DAVID GARRICK, ESQ.

THE first on the list of theatrical fame, stands the inimitable Ros­cius; one of the greatest orna­ments that ever decked the Eng­lish Stage; but whose excellencies are best described in the words of his favourite and immortal poet Shakespeare.

[Page 2] So many pens of almost all ranks and de­nominations in literature, for these thirty years past, have been employed in treating of Mr. Garrick, both as an actor and a wri­ter; that I must confess I find it a difficult task to collect untouched materials; as such I shall not at this time presume to enter into the merit, or demerit, of this first-rate ornament of the British Stage, for fear I should become a vile encroacher, and con­sequently make use of another man's pro­perty as my own: therefore, in order to a­void as much as possible this observation, I shall only give my courteous readers a de­scription of his person; though at the same time, I must beg leave to intersperse a little borowed matter, in order to speak of him with more precision than I probably might without these materials. But to his person, Mr. Garrick though low in stature, is regu­larly made, and well proportioned; his face is strongly and finely featured, but on the whole not handsome; and yet, much less cannot be said to the contrary. His eyes have [Page 3] been ever and universally admired; their cut is what a painter would call bold and perfect, their size is big, the pupil large, strong, lively, active, and variable; their colour dark, surrounded and set off with a due proportion of white, that gives to their every motion, a brilliancy, a distinctness, a life that speaks in every glance. His com­plexion is dark; and lastly his voice, which, from its harmony, sweetness, and moreover from it's pliancy, and extensive variety, has ever been admired. Having given a brief and just account of Mr. Garrick's person, I shall proceed to relate the names of some of the most celebrated characters this great actor shines in; without attempting to en­ter into his excellence in any particular, for fear I should suffer for my presumption, and run my account of this gentleman into a pro­lixity of useless and unmeaning matter; as such my intention is to touch upon Mr. Gar­rick, (as well as the following performers in general) in as true and concise manner as possible. But I shall proceed to relate a few [Page 4] of the various parts he is most eminent in; which in tragedy are Macbeth, Lear, Ri­chard, Hamlet, Lusignan, Dorilas, &c. &c. In comedy, Able Drugger, Benedick, Kite­ly, Ranger, Archer, Don Felix, &c. &c. Were I capable of communicating to the reader, the names of all the various charac­ters Mr. Garrick excels in, and likewise to point out his excellence in each particular part, it problably might swell to the size of a large volume; they are indeed so nume­rous as to leave sufficient room for me to make this remark; that in short, the most explicit and accurate manner I can find in summing up this gentleman's character as an actor, is by the following lines.

[Page 5] Having said thus much, on our English Roscius, I shall conclude; and proceed to the next on the list at Drury-Lane theatre, which I believe is cordially allowed to stand

Mr. SMITH.

Mr. SMITH is a very pleasing and judi­cious actor; and in the parts of the unaffected well-bred gentleman, he irreproachably claims the foremost rank on the stage, for uniform elegance, ease, and suitable viva­city. His person is likewise one of the genteelest that I know; and his whole de­portment admirably polite and affable. What a pity it is, that this actor should so often mistake his abilities, by straying out of that road which nature has so happily placed him in; did he retain less thoughts of his unfavourable muse Melpomene, and confine himself more to his best friend Thalia, I would insure his success to be much greater than it is, as not one upon [Page 6] the stage would have a chance to equal him in his walk: not but I must allow Mr. Smith to have many capital requisites for a trage­dian, but he is apt to wade out of his depth; and were it not for his agility and good sense, I am persuaded he would sometimes be in danger of drowning: wherefore I greatly prefer in him the comedian to the tragedian; he is more self-bred, and has a greater variety in the former than in the latter; in tragedy he has too much levity, and wants expression, and his voice though clear and sonorous, wants variation; as he scarce ever speaks but in one continual tone: yet he possesses great fervour and manly spirit; particularly in his Richard, his Alexander, and the like; his Jachimo, his Phocyas in the siege of Damascus, &c. are inimitable; and his late attempt in Orestes in the Distress'd Mother, has de­servedly gained him no small share of ap­plause, being chaste and respectable through­out the whole. And were there not quite such a repeated sameness in Mr. Smith's [Page 7] action and voice, there would be no doubt of his becoming a very accomplished actor.

Mr. REDDISH.

Mr. REDDISH possesses some strokes of very conspicuous merit, though many de­grees inferior to a gentleman he assumes to equal, I mean Mr. Barry; yet vanity (I am told) has often prompted him to declare himself second to none but Mr. Garrick▪ O! man, man, why art thou so vain!—Till Mr. Reddish can divest himself of a stiff, heavy figure, a set face, and a broken mo­notony of voice, he may assure himself the seeing and sagacious public will rate him far [Page 8] inferior to the above gentleman. Mr. Red­dish without doubt has a tolerable good share of judgment in his profession, whereby it renders him very useful in the various parts he performs; but with all the vanity he may possess himself with, he never will be able to fill a first form, at least not at such a theatre as Drury-Lane; for in many characters he wants variety, likewise ex­pression, and a pliancy of features to exert his exterior powers: were he endowed with Mr. Barry's features and voice, no doubt but he'd fall very little short of that gentle­man's abilities; but as dame Nature has not been so favourable in adapting him with Mr. Barry's theatrical requisites, I would advise him to content himself as he is, and not let ambition reign in his breast, for fear it should prove hurtful to him, as he never can prefume to reach capital excellence, except in a few particular parts, as Edgar, in Lear; Moneses, in Tamerlain, &c. wherefore I am under the indespensable ne­cessity [Page 9] of rating Mr. Reddish, not as a very capital, but an exceeding useful performer.

