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Full text of "The annals of the Edinburgh stage with an account of the rise and progress of dramatic writing in Scotland"

X" 




The Annals 



OF 



The Edinburgh Stage. 




W. H. MURRAY. 

From the Engraving after R. Alexanders Picture. 



Annals 




OF 



The Edinburgh Stage 

WITH AN ACCOUNT OF THE 

Rise and Progress of Dramatic Writing 

in Scotland 

BY 

JAMES C. DIBDIN 




EDINBURGH 

RICHARD CAMERON, i SOUTH ST DAVID STREET 

1888 




Edinburgh : 
Printed by DAVID MACDONALD, 42 Hanover Street. 



PREFACE. 




WORK such as the present requires little by way of preface ; its 
name, " The Annals of the Edinburgh Stage," being fully signi- 
ficant of its scope and aim. While it does not aspire to the dignity 
of a history, it claims to take rank apart from the numerous 
books in theatrical literature which, despite their names, are little better than 
heterogeneous collections of anecdotes and carelessly handled facts. As 
far as possible I have availed myself of every scrap of information bearing 
upon my subject ; and, from a vast amount of data accumulated during 
several years of constant research, I have endeavoured to extract and set 
down in as concise a form as possible every important date and circum- 
stance connected with the Edinburgh Stage. 

In the process of selection, I have, as was inevitable, experienced 
much difficulty ; and I am fully conscious that, though I have taken the 
utmost care to do full justice to every aspect of my subject, I may yet be 
accused of sins both of omission and commission; for every reader brings an 
individual standard of taste to the judgment of an author, and what may 
interest one will doubtless be tedious to others, who in their turn will be 
disposed to yawn over the pet topics of the first. I have, however, 
striven (and I hope to some extent successfully) to furnish the table of my 
ordinary with a due regard to all sorts of appetites, as well as to the fact 
that the vast amount of ground to be gone over inevitably restricted me 
to representative features in the History of the Edinburgh Stage. 

Particulars concerning the members of the stock companies have been 
carefully but briefly chronicled ; the first local productions of important 
plays have been constantly noted ; and, where it seemed desirable, casts 
have been given ; plays that have had birth on the Edinburgh Stage 
have received more extended notice ; while the first appearances of 
noted actors have been duly set dowrj. A chronological form has been 
adopted, as it enabled me to give a maximum of information in a form 
alike concise and convenient. I am acutely sensible that my work is 



vi Preface. 

not without shortcomings in many respects, such as clerical errors and 
mistakes. As many of these as have been detected are noted in a list of 
errata and corrigenda, and I will esteem it a great favour, if readers who 
detect other slips will inform me of them. During the course of my 
labours I have received much kindness and assistance from friends and 
strangers alike, and from one or two, services without which I could not 
possibly have accomplished my work. Mr Alexander E. Burnett, Writer 
to the Signet, Edinburgh, in the most kindly and generous manner, has on 
numerous occasions spared neither time nor trouble to help me out of diffi- 
culties, which only his unrivalled acquaintance with dramatic history could 
have surmounted ; and alike for unstinted access to his valuable library, 
and constant advice and encouragement, I owe him my deepest gratitude. 
For the privilege of working in his magnificent library, as well as for 
much kindness and information, Mr J. Mansfield Mackenzie, Writer to the 
Signet, has my warmest thanks, and I have great pleasure also in record- 
ing my deep obligations to Mr James Cameron for the use of numerous 
scarce volumes, and other assistance. My brother, Mr E. Rimbault 
Dibdin, Liverpool, has given me invaluable aid and advice ; the kind- 
ness I have received from Mr William Alexander Barrett, Mus. Bac., 
London, I cannot sufficiently acknowledge ; and among many others, whose 
good offices have always been generously placed at my disposal, are Mr 
George Stronach, M.A., of the Advocates' Library, who has always 
proved unweariedly helpful ; Mr T. G. Law, Librarian of the Signet 
Library ; Mr H. A. Webster, of the Edinburgh University Library ; the 
officials of the British Museum Library ; the officials of the Register 
House, Edinburgh ; Mr J. L. Toole, London ; Mr R. Addison Smith, 
S.S.C., Edinburgh ; Mr W. Archer, M.A., London ; Mr A. Milligan, 
Edinburgh ; Mr George Guthrie, M.A., Glasgow ; the sisters of the late 
Mr W. H. Logan, Edinburgh; Mr Grant M'Neill, Edinburgh; Mr 
W. Traquair, S.S.C., Edinburgh ; Mr J. M. Gray, Edinburgh ; and Mr 
C. Martin Hardie, A.R.S.A. In tendering my sincere thanks to all these 
generous helpers, let me assure them that I do so with the fullest and 
most grateful appreciation of their many acts of kindness to me. 

JAMES C. DIBDIN. , 



4 DUNDONALD STREET, 

DRUMMOND PLACE, EDINBURGH, 

June 30, 1888. 



CONTENTS. 



PREFACE, 



FIRST PERIOD, EXTENDING TO 1691. 



CHAPTER PAGE 

I. ORIGIN AND POPULAR DEVELOPMENT OF THE DRAMA IN SCOTLAND, . 3 

II. THE DRAMA IN SCOTLAND UNDER COURT PATRONAGE, . . . 14 

SECOND PERIOD, 1715 TO 1746. 

III. TONY ASTON AND ALLAN RAMSAY, ..... 33 

THIRD PERIOD, 1746 TO 1769. 

IV. CANONGATE CONCERT HALL, 1746-1751, . . . . 59 

V. LEE'S MANAGEMENT, 1752-1756, ... . . 70 

VI. DOUGLAS, ......... 85 

VII. DIGGES' MANAGEMENT, ....... 93 

VIII. CANONGATE CONCERT HALL Continued, .... 104 

IX. JACKSON, DIGGES, AND BELLAMY, . . . . .112 

X. CANONGATE CONCERT HALL, 1764-5 TO 1767, AND CANONGATE THEATRE 

ROYAL, 1767-1769, .... . 132 

FOURTH PERIOD, 1769 TO 1809. 

XI. THE THEATRE ROYAL IN SHAKSPERE SQUARE, . 151 

XII. JACKSON'S REIGN, .... 181 

XIII. THE NEW PATENT, . . . . . . .206 






viii Contents. 

CHAPTER 

XIV. STEPHEN KEMBLE'S MANAGEMENT, . , 
XV. JACKSON AGAIN MANAGER, . 2 4 J 

FIFTH PERIOD, 1809 TO 1851. 

XVI. THE SIDDONS REIGN, ...... 2 57 

XVII. ROB ROY, . . . 

XVIII. THE KING'S VISIT, ... 299 

XIX. THE CIRCUS, . 33 2 

XX. MURRAY'S REIGN FIRST DECADE, . . 349 

XXI. MURRAY'S REIGN SECOND DECADE, . . 3?8 

SIXTH PERIOD, 1851 TO 1888. 

XXII. THE NEW MANAGEMENTS, ... 4 2 7 

XXIII. LAST YEARS OF THE ROYAL, . 454 

XXIV. THE QUEEN'S THEATRE AND OPERA HOUSE, AND MINOR THEATRES, . 470 

APPENDIX- 
PROLOGUE AT THE OPENING OF THE THEATRE ROYAL, EDINBURGH, DECEMBER 

9TH, 1769, WRITTEN BY JAMES BOSWELL, ESQ., . . . 493 

MRS SIDDONS' ADDRESS, NOVEMBER 4TH 1828, .... 493 

FAREWELL ADDRESS WRITTEN BY SIR WALTER SCOTT, AND SPOKEN BY MRS 

SIDDONS, MARCH 29 1830, ...... 495 

PRINCIPAL MEMBERS OF THE THEATRE ROYAL COMPANIES FROM 1769 TO 

1851, . . 495 

LIST OF THEATRE ORCHESTRAS FROM 1810 TO 1855, . . . 500 

INDEX, . 503 



The Annals of the Edinburgh Stage. 



ERRATA. 



Page 56, lines 15 and 20, for " Mr " read " Mrs." 

Page 122, line 9 from foot, for " O'Keefe" read "O'Keeffe." 

Page 125, line 5, delete words "for the first time." 

Page 157, line 8 from foot, for "Wood" read "Woods." 

Page 311, line 6 from foot, for " Daisey Latimer" read " Darsie Latimer." 

Page 320, line 12 from foot, delete words "was in the chair, and." 

Page 339, line il^for "Ruben" read "Reuben." 



Contents. 

PACK 



CHAPTER 



XIV. STEPHEN KEMBLE'S MANAGEMENT, 
XV. JACKSON AGAIN MANAGER, 

FIFTH PERIOD, 1809 TO 1851. 

XVI. THE SIDDONS REIGN, . . 
XVII. ROB ROY, 
XVIIL THE KING'S VISIT, 
XIX. THE CIRCUS, 

XX. MURRAY'S REIGN FIRST DECADE, 
XXI. MURRAY'S REIGN SECOND DECADE, 



INDEX, .-.... 






The Annals of the Edinburgh Stage. 



FIRST PERIOD, 

Extending to 1691. 




CHAPTER I. 

ORIGIN AND POPULAR DEVELOPMENT OF THE 
DRAMA IN SCOTLAND. 



HE origin of Dramatic exhibitions in Scotland, as in other 
European countries, may be traced to those representations 
of sacred story which, under the name of Mysteries, were 
common throughout the greater part of Europe for several 
centuries prior to the Renaissance. For a long period the actors in 
such pieces consisted entirely of priests, and the performances were 
often given within the walls of churches. In process of time allegorical 
characters, such as Faith, Vice, Virtue, &c., were introduced, and even 
more secular parts than these were included, while the nature of the 
whole scheme was gradually overturned. Originally intended as a means 
of instruction, these exhibitions became more and more a source of 
entertainment, and as a natural consequence were turned adrift, so far as 
any intimate connection went, by the church. They found, however, a 
much more receptive soil among the populace, who, in Scotland at least, 
grew so fond of these open air performances that it took over forty years 
of preaching, statutes, fines, and heavier punishments, to cure them of 
the craze. It has been commonly supposed that the Scotch by nature are 
not fond of the Drama. This has been urged by nearly all writers 
on the subject ; some have insisted that the evidence of the Reforma- 
tion clearly proves this, inasmuch as the people at that period volun- 
tarily rejected all popish practices and pastimes plays in particular 
being held in horror. History proves how utterly erroneous it is to 



4 The Annals of the Edinburgh Stage. 

arrive at any such conclusion. Warton remarks,* that " The Scotch 
appear to have had an early propensity to theatrical representations," and 
the following pages will endeavour to show, by rigidly quoting facts, that 
this opinion, although not in accordance with that of any other writer 
on the subject, is correct. 

Of the nature of the "Mysteries," "Moralities," and "Miracle Plays," 
it is not necessary in this work to speak. The subject has already been 
thoroughly exhausted,t and it is immaterial to the present purpose that 
none of the writers who have treated of it confine their observations to 
Scotland. The exhibitions, like the church that introduced them, were 
common to all Christian countries. Locality might produce variations, 
greater or less, but the plan throughout was the same. Local peculiar- 
ities, as well as individual performances of some of these pieces, will be 
particularised in their proper places. What is more important in the 
mean time is to endeavour to trace to its source the secular element 
that gradually infused itself into all dramatic exhibitions. This is to 
be done by following the subject in two directions: firstly, in the develop- 
ment of a love for dramatic shows among the people ; secondly, in the 
growth of theatrical representation under Court patronage. The former, 
as being of the nature of an elder brother, claims attention first. 

" Guisards "| was the name by which the earliest professional players 
or tumblers, minstrels, or mountebanks, were known. It is a name that 
has descended to our own day in connection with a curious custom which, 
like the name, may be traced direct to the practices of the early members 
of the " Guisard " profession. To the age of the name there is no clue. 
In the laws ascribed to Macbeth, " players and idle vagrants" are coupled 
together in the slightly uncomplimentary strain which was common in 
Acts of Parliament even up to a very recent date. At the period under 
consideration there was cause, no doubt, for such classification. They, the 
" Players or Guisards, were to be treated like beasts of burden, and com- 
pelled to draw the plough or cart," unless they betook themselves to some 
" mechanical occupation. " The Guisards seem to have led a wandering 
life, going from house to house, fantastically dressed, and acting, dancing, 
or juggling for what they could get, while their connection with the Abbot 
of Unreason and Robin Hood was probably intimate. It is very likely that 
their services were greatly in demand for the May-day festivities which 

* History of English Poetry, p. 541. J Halliwell spells it " Guisers." 

t Hone's Ancient Mysteries, &c. Boethii Scotorum Historia, p. 251.- V. Paris, 1574. 



