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MR. DoDSLEY'S PREFACE. XCV
standing the opposition made to it by the city of
London. But the opinion of the publick still in clining to the King's company, Mr. Davenant was
obliged to have recourse to a new species of enter tainment. He determined to call in the assistance
of shew and sound, he increased the splendor of his scenery, and introduced music, singing, and dancing, into some of the pieces represented".
Dramatic Operas, with expensive decorations, soon came into fashion, and enabled the Duke's com pany to obtain an advantage over their competi
tors, which they were not intitled to* by their
merit.
-
Soon after the Duke's company began to act in their new theatre, an accident happened which must have disabled their antagonists from contend ing with them for a short time. In January,
1671-2, the play-house in Drury-lane took fire,
and was entirely demolished. The violence of
the conflagration was so great, that between
fifty and sixty adjoining houses were burnt or blown up”. Where the company belonging to
this house removed, I have not been able to dis
19 Macbeth, The Tempest, Psyche, Circe, The Empress of Morocco.
*o Cibber's Apology, p. 79. -
* Reliquia. Baxteriana, fol. 1696. p. 89, p. 8d. This
theatre, I believe, was sometimes called the theatre in
* xcvi SUPPLEMENT TO
cover, though I find they continued to act in the several years which intervened between the destru tion of the old house and being rebuilt; and from the series plays which they produced, seems probable that they immediately occupied some theatre which then remained unused The proprietors the old playhouse, after they had recovered the consternation which this accident
Jovent-Garden. (See Preface The Miser, Shadwell, 4to. 1672. ) Mr. Walpole, speaking Robert Aggas, com monly called Augus, observes, that Graham, his School
English Painting, makes him the painter scenes for
the playhouse Covent-Garden. Robert Aggas died London, 1679, aged about 60;-“but know not,” says
Mr. Walpole (Anecdotes Painting, vol. 157. ) “what
“the author quote means
“Garden before the year 1679; theatre Dorset-Gardens. ”
playhouse Covent
suppose should the From the above Preface
plainly appears,
house being sometimes spoken situate Drury-lane;
and other times Covent-Garden. Graham was, there
fore, right his account. find also Opera, called Ariadne, printed 4to. 1673-4, acted the Theatre
Covent-Garden.
that the mistake arose from the same
Royal
Or perhaps temporary playhouse was built. This
may conjectured from the following lines prologue, Dryden, spoken the first day the King's house acting
after the fire:
“But we with golden hopes are vainly fed,
“Talk high, and entertain you shed.
“Your presence here, for which we humbly sue,
“Will grace old theatres, and build new. ”
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MR. DoDSLEY's PREFACE. xcvii
had thrown them into, resolved to rebuild their
theatre with such improvements as might be suggested; and for that purpose, employed Sir
Christopher Wren, the most celebrated architect of his time, to draw the design, and superintend
the execution of the opinion
was such the advantage
The plan which produced,
those who were well able judge one was alike calculated for
the performers and spectators; and the several alterations afterwards made
far from being improvements, contributed only
to defeat the intention spoil the building”.
Mr. Cibber, speaking Hay-market theatre, built
the architect, and
the alterations made the Sir John Vanbrugh, says,
there are not many spectators who may remember
“what form the Drury-lane theatre stood about forty
“years ago, before the old patentee, make hold more
“money, took into his head alter were but jus “tice lay the original figure, which Sir Christopher
“Wren first gave and the alterations now standing, “in fair light; that equal spectators may see, they
“were their choice, which their structures would in “cline them preference. —It must observed then,
that the area platform the old stage projected about “four feet forwarder, semioval figure, parallel the
“benches the pit; and that the former lower doors entrance for the actors were brought down between the
“two foremost (and then only) pilasters; the place
“which doors, now the two stage-boxes are fixt. That
“where the doors entrance now are, there formerly WOL.
