THE THEATRE.
Our forefathers were fond of the Theatre, and patronised it nightly. They were exacting as to the quality of the acting represented before them, and that very exigeance procured them what they wanted.
In the years of which I treat, there were, in London, the following Theatres:—The King's (now Her Majesty's) in the Haymarket—Drury Lane—Covent Garden—The Theatre Royal, Haymarket—Royalty Theatre, Wells Street, Goodman's Fields—Royal Circus, St. George's Fields—Sadler's Wells—The Royal Grove, and Amphitheatre (Astley's) Westminster Bridge—afterwards Astley's Royal Saloon—and still later called, Astley's Amphitheatre of Arts. Whilst at the Lyceum in the Strand, there were Musical Entertainments, and a New Circus.
It was an age of good actors, and, taking them haphazard, we have only to glance at the following names, to prove the assertion, were it needed. Suett, who drank himself to death in 1805. John Kemble, the best tragic actor since Garrick. From an education for the priesthood, to performing with a strolling company, was a great leap—but his success was assured when, in 1783, he made his début, at Drury Lane, as Hamlet. He retired from the stage in 1817, and died in 1823. Baddeley was not a first rate actor, and I but mention him because of his bequest of Cake, and Wine, to be partaken of, annually, by the Company, in the Green room of Drury Lane, every Twelfth night. Quick was irresistibly comic—and none could see him act without laughing. He lived to a good old age (acting up to 1813), above 83—dying in the year 1831.
Edmund Kean was born in 1787, and went on the stage as soon as he could walk.—After his education at Eton, he went on the provincial boards—not playing in London, until 1814, when he played Shylock, at Drury Lane. Died 1833. Macklin, "the Jew, that Shakespeare drew," acted until he was 90—appearing, for the last time, on the occasion of his benefit, May 7, 1789. After he was dressed for Shylock, he went into the Green Room, and, seeing Mrs. Pope there, said "My dear, are you to play to-night?" "To be sure I am, Sir," she replied, "do you not see I am dressed for Portia?"—"Ah! very true; I had forgotten—but who is to play Shylock!" They got his poor old feeble mind, at last, to grasp the situation, and he went on the stage—but, after two, or three, speeches, he was obliged to give it up, and had to ask the indulgence of the audience, and beg of them to accept Mr. Ryder, as his substitute. He lived some years afterwards, till 11th July 1797—when he died, at the age of 98.
Bannister began his theatrical career at the early age of 12. At his engagement at Drury Lane, in 1779, he played tragedy, but, after the death of Edwin, he supplied his place, and played Comedy. He died 8th Nov. 1836, aged 76. Incledon was the sweetest singer of his time, and made his debut at Covent Garden in 1790—Died 1826. Elliston first appeared in London, at the Haymarket in 1796. Although he was not a famous actor, he cannot be omitted from a list of theatrical celebrities. Then, too, among the lesser stars, were Barrymore, Ryder, Johnstone, Pope, Holman and Munden—not even forgetting Delpini the famous Clown, and Scaramouch.
The Theatre.
Among the chief actresses, was Mrs. Jordan, whose real name was Dorothy Bland, who became a decided favourite, with a London audience, at her first appearance at Drury Lane, in 1785. Her connection with the Duke of Clarence, afterwards William 4th, is well known. They lived very happily together, and had ten Children, but the connection was broken off in 1811—and she was left to shift for herself. She died in 1816.
The name of Sarah Siddons is too well known to elicit any remark; as a tragedian, her equal has, probably, never been seen on an English Stage. She had a long career—from her début, at Drury Lane, in 1775, till her last appearance, in London, in 1816. Died 1831—aged 76.
Miss Farren, was a most lady-like, and elegant actress. She was tall and slim, and was caricatured as being positively scraggy—but she captivated the then Lord Derby, who, in physique was her complete antithesis, having short legs, a very corpulent body, and a hydrocephalous head. She retired from the stage before her marriage, in 1796.
Mrs. Crouch, and Mrs. Billington, the rival songstresses, were actresses, but they generally had parts assigned them, in which they could exercise their vocal powers, and they sang at Oratorios, and Concerts. Mrs. Billington did not retire from her profession until 1800. She died in 1817.
Mrs. Frances Abington first appeared before a London audience on 21st Aug. 1755, and played, with few intermissions, until 1798. After Mrs. Clive, she was the best comic actress on the English stage, and could equally play Lady Teazle, Lady Betty Modish, a Chambermaid, a Romp, or a Country girl—Died, 1815.