T/ie Annals of the Edinburgh Stage. 5 

constituted by far the most popular form of entertainment prior to, and for 
some years after, the Reformation. 

What the precise functions of the Abbot of Unreason were, is not 
clear, but that they very much resembled those of the Abbot of Misrule 
or Lord of Misrule in England, is tolerably certain. According to the 
opinion of Lord Hailes,* the Lord of Misrule " was probably a farcical 
character in the interludes of those days, who, under the garb of a 
dignified churchman, uttered and acted absurdities for the entertainment 
of a licentious rabble." It may be mentioned that this curiously named 
personage also held the office of President of the Christmas Gambols, 
and promoted mirth and jollity at holiday seasons t in the houses of the 
nobility. 

The Scottish Abbot of Unreason, however, would appear to have had 
a more extensive sphere of action, and his power seems to have been 
very great. Regular fees were paid to keep up the institution, and appar- 
ently contributions were exacted from particular individuals in a very high- 
handed style. There can be no doubt that, in Scotland, Moralities or 
similar entertainments, along with the traditional May-day processions 
and dancings, were given on the Sundays of May under the auspices 
of this all powerful Abbot. One qualification required in the Abbot of 
Unreason has not been much noticed by previous writers, namely, that of 
being able to turn any passing event into ridicule. Irving, in his " History 
of Scottish Poetry," relates J a story of an Abbot of Unreason in Borth- 
wick, who, in 1547, gave a severe ducking in a mill-dam to the bearer of 
a writ against Lord Borthwick ; and afterwards, in the church, tore the 
said writ into small pieces, and, mixing these with wine in a glass, made 
the bearer drink off the contents. This anecdote, if true, and there is no 
reason to doubt it, shows the Abbot of Unreason to have been a popu- 
larly elected functionary, who had complete licence to execute sentence on 
certain occasions in accordance with the vulgar ideas of right and wrong. 
Irving, in the work quoted above, speaks of the difficulty of defining 
the nature of the Robin Hood or Abbot of Unreason's entertainment. 
This would lead the reader to suppose that the author considered that 
the performances were cut and dried affairs, gone through according to a 
previously concerted plan. Such a notion, however, is surely wrong, and 

* Quoted from living's Scottish Poetry, p. 447. 

t Percy's Notes on the Northumberland Household Book, quoted by Irving, p. 447. 

% The Anecdote is also printed in Sir Walter Scott's Notes to "The Abbot." 

P. 446. 



6 The Annals of the Edinburgh Stage. 

although there does not remain to us any complete record of them all 
the information we have being of the most fragmentary nature there is 
no difficulty, after a complete perusal of all that bears upon the subject, 
in coming to the conclusion that the sports of Robin Hood were carried 
on according to the caprice of the all potent Abbot of Unreason. Some 
practices, however, were in constant requisition. The performance of 
moralities is noted above, and the method of giving these shows will 
presently be detailed. Another invariable custom was to invade the 
church, caring for the sacredness neither of altar nor shrine, and there 
celebrating mock ceremonies in ridicule of the mass, and even going the 
length of singing indecent parodies on the hymns of the church.* 

In the year 1445, a morality called " The Halie Elude," was 
acted on the Windmill Hill, in Aberdeen, and, curiously, in the same 
year the Town Council of that city resolved they would pay no more 
fees to the Abbot of Bon- Accord such being the local cognomen of the 
Abbot of Unreason. 

There is no record as to the manner in which this morality 
was performed, but a pretty accurate notion may be gathered from 
accounts of similar performances elsewhere.t The stages consisted of 
carts or rude platforms set up at different parts of the town. The 
exhibitions were often of great length, but were not gone through 
by one set of performers. One set of actors acted one portion of the 
piece; when they had finished they removed with their stage to 
another part of the town and repeated the same portion, another party 
in the mean time taking up the first stance and continuing or completing 
the entertainment. 

The check received by the Abbot of Bon-Accord, mentioned above, 
is the earliest of the kind on record. There is little doubt that the Town 
Council very soon after reconsidered their decision, although no evidence 
of this is to be found J till 1486, when the annual allowance was limited to 
ten merks. 

In encouraging or even permitting the Abbot of Unreason to exercise 
his office, the Roman Catholic Church had all along been cherishing a 

* The Notes to " The Abbot," as well as the text of the novel, contain very interesting matter on this point. 

+ Hone's Ancient Mysteries and Warton's History of English Poetry. 

Much valuable information regarding the early Drama in Scotland is no doubt contained in the 
Records of such towns as Aberdeen, Perth, c., and an exhaustive research would well repay the trouble. The 
Author does not quote directly from the Aberdeen Records, and never searched them. He, however, made 
minute search of the Edinburgh Records, as well as the Royal Household Books, which are preserved in the 
Register House. 



77/6' Annals of the Edinburgh Stage. 7 

viper in its bosom, which, at the first warning of the Reformation, bit its 
former protector with every species of ridicule. Whether the Protestant 
leaders encouraged this or not is unknown. The advantage they reaped 
from it cannot, however, be doubted. The Catholics, when it was too late, 
saw how powerful an enemy they had encouraged, and even taught, but 
their attempts to suppress it were futile. The Protestants, far too wise 
in their generation to permit the licence of Robin Hood longer than 
was just necessary for their purpose, set themselves the same task, which, 
however, was not accomplished until a new generation had sprung 
up. Both in Scotland and England Robin Hood had secured too 
firm a footing in the popular mind to be easily stamped out. The 
famous Bishop Latimer on one occasion was unable to draw a con- 
gregation, because Robin Hood and the Abbot of Unreason were hold- 
ing their sports.^ 

The beginning of the end of the Abbot of Unreason is to be found 
in a statute enacted in 1555, which reads as follows! : 

" Item, It is statute and ordained, that in all times camming, na maner of person be 
chosen Robert Hude, nor Little John, Abbot of Unreason, Queenis of Maij, nor utherwise 
nouther in Burgh nor to Landwart, in onie time to-cum : and gif ony Provest, Baillies, Councel, 
and Communitie, chuse sik ane Personage as Robin Hude, Little John, Abbot of Unreason, or 
Queenis of Maij within Burgh the chusers of sik, sail tine their freedome for the space of five 
zeires and utherwise sail be punished at the Queenis grace will, and the acceptar of sik-like 
office, sail be banished foorth of the realme : and gif ony sik persons, sik as Robin Hude, Little 
John, Abbot of Unreason, Queenis of Maij beis chosen out-with Burgh, and uthers Landward 
townes, the chusers sail pay to our Soveraine Ladie ten poundes, and their persones put in 
waird, there to remain during the Queenis grace pleasure : and gif onie women or uthers about 
summer trees singand, makis perturbation to the Queenis Lieges in the passage throw Bur- 
rowes and uthers Landward townes : The women perturbatoures for skafrie of money, or 
utherwise, sail be taken, handled, and put upon the cuck-stules of Everie Burgh or Towne." 

Before following the decline of the Abbot of Unreason to its conclu- 
sion, it will be best to turn back and trace what connection the Burgh of 
Edinburgh had with the Drama from the earliest times. 

By charter under his great seal in 1456, James II. made over 
to the Burgh of Edinburgh " the valley or low ground between the 
rock called Craigingalt and the road to Leith (now callit the grenesyd)," 
(August i3th.)t 

As expressed in the charter, this ground was given to the town " for 

* His Sixth Sermon before King Edward VI. 

t Volume of Scots Acts. 

J Charters and other Documents relating to the City of Edinburgh, 1871. 



8 The Annals of the Edinburgh Stage. 

tournaments, sports, and proper warlike deeds to be done and accom- 
plished there for the pleasure of us and our successors." Although it was 
given " in fee and heritage for ever," yet so early as 1520, "Greynsyde" 
was again granted to the Carmelite Friars, and there they remained until 
the Reformation. In August 1487,* four hundred years ago, the town 
supported " commoun pyperis," who were " feyit for the honour of the 
town" by "all honest persounis of substance " giving them their meat for 
one day each. 

The first mention, however, which is directly connected with the 
Drama occurs in 1554, when, under date June 15 

" The Provest Baillies and Counsale ordanis the Tresaurar, Robert Graharae to pay the 
werkmen, merchandis, carteris, paynterris, and vtheris, that furneist the grayth to the convoy of 
the moris to the Abbay and of the play maid that samyn day the tent day of Junii instant the 
sowm of xxxvij li. xvij s. ij d. as the compt producit be Sir William Makdougall maister of 
werk thairupoun proportit, prouiding alwayis that the said Sir William deliuer to the dene of 
Gyld the landscenye and canves specifit in the said tikket to be kepit to the behuif of the 
toun." 

Twelve days after we find 

" The baillies (&c.) sittand in jugement ordanis the tresaurar Robert Grahame to con- 
tent and pay to the maister of wark of the makar of the playing place the sowme of xxiiij li. 
for compleiting thereof." 

The playing place, however, was not completed for that sum, and on 
July 2Oth (1554), R. Grahame was ordained " To pay the maister of werk 
the sowm of xlij li. xiij s. iiij d. makand in the hale the sowm of ane hundreth 
merkis and that to complete the playfield now biggand in the Grenesid." 
xxxiiij li. was given to the " werkmen that completit the playfield " on 
August 1 8th, between which date and October i2th the play or plays 
must have been performed. 

On the latter date (October i2th), by far the most interesting entry 
occurs. It is as follows : 

" The Provest [&c.] ordanis the tresaurar R. Grahame to content and pay Walter 
Bynnyng the sowme of v li. for the making of the play graith and paynting of the Landsenye 
and the playaris facis providand alwys that the said Walter mak the play geir underwritten 
furth cumand to the town quhen thai haif ado thair with, quhilkis he has now ressavit viz. 
viij play hattis, ane kingis crowne, ane myter, ane fulis hude, ane septour, ane pair angell 
wyngis, twa angell hair, ane chaplet of tryumphe." 

The " Landsenye" mentioned above, and the " Canves," in the first 

* For this and several following entries see Extracts from the Records of the Burgh of Edinburgh, 1869. 



The Annals of tJie Edinburgh Stage. 9 

entry for this year, are very curious items. That some species of 
scenery was employed is certain ; but what it was, as well as its extent, 
must ever be matter of conjecture. The painting of the face is a most 
interesting addition to our general knowledge of stage practices in those 
early days. 

There is an entry in the Town Treasurer's accounts of the payment 
of ,4, 1 8s. 2d. (Scots) for " the dennar maid to the playars." Unfortunately 
no date, further than that of the year, is given.* There being only one 
" dennar," it need not necessarily follow there was but one play, although 
as a matter of fact, only one can clearly be proved to have been played. 
It was Sir David Lindsay's "Three Estates." t Henry Charteris, the 
bookseller, mentions thatj he sat nine hours while it was " playit at 
Grenesyd before the Quene Regent," adding that his seat was on the 
bank. That Mary of Guise was better provided for is shown by the 
following extract from the Treasurer's accounts ; 

" Item, Payit for the making of the Quenis grace hous on the playfeild besyde the con- 
voy hous under the samyn, and the playars hous, the jebbettis and skaffauld about the samyn, 
and burds on the playfeild, careing of thame fra the toun to the feild, and thair fra agane, 
the cutting, and inlaik of greit and small tymmer, with the nallis and warkmenschip of vj 
wrychts twa dayis thairto, pynors' feis, cart hyre and uther necessars, as Sir William 
M'Dougall maister of wark, tikket beiris xvj li. v s. iiij d." 

If we turn again to the Council Records, under date December 28, 
1554, we find this curious entry : " The prouest [&c.] findis it necessar 
and expedient that the litill farsche and play maid be William Lauder be 
playit afoir the Quenis Grace, and that scho be propinit to her nether gif 
with sum cowpis of silver." This can scarcely have been played in 
the Greenside, considering the time of year. In connection with the men- 
tion of William Lauder, it is interesting to note that a James Lauder was 
prebender of the " queir " of St Giles in 1553. 