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xcviii SUPPLEMENT TO
The new theatre being finished, was opened on the 26th of March, 1674. On this occasion a Pro
“stood two additional side wings, in front to a full set of
“scenes, which had then almost a double effect, in their
“ loftiness and magnificence. By this original form the
“usual station of the actors, in almost every scene was ad
“vanced at least ten feet nearer to the audience, than they “ now can be ; because, not only from the stage’s being
“shortened in front, but likewise from the additional in “terposition of those stage-boxes, the actors (in respect to
“ the spectators, that fill them) are kept so much more “backward from the main audience, than they used to be: “but when the actors were in possession of that for “warder space, to advance upon, the voice was then more “in the centre of the house, so that the most distant ear “had scarce the least doubt, or difficulty, in hearing
“extended; every rich or fine coloured habit had a more
“lively lustre: nor was the minutest motion of a feature “ (properly changing with the passion, or humour, it suited)
“ever lost, as they frequently must be in the obscurity of
“too great a distance: and how valuable an advantage the “facility of hearing distinctly is to every well acted scene,
“every common spectator is a judge. A voice scarce raised “above the tone of a whisper, either in tenderness, resig “nation, innocent distress, or jealousy suppressed, often
“ have as much concern with the heart, as the clamorous “passions; and when, on any of these occasions, such af “fecting speeches are plainly heard or lost, how wide is “the difference, from the great or little satisfaction re “ceived from them *—Cibber's Apology, edit. 1750, p. 338.
“what fell from the weakest utterance: all
“were thus drawn nearer to the sense; every, painted “scene was stronger; every grand scene and dance more
objects
MR. DoDSLEY’s PREFACE. xcix
logue and Epilogue were delivered, both written by Mr. Dryden “, in which the plainness and want
of ornament in the house, compared with that in Dorset Gardens, were particularly mentioned. The
ment which was found the former, the di
rection Majesty expressly asserted”. That
the concerns the stage were sometimes thought not unworthy the notice royalty very well
known.
The preference given Davenant's theatre,
account scenery and decorations, alarmed
those belonging the rival house. To stop the progress the public taste, and divert to
wards themselves, they endeavoured ridicule the
encouragement given
to the latter on account of scenery and decorations was not forgotten; and apology for the deficiency embellish
performances
person employed was Thomas Duffet, who paro
which were much followed. The died the Tempest, Macbeth and Psyche: these ef
forts were, however,
theatre continued frequented the victory sound and shew over sense and reason was complete the theatre this period hath
See his Works, vol. 302.
“Yet some pride with want may allowed, “We our plainness may justly proud:
“Our royal master will'd should so;
“Whate'er he's pleas'd own, can need shew. ”
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often been since. The King's theatre languished; but the great expenses incurred at the other di minished their gains to such a degree, that after a few years the leaders in each discovered that it would be for their mutual advantage to unite their interests together, and open but one house. Of those who originally belonged to Killigrew's com
pany, several had quitted the stage, some were dead, and the chief who remained began to expe
rience the infirmities of age. These considerations induced them to listen to overtures from Dave
nant, Betterton, and Smith, who entered into an
agreement with Hart and Kynaston, which ef. fectually detached those performers from the King's theatre”. Their revolt, and the influence which
they possessed, seem to have effected the union sooner than it otherwise might have been agreed
though could not have been prevented any length times", having been recommended the King. The junction took place the year 1682",
This agreement printed Gildon's Life Better ton, 1710,
Cibber's Apology, 81.
Cibber says 1684; and Derrick, his edition Dry
den, vol. 50. hath dated 1686. The date, how
ever, above set down the true one. Mrs. Barry, who was one the King's company, performed The Spanish
Fryer, which appeared the latter end 1681, the be
ginning
1682.
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MR. DoDSLEY'S PREFACE. ci
on which event the Duke's company quitted Dor set Gardens, and removed to Drury-lane. Hart performed no more, but retired on a pension; and Mohun soon afterwards died. The remainder
ofthe troop were incorporated with the Duke's,
and for the future were styled the King's Com pany.
The advantages which were expected to follow this junction do not appear to have been the con sequence of Though the patents were united,
the profits the proprietors and performers seem
not have been increased. The old patentees either sold their authority new adventurers,
relinquished their attention the management.
