miſs Bel⯑lamy was at Drury-lane theatre; and Mr. Davies muſt be wrong in his date; for this was the year of the run of Romeo and Juliet, when Mrs. Cibber was at Covent Garden.^*

The day his Royal Highneſs died the tragedy of Jane Shore was appointed at Covent-garden, for the benefit of Mr. Ryan.

And that might certainly be admitted as tolerable.

So different was the practice between then and now, relative to the principal performers acting on benefit nights in London, that Mr. Garrick acted every year from the firſt to the middling claſs of performers in general.

Mrs Woffi gton the ſeaſon following quitted Covent-garden for Dublin; where ſhe was held in ſuch high eſtimation as to have her ſalary of four hundred pounds doubled the ſecond and third winter; which the manager, from an acknow⯑ledged ſenſe of her value, judged a debt due to her merit and his own intereſt. She had alſo two benefits each ſeaſon in Dublin. Mr. Victor gives the following deſcription of that lady.—‘"So generous was her conduct, though ſhe ſeldom acted leſs than four nights a week, that ſhe never diſappointed one audience in three winters either by real or affected illneſs, and yet I have often ſeen her on the ſtage when ſhe ought to have been in her bed."’

Mr. Hitchcock adds the following:—

[163]

Mrs. Cibber's benefit, early in March 1759, was Zara, revived.

Mr. Quin took Othello, as before-mentioned. Mr. Barry, Romeo and Juliet—Mrs. Woffington, the Conſtant Couple.—Mr. Cooke's benefit [164] was on Friday (previous to Prince Frederick's bu⯑rial), when a capital blunder occurred.—as Mr. Quin's name was printed in capitals for the part of Young Bevil—but Mr Barry acted the part.—Indiana, by Mrs. Cibber, who hitherto has not been, and in all probability never will be matched in that character. Her manner of ſaying to Mr. Sea⯑land, ‘"Sir, if you will pay the money to a ſervant it will do as well"’—and the whole of her laſt ſcene in that play, was ſo truly affecting, expreſ⯑ſive, and natural, that ſhe really caught the ball which all other Indiana's have been running after in vain.

I kn [...]w it is ſaid that firſt impreſſions do a great deal; but I can alſo aſſert that from Mr. Garrick, Mr. Quin, Mrs. Bellamy, Mrs. Crawford, and others, I could convey to any hearer a ſtrong idea of their manners, tones, &c. which would be ac⯑knowledged and allowed as real traits by the moſt rigid obſerver now exiſting. But Mrs. Cibber's excellence was of that ſuperior kind, that I can only retain her in my mind's eye. Not that all her characters were equally aſtoniſhing; for Mrs. Cibber was but a mere mortal: yet, her Alicia, Conſtance, Ophelia, Indiana, Juliet, &c. were truly her own. Neat ſimplicity of manners in comedy was equally ſo. But her fine Ladies, and [165] parts of ſtriking humour, had better be (as they are) forgotten. This is a great character, but a juſt one.

The ſeaſon concluded the two laſt nights with Romeo and Juliet, without any Farce, or Dance, &c.

DRURY-LANE, 1751-2.

Its worthy obſervation that what leads hiſtorical reg [...]ſters perpetually into error, is the confounding the ſeaſons: For as the theatres always open in September, and do not cloſe till early in the fol⯑lowing ſummer, not only the public, but the per⯑formers themſelves, are too apt to miſtake one year for the other, from two dates being unavoid⯑a [...]ly connected with one ſeaſon. Many particu⯑lars of theſe times are related in my firſt volume.

The company remained much as the year be⯑fore, as I do not remember any particular deſer⯑tions. Mr. Moſſop and Mr. Roſs were added, and of great additional ſtrength; for they promi⯑ſed greatly from their firſt appearances.—Mr. Moſſop's entrée was in Richard, then in Zanga—and much applauded. Mr. Roſs in Young Bevil.—Mr. Dexter alſo made his appearance that year, and aſtoniſhed every one in the character of [166] Oroonoko. His merit had ſuch an effect at firſt as to promiſe wonders; and he was prognoſtica⯑ted a powerful adverſary to Barry in the Lovers: but when he left his honeſt black, his white pro⯑miſed nothing; it was a vacuum, and he ſunk into oblivion. He went to Dublin, from whence he came. He had been educated in the College there: was in high eſteem as a gentleman; and though not an actor of the firſt claſs, was gentle⯑manlike in his deportment, had a pleaſing voice, and played ſecond to Mr. Sheridan; but he did not live many years. He was rather dejected at not ſucceeding on the ſtage in a more elevated ſtyle.

Mr. Wilder removed this year to Drury-Lane: did very little at either theatre; but was much applauded when he ſung

N. B. Mr. Wilder played Macbeth forty nights in Dublin, 1756-7.

The Fair Penitent was often acted this ſeaſon.

[167] Mr. Garrick was the only gentleman I ever ſaw make the character of Lothario truly conſpicuous.

Alfred was revived at infinite expence, and ſuc⯑ceeded. Likewiſe Eaſtward Hoe, for the Lord-Mayor's Day, (when the practice of acting the London Cuckolds was aboliſhed at that theatre;) but the play was driven off the ſtage.

Every Man in his Humour was next revived, and with great ſucceſs. That comedy increaſed in public eſtimation for ſome ſeaſons. Indeed every part in that production of old Den's was ſo well acted, it was hard to point out how any one in that very difficult compoſition could be amend⯑ed. It was a lucky ſtroke for Woodward's ad⯑ [...]ancement with the town. His performance of Captain Bobadil was wonderful.

The Shepherd's Lottery, was a very pretty mu⯑ſical piece—Maſter Vernon (late Mr. Vernon) made his firſt appearance in that little Opera. The Duet of "By the pale light of the moon," was always encored at that time, when ſung by Mr. Vernon and Miſs Norris in that piece.—Harle⯑quin Ranger alſo was much admired.—Wood⯑ward was an excellent Harlequin. In his youth he had been taught that motley character by Mr. Rich, and had well obſerved that gentleman's in⯑ [...]ructions.

[168]COVENT-GARDEN, 1751-2.

Mr. Quin had retired from the ſtage May 1751; in March 1752, and March 1753, he came from Bath purpoſely to play Falſtaff in the firſt part of King Henry IV. for his friend Mr. Ryan's bene⯑fit: He after that left him a legacy, and made him a preſent; declaring he grew infirm, and would not whiſtle Falſtaff.

Mrs. Woffington continued in Ireland; ſo Mr. Barry and Mrs. Cibber had all their own ſway.—The Siege of Damaſcus was revived—Barry, Phocyas; and Mrs. Cibber, Eudocia. Mrs. Cibber alſo played Lady Townly, (not much to her credit). Venice Preſerved was likewiſe acted, when Barry made his appearance as Jaf⯑fier. He had uſually played Pierre, and his figure was pleaſing and commanding beyond de⯑ſcription in that character. Mrs. Cibber's Bel⯑videra was a non-ſuch.—Mr. Rich revived that year the Necromancer, or Harlequin Doctor Fauſtus; the galleries liked ſuch a diſmal ſight then, but I do not think it would be now tole⯑rated. It was not pleaſing to me at that time, who thought no paradiſe could exceed a playhouſe.

[169] Woodward revived Dr. Fauſtus, with new ſce⯑nery and more livelineſs ſeveral years after at Co⯑vent-garden, when it anſwered to the amuſement of the public and the coffers of Covent-garden treaſury.—In February, after ſeveral years' pro⯑miſe, out came Harlequin Sorcerer, which made old Drury tremble; for any thing like the rage after that pantomime I never remember.

In November 4, 1751, when Mr. Barry and Mr. Sparks were performing Bajazet and I amerlane, Arpaſia, Mrs. Cibber, one of the gentlemen was ſo ſuddenly out in his part that the play could not proceed. After a conſiderable pauſe, Mrs. Cibber ſaid, ‘"Gentlemen, it is not my turn to ſpeak."’ After which the play proceeded without anv other blunder. This only is mentioned to prove great actors as well as ſmall are liable to b [...]n [...]ers. Mrs. Cibber remains unrivalled in Ar⯑paſia, particularly in the frenzy ſpeech of the laſt a [...]t.

Miſs Macklin that ſeaſon played Lady Townly for her father's benefit; alſo Jane Shore twice, early in the ſeaſon.

Mrs Cibber played Lady Macbeth the firſt time, for her own benefit.

The ſeaſon cloſed with Romeo and Juliet, and the Sorcerer.

[170]DRURY-LANE, 1752-3.

The Company much as before; only the loſ of Mrs. Ward, who was neither wanted nor re⯑gretted; as Miſs Bellamy's youth, faſhion, dreſs &c. aided with Mr. Garrick's powerful aſſiſtance enabled her to make a tolerable ſtand in tragedy againſt Mrs. Cibber, which Mrs. Ward was by no means equal to. Eugenia was acted, but did not ſucceed on the Engliſh ſtage, notwithſtanding its being in great reputation then at Paris; and the Rev. Mr. Frances, the author, (or rather tranſla⯑tor) was in high rank and eſteem in London.

Mr. Foote's farce of Taſte was produced that ſeaſon—Lady Pentweazle, by Mr. Worſendale, a genius of much wit and humour, but it met with a ſimilar fate to Gil Blas.—Mr. Garrick's ſpeak⯑ing the prologue, (which he wrote for that farce of Taſte) was judged a maſter-piece; and the pro⯑logue now ſpeaks for itſelf, though alas! Gar⯑rick cannot.

The Gameſter was acted—Mr. Garrick won⯑derful—ay, moſt wonderful, in Beverley!—Boa⯑dicia—revived by Mr. Glover.—Alſo the Genii, a pantomime, the Silent Woman, and the Bro⯑thers, a tragedy, by Dr. Young; who gave the profits of his three nights, as an author, to a pub⯑lic [173] charity—but the amount not anſwering his wiſhes and expectations, he generouſly made up the ſum to one thouſand pounds.