The success of the 1554 play can scarcely be doubted, and marks 
beyond dispute an important era in the development of the popular taste 
for the Drama. Robin Hood and his merry followers were suppressed in 
the following year, but the acting of plays seems to have continued in 
fashion. Yet it is curious to note that in England, at this very period, 
secular plays were strictly prohibited, || as frequently containing " naughty 

* 1554- 

t Already played on two previous occasions in Scotland. See under The Drama under Court patronage, p. 17. 
t See Preface to Charteris' Edition of Sir David Lindsay's Works. Edinburgh, 1582. 
Ante, p. 7. || Notices illustrative of the Drama, Kelly, p. 19. 



io The Annals of the Edinburgh Stage. 

and seditious matters . . . to the slander of Christ's true and catholic reli- 
gion."* Both countries were Roman Catholic at the time, and the govern- 
ment of Queen Mary easily perceived that plays such as the " Three 
Estates," although, from a literary point of view, England possessed none 
such were the most dangerous enemies of the Roman faith. On the 
other hand, it is more than probable that the Town Council of Edinburgh, 
who from the first leaned towards the reformed doctrines, purposely had 
the " Three Estates " performed on this occasion to serve their party's 
cause; while moralities and mystery plays were thrown in as excuses, these 
indecent exhibitions being far from obsolete at this date. In England, 
during Mary's reign, they were encouraged ; and although, with the acces- 
sion of Elizabeth they were enormously curtailed of their splendour and 
altogether of their official character, they still continued to be played until 
James I.'s reign. In Scotland they seem to have retained a measure of 
popularity much longer. In Kirkpatrick Sharpe's note to Kirkton's 
History of the Church of Scotland, the following passage is quoted 
from a sermon, preached in the Old Church of Edinburgh, December 
29th, 1 66 1, by Mr William Thomson : 

" We will tell you yet of a greater abomination than this, though little minded or laid 
to heart by many, and that is turning over this Holy Bible to stage plays. Is not this horrid 
blasphemy ? Yet this is not done in a corner only, they openly avow the same : for will ye 
but stand at the close heads, they proclaim their wickedness when they call on passengers, 
saying, ' walk in, gentlemen, and ye shall see a new piece of work ; ye shall there see Adam 
and Eve, Cain and Abel, walking in a lively manner, to see how they were created naked, 
and then deceived by the Serpent.' " 

Of course, it is possible that ministers, in those days, were given to 
exaggerate on certain points, especially when they got on one of their 
favourite subjects. For all that, some truth must underlie the statement, 
which is most precise, regarding the nature of the play. It is really a 
most curious fact, as plays on sacred subjects were not congenial enter- 
tainment for the majority of Scotsmen at that time, although those on 
secular subjects were not looked on so unfavourably ; even the Abbot 
of Unreason and Robin Hood, as already pointed out, requiring many 
years of suppression before they succumbed. As will be shown, the church 
during that time did not proceed with the amount of intolerance generally 
ascribed to it. 

After the December " Farsche and Play" (1554), the town does not 

* Collier's Annals, vol. i. p. 159. 



The Annals of tlie Edinburgh Stage. 1 1 

seem to have dabbled in play-acting for a little while, but entries of pay- 
ments to trumpeters, players on the " Organis,"* also on the "swas" and 
" quhyssill " are frequent. So soon, however, as 1558, we have the 
recordt of another extensive exhibition : 

" The presidenttis bailies and Counsale ordanis James Adamsoun tresaurer to delyuer to 
William Adamsoun for his travell takin in the play maid at the tryumphe of our Souerane 
Lady is Mariage the Sowm of foure lib. ... to Walter Bynning, painter, for his panting 
and all his lawbouris takin be him in the tryumphe maid at our Souerane Ladyis Mariage the 
sowm of xxv merkis ; to William Lauder the sowm of aucht lib. by the fourtie schillings 
quhilkis he hes ellis ressauit for his travell and lawbour tane vpone him in setting furth of the 
play maid at our Souerane Ladyis Mariage. ... to all the wrychtis quhilkis wrocht the 
play grayth in the play maid at the tryumphe of our Souerane Ladyis Mariage for their tymmer 
and workmanschip the sowm of fyve lib. four s. nyne d. ... to Patrick Dorane for his 
travell taken on him for making of certaine claythis agane the tryumphe of our Souerane 
Ladyis the sowme of four lib. ... to Adam Smyth, takkisman of Andro Mowbrayis 
yarde the sowm of vj s. viij d for the dampnage and skayth sustenit be him in tramping down 
of his gers of the said yard be the convoy and remanent players the tyme of the tryumphe." 

In May 1561, Robin Hood again made his appearance in Edin- 
burgh, in spite of the then recent Act of Parliament. The proceedings, 
which resulted in a serious tumult, are graphically related by John Knoxj 
as follows : 

"The Papists and the bischopes disapointed of thair principall, purpois and interprys, did yet 
mak broylle for trouble : for the rascall multitude were steired up to mak a Robin Huid, quhilk 
inormity was of mony yeirs left and damned by statute and Act of Parliament ; yet wald they 
not be forbiden, bot wald disobey and truble the toun especially upoun the nicht : quhareat 
the bailyeis offendet, tuk from thame some swords and ane enseyne, quhilk was occasioun 
that they the same nicht made a mutiny, kepit the ports of the toun, and intendit to have 
persewit sum men within thair own houses bot that upoun restitutioun of thair swords was 
stayet. Bot yet they ceassit not to molest, alswell the inhabitants of Edinburgh, as divers 
cuntreymen, taking from thame money, and threatening sum with farder injuries : quharewith 
the magistrates of the toun hiely offendet, tuk more diligent heid to sick as resorted to the 
toun, and apprehendet ane of the principall of that misordour called Kyllone, a cordinar, 
quhoni they put to ane assyis ; and being convicted (for he culd not be absolved, for he was 
the chief man that spoylled John Moubry of ten crowns of the sone) they thocht to have 
executed jugement upoun him, and erectet a gibbet benethe the croce. Bot (quhider it came 
be pactioun with the provest and sum uther, or by instigatioun of the craftsmen, quho ever 
have bene bent over mekle to mantean sick vanity and ryotousnes, we fully know not) sud- 
danely thair did rys a tumult, the Tolbuthe was brokin up and not only the said Kyllone was 
violently taiken furthe, bot also all uther malefactours war set at freedome the gibbet was 
pullet doun, and despytfully broken." 

From a note in the Town Treasurer's accounts, May Qth (1561) 

* In St. Giles. t Town Treasurer's accounts. % History of the Reformation, p. 269. 



12 The Annals of the Edinburgh Stage. 

appears to have been about the day of the disturbance, for under that date 
we read, " The apprentices on Sunday marched thro' the town with 
banners, &c., contrary to order and held the gates and had Robin Hood." 

In August of the same year, Queen Mary made her public entry into 
her capital. " Patrik Schang, wrycht, and Walter Bynning" were 
directed* " to get tymmer canves &c. for the triumphis and fairssis at the 
Queen's Coming." There does not seem, however, to have been any regular 
dramatic performance, and the "triumphis and farceis" took place at the 
Tron.t Four thousand merks wers spentj upon this occasion, but chiefly 
upon costly robes, eating and drinking, and a presentation to the Queen. 

April 30, 1562. The Queen gave a written charge to the magis- 
trates to make proclamation in her name that : 

" Na Robene Hudis nor Litil Jhoneis suld be chosin within cure realme, nochttheless 
as we ar informeit ye intend to elect and chus personis to beir sic offices this maii approcheand, 
incontrair thi tennour of oure said Act quha under colour of Robene Hudis play purpoissis 
to rais seditione and tumult within our said burgh. . . . Nor that ony uther unleissum 
gammis be useit within oure said burgh quhilk may disquiet the communitie." 

Among the stirring events which followed this last date, we find no re- 
cord of dramatic concerns until the year 1574 is reached, when in the "Book 
of Universal Kirk," under March for that year, we read as follows : 

" It is thought meit and concludit, that na clerk-playes, comedies or tragedies, be maid 
of the canonical scriptures, new as auld, on Sabboth-day nor wark-day, in time coming. The 
Contraveners hereof, if they be ministers, to be secludit fra the function ; and if they be 
utheris, to be punished be the discipline of the Kirk, and Ordaines an Article to be given 
into sich as sitts upon the police, that for uther plays, comedies, tragedies, and utheris pro- 
faine plays, as are not maid upon authentic pairtes of the Scriptures, may be considered 
before they be proponit publicklie ; and that they be not played upon the Sabboth Dayes." 

Two years after (in 1576), the Assembly refused permission to the 
bailie of Dunfermline to represent on Sunday afternoon a certain play 
which was not founded on the canonical parts of the Scriptures ;|| and in 
the following year, 1577, the General Assembly proposed to the Regent, 
" that his grace would discharge the plays of Robin Huid, King of May 
and sick utheris on the Sabboth day." This clearly points to the con- 
tinued observance of these entertainments at the time. 

On May ist, 1579, proclamation was made " throu this burgh [Edin- 
burgh] be sound of tabouryne that na inhabitant presume to accompany 

* August 28th. t Town Council Records, August 28th. 

Town Council Records and Treasurer's Accounts. 

Quoted from Sir David Dalrymple's "Historical Memorials," 1769, p. 41. 

11 Book of Universal Kirk, per " Historical Memorials." 



The Annals of the Edinburgh Stage. 13 

any sic as ar of mynde to renew the playes of Robine Hude or persute of 
ony catt hoillis." 

The lieges would seem not to have paid strict attention to this, for in 
the course of the same year the following conundrum was propounded by 
one of the Synods : * " Quhat ought to be done to sick persones that 
after admonition, will pass to may-playes ; and specially elders and 
deacones, and utheris quha beares offices within the Kirk ?" 

The answer from the Assembly is appended, namely, that " They 
aucht not to be admittit to the sacraments without satisfaction ; in special, 
elders and deacons." 

Such notices, few though they be, decidedly point to dramatic exhi- 
bitions being a favourite form of recreation with the first generation of 
reformed Scotsmen. Considering the generally gross character of all enter- 
tainments in those days, the attitude of the kirk cannot be censured as un- 
duly severe. It must be borne in mind that then, and for a long time after, 
the church, besides its duties of a religious nature, exercised all the 
functions that are now peculiar to newspapers. The majority of the 
people could not read, books were scarce, and no means of circulating news 
existed save through the kirk. It was the kirk which regulated thought 
and action in those days, as newspapers do now. The king himself was 
not free from attacks, and the moral authority of the Pope had been over- 
turned only to be taken up and, after refitting, exercised by Messrs Knox 
&Co. 

On the 29th October 1579, three pounds (Scots) was paid, half to the 
violers and half to the " Sangsters " who performed at the king's entry, 
and the following record is sufficiently interesting to warrant insertion- 
November 2 /th 1579 : 

" Andrew Buquhan be placit as maister of the sang scole as alsua for uptaking of the 
psalmes in the Kirk of this burgh. Twenty merkis together with twenty merkis yeirlie for 
payment of the Sangscole mail as alsua that he sal be astricted to tak na mair for the in- 
struction and learning of the tounis bairns in the Airt of Musik nor quarterlie half ane merk 
and the dochtour twa schillingis quarterlie." 

Although the Drama was discouraged, it is pleasant to learn that 
music, at any rate, was not. 

So late as i 588, Greenside would seem to have still been used for 
plays, for on November ist, John Hill, who was tenant of that land, " wes 
discharge! of ony teilling and ryving of ony pairt of the playfeyld." 

* Book of Universal Kirk. 




CHAPTER II, 

THE DRAMA IN SCOTLAND UNDER COURT 
PATRONAGE. 

IN the previous chapter are traced the outlines of the early 
development of the Drama among the Scottish people. It is 
now necessary to go back and seek out the beginnings of its 
existence under Court Patronage ; under which auspices it 
continued to flourish long after its first patrons, the people, had thrown 
it over. 