On the 30th August, 1687, Mr. Charles Dave nant assigned his patent Alexander Davenant, esq.
who, on the 24th March, 1690, sold his interest therein Christopher Rich”, lawyer, whose
From the representatives this gentleman, the pre
Killegrew
family; and August 31, the same year, Mr. Hill men
Covent-Garden theatre derive the autho generally said and believed, that the
sent patentees
rity they enjoy.
patent granted
obscurity which always accompanies the transfer private property prevents me from tracing the manner which that patent was disposed By letter from Mr Pope Aaron Hill, dated 22d May, 733, said, that pa tent not used was then in the hands of one of the Davenant
the same hands. The
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SUPPLEMENT TO
name is often to be found in the future annals of the theatre. This gentleman, who was not pos
stage
By various instances of mismanagement, he alie nated the affections of the principal performers from him, and by wanton oppressions provoked
them to attempt their deliverance from the tyranny
sessed of abilities calculated to make the flourish under his administration, soon contrived to engross the whole power into his own hands.
he exercised over them.
An association of the into, with Betterton at the
actors was entered
head of Their complaint, means the earl of Dorset”, was laid before king William, and
was considered sufficient importance engage the attention Majesty. The principal law yers that period were consulted, who agreed that
the grants, from king Charles Killegrew and Davenant, did not preclude the reigning prince
from giving similar authority any person with
In conse this opinion, licence was granted
might chuse intrust
whom
quence
select number the players act separate theatre for themselves.
This favour being obtained tions offer which had been made
payment 400l. year.
subscription was
am unable discover. Cibber's Apology, 157.
tioned Mr. Pope,
patent on Whether this was the same men
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MR. DoDSLEY's PREFACE. ciii
set on foot for building a new theatre within the walls of the Tennis-Court, in Lincoln’s-Inn Fields
The people quality, shew their sense the treatment which the actors had received, con
tributed very liberally for this purpose. The pa tentees became sensible the folly their con
duct, and repair the mischief they had done
themselves, endeavoured retain many the actors they could engage. To supply the places
some who had left them, they brought few new performers from the companies the country, and made the best disposition they were able, encounter their enemies.
The theatre Lincoln’s-Inn Fields was opened, the 30th April, 1695, with the new comedy Love for Love”, which was acted with extraor
dinary success during the remainder the season. The new adventurers, however, met with oppo
sition from quarter where was not expected.
recourse the law remedy the inconveniences they suffered. Trinity Term, they moved the
number the inhabitants Lincoln’s-Inn
finding themselves incommoded the concourse coaches which the playhouse drew together, had
Court King's Bench for prohibition strain the company from acting any longer
Cibber's Apology, 158. Ibid.
re the
160.
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new house; and a rule being granted, cause was shewn against it in the succeeding term, when fur
ther time” was allowed to each party to come be
fore the court more fully prepared to support and
invalidate their several suggestions. The event of
this law-suit can only be conjectured from the com
pany's being permitted to act until their removal to the Hay-market.
The prosperity of the new house was of no long
continuance. After one or two years' success the
audiences began to decline, and it was found that two rival theatres were more than the town was
able to support. The old house suffered the
distresses which obstinacy and ignorance ma nager the head raw, unexperienced set
actors could produce. Having little judgement
direct him the conduct permitted the best plays
despicable performers, but
tumblers and buffoons, and
brought the entertainments lowest degree contempt”. ever,
theatre, not only
mangled the most the introduction
other extravagances,
the stage the He persisted, how the last the same mode conduct
which his son afterwards followed, and by that
means had greater influence the present pub
entertainments than first sight would thought probable.
Skinner's Reports, 625. Cibber, passim.
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MR. DoDSLEY’s PREFACE.
CW
While the rival theatres were contending against each other with inveterate malice, an enemy to the
very toleration of dramatic entertainments aP peared, who, with considerable ability and with all
the rigid puritanical maxims of a severe sect,
attacked the stage on account of profaneness
and immorality. This was the celebrated Jeremy Collier, who 1697 published book, containing
severe invective against the acting plays, the
profligacy the performers, and the licentiousness the poets; and having some truth and justice
his side, the advocates for the theatre found them selves hard pressed answer the charges brought
which warranted the censure professed the least regard
One these “others” said have been the cele
brated Tom Brown, whom ascribed dramatic piece diculing Jeremy Collier, called “The Stage-beaux tossed
Blanket, Hypocrisy Mode, exposed the true pic ture Jerry pretending scourge the English stage. ”
1704. Those who have hitherto mentioned this performance, have not been aware that for the most part merely adaptation Moliere's Critique l’Ecole des Femmes. The Editor the Biogr. Dram. says that the piece Was newer
against
their favourite diversion. cannot be denied but that many authors, and some great favour with the public, had written manner
every person who propriety decency.