Mrs. Bellamy, can just claim a notice, because she died in 1788, but she left the stage in 1785. She was a tragic actress, and was reckoned equal to Mrs. Cibber.
Chief among the next rank of actresses, we must place Miss Brunton, Mrs. Martyr, and Mrs. Pope.
Thinking it would interest my readers, I have taken some portraits of the chief Actors, and Actresses, of the time, from a very rare book, and they are interesting to the present generation, as shewing the Costumes in which the plays were acted, and, which, I suppose, satisfied the æsthetic, and archæological, taste of our grandfathers.
Both audience, and press, were very outspoken in their criticisms, and, indeed, in those days, dramatic criticism was real, and had not been reduced to a fine art, as now. Take the following instance:—
"Theatre, Covent Garden. Hoadley's agreeable Comedy of The Suspicious Husband, was, last night, in general, presented here with spirit, and attended by a considerable audience. The Character of most prominent merit, as to performance, was Strickland, which Farren supported with strong emotion, and probable impression. Mrs. Abington would have represented Clarinda with more effect, if she had not directed all her share of the dialogue entirely to the audience. Pope was the Frankly, but he must take great pains before he will acquire the ease necessary for genteel Comedy. Lewis's Ranger was not sufficiently marked by the appearance of that airy dissipation which the part demands. Mrs. Wells' Jacintha was only distinguished for rustic dialect, and awkward deportment. Mrs. Bernard had the merit of being decent in Mrs. Strickland."—(The Morning Post, Jan. 3, 1788.)
The Theatre, was, then, as now, a passion with some people, and amateur theatricals were in high favour.
Mr. Macklin, as Shylock. Mr. Holman, as Richard.
"At the Blenheim Theatre, her Grace the Duchess of Marlborough attended her guests in person, and superintended the refreshments of Sandwiches, fruit and wines, which were distributed in profusion."—(Morning Post, Mar. 28, 1788.)
The Newspapers gave Theatrical Gossip—as the following, all from the Morning Post, Jan. 15, 1789, shews:—
"It has lately been a practice with one, or two, of the female performers at Drury Lane Theatre, to refuse appearing on the stage, though much after the time of commencing the play, because the boxes may not happen to be filled with fashionable visitors, regardless of any disapprobation which may arise from the impatience of the audience.
"When the New Theatre is erected for the Managers of Old Drury, it is in contemplation to fix a Clock over the Stage, where the inscription is now placed, that, if the performance should be improperly delayed, and the audience become clamorous, the Public may be informed to whom the blame should be applied."
"A whimsical incident happened the other night, at the reading of Cumberland's new Comedy. The Author, who read the piece himself, began with the Dramatis Personæ, thus, 'The Impostor, by Mr. Palmer:' A laugh occurring at this, the Author became embarrassed on seeing Mr. Palmer in the room, but, recovering himself, he added, 'being his first appearance in that character.'"
"Mrs. Jordan and Kemble, according to Green Room report, are not upon the most amicable footing. It is supposed that the lady takes advantages of her popularity to be ill when she pleases, and has refused to perform in a farce when Mrs. Siddons appears in the play, and for this modest reason, 'that she will not fill the house, and let Mrs. Siddons run away with the reputation of it.'"—(Morning Post, Mar. 10, 1789.)
We come across a curious glimpse of Mrs. Robinson—the "Perdita," (deserted by her "Florizel,") in the Morning Post, March 11, 1789.
"Perdita, the once beautiful Perdita, parades, every day, along Pall Mall, in her carriage, from which she frequently
'Casts a longing ling'ring look,'
in hopes that her charms, which, formerly, commanded the grave and the gay, may revive an attachment long since extinguished. This unhappy beauty had better try Hyde Park, if she must have a little morning air—such a daily excursion would be more serviceable to her health, than an anxious ride through Pall Mall, can be gratifying to her pride."
Theatrical Salaries were not very high—for, teste, the Morning Post, of March 13, 1789:—
"It is said that Mrs. Jordan has but Six Pounds a week. Who will venture to say, that, considering the present attraction of her talent, this is an adequate recompense?"
The Morning Post, Oct. 27, 1798, has the following two paragraphs as to behaviour at the theatres:—
"Two men in the pit at Drury Lane Theatre, last night, were so turbulent, and riotous, during the last act of Henry the Fifth, that the performance was interrupted upwards of a quarter of an hour. The audience, at last, asserted their power, and turned them disgracefully out of the Theatre. This should always be done to crush the race of disgusting puppies that are a constant nuisance at the playhouse every night."
