No More Learning

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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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cx SUPPLEMENT TO
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.
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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
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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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cxviii SUPPLEMENT TO
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.
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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. A treaty between them was set on foot soon after Mr. Wilks's death, and was concluded by Mr. Highmore's agreeing to purchase one half
of Mr. Booth's share, with the whole of his power in the management, for the sum of two thousand five hundred pounds. Before his admission, Mrs. Wilks had deputed Mr. Ellis to attend to the con duct of the theatre in her behalf. The introduc tion of two people into the management, who were totally unqualified either by their abilities or expe
rience for the offices they were to fill, gave offence to Mr. Cibber: he, therefore, to avoid being
troubled with the importance of the one or the ignorance of the other of his brethren, authorized
his son Theophilus to act for him as far as his in terest was concerned. The first season was ended
with some profit to the new patentees; but Mr. Highmore, being hurt by the impertinence of . young Cibber, determined to get rid of his inter ference, and purchased the father's share for the sum of three thousand guineas”.
This second purchase by Mr. Highmore was M. Victor's History of the Theatres, vol. 1. p. 8.
MR. DoDSLEY’s PREFACE.
cxxW
made at the beginning of the season of 1733, about the same time that Mrs. Booth sold her hus
band's remaining share to Mr. Giffard. Mr. High more's connection with the theatre began now to be attended with alarming consequences to him ; two weeks had hardly passed before the principal actors, spirited up by young Cibber, determined to
revolt from the patentees, and set up for them selves. The house called the little Theatre in the
Hay-market was then unoccupied; they therefore agreed to rent it of the proprietor, and, after making the necessary alterations, opened it with the Comedy of Love for Love, to an elegant crowded audience *.
The patentees also, though weakened by the desertion of their best performers, began to act at the usual time. To supply the places of those who had left their service, they were obliged to have recourse to such assistance as the country companies would afford. With the help they could obtain, their performances were much in
ferior those exhibited the Hay-market, that constant loss was sustained until the end of the
season. Mr. Highmore the mean time buoyed himself up with hopes obtaining redress, first
from the Lord Chamberlain, and afterwards putting the laws concerning vagrants force
Victor's History the Theatres, vol. 11.
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cxxvi SUPPLEMENT TO
against the delinquent players. In both these ex pectations he found himself disappointed. The
losses fell so heavy upon him, that he was under the necessity of giving up the contention, in order
to secure a small part of the property he had impru dently risked in this unfortunate undertaking.
The person who now succeeded to the patent of Drury-lane playhouse was Charles Fleetwood, a
gentleman who at one period of life had pos.
sessed very large fortune,
small portion only remained. only the share belonging
which this time He purchased not
Mr. Highmore,
those the other partners; and little value
was then set upon the theatre, that the whole sum which he disbursed for little more than exceeded
the half what Mr. Highmore had before paid.
The revolting actors were this time become dis
satisfied with their situations. treaty was there
fore opened, and soon concluded, for their return Drury-lane.
Although dramatic entertainments were not this time supported the abilities any actors
extraordinary merit,
and the characters those
excellent performers who had lately been lost from Drury-lane were very supplied, yet this period
seems have been particularly marked by spirit
enterprize which prevailed theatrical affairs. The fortune of Mr. Odell Goodman's Fields
had not extinguished the expectations another
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MR. DoDSLEY’s PREFACE. cxxvii
schemer, who solicited and obtained a subscription for building a magnificent playhouse 59 in that part
of the town; and in spite of opposition was
completed and opened the day October,
1732, with play King Henry IV. Mr. Gif
fard the new proprietor, however, did not remain
long there. 1733, the house Covent-Garden was finished, and Mr. Rich's company immediately
removed thither, which occasioned the old building Lincoln’s-Inn Fields be deserted. Mr. Gif
fard was then advised, that would more for his advantage quit Goodman's Fields, and take
the vacant edifice. He accordingly agreed for
1735, and acted there during the two ensuing years.
Soon afterwards, though time when many theatres were employed divert the public, and
“In large oval over the pit painted the figure “his Majesty, attended by peace, liberty, and justice,
trampling tyranny and oppression, under his feet: round “it are the heads Shakespeare, Dryden, Congreve, and
“Betterton the coving “scene Cato pointing
the left hand painted the the dead body his son Mar Julius Caesar stabbed the
“cus: the middle, that
“Senate-house; and the right, that Mark Anthony
and Octavia, where the children are introduced All for “Love: the sounding board over the stage hand “some piece painting Apollo and the nine Muses. ”
Gent. Mag. 1732, 1028.
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when none of them were in a flourishing state, the imprudence and extravagance of a gentleman, who possessed genius, wit, and humour in a high de gree, obliged him to strike out a new species of entertainment, which in the end produced an ex
traordinary change in the constitution of the dra matic system. To extricate himself out of diffi culties in which he was involved, and probably to revenge some indignities which had been thrown upon him by people in power, that admirable painter and accurate observer of life, the late Henry Fielding, determined to amuse the town at the ex pence of some persons in high rank, and of great
influence in the political world. For this purpose he got together a company of performers, who exhi
bited at the theatre in the Hay-market, under the
whimsical title of the Great Mogul's Company of
Comedians. The piece he represented was Pas
quin, which was acted to crowded audiences for fifty successive nights. Encouraged by the fa
vourable reception this performance met with, he
determined to continue at the same place the next season, when he produced several new plays, some
of which were applauded, and the rest condemned.