Congreve, Vanbrugh, Dryden, Dennis, and others", with wit and hu
Mr. Collier was opposed
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mour, but without confuting the objections which
had been started either against themselves indivi dually, or against the stage in general. The public
opinion ran so much against the defenders of the
theatre, and in favour of their enemy, that king William considered Mr. Collier's book as a work
which entitled the author of it to some lenity in a prosecution then carrying on in consequence of
errors in his political conduct”. This controversy
produced as much as could be wished for from Mr. Cibber observes, “the calling our dramatic
“writers this strict account had very whole “some effect upon those who writ after this time. “They were now great deal more upon their “guard; indecencies were longer wit; and “degrees the fair sex came again the boxes
the first day new comedy without fear censure. ”
To forward the stage's reformation, prosecutions
were commenced against some the performers
for repeating prophane and indecent words. Se veral were found guilty, and Betterton and Mrs. Bracegirdle were actually fined”. These seve
acted, but the “Epilogue upon the Reformers,” professes have been “spoken Mr. Wilkes, the Theatre Royal,
“Drury Lane. ”
Cibber,
Gildon's Comparison between the two stages, 1702,
225. 8vo. 143.
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MR. DODSLEY’s PREFACE. cvii
rities were not entirely thrown away. From this
period may be dated the introduction of that more refined taste which hath done so much credit to
the British theatre.
The managers acting under the united patents
had hitherto made use of both the theatres in
Dorset-Garden” and Drury-lane; but about this time the former of these houses was deserted”.
*” In a paper published by Theoph. Cibber in 1733, dur
ing his contest with Highmore, it is said that Dorset Garden was used as a summer theatre.
* A lottery was drawn there in the year 1698, as may be
seen from the following title of a pamphlet printed at that
time: “The wheel of fortune or nothing for a penny. “Being remarks on the drawing of the penny lottery at “the Theatre-royal in Dorset-Garden, with the characters “of some of the honourable trustees, and all due acknow
“legements to his honour the undertaker. Written by a
“ person who was cursed mad he had not the 1000l. Lot. ”
4to. In the preceding year, Settle's Play of The World in the Moon had been acted there. But in 1700, if it was oc cupied at all, it must have been by rope-dancers. In the Prologue to The Constant Couple, are these lines:
“Ah friends ! poor Dorset-Garden-House is gone; “Our merry meetings there are all undone:
“Quite lost to us, sure for some strange misdeeds, “That strong dog Sampson pull'd it o'er our heads,
“Snaps rope like thread: but when his fortune's told him, “He’ll hear perhaps of rope will one day hold him: “At least, I hope that our good natur'd town
“Will find a way to pull his prices down. ”
cviii SUPPLEMENT TO
The company which had been left by Betterton and his party, after struggling with unequal force
against the excellent performers who listed under the banner of that respectable veteran, began now
to remove the prejudices which had been enter tained against them, and to claim their share of applause. Many of them were much improved.
They had the advantage of youth, and having had the opportunity of exhibiting themselves in new characters, where comparisons to their disadvan
tage could not be made, they began to be viewed
in a more favourable light. In the mean time,
Betterton and some of associates were daily losing ground through old age. Their system
management, which had been hastily settled, de
prived their principal friend that authority which
necessary for the person who undertakes govern any body people, and especially those
who belong theatre. The house itself was too small, and poorly fitted up, very insufficient for the
house the Hay-market, calculated honour the architect and the nation, and the same
time produce wealth those who were concerned The sum 3000l. was immediately raised,
and the building begun under Sir John's direction. On this scheme being proposed, was agreed
purposes profit splendor.
These considera tions induced Sir John Vanbrugh procure sub scriptions for erecting new and magnificent play
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MR. DoDSLEY'S PREFACE. cix
that Mr. Betterton should assign 39 over to Van
brugh his licence to perform, and for the future
serve only as an actor without any concern in the
conduct or direction of the theatre. The proposal
was readily assented to on the part of Betterton. He had now been upon the stage between forty
and fifty years, and found the infirmities of age be
ginning to make inroads upon his constitution.
He was therefore desirous of repose, and to be
relieved from the fatigues of management.
In the latter part of the year 1704, he performed his part
of the agreement by surrendering to Sir John Vanbrugh his right and interest the licence
granted him. The new proprietor associated himself with Mr. Congreve, and, from the joint
day April,
1705, the theatre was opened with Italian Opera, which did not meet with the success ex pected from it”, and Prologue written Sir
abilities such excellent
tions were formed. On the 9th
hope obliged the principal manager exert himself; and accordingly, with that happy facility which
Samuel Garth. The failure their first accompanied him writing, immediately produced
Downes,
47.
The foundation stone this theatre was laid
Lady Harriet Godolphin, says Curll; but according others,
Lady Sunderland, and upon was inscribed The little Whig. Dr. Garth's Prologue printed his Works.
writers, great expecta
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no less than fouro new pieces. But these were insufficient to bring the theatre into reputation. It was soon found, that the architect of it was better qualified to support the stage by his writings
Every piece represented appeared under manifest disadvantage.
The edifice was vast triumphal piece archi
tecture, wholly unfit for every purpose conve
nience; the vast columns, the gilded cornices, and
lofty roofs, availed very little, when scarce one
word ten could distinctly heard, for had not then the form has now. “At the first
“opening it,” says Mr. Cibber, “the flat ceiling,
that now over the orchestre, was then semi
“oval arch, that sprung fifteen feet higher from
above the cornice. The ceiling over the pit too
“was still more raised, being one level line from the highest back part the upper gallery the
front the stage; the front boxes were con “tinued semicircle the bare walls of the house
“on each side: this extraordinary and superfluous
than to build houses to act them
“space
“voice every actor, that generally what they
occasioned such undulation from the
said sounded like the gabbling many people
“in the lofty isles cathedral—The tone “trumpet, the swell eunuch's holding
The Confederacy; The Cuckold Conceit; Squire Treeloly; and The Mistake. —Cibber's Apology, 263.
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MR. DoDSLEY’s PREFACE. cxi
“ note, ’tis true, might be sweetened by but the articulate sounds speaking voice were drowned the hollow reverberations one word
“under another”. ” To these disadvantages the situation might added; had not that time the benefit large city, which hath since been built neighbourhood, and was too remote from the then frequenters the theatre much attended by them. All these circumstances unit ing together afforded little prospect profit success, that few months Mr. Congreve gave
his share and interest wholly Sir John Van brugh”; who, the end the second season,
either finding the gains which arose from the management too few, the trouble arising from
attendance on-it too much, grew also disgusted with his situation, and wished be relieved from But of so little value was the theatre consi
dered that juncture, that person thought consequence enough apply for At length
was offered Mr. Owen Swiney, mere ad venturer without property, who had been employed
Mr. Rich under-manager, and who, with the
concurrence his principal, agreed for the rate five pounds for every acting day, and not
exceed 700l. the year. The new manager entered upon his undertaking the latter part
Cibber's Apol, 259. Ibid. 268.
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cxii SUPPLEMENT TO
the year 1706, and at the end of the first season found that he had considerably improved his for.
tune.
From the time that Mr. Rich got possession of Drury-lane theatre, he had paid no regard to the
property of any of the parties who had joint inte rests with him, but proceeded as though he was
sole proprietor of Whatever received kept himself, without accounting any
partners; and had continued this mode con
duct long, that those who had any claims the
theatre abandoned them despair ever receiv
ing any advantage from them. The concerns the play-house were thought little worth,
that about this time Sir Thomas Skipwith, who Cibber says had equal right* with Rich,
frolic, made present his share Colonel Brett, gentleman fortune, who soon after forced him self into the management much against the inclina
tion partner. houses being open appeared evident object
The effect two play once, point profit,
Mr. Brett, that the first dedicated his attention was reunion
the two companies, and, through the interposition
“Cibber's Apol. 300. this presumed that the patent granted
fact, may Killegrew, either
part the whole, was vested him. does not appear how he became intitled it.