COVENT-GARDEN, 1752-3.

Mr. Barry and Mrs. Cibber were in high eſti⯑mation, and to particular plays drew good houſes. But, unleſs to a pantomime, or ſomething of par⯑ticular attraction, the boxes were often very thin at the early part of the ſeaſon; whereas Drury-Lane was conſtantly attended.—Thin boxes on any night was ſeldom ſeen there; as a neatneſs, deco⯑rum, and regularity, pervaded the whole. How⯑ever Mr. Rich was very induſtrious that ſeaſon.—Mrs. Bland was engaged from Ireland, who had made great progreſs on the Dublin ſtage. Mr. Giffard, junior, made his appearance in Lear, a very improper character; the play was wretchedly acted, when compared with the performance of the ſame piece at the rival theatre;—or indeed with⯑out any compariſon at all.—Signor Ma [...]aneſi, and Signora Bugiani, were that ſeaſon engaged; two inimitable dancers: the lady's countenance was the moſt expreſſive and ſtrong that can be imagined. Their burletta manner, gave ſtrong and neat con⯑veyance [174] to whatever they attempted. They drew a great deal of money; and indeed that luck was not to be wondered at. I have never ſeen ſuch good comic dancers before or ſince.—Mr. Cooke, and Miſs Hilliard, who were excellent as dancers in their way, were alſo continued. The dances were in ſuch eſtimation as often to ſupply the want of a Farce.—The Fair was again revived that year, to introduce Mr. Madox, the famous man on the wire; who was in the year 1758 drowned on his paſſage to Ireland; as was Theophilus Cibber, and ſeveral performers.

Beſides the dancers mentioned at Covent-Gar⯑den that ſeaſon, there were ſeveral good ones, above mediocrity; Monſieur Grandchamps, and Madame Ca [...]argo.—Saturday, January the thirteenth, the Sorcerer was again produced, and continued, with almoſt equal effect, to the finiſh⯑ing of the ſeaſon. It was helped by an additional fountain ſcene; the machi [...]ry of which I thin [...] ſurpaſ [...]ed any pantomime quirk I remember, and ſhould be now intr [...]duced.—Mr. Smith's fi [...] appearance was on Monday, Jan. 8, 1753, i [...] the character of Theodoſius; acted four ſucceſ⯑ſive n [...]ghts.—The [...]arl of Eſſex, a tragedy written by Mr. Jones, (an Iriſh bricklayer,) was acted that year, and had a conſiderable [175] [...]n.—Thoſe who ſaw Mr. Barry in Eſſex, [...]eed not be reminded, that for attitude, and pathe [...]ic expreſſion of voice and countenance, they have not beheld a parallel to that gentleman's pr [...]nouncing in the laſt act, when the Lieutenant [...]es the [...]arl to proceed to immediate execution, [...]ex turns to the Lieutenant, (pointing to his Counteſs fainting on the ground,) and replies—‘"O lo [...]k there!"’—the whole pit of critics actually burſt into tears; and then ſhook the theatre with unbounded and repeated applauſe, accompanied wi [...]h huzzas.—The play was well acted—Mrs. [...]nd was happy in perſon and manner in Queen [...]izabeth, which luckily placed her in a rank of [...]nation—To relate that Mrs. Cibber, as the Counteſs of Rutland (though a ſhort part) was ex [...]llent, would be ſuperfluous: Her Epilogue, w [...]tten by Mr. Garrick, (to whom ſhe was to re⯑ [...]rn the winter following) was a powerful aſſiſtant to the play.—That was, to my ſupp [...]ſition, the [...]eſt [...]eaſon Mr. Rich had ever experienced in my m [...]mory.

Mr. Barry was at that time in the prime of life, as to health and vigour; and Mrs. Cibber alſo at [...]er beſt. No wonder ſuch a pair of lovers ob⯑ta [...]n [...]d the triumph they were entitled to: Indeed [...] a pity they were ever ſeparated; for no two perſons were ſo calculated to aſſiſt each other by [176] voice, manner, and real feeling, as Mr. Barry, and Mrs. Cibber.

Mr. Smith's ſecond part on the ſtage was Southampton, in the play of Eſſex.—Mrs. Cib⯑ber's benefit that year was All for Love, with her neat little piece of the Oracle.

On Saturday, May 26, 1753, the ſeaſon cloſed with Romeo and Juliet, by Mr. Barry, and Mrs. Cibber; which proved a ſeparation of two lovers, doomed never—no, never to meet again!

I here publiſh a bill of that ſeaſon, to ſhew how difficult it muſt have been to ſatisfy eager claim⯑ants for being diſtinguiſhed.—It occaſioned much murmuring. Sometimes a lady took the lead, and her rival was bottomed; and the hero placed in the middle; but all would not do: And in the year 1757, the line of performed was obliterated, and the great letters for the principal were conti⯑nued; which Mr. Kemble, for his own eaſe, and quiet of the theatre, has entirely baniſhed.

[178]DRURY LANE, 1753-4.

Mrs. Cibber, at high terms, was engaged a [...] Drury Lane:—Her firſt appearance was in Mo⯑ [...]imia—Chamont, Mr. Garrick: Caſtalio, Mr. Roſs; and it is certain in love characters Mrs. Cibber never [...]ppeared to ſuch advantage as when with Mr. Marry. Romeo a [...]d Juliet was attractive when ſhe and Mr. Garrick acted in thoſe parts; but ſtill in the love ſcenes ſhe wanted her former Romeo. Mr. Garrick, indeed, in the ſcenes of fire, had the ſuperiority; but as the lover, Barry was then, and is, unrivalled, and will be till ſuch another ſtarts up; but think I may prophecy that will not happen in my time, were I to double my years with renovated youth.—Indeed, let a thea⯑trical hiſtorian look back, and he will not find an actor ſo excellent, as a lover, from the days of Bet⯑terton, as Mr. Barry, to the preſent ſtage-ſtrut hour.

Miſs Macklin was then engaged, and (her mo⯑ther from Covent Garden:) Miſs M. at that time was a v [...]ry faſhionable actreſs, accompliſhed, and ſeemed to promiſe well; but having acquired a ſufficiency, and grown tired of the profeſſion, ſhe retired ſeveral years ago from the ſtage, and died in ſome degree of affluence.

That ſeaſon Virginia was produced in Febru⯑ary—Mr. Garrick did Virginius; Moſſop, Ap⯑ [...]us; [179] Mrs. Cibber, Virginia; and Marcia was the [...]r [...]t appearance of Mrs. Graham (the late Mrs. Yates) who afterwards ſtood forth as an honour to the Britiſh ſtage:—Her beautiful figure and merits are too well remembered to need enco⯑ [...]m or repetition here. Mrs. Graham was not conſidered of much promiſe by Mr. Garrick, as ſ [...]e was not retained:—But Mrs. Cibber's ill⯑ne [...]s, Mr. Murphy's inceſſant pains, with Mr. Gar⯑rick's neceſſities from Mrs. Cibber's indiſpoſition, was a lucky circumſtance for that lady and the p [...]blic, and produced that charming and beautiful a [...]treſs, who otherwiſe had pined unknown from [...]e firſt ſeaſon, and never been more remembered, but, like a lily drooping, pined and died.

Mr. Garrick wrote the following introductory lines for her in February 1754.

Creuſa was produced that ſeaſon with a double epilogue—the one by Mrs. Pritchard, the other by Miſs Haughton; the Knights, by Mr. Foote; and Fortunatus, a very pleaſing pantomime, by Mr. Woodward—Madame Marriot was the Colom⯑bine that and for ſeveral ſeaſons—a beautiful and pleaſing figure.

COVENT GARDEN, 1753-4.

Mr. Barry having loſt Mrs. Cibber as his Ju⯑liet, lamented thus in his prologue:—

Miſs Noſſiter, on Wedneſday, October 10, made her firſt appearance; ſhe was not much more than the age of Juliet; was poſſeſſed of a hand⯑ſome fortune and genteel education, ſtrong ſen⯑ſibility and feeling, and what added to the per⯑formance, Romeo and Juliet were really in love, and well known to be ſo. She threw ſtrokes in many paſſages that were not only genuine but forcible, and bad fair in time to ſupply the place of a Cibber; [181] but notwithſtanding the advantages of youth, and meeting wonderful encouragement, Nature had not endowed her with voice and powers ſufficient for the arduous taſk to ſtand againſt her rival, and they appeared weakened, the more ſhe was ſeen, in⯑ſtead of gaining ground.—Indeed I think I never ſaw her play ſo well as the firſt ſeaſon; neither was her voice muſical, and her mouth was re⯑markably wide, but ſhe drew to all her characters. She acted Juliet a number of nights. Her ſe⯑cond part was Belvidera, and in the mad ſcene did wonders from tuition, attention, and ſtrong underſtanding: Rutland the third; and Philoclea, brought forward and wrote purpoſely to ſhew her to advantage by Macnamara Morgan.—Mr. Barry took infinite pains with Pyrocles; Mr. Smith did Muſidorus; but the tragedy was a ſtrange, lame, ſick play, and with difficulty languiſhed till the ninth day, when poor Philoclea died a natural death, and was not baſely and cruelly murdered, as Mrs. Bellamy falſely and invidiouſly relates, as Mr. Smith can teſtify; for, on the contrary, the ap⯑plauſe was ſo violent the firſt night of repreſenta⯑tion, and the Iriſh gentlemen's party ſo ſtrong in its ſupport, that Mrs. Bland was obliged to repeat a coarſe epilogue, which was as coarſely ſpoken.

