A biographical dictionary of actors, actresses, musicians, by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans PDF

By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans

ISBN-10: 0809311305

ISBN-13: 9780809311309

These featured in quantity 10 contain Margaret Martyr, a singer, actress, and dancer whose “conjugal virtues have been frequently impeached,” based on the July 1792 Thespian journal. The Diction­ary describes this least consistent of fanatics as “of middling top, with a determine well-proportioned for breeches components. [Her] black-haired, black-eyed attractiveness and transparent soprano made her an immedi­ate well known luck in merry maids and tuneful minxes, the piquant and the pert, for 1 / 4 century.”

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Additional resources for A biographical dictionary of actors, actresses, musicians, dancers, managers and other stage personnel in London, 1660-1800, Volume 10

Example text

Quarrell): Imagine a rather stout man with a coarse yellow face and a nose generously fashioned in all three dimensions, and a long double chin, and a mouth so carved by nature that the knife appears to have slit him right up to the ears, on one side at least, I thought. He wears a long black gown, long wide trousers, and a red tricorne. . " The double "th" and the two sibilants, especially the second after the "t," which Macklin lisps as lickerishly as if he were savoring the ducats and all that they would buy, make so deep an impression in the man's favour that nothing can destroy it.

No known surviving playbill confirms that performance, however, or his presence in or around London before 24 September 1730, when he played Sir Charles Freeman in The Beaux' Stratagem at Lee and Harper's booth on the Bowling Green, Southwark, in the time of Bartholomew Fair. " The 1731 edition of Fielding's Coffee-House Politician entered his name as "Maclean" opposite Poser (not "Porer'' as in The London Stage) and Brazencourt. He had doubled in the parts at Lincoln's Inn Fields on 4 December 1730, but the roles were too small to appear in the playbill.

Macklin was justifiably proud of his part in the transformation. Cooke reported his generous praise of his pupil: The curse {Mcklin now} particularly admired; he said it exceeded all his imagination, and had Folger Shakespeare Library "Covent Garden all in an Uproar," 1773 Page 11 such an effect, that it seemed to electrify the audience with horror. The words "Kill-kill-kill' echoed all the revenge of the frantic king; whilst he exhibited such a scene of the pathetic on discovering his daughter Cordelia, as drew tears of commiseration from the whole house.

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A biographical dictionary of actors, actresses, musicians, dancers, managers and other stage personnel in London, 1660-1800, Volume 10 by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans


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