"A box lobby puppy having insulted a gentleman at Covent Garden Theatre, on Friday night, received a very suitable drubbing. When this necessary chastisement was completed, the beater demanded satisfaction. 'Have I not thrashed you to your heart's content?' said the gentleman. The other replied, with great simplicity, 'Sir, that is no satisfaction to me.'"
Mr. Pope, as Hotspur. Mr. Johnstone as Apollo.
Fancy our modern Royal Family, on their visits to the Theatre—joining heartily in the choruses, and witnessing slang dances: yet so it was in 1793.
"The very pleasant Comedy of Notoriety was, yesterday evening, performed before their Majesties, the three elder Princesses, and a very brilliant house. Some well-timed songs introduced into the pantomime of Harlequin's Museum, gave the audience an opportunity of testifying their loyalty to the King, and attachment to both her Majesty, and her family, who joined heartily in the choruses. We never saw them better entertained. But surely the Slang dance which is introduced might be very properly omitted:—it is too vulgar for so elegant, and well conducted, a theatre."—(Times, Feb. 5, 1793.)
"The private boxes at the Haymarket Theatre are so thinly partitioned, that we are surprised any person should deem them proper places to recapitulate domestic bickerings."—(Times, Feb. 6, 1793.)
The following is apropos of Mrs. Jordan:—
"Performers at the Theatres are now paid more liberally than heretofore. We are sorry when their public conduct gives reason for complaint. As the frequenters of them are their support, it will ever be necessary, in the public, to bring them to a proper sense of their situation. It is only by this means the conductors of our entertainments can have any sway over them."—(Times, Mar. 10, 1793.)
"Brandenburgh House Theatricals.
"The opening of the New Theatre, belonging to the Margrave of Anspach's Villa, at Hammersmith, took place on Thursday evening, with an entertainment the most costly, and at the same time, the most tasty, and elegant, we ever remember to have witnessed. The Prince of Wales, who was present, declared he had never seen anything more splendid, and handsomely conducted. The Theatre is built at a short distance from the house, between which there is a communication by means of a colonnade. The outside appearance rather resembles an old Gothic building, than a Temple devoted to the Muses. The inside is prettily fitted up, but the ceiling is too low for the size of it.
"The performance opened by a prelude: after which a little piece was represented, entitled Fanfan and Colas, the characters by the Margravine, young Keppel Craven, Mons. and Medame Texier, and Count d'Alet, Lord High Chamberlain of the Household. The third petite piece was a very humorous dialogue called Le Poulet, between Mrs. Hobart, as an English servant maid, and Mons. Le Texier, as a French Valet. Both were inquisitive after news: the one told all the chit chat of the town in her English dialect: the other told the great exploits going forward in France, in French. Mrs. Hobart played her part to admiration, and very aptly introduced, among other things, the story of her own public Fete, last summer, at Ham, where the torrents of rain poured down, in such abundance, as to turn all her fine creams into poor milk and water.
"The supper, after the play, was magnificent in the extreme, and consisted of a profusion of all the delicacies of the season. Besides Soups, and every dainty meat, there were pine apples, new grapes, cherries, strawberries, &c.
"After the supper, there was a Masquerade, and Ball, which was quite unexpected to the Company. The Margravine had provided new dresses for all the company, and the Ladies, and Gentlemen, each dressed in separate rooms. The Duke of Clarence changed his dress seven different times, and greatly added to the hilarity of the entertainment. The Prince was in a domino."—(Times, April 27, 1793.)
"It having been observed, in some public prints, that the Hon. Mrs. Twisleton was the first female of fashion who had made the stage her profession, it is but justice to notice, that Mrs. Holman (the ci-devant Mrs. Hughes) who made her debut in Dublin, some years since, has a priority to public notice on this account: if real rank by birth, education, and fortune, give a title to distinction, if admission to the first orders of fashionable society have pretensions, the friends of that Lady have certainly a right to enter her claims on this subject."—(Times, Feb. 13, 1794.)
Mr. Quick as Scrub; Mr. Ryder as Falstaff.
Kemble, as Hamlet; Kemble, as Lear.
OPENING OF NEW DRURY.