Conſtantine was alſo produced at Covent-Garden that year, and ſhared an unhappy fate. [182] Miſs Bellamy returned here from Drury Lane; but the relation in her book, relative to that matter, being far from authentic, for the ſake of theatrical truth and hiſtory I give the following accounts: Thus far indeed ſhe acknowledges, viz.

As [...]ate Wilkinſon I here note, that Conſtantine was acted that ſeaſon, and ſhared an unhappy fate. Mi [...]s Bellamy's ſituation was, as ſhe has de⯑ſcribed, in Fluvia, TRUTH; but the play was acted to a fi [...]e houſe on its firſt night of re⯑preſentation, and the third act received loud ap⯑plauſes, particularly from Barry's concluſion of it; [183] he alſo received three plaudits from his manner of pronouncing theſe two lines in the prologue—

After the third act it grew very languid, and the c [...]rtain dropped, with the audience more fatigued than enraged.

Miſs Bellamy muſt have been determinably wrong as to her account of Conſtantine being damned the firſt night of repreſentation: It was firſt acted on Saturday, February 23, 1754; alſo on the Monday and Tueſday following: The third [...]ght, as uſual, for the benefit of the author; but the play was unfortunately ſo ill attended and diſ⯑approved, that it was again put up on Thurſday, February 28, the fourth night, for the benefit o [...] the author.—The following inſertion was at the bottom of the bill:—.

Which ſignificantly inſinuated Conſtantine was in [...] decline. Had the play met a better fate, Miſs Bel⯑lamy's ſituation was ſuch as muſt have precluded it [184] ſome time, as that tragedy was with difficulty hur⯑ried thro', the Empreſs Fulvia being brought to bed that very fourth night, and like a woman of ſpirit ſhe appeared ſoon after in the penitent Jane Shore for her own benefit: Mr. Foote acted in the Knights that ſaid evening, and gave an imitation of Mr. Garrick in the prologue, who had wrote and ſpoke that ſeaſon the following lines:—

Which lines Foote thus ridiculed, and in manner very like the Garrick, and with effect:—

Miſs Bellamy mentions alſo the great expence Mr. Rich was at in reviving Buſirus, which is a dream of her own invention, as Mr. Barry revived that play Monday, March 22, 1756, for his own benefit, two years LATER than her account, and was acted to a very indifferent houſe. The ſtage was built, but the ſeats were empty. Mr. Foote acted Hartop in the Knights that evening, to oblige and ſerve Mr Barry.

Mrs. Bellamy alſo relates, that on her return to Covent Garden, on her appearing in Juliet with Barry, that the tragedy had a run exceeding [185] that of oppoſition 1750. It is ſo little connected with truth, and is ſo very erroneous, that on the contrary, when ſhe returned to Covent Garden on the ſeaſon's opening in the autumn 1754, Miſs Noſſiter was, as before-mentioned in my Memoirs, the Juliet; which character Miſs Bel⯑lamy at that time never had acted with Mr. Bar⯑ry, nor ever did till ſo late as the 26th of Decem⯑ber 1755. Her firſt appearance in 1753, on her return, was on Tueſday the 20th of November, in a very improper character; as was her ſecond on Thurſday, November 22 (her ſituation con⯑ſidered): She was thus announced in the bills, ‘"Athenais, by Miſs Bellamy, her firſt appearance this ſtage theſe three years."’ After the chaſte Athenais, the pure Monimia followed, which led to ſtrange ideas that Caſtalio moſt certainly had been acquainted with that lady long before the third act. After that ſeaſon (and not before it was neceſſary) ſhe wiſely changed the appellation of Miſs to Mrs. Bellamy.

That lady's life being publiſhed, my own re⯑marks, and intimacy with her as an acquaint⯑ance, friend, and actreſs, will not, I hope, make the following genuine letters unexceptionable, as it draws as near to the finiſh of that once admired [186] character as the feeling heart or eye would wiſh to penetrate.

[188] The gentleman alluded to in the foregoing letter ſent her 50l. yet ſhe wanted ditto, ditto, as the in⯑ſtant it was got, the ſame inſtant was it ſquandered.

A few months after the laſt letter, the good-na⯑tured and unthinking Bellamy, by her death, paid all her debts.—I hope ſhe is happy; as ſhe [...]deavoured to promote to the comforts of others, and never employed either riches or talents, when [...] affluence and ſplendor, to render any one miſe⯑ [...]ble.

Bellamy's letters lead me to fear that too many reaſons, performers, and others, may look back on [...] their former days, and pronounce, the only com⯑fort the review affords is, that they are paſt!—Ill fate [...]en attends geniuſſes, for as they poſſeſs more ſal⯑ [...]es of quickneſs, they are more ſubject to frailties; [...]hich occaſions them to feel at times a want of [...] more ſubſtantial than good ſpirits to feed and [...] them; as the following well-fancied epiſtle [...] prove:—It is an original, for the which favor [...] ſt [...]nd indebted to the ingenious Dr. Miller, of Doncaſter; who is now buſily employed on a [...]ame compoſition for pſalmody. It was wrote by [...]e late true ſon of Momus, the well-known George Alexander Stevens, and I truſt the inſer⯑tion [196] of it will be acceptable, as the novelty of his ideas will entertain, his genius being at that time in its full vigour.

From this facetious letter of George Stevens's, and Mrs. Bellamy's latter account, we muſt re⯑member in this ſtage-journal I was buſily em⯑ployed a few pages back, with an account of th [...] ſeaſon 1753-4; where I ſtill am ſuppoſing myſel [...] giving an account, though I have been wandering on matters not relative thereto: But from Mrs. [199] Bellamy, and the other perſonages mentioned of at that time, I muſt add, that Mrs. Gregory alſo made her firſt appearance on any ſtage, in the cha⯑racter of Hermione, Thurſday, January 10, 1754. It was falſely reported, that Mr. Barry refuſed playing Oreſtes, fearing her ſucceſs ſhould inter⯑fere with Miſs Noſſiter's.—The ſtory gained ſuch credit, that he judged it neceſſary to publiſh an ad⯑vertiſement in all the papers, contradicting the malicious propagation. That lady grew into the higheſt faſhion afterwards at the Dublin theatre: She married a gentleman bred to the bar in Ire⯑land; a Mr. Fitzhenry, a gentleman of family and abilities; and took leave of the public at Dublin, within theſe four or five ſeaſons; having wiſely provided, from her gains on the ſtage, to live decently and comfortably off.—After all [...]he ſtorms of a theatrical life, I ever caſt a wi [...]hful eye, whenever I read ſucceſs accompanied with ſuch comfortable finiſhings.

This was the firſt winter alſo for Italian [...] at Covent-Garden theatre.—Signora Ni⯑colina (better known and remembered from the character of Spilletta, which ſhe inimitably per⯑formed, in the opera of Gli Amanti Geloſi) wa [...] particularly admired in the Italian ſong [...] the hat, which ſome years ſince has been tranſlated, introduced, and ſung by Diana, in the pleaſing [200] opera of Lionel and Clariſſa. The burlettas that year brought Mr. Rich a great deal of money.

Mr. Garrick thus alludes to their ſucceſs:

The ſeaſon again cloſed at Covent-Garden, Wedneſday, the twenty-ſecond of May, with Ro⯑meo and Juliet, and Harlequin Sorcerer.

Mr. Shuter had quitted Drury-Lane for Co⯑vent-Garden; where he grew weekly, ay nightly, [...]nt [...], favour with the public. Mrs. Bland was become Mrs. Hamilton.—It is very ſtrange, but true, that Shuter was only looked upon as a young man of tolerable merit at Drury-Lane, (the Old Man, in Lethe, his principal part)—but at Co⯑vent-Garden he ſeemed a ſudden blaze of light.—This certainly muſt be allowed an inſtance, that, with genius, opportunity is every thing; but the misfortune is, without talents and genius, actor [...] will be cla [...]ming the ſame right of aſcending th [...] [20] throne of merit; but the ladder ſuddenly breaks, and down drops Dido.

DRURY-LANE, 1754-5.

The company remained much as the year be⯑fore. Mr. Garrick was truly inimitable in Don John.—Mrs. Clive was equal in the Mother. Mr. Yates in the old whimſical character of Don Antonio—and the whole comedy was ſupported, as it might be wiſhed every play ſhould be.

Barbaroſſa was produced that year, and was much followed.—The Chances, revived and al⯑tered by Mr. Garrick, at the command of his late Majeſty, had a great run;—and Coriolanus was g [...]t up; in which character Mr. Moſſop raiſed his reputation. Mr. Garrick was a quick gene⯑ral, and it is moſt probable Mr. Moſſop would not have had the luck of that play being produced at ſuch expence, but that Mr. Garrick was eager to get the ſtart of the rival theatre, where it was prepa⯑ring with infinite pomp and ſplendour. The very idea of a triumphal proceſſion at Covent-Garden, ſtruck terror to the whole hoſt of Drury, howe⯑ver big they looked and ſtrutted on common oc⯑caſions.

[202] The Sabatinis were engaged this year at a great expence, as dancers. They appeared in two new Ballads, the one called the Pandours, the other, the Italian Fiſhermen; but they were both utterly diſapproved, and did not appear ſix nights during the whole winter.—The Drummer alſo was re⯑vived; and tolerably well received and followed.

The Fa [...]ries, an opera, from Shakſpeare's Mid⯑ſummer Night's Dream, was that year introduced. It was well performed, and with good ſucceſs; aided not a little by an excellent prologue, and as excellently ſpoken by Mr. Garrick.—Giordani and Paſſerini were of great additional ſervice, a [...] Lyſander and Hermia.

The Miſtake was revived for Woodward's be⯑nefit.

Mercury Harlequin was the new pantomim [...] that ſeaſon.

COVENT-GARDEN, 1754-5.

