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MR. DoDSLEY’s PREFACE. lxxxiii
ticular manner to acknowledge my obligations to
some generous and learned friends, from whose
advice and assistance I
my
derived more value and correctness than it could
am sensible
work has
ever have appeared with, had I been left alone to struggle with my own weak endeavours.
SUPPLEMENT To
MR. DODSLEY'S PREFACE*.
IN the foregoing Preface, Mr. Dodsley hath
carried on his account of the stage to that period when the inroads of civil war, joined to the fana tical madness then prevailing, overthrew the stage,
and soon after effected the destruction of monarchy. In the present supplement it is intended, with as
much accuracy as the few materials remaining will permit, to take up the narrative of those revolu tions which the theatre hath since undergone to the
year 1776; a year which in the annals of the stage will be always deemed an important one, being the
time when the late Mr. Garrick terminated his theatrical life, and quitted the management of Drury-lane playhouse.
* The few additional notes to this Supplement, by Mr. Reed, are marked with his initials. The other notes unap propriated, were printed by him in the edition of 1780. C.
-
*
lxxxvi SUPPLEMENT TO
From the commencement of hostilities between
the king and his parliament, the performances of
the stage were intirely discontinued. Of the several actors then employed in the theatres, such as were not prevented" by age went immediately into the army, and, as it might be expected, took
part with their sovereign, whose affection for their
profession had been shewn by many instances previous to the open rupture between him and his
people.
monarchy, and to the stage. After a violent and
bloody contest of some years, they both fell to
gether, the king lost his life by the hands of an
The event of the war was alike fatal to
executioner,
the theatres were abandoned or
destroyed, and those by whom they used to be
occupied were either killed in the wars, worn out
with old age, or dispersed in different places,
fearful of assembling, lest they should give offence to the ruling powers.
* The fate of their royal master being determined, the surviving dependants on the drama were
midst of one of their performances, and committed ' Historia Histrionica, in this vol. 2 Ibid.
obliged again
to return to the exercise of their former profession. In the winter of the year 1648°, they ventured to act some plays at the Cockpit, but were soon interrupted and silenced by the soldiers, who took them into custody in the
MR. DoDSLEY's PREFACE. }:{xxvii
them to prison. After this ineffectual attempt to
settle at their former quarters, we hear no more of
any public exhibition for some time *. They still, however, kept together, and by connivance of the
commanding officer at Whitehall, sometimes repre sented privately a few plays at a short distance from town. They also were permitted to entertain
* In the Mercurius Antepragmaticus, No. 18, Jan. 27, 1648, mention is made of an order of the House of Commons in these words: “And that the disobedient of what rank
“soever may be regulated upon information given to the
“House, that many stage-plaies were acted in the several “ parts of the City and County of Middlesex, notwith “standing they were prohibited from their foppery by a “former ordinance, they ordered, that an ordinance should “be drawn up for suppressing all stage-plaices, and for
“the taking downe all their boxes, stages, and seats what “soever, that so there might be no more plaies acted: “ and indeed, these are no times to have publike interludes
“ permitted, when the hand of God lies so heavy upon us, “ and all the powers of hell in action against us; if those “proud parroting players cannot live, let them put their “hands to worke, they are most of them a sort of super
“bious ruffians given to all manner of wickednesse, and
“ because sometimes the asses are cloathed in lions skins,
“ the dolts imagine themselves somebody, walke in as great
“state as Caesar, and demeane themselves as loftily as
“any of the twelve noble spirited beasts of the wilder.
“nesse; away with them and their actions on the publike “stage.
“For since we have supprest our adjutators, “Let's part the actors and the rude spectators. ”
boxxviii SUPPLEMENT TO
some of the nobility at their country houses, where
they were paid by those under whose protection
they acted. They also obtained leave at particular
festivals to divert the public at the Red-Bull, but
this was not always without interruption. Those
at the head of affairs still continued their impla
cable rancour against who were connected with
polite letters, and the unfortunate actors who sur
vived this period felt the greatest distress.
slender and precarious support was the whole they were allowed. In this situation several of them
were obliged draw forth the manuscripts their contemporaries which they had their possession, and many plays were published which might other
wise have never seen the light.