Mr. AICKIN.

This actor's forte seems to lie mostly in the impassioned declamatory parts of tra­gedy, in which he without doubt deserves notice. He has of late made some few at­tempts in comedy; but I cannot by any means admire him in the sock; although his person and voice are both agreeable, yet he wants that natural ease and vivacity in his manner, so peculiarly necessary for the comedian, without which he never can render himself considerable in this; though there are some few parts wherein he makes a tolerable and decent appearance; as Stockwell in the West Indian, and Sir John Flowerdale in the School for Fathers; these being best suited to his manner of acting; [Page 10] so that take him altogether, from his judg­ment, &c. in the cast of parts he is in pos­session of, he may be deemed a very useful and judicious actor.

*⁎* This gentleman has quitted Drury Lane Theatre.

Mr. KING.

This favourite gentleman's outset was in some of the country companies. After being tired with his country pursuits, he came to London, and engaged himself at Drury-Lane Theatre, and what is very re­markable, Mr. King during the whole time of his engagement at this theatre, never was known once to fill a character that seemed suitable to his talents; this probably was the motive that induced him at that time to quit Drury-Lane, and engage himself [Page 11] under the banners of Mr. Sheridan in Ire­land; it being here where he broke out a co­median of the first rank. He remained in Ireland for several years, but from a fracas happening among the principal performers of that theatre he quitted his service like a valiant soldier, and came over once more to general Garrick, where ever since he has continued to be one of the greatest favou­rites on the stage, by giving such repeated proofs of his excellent performance, as rank him (Mr. Garrick excepted) the best come­dian on the English stage; take all in all, perhaps the best. And as a prologue speaker in the comic style, I would ask where is his equal? (the above gentleman once more ex­cepted); he possesses in an eminent degree, that lively, spirited, and quick sensation in his manner, which is so admirably adapted for speaking this kind of writing. But a­bove all, is that sly knowledge of the world, which is so excellently blended in Mr. King's features, and in his action, that it oftimes [Page 12] sends home effects to the furthermost and remotest seats of the galleries, &c.

Mr. MOODY.

This performer's justly admired abilities are in the parts of Irishmen; in those cha­racters he has rose to eminence, being pro­sessedly the best exhibiter of Irishmen, now, on either stage; and yet it is not only in Irishmen Mr. Moody excels, for he is likewise capital in many parts of low come­dy; I believe we may wish in vain for a bet­ter Commodore Flip, in the Fair Quaker of Deal; and Adam, in As you like It; or a Vamp, in the Author. There is considera­ble ease and propriety in his manner of ac­ting, especially in his Irishmen; these cha­racters [Page 13] he supports with so much judgment, and humour, that of late Mr. Moody has be­come no less a favourite with the boxes, than he is with the galleries.

Mr. DODD.

Mr. DODD, in the genteel affected cox­comb, is certainly an original; and I am informed he is no less so by nature is his private deportment, as well as on the stage; if this circumstance be true, we need not longer wonder at his excelling every other actor in this species of comedy, as he doubt­less must be quite at home in personating such characters. Though I have seen him with equal merit in some parts of low co­medy; as such, I should imagine Mr. Dodd has it in his power to be as much the Sir Gravity as the Sir Fopling: for instance, [Page 14] his Andrew Ague Cheek, in the Twelfth Night; his Crispn, in the Anatomist; and Old Kicksy, in the Irish Widow; are laugh­able in the highest degree. He is likewise exceeding useful in several singing parts, having a tolerable good, though rather arti­ficial, voice. On the whole, Mr. Dodd will be found very acceptable in any theatre.

*⁎* I should have mentioned Mr. WESTON, im­mediately after this gentleman, but being a principal member of Mr. FOOTE's society, I think it rather inconsistent with my plan.

Mr. LOVE.

Mr. LOVE was a useful performer in the walk of comedy he was in possession of; [Page 15] as Falstaff, Jaques, Sir Toby Belch, Caleban, Jobson, &c. those characters were best a­dapted to his unweildy figure, and more­over suited to his manner of acting; his voice was somewhat a [...]matical, and a­bounded with many inharmonious tones; however he more than supplied this defect, from his judgment and knowledge in his au­thors, so that he was unequalled in his cast of parts. This actor was taken off this great stage of life about twelve months since; his loss is regretted by all his admirers in his profession, and by alll those who knew him to be an honest, and [...].

