A Biographical Dictionary of Actors, Volume 10, M’Intosh to by Philip H Highfill Jr

By Philip H Highfill Jr

Those featured in quantity 10 comprise Margaret Martyr, a singer, actress, and dancer whose “conjugal virtues have been frequently impeached,” in line with the July 1792 Thespian journal. The Diction­ary describes this least consistent of fans 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 renowned luck in merry maids and tuneful minxes, the piquant and the pert, for 1 / 4 century.”

Show description

Read Online or Download A Biographical Dictionary of Actors, Volume 10, M’Intosh to Nash PDF

Similar theatre books


Pataphysics could be most sensible often called the career of a homicide sufferer within the Beatles' music, "Maxwell's Silver Hammer". We study that "Joan was once quizzical studied pataphysical technology in the house past due evening on their own with a try out tube oh, oh-oh-oh. " Alfred Jarry, who most likely based the Dada stream in addition to the Theater of the Absurd, invented the technological know-how of imaginary ideas round the shut of the 19th century.

Toussaint Louverture: The Story of the Only Successful Slave Revolt in History; A Play in Three Acts

In 1934 C. L. R. James, the commonly recognized Trinidadian highbrow, author, and political activist, wrote the play Toussaint Louverture: the tale of the one profitable Slave rebellion in heritage, which used to be presumed misplaced until eventually the rediscovery of a draft reproduction in 2005. The play's creation, played in 1936 at London's Westminster Theatre with a forged together with the yankee superstar Paul Robeson, marked the 1st time black specialist actors starred at the British degree in a play written by way of a black playwright.

Le Jeu de l'amour et du hasard

Pour sonder los angeles sincérité de Dorante, qu’on lui destine sans qu’elle l’ait jamais rencontré, Silvia échange son behavior avec sa servante Lisette. Mais l. a. belle forget about que son prétendant a recours au même stratagème avec son valet. Ainsi travestis, les deux commencent à se parler d’amour… Et l. a. parole fait tomber les masques.

Iphigenia, Phaedra and Athaliah (Penguin Classics)

Submit yr be aware: First released in 1963

Strongly motivated by way of Classical drama, Jean Racine (1639-99) broke clear of the grandiose theatricality of baroque drama to create works of excessive mental realism, with characters manipulated through merciless and vengeful gods. "Iphigenia" depicts a princess' absolute submission to her father's will, regardless of his selection to sacrifice her to achieve divine favour ahead of going to conflict.

Described through Voltaire as 'the masterpiece of the human mind', "Phaedra" indicates a woman's fight to beat her overwhelming ardour for her stepson - an obsession that brings destruction to a noble relations. And "Athaliah" portrays a ruthless pagan queen, who defies Jehovah in her determined try to continue the throne of Jerusalem from its valid inheritor.

Additional info for A Biographical Dictionary of Actors, Volume 10, M’Intosh to Nash

Sample text

In the fall, both she and Macklin were regulars of the Drury Lane company, where in subsequent years they were frequently to be seen in the same bill. From this period they were also sharing lodgings in Bow Street. Mrs Grace played much less frequently in 1734–35 and 1735–36 than thitherto, a diminution which may be attributed in 1734–35 to the care of her young daughter.  In 1738–39, Mrs Grace added Flora in She Wou'd and She Wou'd Not, Mrs Prim in A Bold Storke for a Wife, Mrs Hartshorn in The Lady's Last Stake, and Parley in The Constant Couple.

For the provenance and a detailed discussion of this painting and the Nos 29, 30, and 31, below, see Mander and Mitchenson, The Artist and the Theatre (1955).  Engraving by John Smith, published in Robert Sayer's edition of Dramatic Characters, or Different Portraits of the English Stage.  It was bought at Sotheby's on 30 June 1948 by Somerset Maugham, who bequeathed it to the National Theatre, where it now hangs.  In the National Gallery of Ireland, purchased at Christie's in 1888.  In 1955 in the possession of the family of the late Sir Herbert Hughes­Stanton.

597.  Engraving by Thornthwaite for Bell's British Theatre, 1777.  Engraving by Thornthwaite, after Samuel De Wilde, for Bell's British Theatre, 1792.  Cawthorne, 1795.  Harding, 1786.  262.  Darly on 5 November 1773.  A copy in reverse was also issued.  Published as a plate to London Magazine, 1773.  A copy in reverse was also issued.  A similar picture, probably also by Alcock, is in a private collection in New York.  A copy, in another edition, was also issued.  Wright, 1775.  Yolland, 1790.

Download PDF sample

Rated 4.98 of 5 – based on 49 votes