Barry was invited to Dublin, on a ſalary of 800l. and two benefits. Mr. Victor and Mr. Sowden, [203] were the deſperate undertakers after Sheridan's abdication.—Miſs Noſſiter, (Mr. Barry's favourite Juliet) made a point of having five hundred pounds; and Mrs. Gregory (who had only appeared in two characters the winter before, at Covent-Garden; once in Hermione, and in Alicia twice; once for Mr. Sparks, and another night for Mrs. Bellamy), at three hundred pounds.—Barry on his departure from England denounced ruin on Mr. Rich by his deſertion; but ſuch threats were weak in the extreme: It is true, Mr. Sheridan's Romeo was vain and ridiculous, immediately af⯑ter Barry's; but Barry forgot that with the aid and n [...]velty of new performers, and Mr. Rich's never⯑failing ſupport, pantomime, and with a theatre in London, (where the metropolis can pour in ſuch incredible numbers) it muſt be the manager's own fault indeed, if he be ruined by the loſs of any per⯑former whatever.

Mr. Sheridan, by the great riot in Dublin, be⯑ing obliged to leave that city, occaſioned by the repreſentation of Mahomet in February 1754; in which perturbation Mrs. Woffington was ſuppo⯑ſed to have aided, as a party concerned in real ſtate politics, which certainly has not any con⯑nection or buſineſs within the walls of a theatre, that lady was alſo obliged to retire from Ireland, at the ſame time, with Mr. Sheridan.

[204] It is one of the moſt remarkable riots that ever occurred in any theatre, and well worthy of being read by every admirer of theatrical hiſtory. It would be impertinent to introduce it here, as it muſt be well known, or ſhould be, to all theatrical perſons. Thoſe who have not been made ac⯑quainted with that period of the early part of the eſtabliſhed Iriſh ſtage, will find it all fully ex⯑plained in a modern volume lately printed, by Mr. Hitchcock; a gentleman of great ability and integrity of the Dublin theatre:—It gives a general view of the Iriſh theatre, from its commencement, down to the year 1757, and will well repay the trouble of a little attention. I can anſwer, as for myſelf, that I often take Mr. Hitch⯑cock's book up for information.

Mr. Sheridan this year came over, and was en⯑gaged by Mr. Rich in the autumn 1754. The ſeaſon opened with ſome of Mr. Rich's ſtock co⯑medies, very ill acted indeed, and as dingily dreſſed.

October 11, 1754, Mrs. Green made her ap⯑pearance from Dublin, in the character of Lappet; a good comic actreſs—much the beſt in chamber⯑maids, Mrs. Heidelbergs, &c. ſince the time of Mrs. Clive.

On Friday, October 18, 1754, Othello was announced, with an occaſional prologue, ſpoke by Mrs. Hamilton, for the introducing Mr. Mur⯑phy. [205] (A gentleman well known and admired for his talents as an author, and many very reſpectable qualities; and often mentioned in the courſe of my Memoirs.) He was to appear in the difficult and dangerous part of Othello; rendered at that time more hazardous than the preſent, by the well known excellence of Mr. Barry in that cha⯑racter. Mr. Murphy had many other reaſons to be alarmed; as he had long waged his pen of war as author of the Gray's-Inn Journal, and had been the terror of poets, and the ſcourge of players.

The novelty held out was a charm irreſiſtible to attend Covent-Garden theatre.—Mr. Murphy's judgment, then or now, would be abſurd to call in queſtion; and I hold that gentleman in true regard; but on the ſtage, he certainly wanted, what we behind the ſcenes call powers, &c. for great effect.

After that gentleman's novelty of three nights, on Tueſday, October the twenty-firſt, the Nonjuror was advertiſed.—Doctor Wolf, Mr. Cibber (his firſt appearance for four years); and Maria, Mrs. Woffington (her firſt appearance for three years); which drew a great houſe.—So favourite an actreſs, and ſo well acquainted with perſons in higher life, will eaſily gain credit to my account. She was of courſe greatly received, and played that character as well as i [...] could be played.

[206] On Wedneſday the 23d of October, Mr. She⯑ridan made his firſt appearance in his eſteemed character of Hamlet: Judicious without doubt; but when compared to the combined excellencies of a Garrick, and the pleaſing powers of the win⯑ning Barry, he was not by any means eſtabliſhed from that night's performance as a darling of the London audience—Tho' in Dublin not any one performer whatever, even the Garrick, at that time would not have been univerſally crowned with lau⯑rel, as to preference, or perhaps equality; but (as Mr. Macklin has [...]a [...]d) that opinion had been jerked into the Iriſh audience from his father Dr. She⯑ridan the ſchoolmaſter. He next appeared in Ri⯑chard, without any remarkable applauſe till the dying ſcene, where he was equal to any actor, if not ſuperior to any I had then, or have ſince ſeen, without the aid of a flounder-like flouncing, as the modern Richard's practice, to the great plea⯑ſure, approbation, and univerſal plaudits from the galleries. Till I broke my leg I was much at⯑tached to that tumb [...]ing exhibition and ſurpriſing feat-like agility.

In November, 1754, Phaedra and Hippolitus was revived:—Theſeus, Sheridan; Hippolitus, Smith; Phaedra, Mrs. Woffington; and had not any farce ta [...]ked to i [...], though a play conſiſting of five characters only. It was the cuſtom on re⯑vived [207] plays, and invariable with new ones, not to have any entertainment for the firſt nine or twelve nights—it would have been judged diſgraceful: nor did any play whatever intervene, unleſs from illneſs or an unforeſeen cauſe. Phaedra had not any ſucceſs that year. Indeed, though the poetry is elegant, it is too learned and too languid. The performers and audience ſeemed half aſleep, and the candles burned dim, unleſs at the following paſſage; which, with the advantage of Mrs. Wof⯑fington's figure and new dreſs, prepared them for the chace—

After which rouſe all parties on and off the ſtage, as by mutual conſent, unanimouſly returned to their evening's nap.

Mr. Moncrife's Appius was acted that ſeaſon, on the ſame ſtory of Virginia, produced the year before by the Rev. Mr. Crofts at Drury-Lane, but deſtitute of every comparative merit, either as to plot, incident, writing, or any other claim to preference, and as to acting lamentably deficient. One ſpeech of Mr. Sheridan's (though I never ſaw the play but the firſt night out of the ſix i [...] [208] was acted) I never can forget, he delivered the fol⯑lowing lines ſo energetic:—

Coriolanus was revived with great pomp:—Mr. Sheridan conveyed a maſterly knowledge of the character and his immortal author, old Shak⯑ſpeare. That play drew ſeveral houſes; but his OEdipus, Romeo, Zanga, Lord Townly, Sir Charles Eaſy, Oſmyn, &c. did not bear equal credit. Italian burlettas were attempted by a new ſet of Italians, but met with very little attraction or applauſe:—The firſt was L'Arcadia in Brenta, on Monday the 18th of November 1754; the ſecond, entitled, La Famiglia de Bertoldi. Mr. Murphy performed Jaffier only between his firſt appearance and the benefits in March, when he acted Archer, Young Bevil, Hamlet, Macbeth, &c.

Mr. Clarke made his firſt appearance that ſea⯑ſon in Oſman in Zara, on Thurſday the 30th of October; an actor that muſt be at this time well remembered by his brethren and the public, tho' his talents were not ſtrong enough to let him live long after death.

A Mrs. Glen alſo made her appearance that year in Rutland, Monday, February 24, 1756.^*— [209] That lady I can only remember being apt to have [...]its on the ſtage—Indeed ſtrange fits off the ſtage, ladies and gentlemen are often ſubject to—I have ſometimes been ſo affected myſelf.

Mr. Rich revived Orpheus and Eurydice, that ſeaſon, Wedneſday, January 29, which drew crowds, but not equal to the Sorcerer, nor held in great eſtimation. That pantomime has been tried twice or thrice ſince then, but without ſucceſs.

Mr. Poitier (an excellent dancer indeed) wa [...] introduced that year, and greatly admired: He came from the Opera Houſe at Paris; his firſt ap⯑pearance was on Tueſday, Dec. 3, 1754.—I do not recollect any very particular incidents that ſeaſon.—Mrs Bellamy revived Alzira for her benefit—Za⯑mor, Mr. Murphy: and the ſeaſon concluded on Thurſday, May 22, with the Conſtant Couple; Sir Harry, of courſe, by Mrs. Woffington; the entertainment was Orpheus and Eurydice.

DRURY-LANE, 1755-6.

Mr. Moſſop was this year enticed (partly ow⯑ing to an affront mentioned in my Memoirs) over to Dublin, by Mr. Victor and Mr. Sowden, to play on ſhares and two benefits; where he only [210] acted twenty-four nights, finding he could obtain more profit for himſelf by acting twenty than forty nights for his employers:—So in fact Mr. Moſ⯑ſop's great drawings in, was on the other nights the inevitable occaſion of great drawings out from the treaſury of that theatre. Mr. Garrick, from the unexpected loſs of Moſſop, engaged Mr. Murphy to ſupply that bulwark the other's abſence had oc⯑caſioned to give way. Mr. Murphy's firſt ap⯑pearance was on Tueſday the 30th of September, 1756, in Oſmyn in the Mourning Bride. Mr. Holland ſtarted forth in the month of October, (Monday the 13th, 1755) in the character of Oroonoko, ſupported by Mrs. Cibber in Imoinda. He was a ſhining ornament, and an honeſt, truly agreeable man, was univerſally beloved, but death ſnatched him in the bloom of life and improve⯑ment, and deprived the ſtage of an actor of merit and a worthy character.—He was too apt to out-herod Herod—by which falſe judg⯑ment (miſtaking it for genuine fire) the big man⯑ly voice became too often harſh and unpleaſing. In conſequence, when Powell came in view, (tho' a ſuckling) he ſoon threw Holland at a diſtance, by keeping within the bounds of Nature and true ſpirit. This ſacrifice of ſenſe and ſound (which I glaringly gave way to for the ſake of catching momentary applauſe) would be leſs practiſed than [211] it is, would we once conſider, that the opinions of the principal leaders of faſhion in every place will influence the million in a great meaſure, and by them will be allowed, followed, and adopted. The following lines on this ſubject were wrote on Holland:—

Athelſtan was produced that year, written by Doctor Brown. Mr. Garrick did his very beſt to ſupport it, and the play certainly had merit, [212] and was well acted; but it never recovered the chilneſs of the ſpring, nor has ever taken root, budded or flowered, from that time to this.