Mr. PARSONS.

This Actor's forte lies in the characters of old men, in which he without doubt claims originality, from his admirable great ease, [Page 16] and masterly strokes of humour, which he shows in those parts; that for the moment, we are sometimes led to believe him to be the man he represents; from that exqui­site feeble tottering in his manner, and the wrinkledness of old age, which appears so ve­ry conspicuous in the muscles of his face, and in his whole deportment, that we must ine­vitably rank him a finished actor in his walk,

Mr. VERNON.

Though as the principal vocal performer of Drury-lane theatre, I must confess I can find but little entertainment from his sing­ing; yet I make no doubt but Mr. Vernon has many admirers, but there appears to me to be such an affected stiffness in his manner, as if he enjoyed more pleasure from his own harmony than his audience [Page 17] does. Vernon without doubt, has a very good knowledge of music, though in point of voice, I think him by no means in com­petition with your Mattocks's, Du-Bella­my's, &c. at the other house; notwith­standing there are many may wantonly con­tradict what I have here set down; yet were they to hear him sing in private com­pany without the help of music, they'd be as conscious of this as myself, who have been ear witness of this assertion. As an actor, Mr. Vernon undoubtedly has merit in many parts of comedy; and did not too ap­parent a coxcomb eternally settle itself on his features, there would be no doubt of his acquiring much more applause in his pro­fession than he has yet attained.

Mr. BADDELEY.

Mr. BADDELEY is a useful man among the secondary class of actors; a good low comedian, and exceeding clever in foreign footmen, which seems to be chiefly his forte; his faults are but few, as he seldom strays out of the common road, or beyond his abilities: a good Varland, in the West-In­dian; a decent Trinculo, in the Tempest; or Polonius, in Hamlet; and not a bad Touch­stone; notwithstanding Mr. King's superior abilities in this part, he is far from being a contemptible copy; on the whole he is a very useful and just performer.

Mr. PALMER.

Mr. PALMER is a promising actor, and what we may call a handsome and portly figure, save an unpardonable stoop, and auk­ward gait; his voice is loud and command­ing, but neither pleasing nor distinct; nor is his expression and action so animated and refined as could be wished. Yet he is re­spectable in several parts of tragedy and co­medy; and would he endeavour to give his body a little more steadiness, he cannot fail (when placed in his proper sphere of acting,) to meet applause.

Mr. CAUTHERLEY.

What apology can I make to the all­seeing public, for introducing this young [Page 20] man, (who with scare one requisite, except his person which is remarkably genteel) fi­gures away in your Hamlet's, Romeo's Do­rilass, Barnwells, &c. For Heaven sake! ma­nagers, how can you impose on the public, and the goodnatured young man's abilities in so egregious a manner, to thrust him into parts where he has not the least glimmering merit to suport them; for be assured, (and your own judgments must needs tell ye,) that all the partiality you are pleased to in­dulge this actor with, will never render him a feast for public entertainment in the buskin. From that prodigious sameness in his man­ner, faintness and want of expression, and above all, his effeminate look and voice, which are so very inconsistent for support­ing the dignity of tragedy; that in short, the only and best advice I can give Mr Cau­therley, is to reject all the managers' future favours of this kind, and never more sacri­fice to his unmerciful performance, those excellent compositions of blank verse, he has hitherto been guilty of; but pursue the [Page 21] same track of comedy he is in possession with; where he is far superior than in the [...]mer; or at last, decent in many parts; and with a little more cultivation of his ta­lents, and attention to his profession, Mr. Cautherliy may become no inconsiderable performer in the sock.

Mrs. YATES.

This great actress, in the present theatri­cal hemisphere shines a persect constellation, (i. e) in the haughty and passionate parts of tragedy; here she surpasses all her female [Page 22] co-temporaries, and ascends to the topmost seat of perfection; particularly in her fa­vourite character Mandane in Cyrus, and the like. Hence we find excellence but barely answering her deserts, from her noble presence, majestic gait, piercing eyes and voice, with manner and action so suitably great, that she seldom fails of transporting the most rustic or refined into admiration; but where tender passions, stiffled pangs, or soft feelings are to be expressed, Mrs. Yates is quite at a loss: Here we must indisputably call forth her rival Mrs. Barry, who appears in the former's deficiencies like Melpomene herself, and with such tender expression and graceful action, as must excite every feeling auditor, and strike criticism dumb: thus we are to view Mrs. Yates amazingly great in scenes of rage and disdain, and as cor­dially admire Mrs. Barry in grief and de­spair: though I shall not presume to draw any farther competition of those two ladies excellencies, for fear I should exceed the bounds of simple truth, and render it too [Page 23] profuse for a work of this kind; wherefore I shall only give a concise account of Mrs. Yates in the comic walk, where I cannot speak much in her praise, notwithstanding she supports several polite parts with tole­rable applause, as Lady Townly, Mrs. Oak­ley, Violante in the Wonder, &c. but we must impute her success solely to her gen­teel figure and easy carriage, as such, I am sorry to differ so much from public opinion which seems so warm in this lady's favour, by pronouncing her far beneath Mrs. Bar­ry as a general actress,

Mrs. ABINGTON.

