By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
Not like one another, quantity five is a sociological portrait of commonly 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 by way of 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.
Read or Download A Biographical Dictionary of Actors, Volume 6, Garrick to Gyngell: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London 1660-1800 PDF
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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
Yet such a course was made ethically nearly impossible for Garrick by Fleetwood's adamant refusal to rehire Macklin. Fleetwood had befriended Macklin through some hard times (including his trial for killing his fellow-actor Hallam) and he now saw him as a monster of ingratitude. Garrick tried to appease Macklin by offering to pay him a weekly sum out of his own pocket and by obtaining a promise from Rich to engage Mrs Macklin at Covent Garden for £3 a week. Macklin would have none of it. Garrick announced that he would return to Drury Lane.
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. David's activity as salesman for the firm took him to the coffee houses and taverns of the theatrical district. One of his first acquaintances there was Charles Macklin, already an established actor.
On 21 July, for the benefit of Marr and Miss Hippisley, Garrick played Captain Duretête in The Inconstant, the mainpiece, and had the satisfaction of appearing in the afterpiece, his own Lethe, as Ventre-Bleu. There was no word of his Ipswich outing in his letters to Peter, who was at Lichfield in the summer of 1741, and, strangely, there is no evidence that rumor had yet connected Garrick with the stage. But he may have been flying a signal to Peter to prepare him for the inevitable discovery when he spoke, in a letter on 11 July, of being "at present very busy with Jack Arthur," the Covent Garden clown and machinist, "upon Our Catapult-project.
A Biographical Dictionary of Actors, Volume 6, Garrick to Gyngell: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London 1660-1800 by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans