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

Unlike one another, quantity five is a sociological portrait of in most cases little humans of their tragic and comedian efforts to accomplish status at the London degree in the course of the recovery and eighteenth century, while quantity 6 is dom­inated via the glamour of David Gar­rick, Nell Gwyn, and Joseph Grimaldi, the prestigious 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

Example text

Walmesley, with his usual courtesy, had arranged for him to continue to study with the Rev Mr John Colson at Rochester, with a view to preparing for a career at the bar. But after a few months Colson was called to a chair at Cambridge, and Garrick's formal education ended. Garrick did, indeed, rather prematurely enter himself at Lincoln's Inn, paying down his £3 3s. 4d. for that privilege on 9 March 1737. But when in 1738 he came of age he quickly forgot the law as a course of life. He threw his inheritance of £1000 from his Uncle David into a new wholesale wine business, Garrick Brothers, in Durham Yard, in which his elder brother Peter invested the £1000 left him by Captain Garrick.

After his marriage to Eva Maria Veigel Garrick avoided speaking of the association. Garrick opened his first season at Drury Lane under the management of the charming and irresponsible Charles Fleetwood on 5 October 1742 playing Chamont in The Orphan. He was the least experienced of the principals in the excellent company of 58 actors and actresses, among them: John Beard, Delane, Mr and Mrs Mills, Havard, Yates, Macklin, Mrs Clive, Mrs and Miss Macklin, Mrs Pritchard, Miss Young, and, of course and especially, Peg Woffington.

The contrast between Quin's stately, formal, traditional style of acting and Garrick's fresh interpretations was nowhere more obvious than when they assumed the principal male roles in The Fair Penitent. Page 17 Richard Cumberland left us his vivid memories of one of those performances. For the first time in my life I was treated with the sight of Garrick in the character of Lothario; Quin played Horatio . . I enjoyed a good view of the stage from the front row of the gallery, and my attention was rivetted to the scene.

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