The next on the list of female excellence, stands one of the greatest favourites of Tha­lia, (Mrs. Abington;) this true and perfect actress's much admired abilities, lie chiefly [Page 24] in genteel comedy; and in low comedy she is unequalled by any in the parts she is in possession of; where her great variety, ele­gance of dress, and acquired accomplish­ments, render her without exception, the best female comedian on the English stage. And what Colley Cibber observes in his a­pology of the celebrated Mrs Oldfield, I think may justly be applied to the accom­plishments of Mrs. Alington, which is, "That many women of the first rank might copy some part of her behaviour without the least diminition of their sense or dignity."

Miss YOUNGE.

This thriving and meritorious actress, made her first appearance at Drury-lane theatre, about five or six years ago, in the part of Imogen, in Cymbeline; though a [Page 25] a difficult part for a young actress to exe­cute, yet she acquitted herself to the entire satisfaction and amazement of the audience▪ and like the last-mentioned lady, stands in the foremost circle of female excellence; as she has since the first time of her commence­ment, given such proofs of her theatrical powers, both in tragedy and comedy, for the critics to rate her an object of honour in candid criticism; her abilities being sufficiently conspicuous to induce them to make this observation; but her talents are mostly inclined to the former. She is hap­pily suited to the dignity of tragedy; being perfectly well made, and much indebted to nature for a pliancy of features, which mark the passions she would present with great expression.—And I make no doubt in the walks of tragedy, of one day seeing her at the summit of perfection.

Miss POPE.

Miss POPE without doubt may be ac­counted a first ornament in her walk, which is mostly in the parts of low comedy; and she seems to be an imitation of the celebrated Mrs. Clive; or, as the critics stile her, a se­cond edition of that lady. Ever since Mrs. Clive's retreat from the stage, she has been in possession of most of her principal parts; and I must confess, I think her in some cha­racters very little desicient in execution; as Nell, in the Devil to pay; Beatrice, in Much-a-do about Nothing; or Phillis, in the Conscious Lovers; in these she is, without exception, matchless; and in many other characters too numerous to mention, she possesses great spirit, and agreeable pert­ness in her manner. Though as to her figure it is rather bulky and unweildy, of which the critics have lately complained; [Page 27] as they think it prevents her from giving that scope to her abilities they could wish; yet as Churchill remarks on two celebrated performers,

On the whole, from her extensive judg­ment and easy manner, we must undoubt­edly rate her a very useful, judicious, and ca­pital performer.

Mrs. BADDELEY.

Mrs. BADDELEY is a smart and plea­sing figure, an agreeable actress, and very useful as a singer; but for virtue, modesty cries hush! I shall not dwell upon this little defect, as it is a frailty most of our theatrical [Page 28] ladies are so much accustomed to, that were I to commence on this topic, I should extend my remarks beyond the bounds of decency and reason; not but I believe there are many amiable and virtuous women on the stage. But our heroine in particular, pleads the part of chastity in her characters, with so much grace, simplicity, and propriety, that were we not sensible to the contrary, we might, without a doubt, imagine it to be her natural qualification. However, as a passionate admirer of Mrs. Baddeley in her profession, I heartily with her well, and all the applause her merit deserves. Yet,

Mrs. EGERTON.

Mrs. EGERTON has merit in several parts of comedy; as Lady Townly, in the Provoked Husband; Mrs. Cadwallader, in the Author; and a number of other charac­ters. She has likewise a very pleasing per­son, and generally possesses the true spirit of her author; and her performance is easy, spirited, and enlivening; in a word, she is a very useful and pleasing actress.

*⁎* This lady has left the stage, and retired to love and enjoyment, where, an author observes, the righte­ous rest from their labour.

Mrs. SMITH.

Mrs. SMITH came out the winter be­fore last at Drury-lane, where she has in the season continued to perform during that pe­riod; the part she first acted was that of Syl­via, in the dramatic romance of Cymon; in which she was received with universal ap­plause. She has since performed several other principal singing characters with great success: particularly Polly, in the Beggar's Opera; Rosetta, in Love in a Vil­lage; Patty, in the Maid of the Mill, &c. She is a smart little figure, with an ad­mirable sweet musical voice, and sings with the nicest precision of any lady I ever remem­ber to have heard, excepting the late Mrs. Arne; she seems to hit off that lady's manner exactly both in singing and action. Mrs. Smith, fince Mr. Garrick's alteration of Hamlet, has occasionally appeared in that play, in the part of Ophelia, with so much [Page 31] judgment and ease, as for us in reason to hope, we may one day admire her as much an actress, as we now do in her singing; and this, if she adds a little more spirit to her manner, we have no room to doubt.