"Public curiosity, which has long been on the tip-toe of expectation, was yesterday gratified by the opening of this superb edifice, under the immediate management of Mr. Kemble, whose approved talents well entitle him to so flattering a mark of distinction. Of this Theatre, language must be inadequate to give even a faint idea of the effect it produces on the spectator, at his entré: nor does the first impression in the least diminish from a more minute examination into its structure, and decorations: the whole forming a happy combination of the gay, and the grand. The Stage, fitted as it was for an Oratorio, presented a nouvelle, and pleasing, prospect. The representation of a Gothic Cathedral, with the 'Long sounding Isle,' and
'Storied windows richly dight
Casting a dim religious light,'
was admirably adapted to suit with the solemnity appertaining to sacred selections.
"From the opening of the doors, to the first crash of the band, most able in all its movements, the satisfaction and delight of the audience was expressed by repeated, and increasing, plaudits—encouraged not a little by the care, and attention, evinced by the Proprietors, for the convenience of the public, in the approaches to the House—in every respect answering to the magnificence, and accommodation, within. Independent of the attraction, long, very long, to be expected from the novelty, as well as beauty, of the New Drury, some credit ought to be given to that which must ever have its weight with the people at large, as well as amateurs—a numerous, and well appointed, set of vocal performers. The names of Harrison, Storace, Kelly, Crouch, and Dignum, are too proverbial for excellence in their several lines, to need our eulogium. Miss Leake, whose unaffected correctness of style, and melody of tone, must shortly place her deservedly high in her profession, may also be deemed almost as powerful an acquisition as Miss Parke, at the other House. Mr. Meredith, from Liverpool, possesses a fine deep volume of voice, which he exerted to great advantage. This Gentleman, we recollect some years since at Ranelagh, and, if we are not very much mistaken, at the Little Theatre, as the Prodigal Son of Dr. Arnold's charming Oratorio.
"Giornovici's Concerto would have gone off much better, had the subject not been so tedious. This is a fault we have too often cause to find with Concerto Performers, who frequently give us too much of a good thing. His mode of introduction was particularly awkward—some other might be contrived than pitching him upon a plank, brought in at the hazard of discomfiting the head dresses, or breaking the noses of the ladies in the Orchestra.
"The sound was rather too redundant, in general, and the language of the Gods, now and then, too plainly heard in the pit; but, as it arises merely from the freshness of the building, this inconvenience will gradually be amended.
"The Prince of Wales was with Mrs. Fitzherbert, and Mr. Sheridan, in the box appropriated to his Royal Highness. Lord Thurlow sat, apparently well pleased, in the box beneath. Mr. and Mrs. Kemble, Mrs. Siddons, and Sir Francis Bourgeois, saw that all was well, in one of the orchestra boxes.
"From the frequent encores, the Selection was not over till a late hour. The usual cry of 'take care of your pockets' on quitting the Theatre, was superfluous: for Townsend attended to keep a 'wary eye;' so the pickpockets, of course, found it impracticable to make any 'palpable hits.'"—(Times, March 13, 1794.)
Mrs. Bellamy, taken at the Age of 30; Mrs. Abington as Lappet.
"Miss Farren has left London for Dublin where she is to perform 12 nights. The terms of her engagement, are £500, and a clear benefit. It is not true that she takes Derby in her route."—(Times, June 26, 1794.)
"The high demands made by some Actresses on the Management of Theatres, are so exorbitant, that we trust they will not be complied with. Mrs. Jordan, and Storace, have demanded, the first, £30, and the latter, £20, a night. Much as we admire the abilities of each on the stage, yet we know, from experience, that the higher the salaries of some performers are, the more they are prone to disrespect the public, and to give themselves insufferable airs."—(Times, Oct. 4, 1794.)
Storace has come down to the terms of her last engagement, and they are adequate to her abilities. The ci-devant Princess of Petersham still holds out: but it is thought that want of ammunition will occasion her soon to capitulate. When the theatre was opened in Goodman's fields a first rate actress thought herself amply paid with forty shillings per week: but, now, a first rate actress has the conscience to demand forty pounds Per night."—(Times, Oct. 9, 1794.)
"Mrs. Jordan has at last condescended to descend to her former situation in the Theatre, at her former salary."—(Times, Oct. 18, 1794.)
"The popular Dramatist, in his rage for hunting down the follies of the day, we hope will not forget to be in at the death of our masculine women of fashion. Their hunting, shooting, driving, cricketing, faroing, and skating, present a monstrous chaos of absurdity, not only making day, and night, hideous, but the sex itself equivocal. Lady men, or men ladies, 'you'll say 'tis Persian, but let it be changed.'"—(Times, Oct. 18, 1794.)
