John Doran - Their Majesties' Servants. Annals of the English Stage (Volume 2 of 3)

When Mr. Mills resumed Bajazet, young Quin sank down to the Dervise; and though, subsequently, his cast of characters was improved, his patience was so severely tried, that in the succeeding season he passed over to the theatre in Lincoln's Inn Fields. Modestly entering there in the part of Benducar, in "Don Sebastian," 22 22 I can find no authority for this. He made his first appearance as Hotspur on 7th January 1718. He played Benducar on 26th September 1718. he at once established himself in the public favour, and before the close of the season 1718-19, the chivalry of his Hotspur, the bluntness of his Clytus, the fire of his Bajazet, the grandeur of his Macbeth, the calm dignity of his Brutus, the unctuousness of his Falstaff, 23 23 He did not play Falstaff until 1720-21. the duplicity of his Maskwell, and the coarse comedy of his Sir John Brute, were circumstances of which the town talked quite as eagerly as they did of the Quadruple Alliance, and the musket shot which had slain the royal Swede in the trenches before Frederickshall.

It was Quin's success in Bajazet at Drury Lane that really cost Bowen his life. I have noticed the subject before, but it will admit of some further detail. Bowen had taunted Quin with being tame in Bajazet, and Quin retorted by speaking disparagingly of Bowen in Jacomo in the "Libertine," preferring Johnson in that part. Bowen was the more deeply stung as he prided himself on his acting in Jacomo, and the company agreed with the adverse critic. The quarrel, commenced by envy, was aggravated by politics. Bowen boasted of his honesty and consistency, a boast, the worthlessness of which was speedily shown by Quin's remark, that Bowen had as often drunk the Duke of Ormond's health as he had refused it. The disputants parted angrily, only to meet more incensed. They met, on the invitation of Bowen, and passed from one tavern to another, till they could find a room which less suited Quin's purpose than that of his irate companion – that of "fighting it out." Indeed, the younger player seems to have been hardly aware of his elder's definite purpose; for when they entered the room Bowen fastened the door, clapped his back to it, drew his sword, and threatened to run Quin through the body if he did not out with his rapier and defend himself. Remonstrance from the latter was of no avail, and he drew simply to keep Bowen off. But the latter impetuously pressed forward till he ultimately fell mortally wounded. Before his death, however, which occurred within three days, he justly and generously took the blame of the whole transaction upon himself. This, with corroborative evidence, secured the acquittal of Quin on his trial for manslaughter. So died poor, foolish Bowen, at the age of fifty-two, leaving a widow, for whom the public had not sufficient sympathy to render her "benefit" profitable, and a son, known in the London streets as "Ragged-and-Tough," and whose exploits, recorded in the Old Bailey Calendar , sent him to the colonies to found in another hemisphere a line of Bowens more honest and less angry than the latter scions of the race in England.

This was a transition period, terminated by the coming of Garrick. Quin passed over to Drury Lane, tempted by the annual £500 offered by Fleetwood, a wealthy personage, who had purchased the chief share in the patent. "No actor," said Rich, "is worth more than £300 a year," and declining to retain Quin at the additional required outlay, he brought forward a "citizen," named Stephens, to oppose him. Stephens had caught the exact sound of Booth's cadences and much of his manner. For a time audiences were delighted, but the magic of mere imitation soon ceased to attract; and Quin decidedly led the town in old characters, but with no opportunity yet offered him of a "creation." Mrs. Clive enchanted her hearers at Drury Lane, while Mrs. Horton took her beauty and happy assurance to Covent Garden. A greater than either, Mrs. Pritchard, played mere walking ladies, and made no step in advance till 1735, when she acted Lady Townley at the Haymarket. Old Cibber longing again for a smell of the lamps, and a sound of applause, played a few of his best parts during this season, and Macklin slowly made progress according to rare opportunity. Covent Garden chiefly depended on Ryan; but suddenly lost his services when they could be least spared. He was returning home, on the 15th of March 1735, when he was shot by a ruffian in Queen Street, Lincoln's Inn Fields, who robbed him of his sword. "Friend," said the generous actor, who was badly wounded in the face and jaw-bone, "you have killed me; but I forgive you!" In about six weeks, however, he was sufficiently recovered to appear again, after a general sympathy had been shown him, from the Prince of Wales down to the gallery visitors.