As soon as the novelty of the design was over, a
visible difference appeared between the audiences
of the two years. The company, which as the play-bills said dropped from the clouds, were dis
banded; and the manager, not having attended to
MR. DoDSLEY’s PREFACE. cxxix
the voice of economy in his prosperity, was left no richer or more independent than when he first engaged in the project.
The severity of Mr. Fielding's satire in these
pieces had galled the minister to that degree, that
the impression was not erased from his mind when the cause of it had lost all effect. He meditated
therefore a severe revenge on the stage, and de
termined to prevent any attacks of the like kind for
the future. In the execution of this plan he stea
dily persisted;
and at last had the satisfaction of
seeing the enemy, which had given him so much uneasiness, effectually restrained from any power
of annoying him on the public theatres. An act of parliament passed in the year 1737, which for bad the representation of any performance not pre viously licenced by the Lord Chamberlain, or in any place, except the city of Westminster and the
liberties thereof, or where the royal family should
at any time reside. It also took from the crown the power of licensing any more theatres, and in
flicted heavy penalties on those who should here after perform in defiance of the regulations in the statute. This unpopular act did not pass without opposition. It called forth the eloquence of Lord
Chesterfield in a speech, wherein the arguments favour this obnoxious law were answered, the
dangers which might ensue from were pointed
out, and the little necessity for such hostilities VOL.
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CXXX --
SUPPL EMENT TO
against the stage clearly demonstrated. It also excited an alarm in the people at large, as tending
to introduce restraints on the liberty of the press. Many pamphlets were published against the prin
ciple of the act; and it was combated in every
shape which wit, ridicule, or argument, could op
pose it All these, however, availed nothing;
the minister had resolved, and the parliament was
too compliant
mended from
slight bill which came recom powerful quarter. there
law, and freed the then, and
fore passed into
future ministers, from any apprehensions mis
chief from the wit or malice of dramatic writers. The year 1740, was rendered remarkable
This was the late Mr. Garrick, who, after experi encing some slights from the managers Drury Lane and Covent-Garden, determined make trial his theatrical qualifications the playhouse
Goodman's Fields, under the direction Mr. Giffard, who was that time permitted perform there without molestation. The part chose
his first appearance was that Richard the Third, which displayed clear conception
character, such power execution, and union talents varied, extensive, and unexpected, soon fixed his reputation the first actor
theatrical world the
whose genius seemed intended adorn, and whose abilities were destined support the stage,
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MR. DODSLEY'S PREFACE. cxxxi
own or any former times. His fame spread through every part of the town with the greatest
rapidity; and Goodman's Fields theatre, which had been confined to the inhabitants of the city, be came the resort of the polite, and was honoured
people. At Goodman's Fields, Mr. Garrick remained
with the notice of ranks and orders
but one season; after which lane, where continued and, by prudent attention
removed Drury increase his reputation,
the dictates fru gality and discretion, acquired character which
pointed him out proper person succeed the management the theatre few years after,
accomplish
The affairs Drury-lane theatre suffered the
mischiefs which could arise from the imprudence inability the manager. That gentleman had em
barrassed his domestic concerns almost every species misconduct, and involved himself such
and fortune which enabled him
that point when the opportunity offered.
difficulties,
that there remained no other means extricating himself from them than abandoning his country, and retiring abroad. About the year
1745, the whole either mortgaged
had been assigned tised be disposed
his property the theatre was sold; and the patent, which
some creditors, was adver public auction. Two Bankers soon afterwards became the purchasers,
and they received into the management the late Mr.
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Lacey, to whom the conduct of the theatre was
relinquished.
The calamities of the times affected
the credit of many persons at this juncture; and
amongst the rest of the new managers, who found
themselves obliged to stop payment. Their mis fortunes occasioned the patent again to become
the object of a sale. It was offered to several persons, but few appeared to have courage enough
to venture upon At length was proposed
Mr. Lacey, that and Mr. Garrick should be come joint-purchasers. The offer was accepted.
renewal the patent was solicited and obtained. All the preliminaries were short time settled,
and, the year 1747, the house was opened with Prologue written Dr. Johnson, and spoken
Mr. Garrick.
From this period may dated the flourishing
state the theatre. The new partners were fur
nished with abilities make their purchase advan tageous themselves, and useful the public.
Mr. Garrick's admirable performances insured them great audiences; and the industry and attention
Mr. Lacey were employed rendering the house
convenient the frequenters They both exerted their endeavours acquire the favour the town; and the preference which was given them over their rivals the other theatre suffi
ciently proved the superior estimation they were held The harmony which subsisted between
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MR. Dodsley's PREFACE. cxxxiii
them contributed to the success of their under
taking, and their efforts in the end procured them both riches and respect.
The month of December, 1761, was marked with the death of Mr. Rich, who had been ma nager under the patents granted by Charles the
Second almost fifty years. His peculiar excel lence in the composition of those performances
which demanded shew and expence enabled him, with an indifferent company of actors, to make a stand against the greatest performers of his time:
he was unrivalled in the representation of his fa vourite character Harlequin, and possessed with
many foibles some qualities which commanded the esteem of his friends and acquaintance. On his decease, the business of Covent-Garden theatre
was conducted by his son-in-law Mr. Beard.