The Winter's Tale, introduced with an excel⯑lent prologue by Mr. Garrick, had a very conſi⯑derable run. Mrs. Cibber's neat ſimplicity in ſinging the ſong wrote by Mr. Garrick—

made little Perditta appear of the greateſt conſe⯑quence.—It was well caſt, and the performance juſtified Mr. Garrick's judgment in ſo ordering the characters. Catherine and Petrucio was altered into three acts on the ſame occaſion: Petrucio, Mr. Woodward; Catherine, Mrs. Clive.—He threw her down on the exit of the ſecond act, which had very near convinced the audience that Petrucio was not ſo lordly [...]s he aſſumed; for Mrs. Clive was ſ [...] enraged at her fall, that her talons, tongue, and paſſion, wer every expreſſive to the eyes of all beholders, and it was with the utmoſt difficulty Kate ſuppreſſed her indignation.—The firſt re⯑preſentation of theſe pieces was on the 21ſt of January 1756.

The Apprentice was introduced that year, Ja⯑nuary, 2d by Mr. Murphy; who ſpoke a pro⯑logue to that farce, which was afterwards inimi⯑tably [213] and conſtantly repeated by Mr. Woodward in the character of Dick, in which part he was excellent. The farce had a great run, and ſtill continues in full effect, and ever [...]ill, while a cle⯑ver ſpirited comedian like Mr. Lewis or Mr. Baniſter, jun. has the Apprentice intruſted to his care and guardianſhip.

The Tempeſt as an opera in three acts, with recitative, &c. was introduced that ſeaſon, with a paltry dialogue, as may be ſeen in the magazine, of Feb. 1756: Signora Curioni, an Italian ſinger, performed in it, but it was dreadfully heavy.—It went through with great labour eight nights, but not without the aid of the garland dance, well performed by ſixty children, at the end of the ſe⯑cond act, and the pantomine of Fortunatus, or the Genii, after that.

All's Well that Ends Well was revived—I imagine to pleaſe Woodward, who was [...]ond of acting Parolies.—He revived that play at Dub⯑lin, and alſo when laſt at Covent Garden; but I never remember any remarkable ſucceſs or plea⯑ſure received from the repreſentation of that play; though here and there, it muſt be confeſſed, there are ſcenes of merit, whimſicality, and genius: but it never will be like the maſter productions of Shakſpeare, a ſtanding diſh or an alluring ſpec⯑tacle to the public eye.

[214] The Fair Quaker was alſo revived that winter, and was well acted, but the comedy of itſelf has not much ſterling merit, and its humour and the characters are too coarſe for the nice diſcrimination of the preſent age. However, Mr. Garrick made the play ſtand its ground from the good acting of Woodward, and Mr. Yates in Beau Mizen and Flip, and the parts in general not a little reinforced by the good and popular pieces the manager added as a ſupport, and the new ſong of ‘"Hearts of oak are our ſhips,"’ by Mr. Beard.

The CHINESE FESTIVAL, at an immenſe ex⯑pence, was produced on Saturday, November 8, 1755, (by command of his Majeſty King George the Second). ^*—It was in the time of the war with France.—The multitude conceived it was pur⯑poſely got up by Mr. Garrick to introduce French⯑men to eat up all the bread, the beef, and the pud⯑ding from the Engliſhmen; and they were, by artful incendiaries, (which are never wanting to do evil) ſo inflamed, and the hydra-headed monſter was ſo powerful, as not to let the preſence even of ma⯑jeſty ſecure a decent repreſentation: It was again attempted, and ſtrongly ſupported, on Wedneſday, Nov. 12, after the comedy of the Inconſtant; but the fatal night of the Great Riot, and entire over⯑throw of the FESTIVAL, was on the Tueſday follow⯑ing [215] Nov. 18.—Eſſex was the play that night, the Earl by Mr. Murphy:—The nobility muſtered all their forces, drawn ſwords, &c.; but the mobility, againſt reaſon and their own rational entertainment, like a torrent bore down all before them; Mr. Gar⯑rick's houſe had nearly been torn to pieces; infinite miſchief was done the theatre; and John Bull was exulting with triumph. Some nights after Mr. Gar⯑rick advertiſed his performance in Archer, when, on his entrance, ſomething murmured like—Pardon! pardon! on which he advanced with great reſpect, and as great firmneſs, explained how ill he had been treated by the wanton and malignant con⯑duct of wicked individuals, both in his property, fame, and character.—He acknowledged all fa⯑vours received, but unleſs he was that night per⯑mitted to perform his duty to the beſt of his abi⯑lities, he was above want, ſuperior to inſult, and would never, never appear on the ſtage again.—While he was ſpeaking all tumult ceaſed:—It was indeed a calm after a ſtorm:—They ſeemed ſo ſtruck with the truth which he aſſerted and ad⯑dreſſed to them, the propriety of his conduct, and the injury from illiberality and wicked wantonneſs he had actually ſuſtained, that from the idea of cenſuring Mr. Garrick unmeritedly, they felt the reproach deſervedly on themſelves, and, like true-hearted Britons, burſt into ſuch an univerſal accord⯑ing [216] applauſe, as for ſeveral minutes ſhook the fabric of Old Drury.—Harmony was ſettled before and behind the curtain to the mutual gain and credit of all parties, as Mr. Garrick after that for years en⯑joyed deſervedly the well-earned ſmiles and un⯑bounded favours of the public; and that pub⯑lic in return had the happineſs of ſeeing him in a [...]onſtant round of characters three times in the week on an average—the firſt actor that ever did ſo variouſly and excellently perform ſuch a con⯑traſt of capital chara ters, who but for this [...]ucky accident, perhaps might have been loſt, to the great regret of his admirers, who never did, or will, take him for all in all, lock upon his like again.—Wherever there are many enemies, there will always be merit to create ſuch envy.

The particulars of the riot, relative to the Chi⯑neſe Feſtival, may be ſeen in Mr Victor's ſecond volume, page. 131 to 135.

I do not remember any other remarkable oc⯑currence that year at Drury Lane theatre, except that on Saturday, March 27, Mr. Garrick gave his firſt performance of Lord Chalkſtone (for Mrs. Clive's benefit), which had a great run, and kept the houſe open later than uſual. The ſeaſon concluded with Mr. Garrick's Benedick and Lethe.

[218] COVENT-GARDEN, 1755-6.

Mr. Sheridan's ſucceſs at Covent-Garden the preceding winter, (where he had not taken any benefit-night) did not occaſion inducement from Mr. Rich to propoſe, or Mr. Sheridan to offer, his ſervices.—Mr. Barry returned from Ireland, after the harveſt of a well-fought field—and in his hand, Miſs Noſſiter. Mrs. Bellamy, then in re⯑putation as an actreſs, continued ſtill with Mr. Rich—alſo Mrs. Woffington.—She and Bellamy were imp [...]acable enemies.—Negotiations were off and on between Barry and Rich, till Novem⯑ber, before any thing definitive occurred; and Mr. Rich, as uſual, went dreaming on with Vol⯑pone, Way of the World, Country Laſſes, &c. while Drury-Lane ſeemed as ſecure as if only one theatre was permitted in the capital of London.—However, on Wedneſday, November the twelfth, Mr. Barry acted Hamlet, to a numerous audi⯑ence, and was deſervedly received with rapture.—But the loſs ſuſtained by Mrs. Vincent being the Ophelia, (a uſeful, but an affected actreſs) in lieu of Mrs. Cibber, made a woeful comparative play to that of Mr. Garrick's at Drury-Lane, with Oſtrick, Mr. Woodward, and Ophelia and the Queen, by Mrs. Cibber and Mrs. Pritchard. In⯑deed, [219] the only perſon of ſterling abilities, I can re⯑member, in that highly finiſhed character of Ophe⯑ha, ſince Mrs. Cibber, is Mrs. S. Kemble. That lady has infinite merit in a variety of playing; but where the artleſs, the feeling, and the impreſſive, to reach the ſoul is requiſite, ſhe, need not in ſuch departments fear the moſt Critical Review; for her natural repreſentations muſt live on ſtage record, and may fearleſs bid defiance to ſatire or [...]—If Sterne's Maria was properly intro⯑duced (as an opera character) I think it would prove lucky for the author to have Mrs. S. Kem⯑ble for her repreſentative.

Mr. Barry, on the Friday following his Hamlet, acted Jaffier; and ſtrange to relate, with ſo won⯑derful and ſo deſerved a favourite, and in a cha⯑racter where he was ſo truly excellent, there actu⯑ally were only twenty perſons in the upper gallery; a bad pit, (and I may ſuppoſe many orders) and only two ladies in the ſide-boxes on one hand, and [...]ot three gentlemen on the other ſide. However, [...]he ſeaſon on the whole was great, as was Mr. Barry's ſucceſs; though I now recollect his acting Henry the Fifth, Wedneſday, December the third, (where his performance was enchanting) to much the ſame kind of houſe as I have mentioned to his Jaffier.