James II. was a great patron of chivalry, and Scotland, in his day, 
was famed for its jousts and feats of arms. But Royalty, in other ways than 
tournaments, had even before his era shown its fondness for better things 
than mimic bloodshed. Royal patronage of Literature, the Drama (or such 
rudiments of it as then existed), and the Fine Arts can easily be established. 
The Stuarts, first and last, were all intelligent and munificent patrons of 
the Drama. According to the historian Drummond,* who apparently 
takes his information from Buchanan,t James I. kept quite a number of 
" Historiones " in his pay, or at least in his service. These, Drummond 
observes, were greatly instrumental in making the Court, and by its 
example the country, " too soft and delicate, superfluous in all delights 
and pleasures ; masques, banqueting, gorgeous apparel, revelling, were not 
only licensed, but studied and admired."! The picture which Drummond 
here draws is characterised by Irving, in his " History of Scottish Poetry," 
as a piece of " idle declamation." Perhaps Irving is right in this estimate, so 
far as the country was concerned ; but on the other hand, it cannot be 
so certainly said that the Court was free from Drummond's imputation. 
It is, however, an unsatisfactory process to follow the reasonings and 

* History of Scotland, 1655, p. 17. J Hist, of Scot., 1655. 

t Rerum Scotic. Hist., p. 191. P. 371, ed. 1861. 



The Annals 'of the Edinburgh Stage. 15 

statements of the older historians, who, at best, spent years in obtaining 
information which any anxious student now-a-days, who takes the trouble 
to visit the Advocates' Library or Register House, may find in a few hours. 

From the enormous number of invaluable documents which are kept 
within the latter repository, much curious information is to be had in 
relation to the patronage of the Drama by the Scottish kings. The first 
entry in point of date which is connected with the subject, is quoted from 
the " Exchequer Rolls." It was made in 1364, and reads as follows : 
" Et magistro Gilberto Armestrang, ad soluendum ystrionibus apud 
Inchemurthach x li." In 1399, again, we read, " Et aliis mimis ex 
consideracione auditorum xx s." 

In these early times there are regular entries of allowances to the 
" Minstrels of the Chekkar," and an occasional payment to players 
" histrionibus in scaccario." These individuals were employed for the 
purpose of enlivening the hours of labour of the keepers of the records, 
and the entries were probably made while some of the " Histriones," 
jugglers or tumblers, or whatever they really may have been, were 
exercising their profession. 

In 1488, and again in the following year, there are entries of payments 
to one Patrick Johnson, " and his fallowis that playt a play to the king in 
Lithgow ; " and in 1490, there would seem to have been a company of 
French comedians in Dundee, for we read,t " Item, on Fryda the xxiij 
Julij in Dunde to the king to gif the Franschemen that playt xx 
unicornis xviij li." 

Although Drummond may have overdrawn the picture of luxury and 
vice that pervaded the nation in the reign of James I., the testimony 
which is ready to our hands in the writings of Dunbar the poet, regarding 
the state of morality in James IV.'s time, cannot be easily gainsaid. 

Born about 1465, and educated for the church, of which he became a 
priest, Dunbar is chiefly remembered as being the author of the beautiful 
allegorical poem entitled the " Thistle and the Rose" written in honour of 
the marriage of James IV. to Margaret Tudor in 1503. Dunbar had 
every means of studying the life in and around the Court, and in his 
poems we get some remarkable glimpses into the state of society during 
the reign of James IV. A general depravity of manners had begun to 
pervade the nation ; the women were strangers to modesty, the men to 
sober industry. A species of luxury had been introduced, which enervated 

* Several volumes of these are published. t Exchequer Rolls. 



1 6 The Annals of the Edinburgh Stage. 

the mind without refining it, and nearly all relish for simple pleasures had 
been lost. As for the priestcraft, steeped in every vice and species of 
low cunning, it was no wonder it fell, as it did, when its own members 
were the first to advertise its rottenness. Connected with the marriage of 
James IV. to Margaret, daughter of Henry VII., in 1503, we have the 
first authentic record of a dramatic performance in Edinburgh. A long 
and minute account of the Princess's progress from Richmond to Holyrood 
was written by John Young, Somerset Herald, who accompanied the 
Princess.* The party arrived at Edinburgh on August 7th, and we are 
told by Young, that the Queen, then fourteen years old. was met by the 
King, clothed in cloth of gold, the Earl of Both well bearing the sword of 
state before him. After mounting behind the King, the Queen and her 
Royal Consort rode through the streets, by the way of Grey Friars and 
Grassmarket, amid great rejoicings. At the former place a halt was made, 
and the Friars, carrying relics, &c., met them. After the relics had been 
kissed, a dramatic scene of chivalry was presented, the subject being a 
knight-errant rescuing his distressed lady love from the hands of 
her ravisher. Thereafter they were stayed at an embattled barrier, 
erected for the occasion, at the windows of which appeared "Angells 
synging joyously for the comynge of so noble a ladye." At the Cross, 
where a fountain flowed with wine, a symbolical scene was gone through 
by several Greek goddesses, and then the Angel Gabriel saluted the new 
Queen. At the Netherbow, Justice was discovered treading Nero under 
foot, Force bearing a pillar, and so on. When the royal party got to the 
Abbey, adjacent to which James IV. had for four years been building a 
palace for Margaret's reception, Te Deum was sung, and the Queen 
kissed all the ladies of the Court, and " after she had kyssed them all, the 
King kyssed her for her labour ! " The following day they were married, 
and John Young is as particular in his description of the magnificent 
costumes worn on the occasion, as ever was modern reporter at a fashion- 
able marriage of the present day.t What, however, is more interesting 
for the present purpose, is to find that a company of English comedians, 
headed by one John English, accompanied the Princess all the way from 
England, and "after dynner" (on the 8th August), says John Young, 
"a moralite was played by the said John Englishe and his companyons in 

* See Leland Coll., torn. iii. 

t For a tolerably full and thoroughly readable account of the whole ceremony, see Wilson's Memorials 
of Edinburgh. 



The Annals of the Edinburgh Stage. 17 

the prescence of the king and qwene, and then daunses war daunced." 
At this time John English was in the pay of Henry VII., as one of 
the " players of the king's interludes." The earliest information extant 
about him, is an entry of a half-yearly payment made to him, Edward 
Maye, Richard Gibson, and John Hammond, of three pounds six shillings 
and eightpence each, for their services in the above capacity. Although 
not the principal of the king's players, English would seem, by the fact of 
being selected to head the company sent to Scotland, to have been 
esteemed a performer of eminence. He continued in Court service long 
after Henry VIII. came to the Crown, and was eventually pensioned on 
half pay (^3, 6s. 8d. per annum), by that monarch.* 

In the year 1515, when the Duke of Albany arrived from France in 
order to undertake the regency of the kingdom, " most facetious comedies 
and exquisite spectacles" were exhibited. What were the nature of these 
may easily be conjectured after reading the account of the similar pro- 
ceedings in 1503. They mark, however, no important point in the history 
of the subject in hand.t Again, in 1538, upon the arrival of Mary of 
Guise at St Andrews, to wed James V., very extensive pageants were 
exhibited. 

"The Queen," says Lindsay of Pitscottie, t "landed at the place called Fyfeness, near 
Balcomy, where she remained till horse came to her. But the King was in St Andrews, 
with many of his nobility, waiting upon her home-coming. Then he, seeing that she was 
landed in such a part, he rode forth himself to meet her, with the whole lords spiritual and 
temporal, with many barons, lairds, and gentlemen, who were convened for the time at St 
Andrews in their best array ; and received the Queen with great honours and plays made to 
her. And first, she was received at the new Abbay-gate ; upon the East side thereof there 
was made to her a triumphant arch, by Sir David Lindesay of the Mont, lyon herald, which 
caused a great cloud come out of the heavens above the gate, and open instantly ; and there 
appeared a fair lady most like an angel, having the keys of Scotland in her hands, and 
delivered them to the Queen, in sign and token that all the hearts of Scotland were open to 
receive her grace ; with certain orations and exhortations made by the said Sir David Lindesay 
to the Queen, instructing her to serve God, obey her husband, and keep her body clean, 
according to God's Will and Commandments." 

In the following year, namely, 1539-40, during the feast of Epiphany, 
was performed Sir David Lyndsay's " Plesant Satyre of the Three Estates," 

* See Collier's Annals of the Stage, vol. i., pp. 36, 43, 65, and 97. 

t It may reasonably be objected that the accounts of this and the following pageant should have been 
given in the former chapter, as being really popular exhibitions got up to entertain royalty, and not the out- 
come of Court patronage. As they fit in better in this place, and are at best of little or no importance in the 
development of the Drama, they have been placed as above. 

J Quoted from Irving's History of Scottish Poetry, p. 371. 

Leland in his "Collectanea," ed. 1770, vol. iv., p. 258, records that "great triumphs, farces, and 
plays were made unto the Queen's grace at Edinburgh on this occasion." 

r> 



1 3 The Annals of the Edinburgh Stage. 

at Linlithgow, before the king, queen, and the " hoole counsaile spiritual! 
and temporall." In the same year Sir William Eure wrote to Lord 
Cromwell a full account both of the performance and the play.* 

This was, probably, not the first performance of the piece. It appears 
to have been originally played at Cupar in 1535, although no particulars 
of the event are preserved. The " Satyre " is ostensibly " in commen- 
datioun of Vertew and vituperatioun of Vice," but the satire of the piece, 
which, if peculiar, is plentiful, mostly falls upon the clergy of the day. 
This fact, taken in conjunction with the direct Court patronage extended 
to it, marks a curious stage in the progress of the Reformation in Scotland. 
Wilson, in his " Memorials of Old Edinburgh," says, " This play so effectu- 
ally aided the work of the reformers, under whose care the stage was 
immediately placed, that it may be styled the first and last effort in 
dramatic genius in Scotland." His statement is correct in so far as it 
points out the importance of the " Three Estates " as a factor in forward- 
ing the cause of the Reformation ; but the stage was not " immediately 
placed under the care of the reformers." In the first place, there was no 
stage, in the sense conveyed, in existence, and secondly, the " reformers" 
had no control of the few dramatic episodes scattered through the history 
of the following hundred years. It is true, however, as already pointed 
out, that the Church (i.e. the Reformers) accepted the aid of the Drama, 
although it did not openly encourage exhibitions of any sort. But the 
production of the "Three Estates" is of importance from another point 
of view. It is not only the finest effort in dramatic composition in Scot- 
land up to this period, but England produced no rival to it then or for 
many years after. " The contemporary history of English poetry presents 
us," says Irving,t " with no dramatic work equal to the Satyre of the 
Three Estaitis." 

Unfortunately the first effort made in Scotland to produce a Drama 
was practically the last as well. Sir David Lyndsay did not again turn 
his attention to this form of composition, while the bigotry, selfishness, 
and hypocrisy fostered by the Reformation seem to have effectually 
stifled any thoughts on the subject that may have been entertained by 
others. All which, seeing the excellent start that had been made, 
must be greatly deplored. 

It is natural to suppose that the clergy then in power did not relish 

* Collier's Annals of the Stage, vol. i., p. 122, f History of Scottish Poetry, p. 381. 



The Annals of the Edinb^^rgh Stage. 19 

the satire aimed at them. On the author of the "pleasant satyre," how- 
ever, they could not wreak their vengeance. Not so fortunate was one 
Kyllor, a Dominican friar, whom they roasted on the Castle Hill of Edin- 
burgh, on the last day of February of the very year under consideration. 
His offence had been the composing of a " Mystery " on the subject of 
Christ's Passion, in which he ventured to expose the odious nature of per- 
secution and the immoral lives of the clergy, whose power at the time 
was as great as their profligacy. This piece had been acted on a Good 
Friday, at Stirling, in presence of the king. Not having rank or con- 
nections to protect him, Kyllor paid for exercising his poetical talents 
with his life.* James Wedderburn was also the author of two plays, 
in which the clergy came in for a full share of ridicule. These were 
acted in Dundee ; but, owing perhaps to the representations being before 
an obscure audience, they did not bring him into trouble,! Not a frag- 
ment of the plays by either of these men is preserved, so that no 
estimate can be made of their literary consequence. 

