By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
Not like one another, quantity five is a sociological portrait of often little humans of their tragic and comedian efforts to accomplish popularity at the London level throughout the recovery and eighteenth century, while quantity 6 is dominated through the glamour of David Garrick, Nell Gwyn, and Joseph Grimaldi, the distinguished clown. a few 250 portraits individualize the good and small of the theatres of London.
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Extra info for A Biographical Dictionary of Actors, Volume 6, Garrick to Gyngell: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London 1660-1800
For that privilege on 9 March 1737. But when in 1738 he came of age he quickly forgot the law as a course of life. He threw his inheritance of £1000 from his Uncle David into a new wholesale wine business, Garrick Brothers, in Durham Yard, in which his elder brother Peter invested the £1000 left him by Captain Garrick. David's activity as salesman for the firm took him to the coffee houses and taverns of the theatrical district. One of his first acquaintances there was Charles Macklin, already an established actor.
Garrick announced that he would return to Drury Lane. On the morning of 6 December 1743 a pamphlet, The Case of Charles Macklin, Comedian, appeared (inspired by Macklin, but probably written by Corbyn Morris), bitterly denouncing Garrick as a dishonorable breaker of solemn compacts. A band of Macklin's adherents, recruited at the Horn Tavern by Dr Barrowby, stationed themselves in the pit at Drury Lane. When Garrick attempted to perform Bayes he was not suffered to speak. Off! off! resounded from all parts of the house.
I have the spectacle even now as it were before my eyes. Quin presented himself upon the rising of the curtain in a green velvet coat embroidered down the seams, an enormous full bottomed periwig, rolled stockings and high-heeled square-toed shoes: with very little variation of cadence, and in a deep full tone, accompanied by a sawing kind of action, which had more of the senate than of the stage in it, he rolled out his heroics with an air of dignified indifference, that seemed to disdain plaudits, that were bestowed upon him.
A Biographical Dictionary of Actors, Volume 6, Garrick to Gyngell: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London 1660-1800 by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans