A Biographical Dictionary of Actors, Volume 6, Garrick to by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans

By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans

Not like one another, quantity five is a sociological portrait of normally little humans of their tragic and comedian efforts to accomplish repute at the London level in the course of the recovery and eighteenth century, while quantity 6 is dom­inated through the glamour of David Gar­rick, Nell Gwyn, and Joseph Grimaldi, the prestigious clown. a few 250 por­traits individualize the nice and small of the theatres of London.

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Extra info for A Biographical Dictionary of Actors, Volume 6, Garrick to Gyngell: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London 1660-1800

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He was, also for the first time in London, Hastings in Jane Shorea solid successand Sir Harry Wildair in The Constant Couplewhich puzzled some of his audience and annoyed others because they had naturally expected Peg Woffington, showing her figure in that, her most famous part. The sensitive Garrick felt the audience's mere tolerance and before long he dropped the part from his repertoire. On 23 March 1743, for Macklin's benefit, he introduced his Abel Drugger in The Alchemist, which was to be perhaps the comic character most appreciated by his audiences.

As to Company ye Best in Town are desirous of Mine. Peter still refused to accept David's decision, and David grew more insistent: I am very Sorry You still Seem so utterly Averse to What I am so greatly Inclin'd & to What ye best Judges think I have ye Greatest Genius for . . Mr Pit, who is reckon'd ye Greatest Orator in the house of Commons, said I was ye best Actor ye English Stage had produc'd . . the Prince has heard so great a Character of Me that we are in daily Expectations of his coming to See Me I have been told that You are Affraid Giffard has had my Money, Upon my honour he does not owe Me a farthing .

It is not clear from early accounts just who fomented the insurrection. " But Garrick certainly emerged as the spokesman for the group. Neither is it clear whether all of the actors were resolute "to set up a new company, if possible,'' as Murphy said Garrick and Macklin were, or simply wished to draw their pay and improve their conditions at Drury Lane. "An Embodied phalanx was . . drawn up against the manager, who had notice early in September, that none of the junto would act under him, if he did not accede to their terms.

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