But though the fury religious zeal seemed
threaten that the stage should never revive, and
every method was taken which might tend accomplish that design, the pleasure which had been received from dramatic entertainments was
too strong totally overcome. Amidst the gloom fanaticism, and whilst the royal cause was
considered desperate, Sir William Davenant, without molestation, exhibited entertainments declamation and music after the manner of the
ancients Rutland-house He began the
the upper end Aldersgate-street, says the title page some these performances. Oldys, his MS.
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MR. DoDSLEY’s PREFACE. lxxxix
year 1656, and two years afterwards removed to the Cockpit, Drury-lane, where he performed until the eve of the Restoration.
On the appearance of that event's taking place,
the retainers of the theatre then remaining col
lected themselves together, and began to resume their former employment. In the year 1659,
about the time general Monk marched with his
army out of Scotland towards London, Mr. Rhodes",
a bookseller, who had formerly been wardrobe
keeper to the company which acted at Black Fryers, fitted up the Cockpit in Drury-lane. The
actors he procured were chiefly new to the stage, Notes on Langbaine, speaks of it as being situated in
Charter-house-yard.
Two of these entertainments are
mentioned in the List of Davenant's Works, vol. 8. To
them may be added the following: 1. The Cruelty of the
Spaniards in Peru; exprest by instrumental and vocal Music, and by art of perspective in Scenes, &c. repre
sented daily at the Cockpit in Drury-lane, at three in the
afternoon punctually. 4to, 1658. 2. The History of Sir
Francis Drake; exprest by instrumental and vocal Music, &c. 4to. 1659. At the end of the former of these is the ,
following advertisement: “Notwithstanding the great ex
“pense necessary to scenes and other ornaments in this “entertainment, there is good provision made of places
“for a shilling, and it shall begin certainly at three in
“ the afternoon. ”
>
* Roscius Anglicanus, p. 17. and Historia Histrionica.
XC SUPPLEMENT TO
and two of them had been his apprentices". About
the same time, the few performers who had be longed to the old companies assembled, and began to act at the Red-Bull", in Saint John's-street, and
from the eagerness with which two patents were soon afterwards obtained from the crown, it may be presumed that they met with a considerable
share of success. Sir William Davenant, before the civil wars broke out, had been favoured with a
patent" by Charles the First, and therefore his claim to a new one was warranted, as well by his former possession as by his services and sufferings
in the royal cause. The other candidate was 9Thomas Killegrew, Esq. a person who had ren
dered himself acceptable to his sovereign, as much
° Mr. Betterton and Mr. Kynaston. 7 Roscius Anglicanus, p. 1.
* This patent was granted 14 Car. I. 1639, and after wards exemplified 13 Car. 1661. Both are recited and both were surrendered up, by the letters patent
Jan. Car. piece
Car. 1662. appears by the patent of
that new playhouse was intended built ground behind the Three Kings’ Ordinary
Fleet-street. The public disturbances which began
that year seem design.
See account vol. XI.
have prevented the execution this
him prefixed The Parson's Wedding, wo
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MR. DoDSLEY’s PREFACE. xci
by his vices and follies as by his wit or attachment
to him in distress.
The actors who had been employed Rhodes
soon aftewards were taken under the protection
Sir William Davenant"; and the remains of the old companies were received Mr. Killegrew;
them were sworn the Lord Chamberlain
servants the crown: the former
being styled
the Duke York's company; and the latter that the King".
The King's company, after their removal from the Red-Bull, performed new built house
situated market”. for the use
Gibbons's Tennis-Court, near Clare
But this theatre being not well adapted which was appropriated, they were
erect more convenient one Drury
obliged
lane. This latter was finished and opened the 8th day April, 1662, with Beaumont and
Fletcher's Comedy The Humourous Lieutenant,
which was acted twelve nights successively. -
Roscius Anglicanus, 19.