So late as March 1558-9, a council of the clergy was held in 
Blackfriars, Edinburgh, when an Act was made, " that Sir David 
Lyndsay's book should be abolished, and burned by the common 
executioner ! "J 

On the 1 7th January 1568, it is recorded by one Birrel, who left 
behind him a most interesting and curious diary, that "a play made by 
Robert Semple " was enacted at Edinburgh before the Regent Moray 
and several of the Scottish nobility. That Moray gave his sanction and 
patronage to such exhibitions is distinctly interesting. What was the 
name of the play is unknown ; although the general impression has been 
in favour of it having been " Philotus." It cannot be proved, however, 
that " Philotus " was written by Robert Semple; indeed, the bulk of opinion 
points in the contrary direction. 

On the occasion of the reception of James VI. at Edinburgh in. 
T 579> ver y considerable preparations seem to have been made to do 
proper honour to the young sovereign. One or two entries in the Town 
Council records are worth giving in full : 

* Irving's History of Scottish Poetry, p. 444. Knox's History of the Reformation, p. 22. Spottis- 
wood's History of the Church of Scotland, p. 66. 

t Irving's History of Scottish Poetry, p. 445 ; he takes his information from MS. History of the 
Church of Scotland, by Calderwood. 

J Campbell's Journey, vol. ii., p. 161. Pittscottie's History, p. 315, 3rd ed. 

See Preface to Bannatyne Club reprint, by J. W. Mackenzie, 



20 The Annals of the Edinburgh Stage. 

" Sept. 14. Ordanis Robert Henrison, chirurgeon, and Robert Kar baillie, to speik 
the Frencheman, using William Stewart for his opinion in devyse of the triumphe agane the 
kingis heir cuming." 

"Oct. 14. The Baillies, &c., ordanis proclamations to be maid be sound of tabourin 
throu this burgh, commanding all the inhabitants thereof to hing their stairis with tapestrie 
and ares warkis on Fryday nixt." . . . 

But the most important is under date September 4th : 

" The samyn day ordanis Mr James Lowson, minister, William Littill, and John John- 
stoun, to pas to the Hie scule of this burgh, and vesie the maister of the Hie scolis tragedies, 
to be maid be the bairnis agane the kingis heir cuming, and to repoirt." 

Whether such exhibitions were commonly given by the High School 
boys, is not on record. It would be decidedly interesting to find that they 
had been. 

In the course of the king's progress through the town, nothing of the 
nature of a play, or even morality, was presented. When opposite to the 
" hous of Justice, thair shew thaymeselfis unto him, four gallant verteous 
ladeyis, to wit, Peace, Justice, Plentie, and Policie, and aither of thayme 
had an oraison to his Majesty." * Otherwise such representations as of 
King Solomon with the two mothers who disputed about the babe, and 
Bacchus distributing wine to all and sundry, constituted the pageant. 

Upon the arrival of James VI. and his queen in 1590, great prepara- 
tions and feasting were indulged in, but there is no notice of anything at 
all relating to the subject on hand. 

Three years afterwards, namely, in February i593,t a most inter- 
esting event took place. It was none other than the visit of a Company 
of English Comedians to Holyrood. Who they were, what they acted, 
as well as all other particulars that would be of interest now, are not to be 
had. All that can be said with certainty is, that they played here and 
were rewarded by the king for their pains. In the volumes of the 
Treasurer's accounts, preserved in the Register House, Edinburgh, is 
the following entry under above date : 

" Item, payit be co'mand of his ma ties precept to certane Inglis c'medianis the comp'oun 
of the escheit of ye laird of Kilcrewch and his complices as ye said precept pduceit [pro- 
ducit] upoun compt beiris. iijc xxxiij li. vi s. vij d. 

That this was the first English company of comedians who visited 

* See Maitland's History of Edinburgh, p. 37. 
t Old style, really 1593-4 or 1594. 



77/6' Annals of the Edinburgh Stage. 2 1 

James VI. is by no means likely. The next record of a company 
being in Edinburgh is in 1599; it does not follow, however, that no 
actors came to Edinburgh during the interval between 1594 and that 
year. Nothing positive is known ; although a curious sidelight is 
thrown upon the subject by a document in the State Paper Office, dated 
March 22, 1595. It is a letter from George Nicolson (English political 
agent at the Scots Court) to Mr Bowes. The substance of the portion 
which relates to the players is as follows : " The king heard that 
Fletcher, the player, was hanged, and told him and Roger Aston so, 
in merry words, not believing it, saying very pleasantly that if it were 
true he would hang them also." 1 Evidently, by this, James VI. was 
acquainted with Fletcher previous to 1595. On April i5th, 1598, 
Nicolson writes to Lord Burleigh " It is regretted that the Comedians 
of London should scorn the king and the people of this land in their 
play ; and it is wished that the matter be speedily amended, lest the 
king and the country be stirred to anger"."t 

Regarding the company of 1599, considerably more information is to 
hand than about that of 1594. In the first place, we know whose company 
it was a very important item indeed. George Nicolson, writing to Sir 
Robert Cecil, on November 12, speaks of the performance of the English 
players, Fletcher, Martin, and their company ; thus leaving no doubt on 
this point. It would seem that Fletcher and his company, having enter- 
tained the Court for a while (probably in the tennis court at Holyrood), 
obtained from the king a warrant to act in public, with a precept to the 
bailies to provide them with a house for the purpose. Blackfriars' Wynd 
was the locality chosen, and trumpets and drums were sent through the 
town by the players to advertise their entertainment. This was more 
than the clergy could stand, and the four sessions directed that no one was 
to visit the playhouse, or if they did, it would be under the kirk's severest 
displeasure. Upon this some of the ministers were called before the king 
and his council, when in defence of their action they alleged Acts of Parlia- 
ment against stage plays, the danger of Sabbath profanation, &c. One 
of their number gave this other argument: " We heard that the Comedians 
in their plays checked your royall person with secreit and indirect taunts 
and checkes ; and there is not a man of honour in England would give 
suche fellowes so muche as their countenance." This last argument was 

* Calendar of State Papers relating to Scotland, vol. ii. p. 676. ^ Ibid., vol. ii. p. 749. 



22 The Annals of the Edinburgh Stage. 

ingenious, but it did not serve. The four sessions had to publish an 
" Act" annulling their former proclamation, and the players were allowed 
to follow their vocation.* 

The first document that sheds any light on this matter is contained in 
the Treasurer's accounts : 

" October 1599. Item, delyverit to his hienes selff to be gevin to ye Inglis c'medianis 
xiij crownes of ye Sone at iij li. vj s. viij d. ye pece in inde xliij li. vj s. viij d." 

"November 1599. Item, be his mat t!es directioun geven to Sir George Elphingstoun to 
be delyverit to ye Inglis c'omedians to by tymber for ye preparatioun of ane hous to than 
pastyme as the said Sir George ticket beris xl li." 

The latter of these entries refers to the house in Blackfriars' Wynd, 
and shows that the magistrates were not expected to be at any expense 
in fitting up the players. On the other hand, James VI. makes their ex- 
penses, in this matter, his own. It was some time after this that the four 
sessions forbade the people to resort to the plays, and we have the king's 
' reply as follows : 

" The Kingis Majestic and Lordis of his secreit counsall considering the lait contempt 
and indignitie done to his Hienes be the foure Sessionis of the burgh of Edinburgh, in taking 
upoun thame be ane publict act to contramand the warrand and libertie grantit be his Hienes 
to certane Commedianis to play within the said burgh, and in ordaning thair ministeris 
publictlie to discharge thair flokis to repair to the saidis commedies, thay haveing nawayis 
acquentit his Majestic of befoir with ony lawfull caus or ground moving thame thairunto, nor 
na utherwayis acknawlegeing his Hienes, as they aucht and sould have done afoir thay had 
sa avowedlie opponit thameselffis to his Majesteis warrand and directioun foirsaid, Thairfoir 
his Majestic and the saidis Lordis ordanis ane officiar of armes to pas to the Mercat Croce 
of Edinburgh and thair be oppin proclamatioun in his Hienes name and authoritie, to com- 
mand and charge the haill personis of the saidis foure sessionis becaus thay ar ane multitude, 
to convene thamselffis in thair accustomat place of convening within thrie houris nixt efter 
the said charge, and thair be ane speciall act to cas, annull, and discharge the uther act for- 
said, and with that to gif ane speciall ordinance and directioun to thair haill ministeris that 
thay, efter thair sermonis upoun the nixt Sonday, publischlie admonische thair awne flockis to 
reverence and obay his Majestic, and to declair to thame that they will not restreane nor 
censure ony of thair flokis that sail repair to the saidis commedeis and playis, considering his 
Majestic is not of purpois or intentioun to authorize, allow, or command onything quhilk is 
prophane or may cary ony offence or sclander with it; and to charge thame heirto, under the 
pane of rebellioun and putting of thame to the home ; and to charge the saidis ministeris 
that thay, efter thair saidis sermonis, conforme thameselffis to the directioun and ordinance 
to be sett doun be the saidis Sessionis heiranent under the said pane of rebellioun, and gif, 
ony of the saidis personis dissobayis to denounce the saidis dissobeyaris rebellis. f 

"(November 8, 1599, at Holyrood.)" 

* Calderwood, vol. v., 765-767, c. 

t The Register of the Privy Council of Scotland, vol. vi., p. 39. 1884. 



The Annals of the Edinburgh Stage. 23 

The clergy replied, in a somewhat humbled strain, as follows : 

" Forsamekle as, the Kingis Majestic haveing grantit ane warrand and libertie to certane 
Inglische Commedianis to play within the burgh of Edinburgh, yit, upoun some sinister and 
wrangous reporte maid to the foure Sessionis of the Kirk of Edinburgh be certane malicious 
and restles bodyis quha, upoun everie licht occasioun misconstrowes his Majesteis haill 
doingis and misinterpreitis his Hienes gude intentionis quhatsumevir the saidis foure Ses- 
sionis wer moved verie raschely and unadvisitlie to contramand be ane publict act his 
Majesteis said warrand, and thair withall ordanit thair ministeris to publische the said con- 
tramand, and to threatine the censuris of the kirk aganis the contravenaris thairof, unac- 
quenting his Majestic of befoir with ony lawfull ground or caus moveing thame thairto ; with 
the quhilk thair errour and oversicht thay being now better advisit and haveing all convenit 
on this mater, and willing nawise to be contentious with his Majestic, bot in all reverence 
and humilitie to obay his Hienes as becumis gude and obedient subjectis, in respect of the 
pruif quhilk thay have evir had of his Majestic, that his Hienes hes not commandit nor 
allowit ony thing careying with it ony offence or sclander, thay, efter the dew acknawlegeing 
of their formar errour, rasche and unadvised proceidingis, have now by ane uther act cassit, 
annullit and discharged thair formar act forsaid, and hes ordanit the same to be ineffectuall 
heirefter, with the admonitionis gevin conforme thairto be the ministeris to thair floikis in 
maner forsaid, sua that now not onely may the saidis Commedianis friely injoy the benefite 
of his Majesteis libertie and warrand grantit to thame ; bot all his Majesteis subjectis. inhabi- 
tantis within this said burgh and utheris quhat sumevir, may friely at thair awne plesour repair 
to the saidis commedeis and playis without ony pane, skaith, censureing, reproche or sclander 
to be incurrit be thame thairthrow, or to be uncensureit or fund fault with be the ministeris 
magistratis, or sessions of the said burgh in onywise, nochtwithstanding the first act forsaid 
and admonitionis to be maid and gevin heirefter without his Majesteis consent and allowance. 
And ordanis officiaris of armes to pass to the Mercat Croce of Edinburgh and thair be oppin 
proclamatioun mak publicatioun heir of, quhairthrou nane pretend ignorance of the same.* 

"(November loth, 1599.)" 

From the Treasurer's accounts t we get the following additional infor- 
mation : 

November 1599. "Item, to w@ forsy* messenger passund w l 1'res [letres] to the Mercat 
Croce of Ed r chairging ye elderis and deacouns of the haill four sessionis of Ed r to @null 
thair act maid for ye discharge of certane Inglis Comedianis, x s. viij d." 

" Item, to the said William passand w l utheris 1'res [letres] to the said Mercat Croce and 
thair efter sound of trumpet notyfeing his ma ties ples'r [pleasure] to all his liegis that ye saidis 
c'omediants my 1 use thair playis in Ed r , xxi s. iiij d." 