"Much has been said upon the Bath Fracas, but the circumstance has never yet been explained. It is briefly this: The Hon. Mrs. Twisleton was at the Ball-room, and stood up to dance: she stickled a little for precedence as an Honorable: the Master of the Ceremonies began to object to her dancing at all, as a Public Performer. Her partner instanced a Performer, M. Yanievitz, who was in the constant habit of appearing there. The Master of the Ceremonies went up to this amiable, and distinguished, foreigner, and intimated that his appearance there was thought too frequent, by the Subscribers. Mr. Yanievitz, demanded who had given the Master of Ceremonies this intimation: a satisfaction which was refused. Next morning Mr. Yanievitz wrote a proper letter to the M. C. expressive of his sentiments upon this occasion.
"A meeting of subscribers was called, and they resolved, that, in future, no Public Performer, of any description, should be permitted to appear in any of the Public rooms."—(Times, March 4, 1795.)
"Annual tickets, and orders are accompanied with a very great inconvenience: the side boxes are filled, at present, with butlers, and valets-de-chambre. It is not that these persons conduct themselves amiss, but they deter gentlemen from entering, whose appearance might prove distressing to them."—(Times, Sept. 26, 1795.)
"On an information being likely to be made against many of the performers in both Theatres, on the Act against profane cursing, and swearing—it became a question, as the Act is a discriminating one, whether they swore as gentlemen: when it was decided that they should be treated according to the Character they personified."—(Times, Dec. 17, 1795.)
"The Theatres were shut on Saturday evening, to commemorate, with the greater solemnity, the Martyrdom of King Charles."—(Times, Feb. 1, 1796.)
Drury Lane Theatre has not experienced a riot so wild, and unappeasable, as that of Tuesday evening, since the Blackamoor Washed White, of famous memory. The Entertainments advertised for the night's amusements were three. The Smugglers, having nothing contraband on board, was not only suffered to pass, but was hailed with three cheers:—The Virgin Unmasked had her admirers—but the Deserter was mauled most dreadfully—for Young Welsh had permitted a new Skirmish to make his debut, as Suett phrased it: and, being a miserable wretch, when the audience expressed a disapprobation, the Performers, to shorten the ridicule, shortened the scenes, which on such occasions, is usual, and prudent—but, the curtain dropping at ten minutes past ten, created a violent burst of indignation. Kelly first attempted to enquire the wishes of John Bull, and expressed himself, in the name of the Performers, ignorant of how he was disobliged. All striving to be heard, none, of course, could be so, and he retired. Uproar still increased, and, after near half an hour of this din, Suett made his appearance, and apologised for the badness of the stage struck hero, but he was soon given to understand, that that was not the cause of the Row, but that the audience expected to have the "Deserter" played wholly over again. Mr. S., after "looking as queer as a quartern of soap after a week's wash," expressed his concern that many of the Performers were gone, and the stage lights out, but this was the cause of fresh howlings, and as somebody cried out, 'God save the King,' he promised to send as many of the Orchestra, as could be found. In five minutes this popular hymn was received with acclamation. The curtain drew up, and all the Performers in the Theatre sung it. The curtain again dropt amid violent tumults which continued, and increased. Again Mr. Suett appeared, and declared 'how much hurt the Proprietors were at any part of the Performance being omitted: that it was without their concurrence, or even knowledge, and that such a circumstance should never happen again.' This rather mollified the audience, and many dispersed at a quarter past 11. Almost the whole of the lights in the house had been long extinguished: and some of the benches were torn up."—(Times, May 13, 1796.)
Mrs. Siddons as Andromache; Mrs. Jordan as Viola.
"On Thursday last a ludicrous fracas took place in one of the boxes of the first circle, at Drury Lane Theatre. A gentleman, finding himself much incommoded by the heat, had recourse to his smelling-bottle. One of the fighting lobby loungers, who stood close to him, took offence at the scent, and desired him to put it up. The demand not being obeyed, an altercation ensued, which ended with the customary etiquette of Boabdil's presenting his card, and desiring his antagonist's, in return. The card was accepted, but the only notice taken of it, was a formal offer of the smelling-bottle. This retort completely disconcerted the would-be Duellist, who found himself so unexpectedly taken by the nose, and the affair concluded with a general laugh at the impertinence of the offender."—(Times, Oct. 7, 1797.)