Cibber says, “About ten the King's company were “on the royal household establishment, having each ten
“yards scarlet cloth, with proper quantity lace “allowed them for liveries; and, their warrants from the
“Lord Chamberlain, were styled Gentlemen the Great “Chamber: whether the like appointments were extended “to the Duke's company, am not certain. ”—Cibber's Apol.
75.
Roscius Anglicanus,
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SUPPLEMENT TO
During these removals of the King's company,
their rivals belonging to the Duke of York were shifting their places of performance, and were some
time before they were wholly settled. From the Cockpit they went to a new theatre built in Lin coln’s-Inn Fields, which was opened in the spring of the year 1662, after several of their plays had been rehearsed at Apothecaries-Hall". But this
playhouse was likewise soon discovered to be contrived and inconvenient, and Sir William Dave
nant found necessary search out new spot erect one more commodious. He fixed upon Dorset-Garden, Salisbury-Court, for this pur
pose, but did not live see the edifice made any use of. This theatre will be mentioned hereafter.
The two companies being now established Drury-lane and Lincoln’s-Inn Fields, they each
began
favour the town. The principal performers
the King's company" were the men, Hart, Mohun, Burt, Wintersel, Lacy, Cartwright, and Clun; whom, after the opening Drury-lane
theatre, were added, Joe Haines, Griffin, Good man, and some others. Among the women were Mrs. Corey, Mrs. Marshall, Mrs. Knep, and after wards Mrs. Boutel and Mrs. Eleanor Gwyn. Of
Roscius Anglicanus, 20. “Ibid.
exert their endeavours obtain the
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MR. DoDSLEY'S PREFACE. xciii
the Duke's company were Betterton, Sheppy, Kynaston, Nokes, Mosely, and Floyd, who had performed under Rhodes; Harris, Price,
Richards, and Blagden, were added Sir William
Davenant, who also about year after received Smith, Sandford, Medburn, and two others. The
actresses were Mrs. Davenport, Mrs. Saunderson (who afterwards married Mr. Betterton), Mrs.
Davies, and Mrs. Long whom boarded
the Patentee’s house. Besides these, were Mrs. Gibbs, Mrs. Norris, Mrs. Holden, and Mrs. Jen nings; and, any dependance may placed
the judgement those who then frequented plays,
there were more excellent performers each com pany than have ever been seen together any one time since that period.
The avidity the public for theatrical enter tainments sufficiently recompensed for consider
able time the assiduity the performers, and the expectations those who adventured their money building the theatres”. Their success was, however, soon interrupted national calamities.
1665, the plague broke out London" with great violence; and the succeeding year, the fire
which destroyed the metropolis put stop the further progress stage-performances.
See Historia Histrionica. Roscius Anglicanus, 26. *
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After a discontinuance of eighteen months, both houses were again opened at Christmas, 1666".
The miseries occasioned by the plague and fire
were forgotten, and public diversions were again
followed with as much eagerness as they had been before their interruption. Both companies were
at first successful; but after the novelty of the
several performers was worn away, and their stock of plays had been repeated until they became fa
miliar, the Duke's company, excellent as they were
allowed to be, felt their inferiority by the slender
audiences they were able to draw together. This
consideration induced Sir William Davenant to try
the effects of a new theatre, built with greater
magnificence than that in Lincoln’s-Inn, and he
chose Dorset-Garden, probably where the old play
house in Salisbury-Court stood, as a proper place
for the purpose; but before this theatre was finished
he died, and on that event the management of
property therein came into the hands his widow Lady Davenant, Mr. Betterton, and Mr. Harris,
assisted Charles Davenant, afterwards well known politician and civil lawyer. This new house was opened November, 1671 notwith
Roscius Anglicanus, 26.
Reliquiæ Barteriana, fol. 1696, 89. 3d. There
seems have been playhouse standing the Restoration
the same spot. Tatham's Play, called The Rump, was acted Dorset-Court 1660.
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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. ”
ineffectual. The Duke's
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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
him
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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.
Fields,
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civ SUPPLEM ENT TO
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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cvi SUPPLEMENT TO
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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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.