In December the king thought the comedians were entitled to further 
reward, perhaps in consideration of the ill usage they had received 
from the kirk. Accordingly we find the following in the Treasurer's 
accounts : 

* The Register of the Privy Council of Scotland, vol. vi., p. 41. 
t Not published. 



24 The Annals of the Edinburgh Stage. 

" Item, lykwayis delyverit be his Hienes directioun to Sir George Elphingstoun of Blythis- 
wod Knyt to be distributit among certane Inglis C'omedianis as his Ma ties warrand thairupone 
testifeis, iij c xxxiij li. vi s. viij d." 

Fletcher again headed the company of players on their next (and last) 
visit, and there is a possibility, almost amounting to a probability, that Shaks- 
pere was among them. Fleay, in his " Life of Shakspere,"* speaking of the 
disgrace that the Chamberlain's company of players incurred by producing 
Richard II., and the resultant provincial tours of Shakspere, Burbadge, 
and company (1601), says, "The travels were not confined to England. 
In October they had reached Aberdeen, where they received the title 
of the ' King's Servants,' and Laurence Fletcher, their manager, was 
admitted burgess of guild of the borough. In all probability a version of 
the old Macbeth play was produced before King James ; such a version 
as that of Hamlet, acted at the Universities. . . . Anything more 
. pleasing to the king and people of Scotland could not have been 
selected, "t 

The only note of this company in the Treasurer's accounts is under 
date 1 60 1, and reads as follows : 

" If em, payit be precept to Roger Aschetoun to be gevin to certane Inglis Comedianes 
as ye samin w l his Acquittance producet upone compt proportis, iiij c. li." 

There are also entries during the same year of payments to John 
Kinloch for expenses of " certain strangers of his company," and for bed- 
ding, &c. for the same in the Canongate, all of which may refer to the 
comedians. 

It is quite likely that these comedians came by special invitation of the 
king. After staying in Edinburgh for a considerable time, James ordered 
them to repair to Aberdeen to amuse the citizens with the exhibition of 
their " plays, comedies, and stage plays." They were recommended by 
his special letter addressed to the magistrates, by whom they were pre- 
sented with thirty-two merks for their services, besides being entertained 
to supper on one of the nights of their playing. At the same time the 
freedom of the town was conferred upon Lawrence Fletcher and each of 
his company. \ 

Shakspere, therefore, was probably a citizen of Aberdeen, for no 
evidence has been brought forward to show that he was not with his 

* 1886. f P. 34. J Kennedy's Annals of Aberdeen. 



The Annals of the Edinburgh Stage. 25 

company at this time. The greatest authority on Shaksperian matters 
living, namely, Mr J. O. Halliwell Phillipps, has not yet investigated the 
matter. * When he, or some one else who is qualified, and who has time 
and money at command, does so, important results may reasonably be 
expected. 

At Edinburgh, in the year 1603, was published, " ane verie excellent 
and delectabill Treatise intitulit Philotus. Quhairin we may persave the 
greit inconveniences that fallis out in the manage betwene age and zouth. 
Imprinted at Edinburgh be Robert Charteris 1603. Cum privilegio 
Regali." 

Philotus is a comedy in rhyming stanzas, and seems of a more 
modern date than the reign of James V. There is very little probability 
of its being the composition of Semple, to whom it has often been ascribed. 
That it was not written during Queen Mary's reign appears evident from 
the following passage : 

" Last, Sirs, now let us pray with one accord 
For to preserve the persoun of our King, 
Accounting ay this gift as of the Lord 
Ane prudent prince above us for to ring." 

This comedy, in its plan and execution, discovers a much nearer 
approach to the modern drama than Lyndsay's " Three Estates." The 
versification is easy, the characters are well drawn, and the plot is really 
interesting ; it has, however, the great drawback of being terribly indecent, 
and the speeches, at times, are too long and declamatory. 

It is worth noting that William Alexander, Earl of Stirling (born 
1580), wrote several dramatic pieces which were published at Edinburgh. 
His first, Darius, was originally written in a mixture of Scottish and 
English dialects ; but the author afterwards not only polished the language, 
but even very considerably altered the play itself. The first Edinburgh 
edition was published in 1603, and in London in 1604 and 1637. Alexander 
also wrote Croesus (1604), The Alexandrian Tragedy (largely copied 
from Virgil, Seneca, &c., 1605), and Julius Caesar (1604 and 1607). 

A few days after James' arrival in London (1603), there was granted 
by him to Lawrence Fletcher, William Shakspere, and others, the first 
dramatic licence in England. But, with the removal of the Court from 
Holyrood to Whitehall, the Drama in Scotland came to an end. Even 

* In a letter to the Author he says, he hopes to do something to the subject during the winter 1887-8. 



26 The Annals of the Edinburgh Stage. 

on such occasions as King James' visit in 1617, and King Charles' corona- 
tion at Holyrood in 1633, there seem to have been no dramatic entertain- 
ments. Pageantry and exhibitions and music there were, but not a trace 
of a genuine play. Not till we arrive at the year 1663 is there any further 
record of the Drama. In that year, however, was published " Marciano ; 
or, The Discovery. A Tragi-Comedy, acted with great applause, before 
His Majesty's High Commissioner, and others of the Nobility, at the 
Abby of Holyrudhouse, on St John's night. By a Company of Gentle- 
men." 

The Commissioner that year was the Earl, afterwards Duke, of 
Rothes. The play is believed to have been written by William Clark, a 
member of the Scottish Bar.* In the preface to the play he says : 

" It was easie to cast the horoscope of this peece before it peep'd into the world, it 
being to appear in a Country, where the cold air of men's affections nips such buds in their 
very infancy. . . . Although then, it is not ordinar to apologize for Playes in general, at 
the publishing of any particular one ; yet, because this now appears as a City-swaggarer in a 
Country-church, where seldom such have been extant; and that the peevish prejudice of 
some persons, who know nothing beyond the principles of base, greazy, arrogant, illiterate 
Pedants, who, like the grasshoppers of Egypt, swarm in every corner of this Nation, and 
plague all the youth accordingly, is such, that they cannot have patience to hear of a comedy, 
because they never see one acted." 

In the same year (1663), liberty was granted to one " Jon Ponthus, 
professor of physick," to build a stage " doun about Blackfreir Wynd head, 
for publict view, they acting no obscene thing to give offence."t 

Five years later (1668), a representation of Sydserfs Comedy of 
" Tarugo's Wiles, or the Coffee House," took place in the Tennis Court 
at Holyrood Abbey, without the Watergate. (It was burnt down in 



Thomas Sydserf, it would seem, continued for some time thereafter 
to retain a dramatic company ; but whether he was allowed the use of the 
Tennis Court is uncertain. He was the son of Sydserf, Bishop of Gallo- 
way ; had served under the Marquis of Montrose, and in 1661 published 
the Caledonian Mercury, the first original Scottish newspaper. He 
remained in Edinburgh till 1689. 

In 1669 the " Counsell " granted warrant to Robert Clerk and 
Stephen Grege, " inglishmen to act thes motions or plays within the citie 

* Logan's Reprint. 

\ Records of Edinburgh, vol, x., p. 192; and Nugte Scotica:. 

J Logan's Edition of Marciano, preface, p. v. Inglis' Dramatic Writers of Scotland. 



The Annals of the Edinburgh Stage. 27 

or suburbs, called pollishingello, or the beateing of the sea, or such uther 
rather motions grin they ar expert, or can exercise ; and that till the first 
clay of August next to come."" 

In the following year (1670), the " Councill " gave James Underwood 
permission to exercise the " motion or play called fat Judgment of Soloman 
and other playes." 

The Drama was unquestionably gaining a footing, not only in 
Edinburgh, but in other parts of Scotland. This is well shown by 
the following excerpts from the note-book of Sir John Foulis, Bart, 
of Ravelstoun : 

" 1671, Dec. i. A Dinner at Leith to Sir James, Lady Grissell, Cristian, Antie, &c., 
and for the play, , 1 1, 4/ [Scots]." 

"1672, Jany. 26. When we went over to Burntiland, for coatches, fraught, dinner, and 
the play, ^20, $/." 

" 1672, Feby. 27. Spent at Newhaven and Leith, and at the play, ^6." 

" 1672, March 9. Payed for myselfe, my wife, and Cristian, to see Macbeth acted, and 
for sweetmeats for Lady Colingtoune, Lady Margaret M'Kenzie, and others, 6, 2/." 

This is the first record of any of Shakspere's plays being acted 
in Edinburgh. 

" 1672, June 21. To see the Comedie when the Commissioner [John Duke of Lauder- 
dale] was there, and for oranges for gentlewomen, ^2, 8/." 
" 1672, Dec. 21. To see Sir Soloman acted, ;i, 9/." 

Another curious evidence of actors being well known in Scotland 
at this time is afforded by the statute book ; for by statute 10, July 26th, 
" Concerning Apparel," which endeavours to lay down rules for people 
not dressing beyond their station, players are exempted in the following 
clause : ' Excepting always from the present Act, Comedians, as to the 
cloaths which they make use of upon the stage, "t 

It appears also from the records of Edinburgh J that in 1673, Edward 
and James Fountanes, masters of the revels, produced, before the Town 
Council, letters from His Majesty's Privy Council, empowering them to 
set up stages in any part of the city, and to punish persons acting with- 
out their authority. The Town Council considered this as " verrey hurt- 
full and prejudiciall to the privilledges of the good toun;" so they appointed 
three of their number to speak to the Lord Chancellor about the 
matter. The Lord Chancellor told the deputation he could do nothing, 

* Records of Edinburgh, p. 71 ; and Nugce Scoticae. t Scots Acts. Vol. xxvii., p. 149. 



28 The Annals of the Edinburgh Stage. 

and recommended them to go to the Privy Council, which august 
body promised the Town Council their assistance. Four years after 
(1677, Nov. 23) the Town Council gave permission to John Mash, rope 
dancer, to erect a stage within the tennis court, opposite the Tron, " af 
the hie street," and to put up volting ropes within the " said court for 
acting his playes and showes for which he has heirby libertie to take from 
cache persone that shall desyre to see the saids playes, thrie shilling 
Scots money and no more." 

Probably Sydserfs or some company of Comedians was acting 
in Edinburgh, when, in the latter part of 1679, the Duke of York came 
to reside in Scotland. Whether such was the case or not, the future king 
brought with him a company selected from both the London houses.* 

Dryden alludes to this in one of his prologues : 

" Discords and plots, which have undone our age, 
With the same ruin have o'erwhelm'd the stage. 
Our house has sufTer'd in the common woe, 
We have been troubled with Scotch rebels too. 
Our brethren are from Thames to Tweed departed, 
And of our Sisters, all the kinder-hearted, 
To Edinburgh gone or coach'd or carted. 
With bonny bluecap there they act all night 
For Scotch half-crown, in English three-pence hight. 
One nymph, to whom fat Sir John Falstaff's lean, 
There with her single person fills the scene. 
Another, with long use and age decay'd, 
Div'd here old woman, and rose there a maid. 
Our trusty door-keepers of former time 
There strut and swagger in heroic rhime." 

The only record of the performances given by these brilliant artistes 
at Holy rood is preserved by Lord Fountainhall : 

" May 29, 1681, having fallen on a Sunday, the Magistrates of Edinburgh kepit the 
solemnity on Monday the 3oth, and the Duke of York honoured them with his presence in 
the Theatre." 

In addition, his Lordship mentions that 

"Novembris 15, 1681, being the Quean of Brittain's birth-day, it was keeped by our 
Court at Halyruid house with great solemnitie, such as bonfyres, shooting of canons, and the 
acting of a comedy called Mithridates, King of Pontus, before ther Royall Hyneses, &c., 
wheirin Lady Anne, the Duke's daughter, and the ladies of honour ware the onlie actors." 

* Genest, vol. vii., p. 120. 



The Annals of the Edinburgh Stage. 29 

Lord Fountainhall, it may be mentioned, considered all such repre- 
sentations as exceedingly immoral. 
On March 17, 1682, 

" The Councell upon petition given in be William Heartly, merchand in Edinburgh, 
grants power and warrand to him to erect and caus build ane timber house of fourty foot 
of lenth, and twenty foot of breadth, upon the high street, below the Blackfrier Wynd head 
for showing a motion called the Indian, or the German Wooks." 