SPRANGER BARRY, ESQ;

FEW people in the theatrical province, I believe, are ignorant that we are in­debted to Ireland for the birth of this gentle­man, and likewise to his early misfortunes that occasioned him to make an attempt on the stage; a profession he certainly by na­ture was designed for, and where he has shone for upwards of thirty years past, with so much profit to himself, and pleasure to the public, as only to be rivalled by our English Roscius.

[Page 33] Mr. BARRY's first outset in this sphere of life was in the part of Othello, to the surprizing satisfaction and amazement of the general audience; for sure never did young actor shew such judgment in the choice of his first part; he seemed a finished Othello (as Chetwood terms it) dropt from the clouds, which has ever since continued to be his favourite character; and if we take a slight survey of Mr. Barry's features, &c. we need not wonder at his success in this part. First, the graces of manly beau­ty which are so favourably blended in his person; secondly, the prodigious flexibility and harmony of his voice, which is so ex­cellently adapted for the exhibition of Othello; in short, in this part and others I shall mention, he is beyond critical excep­tion. For example, where is his equal in Jaffier, Romeo, and Castalio, he is not even surpassed by the mighty chief Mr. Garrick; though I am extremely partial to that gentleman's abilities, yet justice obliges me to make this observation, notwithstand­ing [Page 34] there are many scenes in the two first parts, in which Mr. Garrick eminently ex­cells: but upon critical examination, I be­lieve it will be generally allowed, through the whole course of those characters, Mr. Barry takes the lead: though to draw any sort of parallel between those two gentle­men would be beyond my judgment, and consequently presumptive, therefore I shall content myself with only making mention of a circumstance of this sort, and leave the rest for some more able critic to pursue. As to Castalio, I don't at this time recollect an instance of Mr. Garrick's performing it; Mr. Barry's superiority over any other actor in the lover's part, &c. must undoubtedly render him in this character matchless, from his amorous harmony of features, melting eyes, and unequalled plaintiveness of voice, which are requisites so peculiarly happy for forming the lover, that it is no wonder Mr. Barry should excell so far be­yond any other performer in this province. [Page 35] I remember once to have seen this gentle­man in Romeo, particularly in the garden scene of this favourite play, (where Juliet appears at the window) I thought he spoke the following lines incomparably fine, with a syrenic sweetness of voice.

And afterwards when Juliet replies, "Ah! me," then with what extacy he immediate­ly spoke these words:

In the parting scene in the third act of this play, I likewise thought him exceeding picturesque and affecting, where he takes [Page 36] leave of Juliet in a short sentence, ending as follows:

He seemed to penetrate the foregoing line into the hearts of the most distant spec­tators: but what I mostly admired in Mr. Barry's performance of this part, was the beginning of the tomb scene, where Juliet wakes; here a transport of joy, love, and tenderness flows within him; with what acclamation and rapture he delivered this sentence:

[Page 37] There are many more beauties and ex­cellencies I could remark in Mr. Barry's performances, in the pathetic and amor­ous; but being too long for the limits of my design, they would appear tedious: all the imperfections I can discover about Mr. Barry is in his action, which is sometimes rather flat and unmeaning to the true sense of his words, and likewise a stoop in his shoulders, and a bend in his knees, as if he was a [...]hamed of his superior stature, (as a critic observes) and desirous to level it to the common standard: but I forget that he is bordering on the vale of years, conse­quently such blemishes as those must now be pardoned and forgiven.

Mr. LEE.

This established veteran from Ireland, made his appearance this winter at Covent Garden, in the part of Bayes in the Re­hearsal, though I was not so fortunate as to be present at this exhibition, I cannot therefore pretend to be a competent judge of his merit in that part: but by what I have seen of him since in Benedict, Richard the third, and Osman in Zara, I think he has great abilities: he has numberless beau­ties which are entirely his own, as he ap­pears to be free from imitation, and built upon nature for his guide; wherefore his performances shew themselves rather in a new dress; but how far it may be requisite I will not presume to say, though I must confess he gave pleasure to me, yet might not to others. In regard to this actor's fi­gure, I can't speak much in its praise, I think him too corpulent and masculine; [Page 39] notwithstanding his features are expressive, his voice articulate and powerful, his action just and graceful, and his deportment tole­rable easy and refined, and what is more observable, free from that stiffness, (consi­dering his part) many actors are subject to; these requisites, joined to a true understand­ing of his merit, must render Mr. Lee a va­luable addition to the above stage.

Mr. ROSS.

This gentleman was formerly a great fa­vourite with the public, but is now upon the decline; his person, which used to be reckoned exceeding handsome and well­made, is grown fat and unwieldy; his face too plump to shew off the distention or re­laxation of the muscles in exhibiting the passions; and his voice, which was pleasing [Page 40] and distinct, is upon the break; yet in his present state he is master of great powers; and did he exert all of them oftener, and en­deavour to put as much action in his per­formance as he possibly can, there are few of his co-temporaries could equal him in his walk.

*⁎* This gentleman has left the London stage, and is I believe performing at Edinburgh.