"The indecent behaviour of the Box-lobby loungers, becomes, every day, more disorderly, and offensive. Two of this contemptible class, who frequent the Theatre, merely to interrupt the performance, and disturb the audience, quarrelled, on Tuesday night, at Drury-Lane house, and, regardless of every kind of decorum, stripped in the lobby, and decided their dispute à la Mendoza. We trust that the timely interference of peace officers will prevent, for the future, a conduct so degrading to society, and so reproachful to public manners."—(Times, Oct. 18, 1798.)
Cant phrases, and catch words, have been in use on the stage for many years, Paul Bedford's sonorous "I believe you my Bo-o-o-o-y," and Lionel Brough's "That's the sort of man I am," being illustrations of the fact. Something like these, tickles the fancy of the audience, and, in very little time, the phrase is all over the town, and in everybody's mouth.
"Knight's cant phrase of 'That accounts for it,' is pleasantly made use of in the new Farce at Covent Garden. Bond St. Bobbies have, all, their different cant phrases, indeed, they must say something, and have no other talents for conversation, so 'that accounts for it.'"—(Times, Dec. 5, 1798.)
Mrs. Billington, as Rosetta; Mrs. Martyr, as Euphrosyne.
"Cant Phrases.
"Our Dramatic Authors have lately amused themselves, and the Public, with cant phrases, instead of character, 'That's your fort'—'Keep moving'—&c. Young Dibdin, in his Jew and Doctor, seems to have hit upon the happiest cant, imaginable; 'That accounts for it,' which seems applicable in almost all cases.
"There is no opposition to Government, in the House of Commons—for a change of Ministry would ruin the country—that accounts for it.
"A very great Personage pays no regard to Lovers' Vows: he has been disgusted with a German translation—that accounts for it.
"Buonaparte wishes to return to Paris, though he should go thither as naked as the back of his hand; he prefers soup-maigre to water melons—that accounts for it.
"Women complain of the want of Gallantry in men, though the modern dress shows more than enough to excite passion, but—that accounts for it.
"This cant phrase would comprehend all the science of Logic, if properly used, and appropriately designed. It might be amplified, in the present instance, to any length of space, but exemplification breaks off because ne quid nimis—that accounts for it."—(Times, Dec. 14, 1798.)
"The mania of private acting, rages with more fury than ever. There are, at present, no less than six Private Theatres, in the Cities of Westminster, and London. This is a kind of amusement which, on the ground of morality, should be 'more honoured in the breach than the observance,' and calls for the interference of the Magistracy."—(Times, Dec. 26, 1798.)
"During the representation of the play of Macbeth, at a Provincial Theatre, some nights since, an incident occurred, which totally disconcerted all the gravity of the Tragic Muse. In the Banquet Scene, Banquo's murderer was, by some untoward accident, missing, and the business of the drama was threatened with suspension, when in the exigency of the moment, an ignorant candle-snuffer was pushed forward to tell the horrible tale:—on seeing him, Macbeth, who had been motionless with confusion, and embarrassment, burst from his state of torpor, and exclaimed, 'There's blood upon thy face!' 'Is there by G—,' cried the astonished clown, and clapping his hands to his cheek, with a mixture of anger, and alarm, continued, 'Then that domn'd blunt razor has cutten me agen.'"—(Times, Jan. 7, 1799.)
A notice of the Stage, of this time, would be incomplete, if Ireland's impudent forgery of "Vortigern and Rowena," were not mentioned. It was supposed to be an undiscovered play of Shakespeare's, and, with many other Shakespearean forgeries, was fabricated by W. H. Ireland, who is classed as follows:—
"Four forgers born in one prolific age,
Much critical acumen did engage:
The first[6] was soon, by doughty Douglas, scar'd,
Tho' Johnson would have screen'd him, had he dar'd.
The next had all the cunning of a Scot;[7]
The third, invention, genius,—may, what not?[8]
Fraud, now exhausted, only could dispense
To her fourth son, their threefold impudence."
Sheridan believed in the play, and engaged with Samuel Ireland, the father of the forger, to pay down £300, and half the profits of the first 60 nights. It was produced at Drury Lane Theatre, on 2 Ap. 1796, Kemble, playing Vortigern. He was an unbeliever in the authenticity of the MS., and, certainly, did not attempt to uphold it by his acting. In fact he burst the bubble, altogether, in the fifth Act, by emphasising, with much meaning, the words, "And when this solemn mockery is o'er," that the audience caught at it, and, amidst a chorus of yells, and hisses, the play was utterly condemned. W. H. Ireland soon afterwards confessed all his forgeries.
Miss Brunton, as Juliet; Miss Field, as Ariel.