On October 27th, before this " daill-house " (wooden house) was 
completed the Council ordered it to be demolished, on account of com- 
plaints and petitions from the surrounding inhabitants. They also made 
the following important decision : " Doe therfor statut and ordaine, that 
from hencefurth noe stadge or playhouse be erected or built upon any 
part of the high street of this city." 

In the beginning of 1687 a mountebank of the name of Reid was 
baptised, along with a negro in his service, into the Roman Catholic 
Church. This individual, during the following year, obtained a licence 
from the Privy Council, and from Mr Fountain, master of the revels, to 
erect a booth in Blackfriars Wynd. This caused a good deal of trouble, 
but Reid, being Popish, found favour with those in authority, and for a 
while defied the popular dislike of such places. 

A certain Mungo Murray was brought up for intruding, with per- 
sonal violence, upon Sydserf and his company, during rehearsal, in " his 
hous in the Canongate, quher he keeps his theater for acting his playes." 
This was in June 1689." 

In 1691 the inhabitants of Edinburgh were treated with the exhibi- 
tion of three Turks, brought by Mr Mathias Sasse, a Dutchman, who 
obtained the Town Council's permission to make " ane publick show " in 
the Canongate. And the last notice during the seventeenth century 
occurs on November 4th, 1692, when permission was given by William 
M'Lean, master of the revels, to John Arnold Carner, doctor of medicine, 
to erect a stage in the " Land Mercat, below the Weighhouse well," for 
the selling of medicines " and his public showes ; " but he was warned 
that " the samen be free of all offence, cursing, profanity, or anything 
contrare to piety." 



SECOND PERIOD, 



1715 to 1746. 




CHAPTER III. 

TONY ASTON AND ALLAN RAMSAY. 

T has been already shown that, with the permanent removal of 
the Court to London in 1603, the development of the Scottish 
Drama and Scottish Theatre, as a national growth, was materi- 
ally checked, if not completely stopped. So long, however, as 
the Stuart dynasty occupied the throne of Britain, it manifested a pretty 
lively interest in the welfare of all that pertained to Edinburgh, and among 
other things, the Theatre was not neglected. Upon the fall of the Stuart 
line, there rose up a Pharaoh who knew not Auld Reekie, her Drama, 
her Literature, nor anything that pertained to her, and, as a result, Art 
was discouraged through the morbid fanaticism of the dominant portion 
of the populace obtaining complete supremacy. Even so early as James 
the First's days, all the influence of the Court was requisite to support 
the actors against popular prejudice. In Charles the Second's time 
the Theatre at Holyrood was still only a Court appendage, so it is 
not surprising to find that, upon the entire withdrawal of the Royal 
countenance and patronage, the whole theatrical system became completely 
paralysed. 

How long it remained so it is impossible to determine. The few 
accounts of performances, which have been preserved, are very meagre ; 
still it would be unsafe to assume that play-acting was ever sup- 
pressed in Edinburgh for any considerable period. The supposition 
that most recommends itself, after a careful consideration of all the 
pros and cons, is that although various periods of years may have 
passed by without anything being done ; yet, occasionally, strolling 
companies of comedians would find their way to Edinburgh and perform 
there, until their presence became obnoxious to the Knoxites, who, 
imagining they smelt brimstone, speedily acted up to their creed, by 

C 



34 The Annals of the Edinburgh Stage. 

having the players banished " furth of the toun." The newspaper 
notices of the Drama during the first portion of last century were exceed- 
ingly few. The first one that can be found on June 27th, 1715 shows 
plainly, that although it was the first advertisement about the players 
inserted at that period, they had been playing for some time previous to its 
insertion. It reads as follows: "I am informed that on Wednesday 
next, the company of comedians here, are to act a diverting comedy, 
never acted here before, called the Inconstant, or the Way to Win 
Him." * 

On the following 4th of July, Macbeth, " never acted here before," 
is announced ; but this is not correct, Macbeth having previously been 
acted in Edinburgh, t In the advertisement of the 27th, we find that the 
Tennis Court was the place of acting, and on that particular day, " for the 
benefit of Mr Hall and his wife, the Beaux Stratagem ; with an addi- 
tional farce at the end of it, called the Stage Coach; and several enter- 
tainments of singing and dancing by gentlemen for their diversion, and 
a new consort of music. To begin precisely at five o'clock, by reason of 
the length of the entertainments." In December the comedians appear to 
have removed to the old Magazine House at the back of the foot of the 
Canongate, and to have been joined by " some new actors just arrived 
from England." 

There is no information to show whether these performances con- 
tinued for any length of time. Writers about old Edinburgh have 
hitherto contented themselves with repetitions of Arnot's inaccurate 
account of all that happened of Dramatic interest during the first half of 
the eighteenth century. The chief piece of information generally given 
is, that Signora Violante, whom Arnot describes as a " virago," settled in 
Carrubber's Close about 1715, and, finding her posturing exhibitions ex- 
tremely successful, added to her performances the acting of plays by a com- 
pany of hired players. Then we are informed, in a general way, that, 
in 1727, plays were repressed. Campbell \ evidently did not think this 
account sufficiently spicy, so he invented a story about a riot between 
Jacobites and Royalists, supposed to have occurred in 1714, during 

* This advertisement (quoted from the Courant) forms the commencement of a rare pamphlet entitled, 
" Fragmenta Scoto-Dramatica " (1835), a production often ascribed to the late Mr Maidment, but really written 
by the late Mr W. Logan. The " Fragmenta " is an exceedingly valuable little work, as its accuracy is absol- 
ute ; and I gladly take this opportunity of paying a tribute to the memory of my late friend the Author of it, 
many of whose papers (kindly placed at my disposal by his sister, Mrs Jordan) have been of great service in 
the writing of this History. 

t See page 27. J History of Poetry in Scotland, p. 353. 



The Annals of the Edinburgh Stage. 35 

a performance of Macbeth in the Tennis Court. Wilson, in his 
Memorials, repeats this story, but it does not appear to have had any 
foundation in fact. Regarding Signora Violante, the date of her first 
settlement in Edinburgh is quite a matter of conjecture ; one thing 
however is certain, that she cannot have been much of the " virago " 
Arnot calls her. She opened a dancing school, which became a very 
great success. Dr Carlyle of Inveresk, when a young man, attended it, 
and says in his Autobiography, it was " much frequented by young 
ladies." 

The first actor who comes prominently into notice after 1715 in fact, 
the first in Edinburgh about whom we have any distinct information is 
Anthony or " Tony " Aston or Alston. The date of his first connection 
with Edinburgh is uncertain, although it is evident he was acting there in 
1725. This is plainly indicated in the Prologue written by Allan Ramsay 
for Aston's opening in 1726. The Prologue is as follows : 

" Tis I, dear Caledonians, blythsome Tony, 
That oft, last winter, pleas'd the brave and bonny, 
With medley, merry song, and comic scene : 
Your kindness then has brought me here again 
After a circuit round the queen of isles, 
To gain your friendship and approving smiles. 
Experience bids me hope : Tho' south the Tweed, 
The dastards said, ' He never will succeed ! 
What ! such a country look for any good in ! 
That does not relish plays, nor pork, nor pudding ! ' 
Thus great Columbus, by an idiot crew, 
Was ridicul'd at first for his just view ; 
Yet his undaunted spirit ne'er gave ground, 
Till he a new and better world had found. 
So I, laugh on. The Similie is good; 
But faith 'tis just ! for, 'till this body's cold, 
Columbus like, I'll push for fame and gold." 

It is possible, however, that Aston came to Edinburgh in 1724, for 
the Caledonian Mercury of December loth for that year says, " We hear 
that last night a company of comedians came to the Canongate from 
London." 

One curious fact about Aston's appearance in Edinburgh in 1726 
has not hitherto been noticed, namely, that his performances were given 
with the direct permission of the Provost and Magistrates. The solution 
of this is a " nut " very hard to crack. How, in strait-laced Edinburgh, 



36 The Annals of the Edinburgh Stage. 

the magistrates (in all ages such patterns of outward correctness), could 
have sanctioned a play-house, is an enigma ; for the players were far 
from "fashionable" or "correct," save in the eyes of the intellectual 
f ew w ith whom those in places of authority have seldom any affinity. 
Yet here is an isolated case, not only of toleration but of patronage, 
for it would appear that Aston settled in the town at the formal invitation 
of the magistrates. It is pleasant to think of the gratification such a 
favourable state of things must have afforded one particular man Allan 
Ramsay. It is even possible that he may have been to some degree 
instrumental in prospering his friend Aston's fortunes. It is more 
probable, however, that Aston had resided in the town for many seasons, 
and had, by his careful and decent way of living, shown that a player 
could be a worthy citizen ; and in this way gained the favour of the 
magistrates. Be that however as it may, Ramsay would be none the less 
rejoiced at the happy turn things had taken, and would very likely, making 
the " wish the father to the thought, " imagine that the good folk of 
Edinburgh were at last becoming catholic-spirited in matters of art. 
Ramsay was a firm friend to Aston, and not only wrote one or two 
prologues for him, but also a pamphlet,* in which the players are ably 
defended against the insinuations and prejudices of the time. In this 
curious little publication, Ramsay sets up a liberal-minded, and at the 
same time readable, defence of the stage. He allows the possibility of 
evil arising through its influence ; but contends that such a contingency 
was not to be looked for in Edinburgh to any degree, so long as Aston 
was manager and the audiences continued to be drawn from the more 
intellectual classes. Aston, he says, was a man of " good sense, and too 
cautious to disoblige a city he loves and designs as the place of his 
residence," by allowing anything improper. One argument frequently 
brought up against the players, was that they robbed the hard-working 
citizen of his honestly earned gains, to spend the ill gotten money on 
luxury, or save it up to leave the country and squander it elsewhere. 
Ramsay points out the foolishness of this, in a manner at once convincing, 
and at the same time showing pretty accurately what were the emoluments 
of the histrionic art in Scotland a hundred and fifty years ago. He 
averages the drawings at about 60 per month, or j or ^"8 each playing 
night ; 10 or i i being the highest, and ^4 or ^5 the lowest drawing 
each evening. 

* Some Hints in defence of Dramatic Entertainments, by Allan Ramsay, 1727. 



The Annals of the Edinburgh Stage. 37 

" T'is own'd," he says, " when a person of distinction has a mind to make a benefit night 
they may rise the height of an ^18 or ^20 night ; but this is not frequent ; but to my calcu- 
lation against ^15 per week for eleven persons, we must first substract at least $ a week 
for the needful charges of the theatre (poor as it is at present), in rent, candle, printing bills 
and tickets, wright-work, servants of different kinds, &c., not to mention dues paid to the 
Master of the Revels and some others, wherein Mr Aston has acted honourably ; who, being 
director and one who can afford it, has paid out above ^200 for fine clothes and other things 
proper for his business, and has for this, as it is his due, more in the dividend than the rest ; 
what that is we are not to enquire into, but divide ^10 a week fairly amongst eleven people 
and what can they carry off of that I leave you to judge ; but this objection I remove all at 
once by telling you that Mr Aston is resolved to live and die in this place." He says farther 
on, " Mr Aston and his family live themselves, to my certain knowledge, with sobriety, 
justice, and discretion, he pays his debts without being dunn'd ; is of a charitable disposition 
and avoids the intoxicating bottle." 

Regarding the performances given by Aston and his eleven comedians, 
scarcely any records remain to us. The public press of the time is almost 
silent regarding theatricals ; but in the pages of the Caledonian Mercury 
for December i4th, 1727, we find the following: "Yesternight an idle 
giddy mob got up a little below the guard-house, who, without the least 
shadow of provocation, insulted several persons of quality and distinction 
as they were passing the street to see the play called the Earl of Essex 
acted by Anthony Aston's company of comedians." 

Before this happened the Magistracy had been altered, and Aston 
began to experience what being in " hot water" meant. In November, not- 
withstanding the prohibition of the new magistrates, who did not endorse 
their predecessors' action, he played Love for Love, and announced 
another play for production. The "magistrates imposed a moderate fine 
for his contempt, discharg'd him thereafter to act any play, farce or comedy 
within the liberties, and caused affix a padlock upon the door of the 
Skinner's Hall, which he had hired and prepared for that purpose." 
Aston, however, had no intention of submitting to the ruling of the 
magistrates, and accordingly raised a bill of suspension in the Court of 
Session, in which he urged istly, that he had acted the preceding winter 
without any check, that he had been formally invited by the magistrates 
to do so, and that, although an alteration had happened among them since, 
it was not in the power of succeeding magistrates to undo what their pre- 
decessors had lawfully done ; 2ndly, That as a free subject it was his birth- 
right to hire any house or lodging within any town of Great Britain, to act 
plays for his own or his neighbours' diversion, or to put any such house 

t Legal paper in Mr J. Cameron's collection. 