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MR. DoDSLEY’s PREFACE. cxiii
of the Lord Chamberlain, he effected it in the year 1708. It was then resolved, that the theatre in the Hay-market should be appropriated to Italian Operas; and that in Drury-lane to Plays. The
one was given to Swiney, and the other continued with Rich and Brett; the latter of whom conduct
ing the business of it in a different manner from what it had heretofore been, brought it once more into so good a state, that Sir Thomas Skipwith repented of his generosity, and applied to the Court of Chancery to have the property he had given
away restored him. Colonel Brett, offended at
claim; and Mr. the powers
any resistance his measures. An application
the Lord Chamberlain was the consequence; and that officer, who was supposed possess both
absolute and undefinable authority over the stage,
agreed permit many
engage with Swiney desert from Drury-lane, and
this treatment, relinquished Rich again possessed himself the patent.
Instead being warned
past times, avoid the difficulties which tyran nical and oppressive behaviour the performers had occasioned, the acting manager resumed his former conduct, without fearing apprehending
the actors chose act the Hay-market”. private treaty was
VOL.
Cibber's Apol. 331.
the experience
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cxiv SUPPLEMENT TO
accordingly entered into ; and Wilks, Dogget, and Cibber, were proposed to be managers and joint sharers with Swiney in conducting the theatre, which
for the future was to be used both as a Play-house and Opera-house. After the preliminaries were
settled, the Lord Chamberlain issued an order, dated 7th June, 1709, forbidding the patentees
perform any longer; -
which the house was
shut up.
The deserters immediately began alter the
Hay-market theatre,
veniences original construction, and make
for the representation dramatic performances. They began act the winter the year 1709;
and their audiences much exceeded their expec tations that they would have had every reason
content with the change which had happened,
the direction the Operas, which this season
began decline, had not greatly diminished their profits. On the whole, however, they appear to
have received more than they had done Drury lane, and therefore were not dissatisfied with their emancipation from the authority their former governor.
The power the Chamberlain had always been
order obviate the incon
implicitly acknowledged.
had any concern the interdicted theatre patiently
Those therefore who Cibber's Apol. 345.
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MR. DO DSLEY'S PREFACE. CXV
submitted to the prohibition, and had recourse only to supplications in order to procure a revoca
tion of the silencing order. As it was put in execution so late in the season, no immediate detriment ensued; and it was generally expected,
that as the time of acting approached in the follow ing winter, the proprietors would be permitted to
open their house. The summer was taken up in peti
tions to the Chamberlain, and appeals to the Queen's justice and humanity, both from the patentees and players. The applications, however, were not crowned with success ; the order was still con
tinued in force, and at the beginning of the season one theatre only employed.
As soon as it appeared with certainty that the old manager would not be able to obtain a recall of the order for silencing the patent, one who had some property in the house, and who had joined in
the applications relieved against the Cham berlain's mandate, determined avail himself
interest court, and profit the distress partners. This was William Collier, Esq.
lawyer" enterprizing head and jovial heart. He was member parliament, and his con vivial qualities had become favourite with the
people then power, and was often admitted partake with them those detached hours life
when business was
give way pleasure. Cibber's Apol. 345.
47
p.
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cxvi SUPPLEMENT TO
This gentleman, observing the situation of thea.
trical affairs to be desperate in the hands of Mr.
Rich, applied for and obtained a license to take the management of the company left at Drury-lane.
The late patentee, who still continued in the theatre, though without the power of using was
not removed without compulsion. Mr. Col
lier, therefore, procured
the landlords and armed with this
took the advantage rejoicing night, the 22d
Here ended the power Mr. Rich over the theatres. After his expulsion from Drury-lane, employed the remainder his life rebuilding the playhouse Lincoln’s-Inn Fields, which was opened about six weeks after his death, by his son,
the year 1714, with the Comedy The Recruit
ing Officer". Both this theatre and manager will be mentioned hereafter.
Cibber's Apology, transaction given
On this occasion
346. ludicrous account this the Tatler, No. 99.
have been informed by gentleman Prologue was spoken by the new
who was present, that manager dressed mourning.
This Prologue since find called “A new Miscellany
print, collection Tales, Songs, and Poems.
By several hands. ” 12mo, 61. concluded with these lines:
lease the house from authority
November, when, with hired rabble, he broke
into and turned the former owner out sion.
