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W. Giffard, Catesby, Mr. Marr, Ratcliff, Mrs. Crofts, Blunt, Mr. Naylor, Tyrrel, Mr. Puttenham, Lord Mayor, Mr. Dunstall, the Queen, Mrs. Steel, Duchess of York, Mrs. Yates, and the Part of Lady Anne, by Mrs. Giffard.

WITH

Entertainments of Dancing,

By Mons. Fromet, Madame Duvalt, and the Two Masters and Miss Granier.

To which will be added a Ballad Opera of One Act,

called

THE VIRGIN UNMASK’D.

The Part of Lucy by Miss Hippisley. Both of which will be performed Gratis, by Persons for their Diversion.

The Concert will begin exactly at Six o'clock.

The Gentleman who acted Richard was Garrick -what is said in this bill of his having never appeared on any stage is not true*-he thought it too hazardous to try his strength at first in London, and had gone through a noviciate at Ipswich the preceding Summer in a company under the direction of Giffard and Dunstall-his 1st appearance was in Aboan in Oronooko, a part in which his features could not

* This sort of pious fraud is not uncommonly practised in the theatre.

easily be discerned, and under the disguise of a black countenance he hoped to escape being known, should it be his misfortune not to please his success was equal to his most sanguine expectations-under the assumed name of Lyddal, he not only acted a variety of characters in plays—particularly Chamont Capt. Brazen-and Sir Harry Wildair-but likewise attempted Harlequin. (Davies.)

Garrick, having gained confidence in his powers from the encouragement he received at Ipswich, resolved to strike a bold stroke, and set out at the very head of the profession-he chose Richard the 3d for his first appearance, he had studied the part and his feelings told him he should be able to acquit himself with reputation-the moment he entered on the stage, the character he assumed was visible in his countenance; the power of his imagination was such, that he transformed himself into the very man; the passions rose in rapid succession, and before he uttered a word, were legible in every feature of that various face-his look, his voice, his attitude, changed with every sentiment-the rage and rapidity, with which he spoke

"The North! why, what do they in the North, "When they should serve their Sovereign in the "West ?"

made a most astonishing impression on the audience -when he pronounced

"Off with his head-so much for Buckingham,"

his look and action were striking to the last degree-when he started from his dream, he was a spectacle of horror-he called out in a manly tone

"Give me another horse;"

He paused, and with a countenance of dismay, advanced, crying out in a tone of distress,

"Bind up my wounds,"

then falling on his knees, said in the most piteous

accent

"Have mercy Heaven!"

in all this the audience saw a most exact imitation of nature—he was then on the eve of a battle, and in spite of all the terrors of conscience, his courage mounted to a blaze-when in Bosworth field he roared out

"A horse, a horse! my kingdom for a horse!"

all was rage, fury, and almost reality- his death was followed by the loudest applause.

It is no wonder that an actor thus accomplished made a deep impression on the audience-Garrick's fame ran through the metropolis-the public went in crowds to see a young performer, who came forth at once a complete master of his art-from the polite. ends of Westminster the most elegant company flocked to Goodman's Fields, insomuch that from Temple Bar the whole way was covered with a string of coaches-Pope was drawn from his retreat at Twickenham and Lord Orrery said, "I am afraid the young "man will be spoiled, for he will have no compe"titor." (Murphy and Davies.)

Without detracting from Garrick's wonderful abilities, it may be observed, that he was most fortunate in the time at which he came on the stage-Quin

was the only Tragedian of eminence, and his Richard, Lear, and Macbeth were all bad-few persons remembered Betterton in Macbeth; and Victor, who was partial to Booth, allows that Garrick excelled him in Lear, except in the superior dignity, which Booth gave to the character-the generality of spectators could make no comparisons between Garrick and other actors, but what were vastly to his advantage.

Garrick's easy and familiar, yet forcible style of speaking and acting, at first threw the Critics into some hesitation concerning the propriety as well as novelty of his manner-they had been long accustomed to an elevation of the voice, with a sudden mechanical depression of its tones, calculated to excite admiration and to entrap applause-to the just modulation of the words, and concurring expression of the features from the genuine workings of nature, they had been strangers, at least for some time— Quin, after he had seen Garrick in some important character, declared peremptorily that "if the young "fellow was right he and the rest of the players had "been wrong" (Davies)—Garrick saw that nature was banished from the theatre but he flattered himself that he should be able to revive a better taste, and succeed by the truth of imitation. (Murphy.)

It is difficult to ascertain when the custom of speaking with a musical cadence first prevailed-like other corruptions it probably crept in by degrees-in the preface to the Fairy Queen 1692 it is said—" he "must be a very ignorant player, who knows not "there is a musical cadence in speaking; and that a "man may as well speak out of tune, as sing out of

"tune"-Aaron Hill, in his dedication of the Fatal Vision 1716, reprobates the affected, vicious and unnatural tone of voice, so common on the stage at that time-Anthony Aston in speaking of Mrs. Barry says" neither she, nor any of the actresses in those "times, had any tone in their speech, so much lately "in use"-his little book is printed without a date, but it was, in all probability, written in 1747 or 1748 -see L. I. F. Jan. 13 1722.

Oct. 20-21-22-24-26-27. Garrick acted Richard. 28. Love makes a Man. Clodio = Garrick 1st time.

29-30-31. Garrick acted Clodio.

Nov. 2. Garrick acted Richard.

3 and 5. Garrick acted Clodio.

4. Tamerlane and Honest Yorkshireman.

6. Orphan. Chamont Garrick 1st time: Castalio Giffard: Monimia = Mrs. Giffard.

7. Garrick acted Chamont.

9. Never acted, Pamela. Belvile Giffard: Colebrand (his French valet) = Blakes: Jack Smatter = Garrick: John Arnold Dunstall: Williams (Belvile's chaplain) = W. Giffard: Andrews (father to Pamela) =Peterson: Pamela Mrs. Giffard: Mrs. Jewkes= Mr. Yates: Lady Davers (Belvile's sister)

= Mrs. Bambridge: Jane Miss Hippisley:-Belvile wants to seduce Pamela who had been a sort of humble companion to his mother-she is virtuous-Belvile promises to send her back to her parents, instead of which he sends her to his house in LincolnshireMrs. Jewkes, his house-keeper, enters heartily into her master's plans-it is proposed that Colebrand should marry Pamela, and resign her to Belvile on

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