Miſs Noſſiter did not make her appearance till [220] late in the ſeaſon; on Friday, December the twelfth, in the character of Monimia, which ſhe performed to a crowded audience. Barry acted Caſ⯑talio, ſo excellently, that he was the only one I wiſh to remember.—Some aſpiring youth will ſmilingly obſerve, that when folks grow ancient they pronounce excellencies, and paint beauties of their old favorites which never exiſted, becauſe thoſe of the preſent day cannot contradict them; but I have proved myſelf far from being inſenſible of the high merits of the preſent race of performers, in many inſtances; and wiſh not, becauſe I praiſe Barry's Caſtalio, to ſee him, were he now living, in the Count of Narbonne; as Mr. Kemble there is himſelf alone, and ſhews ‘"like a great ſea-mark, ſtanding every flaw, and pleaſing thoſe that eye him."’

Alexander was revived with very great pomp, of which Mrs. Bellamy's books give a very full account, and alſo of her quarrel with Woffington.—It drew crowded audien [...]es for many nights; was firſt acted on Thurſday, January the fifteenth; where Barry really appeared himſelf the leading God.—

King Lear was revived alſo that year; in which he was highly received: and a critic pronounced, ‘"To Barry they gave loud huzzas,"—"To Garrick only tears."—’

[221] Barry, in the pathetic ſcenes, had infinite me⯑ [...]t, and acted all well.—But the character, taken in general, was never ſeen, in my opinion, truly depicted with that fire, neatneſs, energy, quick⯑neſs, and every various requiſite, as by the inimi⯑ [...]able Garrick. In tragedy, King Lear was his maſter-piece, (his Macbeth excepted.)

Italian Burlettas were tried a third ſeaſon, but did not meet with ſucceſs after the firſt year.—They had then the ſame ſet of comic ſ [...]ers, viz. Signora Nicolina, (alias Spiletta) her [...] &c. as the two years preceding. Spiletta drew money it muſt be granted; but her firſt year [...]e ha [...] been univerſally allowed the inimitable, the [...]rming, the expreſſive SHE. Be it obſerved, that [...]rlettas had not been introduced at the King's Theatre in the Hay-Market; the entertainments co [...]ſiſted only of the ſerious opera, and the grand da [...]ng; not any comic performers whatever, ei [...]her as ſingers or dancers.—The firſt comic opera, was on Monday the 12th of January, La Co⯑mediante Fatta Cantatrice; the ſecond, (and the b [...]) was Gli Amanti Geloſi.

Mr Foote, on Tueſday, February the ſecond, [...]ter the play of Lady Jane Gray—(Lady Jane, Mrs. Woffington) produced his new farce of the Engliſhman returned from Paris.—It was well [...]ed; was much followed; and filed the pockets [222] of manager and performer.—Mr. Rich did ſo well with Barry, Foote, and the revived plays, that he had leſs dependence on pantomime that ſeaſon than uſual. Mr. Foote ſhared the nights of his farce as Author and Actor. He performed Sir Charles Buck, and acted Sir Paul Pliant, in the Double Dealer, and other characters to help his farce.—His benefit, as the author of the Engliſh⯑man Returned, was on the 8th of March Ham⯑let was the play—Hamlet, Mr. Barry;—Queen, Mrs. Woffington;—Polonius, Mr. Foote;—and was by every one thought a man of talents, but a very bad ſtateſman. He was ſo convinced of his error, that the day before his benefit he reſigned his place at court; and Mr. Arthur was his ſubſti⯑tute for Lord Chamberlain.

Mr. Barry's benefit that year was on Monday, March the 22;—Buſiris; with the Knights:—Hartop, Mr. Foote.—Mrs. Woffington's was Ulyſſes; and the Frenchified Lady. Mr. Smith, on Saturday, April 3, again choſe the Siege of Damaſcus, and acted Abudah.—That performer was known then and now by the appellation of Gentleman Smith, from that upright conduct with which he ſet forward, and has ſtedfaſtly walked in the ſame path to this day; by which perſeverance he has reached the ſnug retreat of content: He was at that time riſing rapidly into fame as an actor; [223] therefore poſſeſſed a double claim to applauſe and encouragement. He had ſupported moſt of Mr. Barry's characters the winter preceding; and his long continued good reception and deſervings are ſo well known, that my panegyric would be futile and impertinent.

Wedneſday, May 26, 1756, the ſeaſon con⯑cluded with the uſual old bill of fare—Woffing⯑ton's Sir Harry; and Orpheus.

DRURY-LANE, 1756-7.

Mr. Moſſop returned to his allegiance, and Mr. Sheridan was reinſtated in his Iriſh government; not without numerous ſpies, and lurking enemies; [...]s Barry and Moſſop, on their trips, during his abſence, had infuſed different ſeeds of diſcord, which rankled and kept up the ſmothered flames of party, and ended in mutual ruin: For (as mentioned in my Memoirs) Sheridan was defeated, and obliged for a time to ſeek refuge in England.

Barry at Covent-Garden, was ſinking for want of variety of characters; he playing only in tra⯑gedy: (Young Bevil, and Lord Townly ex⯑cepted.) And though he may be equalled in judg⯑ment, or inferior to ſome performers in 1790; yet his voice and countenance can neither be pur⯑chaſed, ſurpaſſed, nor acquired, for the lovers.—Garrick being reinforced with Moſſop, gave his [224] company the undoubted ſuperiority; and the little tyrant—

Barry's novelty, was worn out in ſome degree, and though a darling of the public's, (and next to impoſſible he ſhould be otherwiſe) yet Garrick carried all before him.

Harlequin Proteus, or Harlequin in China, was the pantomime of that year.

Miſs Pritchard's promiſed appearance, 1756, cauſed much converſation and expectation this ſeaſon; her features fixed the eye of every beholder off the ſtage, the face was ſo exquiſitely handſome. She was not much older than a young lady now a candidate for ſtage favour 1790: I mean Miſs Wa [...]s. Her public merits, cannot, with any pr priety, be here introduced; as it would be out o [...] all ti e and place, and ſubverſive to the plan I have adopted and obſerved relative to others [...]or the preſent publication. Yet I cannot refrain, for the credit of the ſtag, to be her herald; and with th trumpet of [...]ruth [...]ound forth, that her purity and good conduct may challenge the breath of Slander, [...] nvy, or Detraction; and her undenia⯑bly good character is ſuch, that the more it is inveſtigate—

[225] Mr. Garrick's Lear ſeemed to have gained addi⯑tional ſtrength, luſtre, and faſhion.—Mr. Shuter had the year preceding, revived the Wonder [...] at Covent-Garden theatre, for his benefit, which became in conſequence a ſtock comedy. Gibby, by Mr. Shuter; who was there the leading cha⯑r [...]er.—Don Felix, the hero, was execrably per⯑ [...] [...]ated by a Mr. Gibſon. Mr. Garrick revived r eal [...]y in the ſeaſon, Saturday, Nov. 6, 1756; [...] the play was ſo well conducted, (Gibby ex⯑cepted, by Johnſon, who could ſpeak the dialect, but not act) that the play was perpetually called f [...], and reliſhed as a perfect performance, parti⯑c [...] [...]ly Mr. Garrick's Don Felix; and it was equ [...] ly attractive every year, when he performed that [...]aracte [...], (which had never before been no⯑ticed in the liſt of capital parts.) He valued him⯑ [...]el [...] on his reputation in performing Don Felix to much, that he fixed on it as the laſt mark of genius he ever gave; which was on Monday; [...]ne 10, 1776, for the benefit of the theatrical [...] On which night, after the comedy, he took his farewell of the ſtage; when more tears were fi [...]ed from box, pit, and gallery for the loſs of that truly inimitable actor, than at the repreſenta⯑ [...]on of any tragedy, ſeen in ancient or modern [...] Don Felix died that night, and I fear with⯑out iſſue to claim true right, and do his name [...] honour and juſtice.

[226] The Male Coquette (written by Garrick) was alſo well received. The Repriſal, and Proteus, or Harlequin in China, (by Woodward) were both well approved, but not very attractive.

Miſs Pritchard's was a moſt remarkable firſt ap⯑pearance, Saturday, Oct. 9, 1756:—The partiality for her mother, from the moſt reſpectable and in⯑dulgent audience in the world, Mr. Garrick's patro⯑nage and tuition, and her own beautiful face, which was faſcinating to a degree, occaſioned curioſity in ſhoals.—The mother, (Mrs. Pritchard,) lead⯑ing her daughter on in Juliet, as Lady Capulet—the tears of the young lady—the good wiſhes and tenderneſs of the town, all combined, made an affecting and pleaſing ſcene.—But that partiality dwindled away in the early part of the ſeaſon.

Her ſecond appearance was on the 25th of Octo⯑ber, 1756, in the character of Lady Betty Mo⯑diſh, where Mrs. Pritchard had been often ſeen, and was incomparable, in ſpite of perſon;—but the daughter wanted the mother's ſoul, her feeling, her fire, her whim, her imagination: which here plainly ſhews, that teaching and teaching will never do, unleſs Providence has given genius and nature to be moulded.—In that caſe the maſter may juſtly claim credit, and perhaps more than is his due; but without that precious gift, talents, which muſt come from the univerſal Ma⯑ker [227] alone, no maſter can bring a pupil, (however learned) beyond a dull languid mediocrity, to public view with eclat.

I do not recollect more particulars that year, except Mr. Foote's producing the Author, which had a great run indeed; not only from the good acting of Mr. Foote, in Cadwallader, (the out⯑ [...] [...]es of which character he had taken from a pri⯑vate family) in which he gave great proof of hu⯑mour, ſatire, &c. but from Mrs. Clive being not [...] [...]ver in Mrs. Cadwallader. The piece had great [...]ſs: And wherever it is perfectly acted, and t [...]e parts of Mr. and Mrs Cadwallader are done [...] to in the performance, that farce will ever be a [...]and of entertainment to all who are ſuſceptible [...]true comic force.—It is not ſo local and [...] as many of Mr. Foote's pieces; but is ſo near Nature, (though extravagantly drawn) that the piece whenever done juſtice to, and a favourite actor and actreſs in the two parts, it will live on the ſtage for an age to come.

