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

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

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

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

Sample text

In his September 1740 issue. Garrick later acted at St John's Gate in a burlesque of Julius Caesar and began, with Cave's connivance, his long-time practice of publishing anonymous verses and criticisms in the periodicals. It has been repeatedly suggested that the death of Garrick's mother in September 1740 removed the most formidable inhibition to his life as a professional performer. But Peter, elder brother and partner, still remained to be convinced. David's approach to that difficulty was characteristically circuitous.

It has been often stated, on the authority of Thomas Davies, in his Memoirs of the Life of David Garrick, Esq (1780), that Garrick's first regular appearance was at the Ipswich theatre as Aboan in Southerne's old tragedy Oroonoko (which would have given him a second layer of protective disguise, inasmuch as the role required blackface). But though Garrick evidently played the part at Ipswich, it may not have been his first one there. Others he is known to have essayed that summer included some which remained in his repertoire for many years: Lord Foppington in The Careless Husband, Orestes in Iphigenia, Sir Harry Wildair in The Constant Couple, Dr Caius in The Merry Wives of Windsor, and Chamont in The Orphan.

Went up from the wits in the galleries, and Mrs Pritchard had to retreat to the wings alive. Garrick loyally kept the piece on the boards through the traditional (third, sixth, and ninth) author's nights. A more successful feature of the season was the revival of Romeo and Juliet, with Barry and Mrs Cibber. The tragedy, which had not been seen in London for 80 years, was altered by Garrick to provide for an awakening by Juliet to witness the death throes of Romeo.

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