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MR. DoDSLEY’s PREFACE. cxvii
The scheme which Mr. Collier had engaged in did not prosper according to his wishes; the pro
fits of the season were very small, and by no means a compensation for the trouble, risk, and expence,
which he had been at in seating himself on the theatrical throne. The joint-sharers at the Hay
market had acquired both fame and money; he therefore meditated an exchange of theatres with
them, and, by again employing
court, soon effected By the agreement which
was then entered into between the rival managers, the sole licence for acting plays was vested Swiney and his partners; and the performance
Operas was confined the Hay-market under the direction of Collier”.
The authority which this gentleman had now obtained the Opera-house, immediately farmed "Aaron Hill, Esq. for 600l. per annum; but
“But oh, my poor father! alas died
“Ere beheld this house finish’d pride. “He rais’d the stately pile slow degrees,
“Big with the hopes curious town please. “Letgenerous pity move the brave and fair
“To take his poor remains unto your care: “Who dies love, martyr's pity draws
“From all; then let him share the same applause, “Who died martyr for this good old cause. “Still let true noble gratitude shewn,
“And for father's sake support the son Cibber's Apology, 358. Ibid. 356.
his influence at
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before the season expired he resumed the manage ment again into his own hands. The flourishing state of Drury-lane had attracted his notice and
envy. He grew again dissatisfied with
station,
and proposed once more return the stage
had abandoned. The same power which had
hitherto supported him his caprices still con
tinued favour him. Swiney was obliged re turn the Hay-market; and Collier, Wilks,
Dogget, and Cibber, remained Drury-lane, where from this period the abilities, industry, and integrity the managers brought their theatre into much reputation, that became them
the source independence during the rest their
lives. the end the first season, Swiney was ruined the Hay-market, and obliged banish
himselffrom the kingdom.
As soon the new regulation was settled,
Collier rendered his share sinecure, and agreed accept certain sum annually lieu
claims. 1712, the Tragedy Cato was acted,
wherein Mr. Booth acquired much reputation, that was encouraged solicit for share the management the theatre, and was gratified during the succeeding year. On his introduction,
Dogget, disgust, retired from the management, which never afterwards returned.
the year. 1714, Queen Anne died; and, amongst the changes which that event brought
In
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MR. DoDSLEY’s PREFACE. cxix
about, the management of Drury-lane theatre was not too inconsiderable to attract the notice of the
court. At the desire of the acting managers, Sir
Richard Steele procured his name to be inserted
instead of Collier's in a new licence jointly with
them; and this connection lasted many years equally to the advantage of the parties. this
year, the prohibition which the patent had been
long under was removed, and Lincoln’s-Inn Fields
theatre opened under the direction the late Mr. John Rich.
weaker company was obliged have recourse foreign aid, and oppose his antagonists with
other weapons than the merits his actors, the excellence the pieces represented them. The performers who were under Mr. Rich's direc
favour the town. this distress, the genius the new manager suggested him species en tertainment, which hath always been considered contemptible,
No sooner were dramatic
mitted two theatres, than the manager the
tion were much inferior those
that the latter carried away the applause and
performances per
but which the same time hath been
ever followed and encouraged. Pantomimes were now brought forwards; and, sound and shew
had the last century obtained victory over sense and reason, the same event would have followed again, the company Drury-lane had
Drury-lane,
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CXX SUPPLEMENT TO
not, from the experience of past times, thought it
advisable to adopt the same measures. The fer
tility of Mr. Rich's invention in these exotic enter tainments, and the excellence of his performances
in them must be ever acknowledged. By means of these only, he kept the managers of the other house at times from relaxing their diligence;
and, the disgrace
tained more money performances than
public taste, frequently ob
such ridiculous and paltry
the sterling merit the other acquire.