Drury Lane, too, lost, but altogether, an useful actor, Hallam. He and Macklin had quarrelled about a theatrical wig, and impetuous Macklin, raising his stick, thrust with it, in such blind fury, that it penetrated through Hallam's eye to the brain, and the unfortunate player died the next day. An Old Bailey jury let the rasher, but grief-stricken man, lightly off under a verdict of "Manslaughter."

From being a Queen of Song, Mrs. Cibber, the second wife of Theophilus, first took ground as an actress this season, 24 24 Should be "next season." Ryan's accident and Hallam's death took place in 1734-35; Mrs. Cibber's appearance in 1735-36. at Drury Lane, in Aaron Hill's adaptation of Voltaire's "Zara." Mrs. Cibber was the sister of Dr. Thomas Arne, the composer of "Artaxerxes," and daughter of an upholsterer in the neighbourhood of Covent Garden. Handel thought so well of her that he arranged one of his airs in the "Messiah" expressly to suit her voice. Her ambition, however, was to be a tragic actress, and Colley Cibber, who had sternly opposed her marriage with his son, overcome by her winning ways, not only was reconciled to her, but instructed her in her study for Zara, and some part of her success was owing to so accomplished a teacher.

Milward played Lusignan, a part in acting which a young actor, named Bond, overcome by his feelings, died on the stage, while blessing his children. 25 25 Bond was not an actor, but apparently a distressed author. Davies expressly says that he was aged and infirm. It is scarcely correct to say that he died on the stage. He fainted on the stage and died the next morning. This occurred at a private theatre, in Great Villiers Street, where the tragedy was represented, by sanction of the author, or, as Reed would have it, of the stealer of it from Voltaire. Bond was not the only actor who died in harness this year. Obese Hulett, rival of Quin, in Falstaff, proud of the strength of his lungs, which he was for ever exercising to the terror of those who suddenly experienced it, in making some extraordinary effort of this sort, broke a blood-vessel, and straightway died, when only thirty-five years of age; and he was buried at the expense of his stage-manager, Giffard, who rented Lincoln's Inn Fields, for awhile, of Rich.

The success of Mrs. Cibber stirred Rich at Covent Garden, and when she acted Hermione, the old but able Mrs. Porter played the part against her, at the latter house, as she also did Zara. 26 26 Mrs. Cibber did not play Hermione. "The Distressed Mother" was played on 23d March 1736 for Theophilus Cibber's benefit, when Mrs. Cibber played Andromache. The Zara which Mrs. Porter acted was quite a different part from Aaron Hill's Zara, being the part in Congreve's "Mourning Bride." Mrs. Horton was opposed to her in the part of Jane Shore. 27 27 I cannot trace that Mrs. Cibber ever played Jane Shore. Alicia was her part. In high comedy, Mrs. Cibber attempted Indiana, in the "Conscious Lovers," and forthwith Covent Garden put up the same piece. But the latter house was inferior in its company; there was no one there to shed sunshine like Mrs. Clive. Delane and Walker together were not equal to Quin. Of novelty, Covent Garden produced nothing. Giffard's young troop, on the other hand, in the east, and afterwards at Lincoln's Inn Fields, produced much that was worthless, not excepting another levy on Voltaire by Hill, in his "Alzira." Indeed, the new authors of this period were more remarkable than their pieces. Mrs. Cooper, now forgotten, was the widow of an auctioneer; and Stirling, author of the "Parricide," is, perhaps, better remembered in Maryland, where he was a "popular parson," than he is here. What is known of him here, indeed, is not favourable. When he and Concanen came together from Ireland, to live by their pens, as political writers, they tossed up as to the "side" they should take. As it fell to Concanen to support, and to Stirling to abuse the ministry, the former was enabled to acquire an ample fortune as Attorney General of Jamaica, his seventeen years' tenure of which, Matthew owed to the appreciation of him by the Duke of Newcastle. But Matthew was a wit, and a gentlemanlike fellow; whereas the Rev. Jack Stirling, whose "Parricide" was hissed at Goodman's Fields, 28 28 It was played five times. was an unsuccessful parson, who did very well for a transatlantic minister.