Mr. MACKLIN.

The irreparable loss the stage has sustain­ed since this gentleman has been discarded from it, ought to be daily lamented by every [Page 41] friend to the drama, to see such excellent comic abilities lie buried in oblivion: but I hope Mr. Macklin, by the exertion of his best friends, will be enabled to overcome the ill-grounded resentment of his enemies, and be brought back to that seat of per­fection he has so long filled with admira­tion and astonishment. I shall not dwell upon this actor's merit, but the reader is to observe, that it is so very conspicuous as to bear the strictest scrutiny, even from his adversaries, though

Mr. WOODWARD.

What can I say of this gentleman, whose very conspicuous abilities are so well known and admired in the sock, by every fre­quenter of the theatre. The public I be­lieve, need not be told that this veteran's [Page 42] outset on the stage, was at first as an harle­quin; he being articled to the late Mr. Rich, the celebrated harlequin, and mana­ger of Covent-garden theatre; after being instructed in all the requisites of pantomime, he acquired so extensive a knowledge of the sock, that at the expiration of his term, he was engaged by his pantomical master, as a comedian, at a very considerable salary; and soon after acquired a first-rate reputation in his cast of parts. Few are the walks of co­medy Mr. Woodward has not attempted, and not any wherein he has not met with great and merited applause. His figure is genteel, his voice smart, agreeable, and pli­ant; and both seem to point out the politer cast; yet is somewhat odd, that this actor never pleases his audience more, than when he is necessitated, from his characters, to distort that genteel figure into the aukward deportment of a country looby; or to swell his voice out of its natural tone, into the hectoring accents of a bully, or a blusterer; and he never receives the first blow from any [Page 43] of the drama on the stage with him, but he generally returns it with double the force of his antagonist. As a comedian, I look upon Mr Woodward to be unequalled by any in his cast of parts; such Bobadil, Marplot, Younger, Wou'd-be, Petrutio, Apprentice, Fine Gentleman in Lethe, &c. &c. Besides he has supplied the stage with several well wrote prologues, pantomimes, &c.

Mr. SHUTER.

The son of drollery and low humour, owes almost every thing to nature; education or art claim very little share in his success; this is by some objected to, as a desiciency in his profession, yet it has been so sar useful to Mr. Shuter, that it has left him his natural parts free, and uncorrupted by imitation; and renders him an original actor. He pos­sesses [Page 44] in an eminent degree, a deal of hu­mour, though he is apt to screw the sea­tures of his face into deformity, but never laughs at his own jest, he has strong sea­tures, and is exceeding happy in a peculiar turn of face, which marks the respective characters he performs with great propriety and natural humour. But he is always more comical Ned Shuter, than any thing else.

Mr. DYER.

Mr. DYER was a useful and pleasing come­dian, a good Modely, in the Custom of the Manor; a Clodio; or a Tom, in the Conscious Lovers; a man, amiable in his character, just in his principles, and of no inconsiderable share of merit in his profession; such were the outlines of Mr Dyer, till unfortunately [Page 45] for the lovers of the theatre, and his friends in general, he paid the last debt of nature we all owe, a few nights after performing Jeremy, in Mr. Congreve's celebrated co­medy of Love for Love, for his own benefit. ⁷

M. LEWIS.

This gentleman made his first appearance at Covent-garden theatre, last winter, in the part of Belcour, in the West Indian; in which he met with great applause. He has since appeared in Sir George Airy, in [Page 46] the Busy Body; Valentine, in Love for Love; and several other characters both in tragedy and comedy; in the former, he has performed Posthumus, in Cymbeline; the Prince of Wales, in the first part of Henry the fourth, &c. but I cannot admire him in the buskin, his figure though exceeding gen­teel and well made, wants consequence, and his voice is inharmonious and defective. Mr Lewis possesses great fire and spirit, but he is apt to carry them too far; and more es­pecially in his comic characters, which renders his performance almost unintelligi­ble; but I should not condemn young me­rit, as the greatest actors, ancient and mo­dern, have been obliged to time and atten­tion, for the cultivation of their talents; therefore, I think there is no doubt, but Mr. Lewis in the course of time may become a a very considerable performer.

Mr. BENSLEY.

Though as an actor, I must confess Mr. Bensley adds very little to this science; yet from the cast of parts he is in possession of, and the salary he is in receipt with, some­what entitles him to a place among the principal performers. Though to enter critically upon this gentleman, he has nei­ther face, voice, manner, or scarce any the­atrical requisite; his person to be looked at, is tolerable; but as soon as set in mo­tion, it becomes contemptible; or, at least, as much intolerable; there however is one principal requisite in this actor's favour, which deserves notice; that is, his being generally more correct in his parts than the rest of his professors, together with a wil­lingness to please, as he appears to study his parts with unremitted diligence and care; which, from a pretty good education, and [Page 48] his knowledge of the dramatic authors, car­ries him through his cast of characters with a tolerable good grace. I cannot quit this gentleman, without doing him the justice to say, that human nature never produced a more amiable character in private life.