house was able
The business the stage was carried success
fully, and without interruption, until about the year 1720, when disgust which the duke New castle, then Lord Chamberlain, had received from
‘Mr. Cibber", that gentleman was for some time
levelled the ministry, Mr. Cibber's Dedication Ximena Sir Richard Steele, and these were likely have been what gave offence. The same writer, however, after wards asserts the following have been the real cause: “My lord Duke had mind have certain part per “formed certain actor, which was generally acted by “one the managers; and when my lord urged his autho “rity enforce his commands, Cibber, visibly slighting
“his authority half laugh, said, that they were sort separate ministry, and absolutely refused obey
Pamphlet, called “The State the
The author
“Case, between the Lord Chamberlain his Majesty's “Household and Sir Richard Steele, represented that “Knight, restated,” &c. 30. mentions some strokes
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MR. DoDSLEY'S PREFACE. CXX
forbid to perform; and soon after a difference
arising between the same nobleman and Sir Richard
Steele, the power which had been often exercised
by the persons who had held his grace's office was
exerted,
against the managers. On this occasion a contro versy succeeded; but how long the prohibition
lasted, or in what manner the difference was ad justed, no where appears.
In this year, 1720, a new playhouse was erected in the Hay-market by one Mr. Potter, a carpen
ter”. It was not built for any particular person
or company, but seems to have been intended as a mere speculation by the architect, who relied on
being occasionally hired for dramatic exhibitions. The harmony which had subsisted for many years between Sir Richard Steele and his partners
was soon afterwards interrupted, and the affairs the theatre became again the objects chancery
litigation, which, 1726, was determined favour
“my Lord Chamberlain; upon which was silenced. ” Sir Richard, however, his state the case, asserts, that
the mortification put upon Mr. Cibber “was intended “only remote beginning evils which were affect “the patentee. ” During the time that the order for silencing
Mr. Cibber was force, Southerne's Tragedy The Spartan Dame was acted, and the part Crites intended for that performer was obliged read another actor.
Victor’s History the Theatres, vol. 184.
and an order of silence was enforced
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cxxii SUPPLEMENT TO
of the acting proprietors “ by a decree of Sir
Joseph Jekyll,
breach, however, which this dispute had made
then Master of the Rolls. The
would perhaps never have been healed, had Sir Richard been able to have resumed his share of the
management. His faculties at this time began to
Wales,
where he died on the 1st of September, 1729.
As the powers of the patent granted to him
terminated at the end of three years after his death,
decline: he soon afterwards retired into
the remaining managers solicited and obtained a renewal of the authority for twenty one years com mencing on the 1st of September, 1732; but the prosperous
course of their affairs was doomed about this time to be first checked, and afterwards
put an end to by the illness and deaths of the principal persons concerned in the theatre. Booth
was rendered incapable of performing for several years before he died. On the 23d of October, 1730, the stage suffered an irreparable loss by the death of Mrs. Oldfield; and about the same time
Mrs. Porter was prevented from acting by the misfortune of a dislocated limb. To complete the whole, Wilks died in September, 1731; and
Cibber, disliking his new partners, grew weary of his share, and took the earliest opportunity of
parting with
-
Cibber's Apology, 436.
*
it.
p.
MR. DoDSLEY'S PREFACE. cxxiii *
The number of theatres in London was this year,
1729, increased by the addition of one in Good man's Fields, which met with great opposition from many respectable merchants and grave citizens,
who apprehended much mischief from the intro duction of these kind of diversions so near to their
own habitations. Some of the clergy” also took
the alarm, and preached with much vehemence against Mr. Odell, however, the proprietor,
pursuing his design; completed the building, and, having collected
was not deterred from
company, began that for some time
perform asserted,
got not less than one hun this undertaking; but the
dred pounds week
clamour against continuing", was obliged
abandon the further prosecution his scheme; which means he sustained considerable loss. It
was afterwards revived Mr. Giffard with some
degree
The patent for Drury-lane being renewed, Mr.
Booth, who found his disorder increase, began think was time dispose his share and inte
Sermon was preached against St. Botolph, Aldgate, 30th November, 1729, Arthur Bedford,
was printed the next year.
asserted Pamphlet, called “The Usefulness “of the Stage Religion and Government,” &c. 8vo. 1738,
that address was presented the king from the lord mayor and court aldermen for the suppressing
success.
of it.
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SUPPLEMENT TO
rest in the theatre. The person upon whom he fixed for a purchaser was John Highmore, Esq. a gentleman of fortune, who unhappily had con
tracted an attachment to the stage, from having performed the part of Lothario one night for a wager.