Near this period, or indeed, two years later, the ſtage was favoured with a new candidate for fame; the eldeſt ſon of the late Mr. Fleetwood, formerly proprietor of Drury-Lane theatre.—His perſon was elegant and handſome: To his under⯑ [...]tanding and education he alſo poſſeſſed intrepidity with coolneſs; and never, on any occaſion, was [228] thrown off his guard, ſo as for any opponent whatever to look or ſpeak to him but as a gentle⯑man.—This was of infinite ſervice to Mr. Fleet⯑wood as a billiard player; at which amuſement, he was by all allowed ſo excellent, that few would venture to hazard with him.—His well-known abilities were ſo highly rated by all who knew him, that great expectations were formed of his ſtage ſucceſs. He performed Romeo, at Drury-Lane, 1758, as I recollect, on his firſt appearance; and had a grace and [...]aſe, that ſeemed not only to ob⯑tain, but command applauſe: Yet with all theſe advantage, his voice ſeemed conſumptive, and his powers deficient, and the more he played, the leſs he pleaſed either the audience or himſelf, except in Young Bevil: however, tho' little accuſtomed to the ſtage, there was an [...]aſe, accompanied with elegance and native dignity in his deportment, that, take it from the firſt riſing of the curtain to its f [...]ll, he diſplayed more merit, and gentleman⯑like judgment, than any firſt rate performer I either had at that time ſeen, or ſince, in that difficult firſt rate, and accompliſhed character.—Being ambitious, and of ſtrong diſcernment, he ſoon found the drama would not anſwer in that ſtyle of lucrative ſuperiority, at which he only aimed; he therefore in leſs than two years' experiment of ſtage enterpriſe, retired [...]rom the theatre, and engaged, (I have been informed) in an underta⯑king [229] in the Weſt-Indies, where he has rapidly made a conſiderable fortune, and is, I believe, at this time living in that climate, enjoying the fruits of ingenuity and induſtry; points, which con⯑joined, ſeldom fail eing the reward of talents and ſtrong genius.—The Ambitious Step Mo⯑ther was revived for him at Drury-Lane, in 1758, to perform Artaxerxes, but without approbation.

Not having collected this work from notes, but merely from memory, Mr. Fleetwood had not occurred to my remembrance, but from hav⯑ing lately ſeen a ridiculous ſituation on the ſtage at the York [...]heatre, from beholding Romeo's hav⯑ing a real ſword, inſtead of a foil, to grace his [...]gh. A circumſtance very wrong to truſt to, even [...]er the guide of the moſt cautious, as hurry, [...]attention, the ſtage [...]uror, and a thouſand acci⯑dents, may, for want o [...] inſtant reflection, occaſion m [...]t alarming accidents—we often receive [...]ts [...]rom our [...]tage battles; I myſelf can bear [...] [...]mony to an honourable [...]car obtained in [...] [...]e [...]d.— [...]a [...] fencers one cauſe, and blades, [...] well tem [...]ere [...], too often another, which oc⯑ [...]on [...] hiet; but to incur the hazard o [...] cer⯑tain dangerous weapons is ſurely neither par⯑ [...]ab [...] nor [...]ufferable

[...] lately [...]aw Romeo with a real ſword, which the fiery I [...]balt no ſooner viewed, than he kept [230] not only a prepoſterous, prudent, diſtance, but [...]e [...] down dead, without an attempt at battle. Ano⯑ther inſtance, was when Mr. Fleetwood, juſt men⯑tioned, was acting Romeo, at Drury-Lane: He had forgot his foil; Mr. Auſtin was the Paris, and not knowing his danger, was determined to be courageous, and fought like a lion; till Mr. Romeo, who fenced well and elegantly, being de⯑termined to conquer, (in reality) whipped Mr. Auſtin through the guts ſans ceremonie: Swords were then prohibited in conſequence, and a ſevere penalty inflicted for wearing one on any account. Accidents of that ſort were more likely then to happen than at preſent; as not any gentleman of the London theatres, when dreſſed, was ever ſeen without a ſword by his ſide.

A misfortune of a ſimilar kind to that lately mentioned, is that of the late celebrated Mr. Far⯑quhar, who after being on the ſtage as an actor, ob [...]ained a commiſſion in the army, in which ſituation he wrote ſeveral well known and enter⯑taining comedies; the Beaux Stratagem, Con⯑ſtant Couple, the Recruiting Officer, and ſeveral others, which at that time, and the preſent, are in deſerved high eſtimation: but an unlucky acci⯑dent, in the year [...]697, put a period to his per⯑forming.—Being to play Guyamor, in the In⯑dian Emperor, who kills Vaſquez; and having [231] forgot to change his ſword for a foil, he wounded a Mr. Price, who acted Vaſquez, dangerouſly, though not fatally. The impreſſion which this accident made on a mind ſo ſenſible, and the re⯑flecting on what might have been the conſequen⯑ces, determined him to relinquiſh a profeſſion, which might, perhaps, expoſe him to like miſtakes in future.—I have merely introduced this matter here, for every performer ſeriouſly to conſider, that it is no reaſon, but that what has not yet befallen him, may, unhappily, at ſome future period, en⯑ſue; and not truſting to the hazard, is a certain preventive to the danger.

From the peril of ſwords, permit me to return to my ſtage calendar, and relate, that Miſs Bar⯑ [...]n (now Mrs. Abington)'s firſt appearance at Drury-Lane, was on Friday, the twenty-ninth of October, 1756, in Lady Pliant.—Sir Paul Pliant, Mr. Foote.—Her ſecond appearance was on the third night of the Wonder, in the Vir⯑g [...]n Unmaſked.—Lilliput, a Satire, written by Mr. Garrick, was excellently acted by children: And the ſeaſon concluded with Mr. Garrick's performance of Lord Chalkſtone.—After the play of Eſſex, Mrs. Pritchard's Queen Elizabeth, (from indiſpoſition) was read by Mrs. [...]net (now living.) That night was appropriated for [232] the benefit of a Mrs. Horton, a celebrated actreſs, for ſome ſeaſons after the deceaſe of Mrs. Old⯑field; but I am ſorry to relate, though it was on a charitable occaſion, and Mr. Garrick aided the performance with his powerful aſſiſtance, that neither firſt nor half price gave any appearance of help or ſpirit to ſupport the once admired Mrs. Horton.—It was no more than ſans box—ſans pit—ſans gallery—ſans every thing.—

COVENT GARDEN, 1756-7.

This ſeaſon opened rather languid.—Mr. Barry's Lear was not attractive.—Alexander did ſomething. Noſſiter was the Statira; as Bel⯑lamy was ill, and had broke her arm. Woffington was on the decline; but ſhe never neglected her buſineſs, tho' her health, ſpirits, and beauty, were viſibly de [...]aying.— [...]wo plays of Beaumont and Fletcher's, (W [...]t without Money; and the Humorous Lieutenant) were revived at a great expence; they were well conducted and met with ſome ſucceſs:— [...]he Humourous Lieutenant was performed at the command of his pre⯑ſent Majeſty, then Prince of Wales, on Fri⯑day the 10th of December:—Alſo Mrs. Centlivre's comedy of the Rover was produced, and commanded by his Majeſty—A [...]tered this year, 1790, by Mr. Kemble; which alterations [233] were requiſite: as in 1757, Ned Blunt actually undreſſed to his drawers.—The London Cuck⯑olds was acted, (for the laſt time, I believe) on the lord mayor's day.—The Engliſhman re⯑turned from Paris being publiſhed, (as was ever the cuſtom in thoſe days—not locked up as at pre⯑ſent, as if afraid to ſee the light) was acted, and ſtood its ground tolerably; aſſiſted by Mr. Dyer, in Sir Charles Buck; Miſs Noſſiter the Lucinda. Bellamy did not play that ſeaſon, except Almeria, for the benefit of Mr. Sparks, in March.—Mrs. Woffington that year acted Lothario and the Frenchified Lady for her own benefit.

That winter Mrs. Gregory's fame had increaſed [...]o much in Ireland, that ſhe ventured over to play on ſhares a few nights at Covent-Garden.—Her Caliſta did the moſt for her. She had great me⯑rit, an [...] much fire.—Her Hermione was in ſome ſcenes very capital.

Mrs. Gregory, (now Mrs. Fitzhenry) ſome years after, tried Drury-Lane boards, and was in⯑ [...]nded as a curb on Mrs. Yates. This was ſuſ⯑pected by Mrs. Yates's friends and the public, and Mrs. Fitzhenry's perſon ſtood no chance a⯑gainſt the beautiful Mrs. Yates's: The Iriſh gen⯑tlemen were too ſanguine—In conſequence, a vio⯑lent oppoſition took place; and Mrs. Fitzhenry, (notwithſtanding her good character and great [234] abilities) was ſeverely and cruelly treated: A cir⯑cumſtance ſeldom happening from a London au⯑dience.—But what will not ſpleen effect?—This had nearly proved of fatal conſequence to her [...]ame as an actreſs in Dublin; the ill report being tr [...]bled to greet her return. But real worth, and the high eſteem ſhe was held in by the worthy, baffled her enemies—She was ſoon reinſtated in her former enviable ſituation of public applauſe and private eſteem; and for years her emoluments were ſuch, as to make happy the remainder of her days by a laudable and well-earned independence; and ſhe now lives beloved, and feels the rapture of daily teſtimonies of regard paid to her unfullied reputation.