Mr. MATTOCKS.

As an actor, Mr. Mattocks has very little title to public favour; as a singer, he claims very respectful notice; his voice is clear, soft, melodious, and expressive; his person is tall, and well made; yet he wants the manly grace and vigour his sex demands; and animation to inspirit the several charac­ters he performs, that his performance in the sock is rather flat and insipid; as a vocal performer, I look upon Mr. Mattocks to be the best on either theatre in point of voice, [Page 49] and did he possess more compass, he proba­bly might be the best on any stage.

Mr. CLARKE.

Mr. CLARKE is a judicious and exceed­ing useful actor, where he is confined to his own natural walk, which is the rough, honest parts of tragedy, such as Henry the Eighth, Sciolto in the Fair Penitent, Clytus in Alexander the Great, or Kent in King Lear, &c. There is a manliness in his per­son, with a sound and just tone of voice which renders him in this walk second to none on either of the stages.

Mr. QUICK.

Though I may be called to an account for introducing this promising Actor among the capital performers, yet his merit in se­veral parts of low comedy, justly entitle him to a place here. There is a variety in his performance, with a peculiar turn of wit in his manner, though a little bordering on grimace, as he is too apt, like a fore­mentioned performer, to screw the muscles of his face up into many very ridiculous forms, which appears to be by way of imi­tating the former; however, Mr. Quick has lately given sufficient proofs of his growing merit, particularly in Tony Lump­kin in She Stoops to Conquer, in which character I think he will bear a scrutiny from the nicest critic or connoisseur.

Mrs. BARRY.

This Lady's established reputation with the town, is too well known to require any further praise or censure, (than what ha been already said in my account of Mr. Yates) her unequalled abilities being so uni­versally known and admired by every lover of the theatre.—Her majestic deportment, elevated speech, expressive manner, and alacrity, all pronounce her to be the most accomplished actress on the English, per­haps on the European stage, therefore I shall be brief, and conclude this Lady with the following lines:

Mrs. HARTLEY.

This Lady made her first appearance on the stage in one of the county towns of [Page 52] England, but in what character, or where for a certainty, I will not presume to say; however, be this as it will, it is now two seasons since she first appeared at Covent-Garden theatre, in the character of Jane Shore, in which she was received with re­spectable marks of applause by a very bril­liant audience.—This Lady is an exceeding good sigure; in her person she is tall and elegant, her face is likewise remarkably handsome, and her whole deportment gen­teel and easy; in short, she is the finest figure on the London stage: therefore it is not to be wondered, a lady endued with such requisites for this profession should gain great applause, had she absolutely little or no merit. But this is not Mrs. Hartley's case, her excellent performance of the above, and many other parts she has since appeared in, has fully convinced us to the contrary. Her performance of Elfrida, Sta­tira, and Rosamond in Mr. Hull's new play of King Henry the Second, I believe has given the public incontestable proofs of her [Page 53] rising genius. The only fault I can discover in this Lady, is, her voice is somewhat harsh, and she is sometimes apt to wind it beyond the bounds of harmony: did Mrs. Hartley take a little more pains in modulat­ing her accents, it would add greatly to her praise. But, as the poet remarks,

Mrs. MATTOCKS.

This useful and pleasing actress is a child of the stage, her father and mother being both of that profession at the time of her birth; her first outset was in the singing parts, with no inconsiderable share of ap­plause: but it was not singing alone con­structed this Lady's abilities, it was her de­sirous and successful attempts in the lively, spirited parts of comedy, in which she suc­ceeded [Page 54] to her wishes, and now stands fore­most among the favourite daughters of Thalia: she has since appeared in tragedy with all the success the diminutive size of her figure will permit; and indeed she is above mediocrity in any part she has per­formed in the latter. This actress likewise possesses in all her various characters, a pro­digious fund of sensibility, and is mostly persect in the true sense and spirit of her author; that take all in all, a pleasing per­son, an agreeable voice, and a good share of judgment, renders her one of the most useful performers belonging to Covent-Gar­den theatre.

Miss MACKLIN.

Miss MACKLIN, like the above Lady, is a child of the stage; her father is the fore-mentioned excluded, and celebrated co­median, [Page 55] Mr. Charles Macklin.—This Lady like Mrs. Mattocks came out in the singing characters, in which her elegant figure, and profound taste in music gained her consider­able applause. From this, like the afore­said Lady, she stept forth into the walks of comedy and tragedy, where she has shone for several years past with the public's un­limited approbation; but her talents are mostly inclined to the former, as she seldom appears in the latter, her parts be­ing but few, and are generally confined to the tender cast; though did she appear oft­ner in tragedy, it probably might be more entertaining to the public, (and I don't see why she should not) as it would be the means of credibly restoring many parts tha are now lost to Covent-Garden stage.

Mrs. BULKLEY.

This Lady's first outset in lise was as a dancer at Covent-Garden, a science Mrs. Bulkley is most passionately fond of, and which I am given to understand she pursued more for pleasure than advantage to her­self; however, dancing, like singing to Mrs. Mattocks and Miss Macklin, was discover­ed to be not her only merit, in consequence of which, (through the ardent persuasions of some friends) she condescended to try what she could do in the sock and buskin, in which she has undoubtedly answered the expectation of those who solicited her▪to pursue this undertaking; but I think the sock seems to sit much easier on this Lady than the buskin; ^* there is an agreeableness [Page 57] in her address that appears to be best adapt­ed to comedy, though I have seen her with deserved success in several parts of tragedy; yet here I think she sometimes wants ex­pression, and variation in her features and voice. However, we may rate Mrs. Bulkley from the delicacy of her person, and her judgment, a very agreeable, useful, and judicious Actress.

Mrs. GREEN.

This Actress, (like Miss Pope of Drury-Lane theatre), may in some measure be deemed as a copy of Mrs. Clive; but of the two, the last mentioned lady gains the pre­ference in this point; there is a greater va­riety in Miss Pope than in Mrs. Green; or, in the theatrical term of expressing it, more of the vis-comica, which so much abound­ed [Page 58] in their great predecessor. Mrs. Green's chief abilities lie in Chamber-maids, where her humour and prodigious flow of spirits are best suited. It is observed by a cele­brated critic, that it is a sort of misfortune for this Actress, that we have not yet adopt­ed in England the French custom of making important characters of Chamber-maids, she being possessed of all those requisites necessary to excell in that province, where her great humour, smart repartee, lively voice, and agreeable pertness, would be most fortunately placed. She is somewhat too affected in her manner, though it would be essentially meritable in the above; but in her present cast of characters I think it rather a defect; nevertheless, we must set down Mrs. Green a very considerable and valuable Actress in her walk.

Miss MILLER.

Miss MILLER without doubt has merit in many parts of tragedy, such as Roxana, Alicia, Juliet, Cordelia, &c. and in come­dy she is useful in the few parts she per­forms; but she appears so seldom in the sock, that it is almost needless for me to mention this. The faults of this Lady ge­nerally lie in a want of expression, and in her voice which is not exactly tunable, and wants compass; and could she break herself of that stiffness in her gait, it would add no small share towards her preferment; though this defect may be over-looked in her performance of the haughty Roxana, and Alicia, yet let me tell Miss Miller, it does her great prejudice in personating the tender parts of tragedy which she is in pos­session of, such as Juliet, Cordelia, &c. by reason it prevents her from giving that soft [Page 60] and tender expression which is so much re­quired in those parts: but,

*⁎* Miss Miller at present is disengaged from Covent-Garden, occasioned by the late altera­tion at that theatre.

Miss BARSANTI.

This lady made her first appearance at Covent-Garden theatre, in a new interlude wrote for that purpose by the late acting manager.—Miss Barsanti is a promising young Actress; since her commencement she has appeared in several parts of polite comedy with universal applause, particu­larly, in Estefania, in Rule a Wife and have a Wife; Mrs. Oakley, in the Jealous Wife; Charlotte Rusport, in the West Indian, &c. She is a smart, handsome figure, and not much unlike in stature, the favourite Mrs. [Page 61] Abington; and I hear she has fixed upon this lady as a model; if so, I don't know a better to copy, only I would have her take care, that this lady's mode of dressing her characters does not lead her into errors, as what would be allowable in Mrs. Abington from her exterior manner in conducting herself, might be prejudicial to Miss Bar­santi; however, on the whole, I would have this young lady beware of imitation, as it sometimes proves many a promising young actor's, or actress's ruin, by making their performance contemptible and ridi­culous; though,

Miss CATLEY.

As an actress, this lady has little preten­tion to be spoke of; as a singer, she is at present the sweetest warbler on the English [Page 62] stage. Her voice is strong, clear, harmoni­ous, and expressive; notwithstanding these musical requisites, through a careless, inex­cusable negligence, she sings with great im­propriety, that often renders her vocal per­formance disgusting; I mention this, as it is in her power (would she take a little more pains) to remedy it. She likewise throws into her parts many indecent, and vulgar attitudes, which is still worse than the for­mer, for as the poet observes,

In the part of Juno, in the Burletta of the Golden Pippin, Miss Catley is exceeding low and immodest; but why need I mention all this of a lady, whose private character is too much connected with such behaviour; and I am almost led to imagine, the author of the Pippin has drawn his character of Juno from nature, there being such a resem­blance between the part, and the perform [Page 63] er's private and public conduct, that I scarce think but it was so. But not to tire the reader's patience with too long a pre­amble on a subject of this kind, so many anecdotes, &c. having been published con­cerning this lady, it will be useless, besides unbecoming, to dwell here upon Miss Cat­ley's private character, as such I shall con­clude this celebrated lady, and refer such of my curious readers, as chuse to trace the va­rious incidents of her past life) to her me­moirs, where they will find them more ex­tensively authenticated, and justly adhered to.