Performers of the old and new ſchool may here take a hint reſpe [...]ting Mrs. Fitzhenry's good and ill treatment, as it plainly ſhews how little the ſtability of the beſt audience is to be depended upon: For in my ſpace of memory I do not re⯑collect a more favourable reception than was that lady's in Hermione; and though of their own London planting, yet malevolence, party, and ſpleen, wiſhed to caſt her public merit and her private worth, like a loathſome weed, away. Hence we may gather and ſurmiſe, it is highly needful we ſhould [...]urb our vanities, [...]or every one has more or leſs) ſo as to prevent the over-powering [235] our wits: For the entire reliance on pub⯑lic favour, it is plainly evident, too much reſembles truſting to what we judge the faſt gripe of a ſtrong ſ [...]ppery eel, which is vaniſhed when we fondly imagine it is moſt ſecure. Audiences, I fear, re⯑ſemble each other, in a more or leſs degree, all the world over; and have, like actors on the expanded ſtage of life, their different change of opinions, their caprices, and their contradictions. If that be really the caſe, and that they do not know their own minds, but are unſteady, patronize one year, and abandon the next, what a flaming pru⯑dent beacon ſhould it exhibit to theatrical reflection to warn againſt truſting too implicitly to public ap⯑plauſe, or of depending too far on our fancied or real abilities, as too ſurely the breaths that raiſe can ſink us; and we who hold the mirror ſhould recollect, that in the wide world's drama the ring of fickle changes are wholly compriſed in that eſtabliſhed ever-running play called The Follies of a Day; wherein all act their parts with applauſe, approbation, diſgrace, or ſink into oblivion. The ſtage, with all its attractive brilliancies, which at a certain time of life renders it improving and be⯑witching, (for in youth even its vexations are re⯑conciled and connected with its pleaſures yet in its higheſt meridian, had I a dozen [...]ns, it would be the laſt profeſſion I ſhould adviſe or wiſh [236] any one of them to adopt, (though I never would prevent genius or ſtrong inclination in its purſuits for li [...]e) to many are called but few are choſen. My advanced reaſons do not ariſe from a mean opinion of the art, (quite the reverſe) but from the too frequent affronts [...]as obſerved in my ſe⯑cond volume) its profeſſors are often liable to re⯑ceive from the ſupercil [...]ous and the domineering; and what is more grating to feeling diſpoſitions, they are ſometimes offered from thoſe we have been taught t [...] believe and look on as (what are termed) friends and acquaintances.—And ſurely it is the ſame compoſition of mind, the ſame reſolution and courage, which make the greateſt friendſhips, and the greateſt en [...]ties; and he who is too lightly reconciled after high provocation (which in a little time I really am) may recommend himſelf to the world [...]s a Chriſtian, but ſhould hardly [...]e truſted as a friend [...]he Italians (I am told) have a proverb to the purpoſe, which is, ‘"To forgive the firſt time ſhews a good man, the ſecond time a fool:"’—For I ve once paſt is, at the beſt, forgotten, but [...]tener ſours to hate.

I have been led to this digreſſion by the having ſometi es met with in [...]ul [...]ing ſuperiority [...]uriting with dignity, when, perhaps, ſuch perſons could not dictate a better letter than m felt, (nd that is bad enough every body knows). It certainly [237] will be admitted as truly provoking to hear thoſe who are neither poſſeſſed of talents, wit, or hu⯑mour, yet authoritatively (as arrogantly) caſting ſarcaſtic ſneers; but, as Cibber obſerves, the con⯑ſolation ſhould be, that ſuch illiberal behaviour ſeldom or never proceeds from perſons remark⯑able for good qualities:—And aſſuredly, ſuch ſu⯑perficial critics ſhould note, that it would be con⯑ [...]dered rude (not to add impudent) in a degree, were a player to tell an eminent brewer at table, (with a mixed company) that his la [...]t ca [...]k of [...]all-beer was traſhy or verjuice; or the wine mer⯑ [...]ant, that his wine was mu [...]ty; or the woollen- [...]per, that his cloth was rotten: for ſuch real [...] will unavoidab [...]y happen to the moſt in⯑g [...]ous and upright trader; and there cannot be a [...]ore honourable or eſt [...]mable character. The beſt mechanic is as often put out of his work⯑man [...]hip by an unlucky wheel going wrong, as plays, from un [...]ore [...]een cau [...]es, are too often ill-act⯑ed. Beſides, good actors and actreſſes are not to be picked or gathered as eaſy as hops; for very good [...]es are much ſcarcer than pine apples:—Nor ſhould a piece, condemned by one ſnarler, (as murdering his precious time) be admitted as a reaſon that others muſt think like him, and nei⯑ther approve nor applaud becauſe ſuch a play or [...]arce is condemned, and labours unfortunately [238] under the diſapprobation of one or more over⯑bearing and diſſatisfied critic. And ſurely no great condeſcenſion even for the advantage o [...] untwiſting the features, if ſuch flinty hearts were to yield, and ſometimes approve and ſhew a benevolent face, as if actuated by charitable mo⯑tives. I am aware (and ſorry to ſay) that it is next to impoſſible to avoid creating enemies; and real judgment freely inveſtigated, I fear, is more apt to err, and be warped in the wiſeſt underſtand⯑ings, than will be readily allowed or admitted as to matters of opinion. But my experience leads me to ſuggeſt, that it is enforcedly implanted in our natures to be ſwayed by our intereſts and par⯑tial [...]t [...]es, our likings and d [...]likings, and too oft we know not why. As for my own part, I have frequently found it next to impoſſible, when per⯑chance, on beholding t [...]o entire ſtrangers boxing in the ſtreet, or two game cocks fighting, but that I, impulſively, an [...], as it were, inconceivably, have felt a pity and a ſtrong pre [...]ilection in favour of one in preference to the other.

Ruminating on theatric uſage has, however, produced one good effect, and affords comfort to my peace of mind, when I conſider that (after a toilſome taſk of thirty-three years hard duty in the theatric field, with many hair-breadth ſcapes) I have been inured and reconciled to the [239] ſufferings I have undergone from my fracture and ſevere illneſs, which threatened diſſolution; as its conſequences has relieved me from the conſtant ſtage acting before the period it would probably (with conſiſtency) otherwiſe have happened: And now I rehearſe ſolus, like Major Sturgeon, and cry, ‘"It is all over with me.—Farewell the plumed ſteeds and neighing troops, (as the black man in the play ſays) for, like the Roman Cenſurer, I ſhall retire to my Savine field and cultivate cab⯑bages;"’ and can ſay with Foote—

And of ſuch noble minds, (which are as nice in their judgments, as in their cenſures they are light and right) I of my audiences with truth can boaſt. Now like a truant (which I often was in my youth) and old boy like, I have ſtretch⯑ed far beyond my bounds, and juſtly fear the rod of deſerved correction due on coming back to my proper place, where I muſt, as in duty bound, repeat my taſk as well as I am able, and turn back from my fault of digreſſion, to my account of the ſeaſon at Covent Garden in 1756-7.

Mr. Barry, in the month of January, attempted to encounter with the difficult character of Ri⯑chard [240] the Third, and am ſorry to relate, that he was lamentably deficient in every point in his re⯑preſentation of that ſpirited and deſigning mo⯑narch; the which occaſioned no little exultation to his rival Garrick.

Mrs. Stot (a [...]ias Leſingham) made her firſt appearance in Deſdemona, on Thurſday, Novem⯑ber 18, 1756, but quickly retired, and did not ap⯑pear on the ſtage again for a conſiderable time after

Mr. Rich's Harlequinade of the Rape of Proſer⯑p [...] was alſo produced, and attended with good fortune, as it filled the houſes for ſeveral nights to the we [...]keſt plays.

Douglas was [...] preſented in February 175 [...], and was w [...]ll, but not greatly received or followed. Mr Barry's performance was good, but his figure too u [...]h for that of the ſtripling; and he looked worſe for the youth by havi [...]g o [...]rated the ſim⯑pl [...] ſh p [...]erd in a rich puckered white [...]atin ſhape bre ches, &c. Mrs. Woffington, in tragedy, cer⯑tainly had great merit—in Hermione, Jane Shore, &c.—but the woe-felt gr [...]ef of Lady Randolph, n [...]it [...]er her fine perſon no [...] accompliſhments, aid⯑ed by novelty, could reach as Mrs. Crawford has done. The play plea [...]e, but no more. Mr. Sparks was approved in Old Norval, but was not more [241] than tolerable. At that time I did not expect to ſee what has turned out ſo contrary—that Douglas is and will be, for the credit of the ſtage, a laſting ornament. The ſtory is ſimple, natural, and affecting, its language elegant and beautiful; and the leſſons that may be obſerved from many paſſages are worthy the attention and retention of the learned, the gay, the giddy, and the wiſe.

I will here drop my Tablet, as occurrences from this ſeaſon begin my own particular ſtage [...]ſtory, to which volumes I re [...]er for many thea⯑trical anecdotes, [...]ither of others or myſelf. The T [...]bl [...]t I have ſketched to a conſiderable length, [...]t being meant as an informant for any reader of quality or no quality, actor or no actor, to know, ( [...]t deſirous) in any year, from 1747 to 1757, w [...]at has happened either as to traged [...], comedy, p [...]ſtoral, pantomime, theatrical revolutions, &c. The production has given me an amazing deal [...] t [...]ouble, p [...]rplexity, and labour. I wiſh all the materials had been in abl [...]r hands, I think [...]ome entertaining and improving might have been then collected; as it is, I can only once more repeat, that I am conſcious of m [...] own de⯑f [...]e [...]y, and entreat for the many nece [...]ary al⯑l [...]wances from the publi [...], alſo from my brethren [...] the Sock and Buſkin. I ſ [...]t nothing down in [242] malice—I truly and anxiouſly wiſh them all well: And that the theatres may continue to flouriſh, the performers be deſervedly graced and favoured while living, then handed down with reſpect and pleaſing hiſtory for ages to come, with laurels ever green, is the ſincere deſire of theirs, and the ſtage's much honoured and obliged humble ſervant,