3 8 The Annals of the Edinburgh Stage. 

to any other use, unless it was contrary to the laws of God and man, 
or an encroachment upon the privileges of any incorporate society ; 
3rdly, The suspender pleaded that he had the authority of the Earl 
of Lauderdale, Lord Somerset, and Lord Belhaven, under their sign 
manual, to act his plays wherever he liked, supported by the statute 
39th Elizabeth. 

To all this the magistrates, who had retained Charles Erskine of 
Tinwald,* replied that istly, Aston had no licence to return and act in 
1727, and that verbal licences from former magistrates could not bind their 
successors ; 2ndly, That the privileges of the city prevent subjects, other 
than members of the Guild, from exercising any trade without having the 
particular freedom of the town ; 3rdly, That although Aston might, as an 
individual, exercise his right to act plays, yet that gave him no power for 
a company or fraternity to join themselves together without a licence from 
the magistrates or a charter from the king. 

" Because," as the printed " Answers " set forth, " order and good Government require 
that not only crimes, but whatever else may disturb the public tranquility or be noxious to it, 
should be represt, and therefore all assemblies of many persons in one body are unlawful, at 
least they cannot insist upon their having any right to meet as a body ; for if they could, they 
may meet for no other end but to concert some enterprise against the public." The magis- 
trates further observe, " that how inrtocent so ever publick diversions may be, they are cer- 
tainly the occasion of drawing great assemblies of people together, and for that reason have 
always been considered as of very great consequence to any populous place, and it were an 
absurdity to suppose, that under that colour, any number of persons could insist upon it as a 
privilege, that they could hold assemblies and gather multitudes together in defiance of the 
governors of the place, or that the governors behoved to wait until a mischief was done, 
before they could pretend to suppress them, and that the privilege of the Peers to grant a 
licence was limited to England." 

In conclusion, the magistrates claimed as their exclusive right the privi- 
lege of trade, and that they had always suppressed " all publick shows, rope 
dancers, tumblers, and their whole tribe, excepting such as had a licence." 
One curious circumstance connected with this action remains to be noted. 
During the previous year, 1726, while Aston was acting under the magis- 
trates' sanction, the Master of the Revels for such a functionary then 
existed, by name Thomas Johns, had endeavoured to stop the performances 
and had cited Aston before the magistrates to that end. But the worthy 
comedian knew very well he could defy the Master of Revels with the 
backing he received from the magistracy. Now he was fighting against 

* Afterwards a Lord of Session and Lord Justice-Clerk, died April 5, 1763. 



The Annals of the Edinburgh Stage. 39 

those who had formerly protected him, or at least their successors in office, 
and he must have been conscious that his chances of success were but 
scanty. The pleas which he put before the Lords of Session for suspension 
were ingenious but not weighty ; and although the replies put forward by 
the magistrates were weak, yet the mere fact of their being brought 
forward ostensibly for the public weal lent them a certain importance. If 
judged by more tolerant laws and notions than then existed, Aston 
was morally in the right ; and as there was really no Scots law bear- 
ing on the subject, the Lords of Session very rightly granted his 
bill. They had had a prettty tough knot, but who will say that they 
unravelled it rather in accordance with their inclination than their sense 
of justice ?* 

Aston immediately set about issuing his bills and performing as before ; 
but the magistrates, ill-pleased with their failure, looked about for a better 
peg to hang their interdict upon, and they were not long in finding one, 
for in a few days, namely, on December ist (1727), Lady Morrison, who 
lived below the Skinner's Hall, presented a petition to the magistrates com- 
plaining that the building being old and frail, the large concourses of people 
witnessing the plays "bended" her roof to such an extent that "her 
house was in danger of being destroyed by the fall of the floor." Aston 
was summoned to appear before the magistrates, when he insisted on Lady 
Morrison being put upon her oath ! This, although quite in order on 
Aston's part, must have been considered pretty great presumption on the 
part of a player. The magistrates then issued a warrant to the captain of 
the city guard to stop any meeting in the Skinner's Hall, till the place should 
be visited, " and in consequence of that order the captain of the guard in- 
terrupted the play." t Fifteen skilled tradesmen all declared upon oath 

* Since writing the above, the Author has found a most curious paragraph in a periodical very little known, 
entitled " Mist's Weekly Journal," No. 138, December 9, 1727 ; it is quoted in full, as it gives a most interest- 
ing account of this dispute. 

" EDIN., Dec, 2, Last Sunday the Kirk pulpits were thump'd in a violent and outragious manner, and the 
case of abominations feelingly display'd with abundance of pious rhetoric on account of Tony Aston's being 
tolerated to entertain the beaus and belles with his comick scenes and representations. The pastors had got the 
magistrates on their side, and had plac'd a guard of soldiers, with their bayonets on their muskets, at the door 
of his Theatre, to prevent the Ladies going in, and put an end to the Acting ; but the matter being 
brought before a higher Court, where the Ladies had a pretty considerable influence, the prohibition was taken 
off and Tony restor'd to his privilege of diverting the Town, as well as the more serious Drolls." 

The way in which ladies were in the habit of canvassing for influence to be brought to bear on the Judges, 
so that verdicts might be given on a particular side of a case, is pretty well known. In such a case as this, 
when the Judges and legal fraternity were in sympathy with the players, there would be little difficulty in find- 
ing the verdict pronounced. 

t This is probably what is referred to in " Mist's Journal." See former note. 



4O The Annals of the Edinburgh Stage. 

that the walls and floors were in an unsafe condition, and were all fee'd at 
the town's expense for their professional opinion ! Aston, still full of spirit, 
had recourse again to the Lords of Session, to whom he addressed a com- 
plaint that the magistrates had not obeyed the decree of their Lordships. 
The civic magnates appealed against that decree, and complained that it 
would become " a precedent and would open doors, not only for multi- 
tudes of players, comedians ; but at the same time for Merry Andrews, 
Rope Dancers, Tumblers, Leaders of Bears, Munkies and other shows ! " 
and that they being " skill-less and unacquainted in productions proper for 
the stage, regulations by them could not be made without being construed 
by Mr Aston as an encroachment upon the liberties of mankind, and to pro- 
ceed from the caprice of a Baillie, to use a decent expression in the infor- 
mation formerly laid before your Lordships." 

And so the war waged between the magistrates and Tony Aston, until, 
in the usual course of things, the weaker had to succumb to the stronger, 
and Aston was obliged to bid adieu to Edinburgh. That he and his com- 
pany were still here in April 1728, appears from the following curious para- 
graph in the Caledonian Mercury of April I5th 1728 : "We are well 
informed that the marriage of Mr Walter Aston with Mrs Jean Ker has 
been mutually declared. Nota. Mr Aston and his father were incarcerate 
last week, as supposed to have enticed away that young gentlewoman." 

Aston, according to his biographers, * appears to have been bred an 
attorney in England. He wrote a play called Love in a Hurry, which was 
acted in Smock-alley, Dublin, with no success, t That he was in Dublin 
in 1715 is proved by the following licence : 

(Copy OF LICENCE.) " By the Lord Mayor of the City of Dublin, I do hereby give 
Liberty and Licence to Anthony Aston, gentleman, with his wife and son, and musick to ex- 
hibit and represent, within this City and the Liberties thereoff, such lawful Diversions as may 
tend to the innocent Recreation of all those who are willing to see the same, they behaving 
themselves faithfully and honestly, as becomes his Majesty's Subjects. In testimony whereof 
I have hereunto subscribed my name, and affixed the seal of Mayorality, this loth day of 
September 1715. (Signed) JAMES BARLOW." 

Aston must have been a clever man, but, probably from want of 
stability of character, never made any permanent success. He roamed 
about all his life, and was always more or less in difficulties. An amusing 
story is told by Chetwood of Aston leaving a box full of stones as security 
with a lodging-house keeper with whom he was in debt. 

* Thespian Diet, and Hist, of the Stage, by Chetwood, 1759. t Chetwood, 1759. 



The Annals of the Edinburgh Stage. 41 

To go back as far as 1719, we find Allan Ramsay writing a prologue 
to be " spoke by one of the young gentlemen who, for their improvement 
and diversion, acted the Orphan and Cheats of Scapin, the last night of 
the year 1719.* 

Braw lads, and bonny lasses, welcome here ; 

But wha's to entertain ye ? Never speer ; 

Quietness is best ; tho' we be leal and true, 

Good sense and wit's mair than we dare avow. 

Somebody says to some fowk, we're to blame ; 

That 'tis a scandal and black burning shame 

To thole young callands thus to grow sae snack, 

And lear O mighty crimes ! to speak and act ! 

" Stage plays," quoth Dunce, " are unco' things indeed ! " 

He said, he gloom'd, and shook his thick boss head. 

" They're papery, papery ! " cry'd his nibour neist, 

" Contriv'd at Rome by some malignant priest, 

To witch away fowk's minds frae doing well, 

As saith Rab Ker, M'Millan, and M'Neill." 

But let them tauk : in spite of ilk endeavour, 

We'll cherish wit, and scorn their fead or favour : 

We'll strive to bring in active eloquence, 

Tho', for a while, upon our fame's expence : 

I'm wrang our fame will mount with mettled carles, 

And for the rest, we'll be aboon their snarls. 

Knock down the fools, who dare with empty rage 

Spit in the face of virtue and the stage. 

'Cause heretics in pulpits thump and rair, 

Must naithing orthodox b' expected there ? 

Because a rump cut off a royal head, 

Must not another parli'ment succeed ? 

Thus tho' the drama's aft debauch'd and rude, 

Must we, for some are bad, refuse the good ? 

Answer me that ; if there be ony log, 

That's come to keek upon us here incog. 

Anes, twice, thrice but now I think on't, stay, 

I've something else to do, and must away. 

This prologue was design'd for use and sport, 

The chiel that made it, let him answer for't. 

Coming now to 1724, we find in the pages of the Courant, the 
following : 

* Ramsay's Works. 



42 The Annals of the Edinburgh Stage. 

" We are advised from Haddington, that upon the 2oth (August), the tragedy of Cato 
was acted there by the noblemen and gentlemen's children, scholars at the grammar school 
of that place, in presence of a great many nobility, ladies of quality, gentlemen, and other 
spectators. A convenient stage was erected for that purpose at the Cross, by order of the 
magistrates, with theatres for the honourable company. The ingenious youths acted each 
of them their parts with universal applause, drawing tears from the spectators in the forenoon, 
when they represented Cato, and moving their laughter as successfully in the afternoon, by a 
lively representation of the farce called the Cheats of Scapin." 

In 1727, Aurenge-Zebe and the Drummer were acted in the same 
manner; and Allan Ramsay wrote a prologue, which was "spoke" by 
Mr Charles Cockburn, son of Colonel Cockburn.* 

" Be hush, ye crowd, who pressing round appear 
Only to stare we speak to those can hear, 
The nervous phrase, which raises thoughts more high, 
When added action leads them thro' the eye. 
To paint fair virtue, humours, and mistakes, 
Is what our school with pleasure undertakes : 
Thro' various incidents of life led on 
By Dryden, and immortal Addison ; 
Those study'd men, and knew the various springs 
That mov'd the minds of coachmen and of kings. 
Altho' we're young, allow no thoughts so mean, 
That any here's to act the Harlequin : 
We leave such dumb-show mimicry to fools, 
Beneath the sp'rit of Caledonian Schools. 
Learning's our aim, and all our care to reach 
At elegance and gracefulness of speech, 
And the address, from bashfulness refined, 
Which hangs a weight upon a worthy mind. 
The grammar's good, but pedantry brings down 
The gentle dunce below the sprightly clown. 
' Get seven score verse of Ovid's Trist by heart, 
To rattle o'er, else I shall make you smart,' 
Cry snarling Dominies that little ken : 
Such may teach parrots, but our Lesl' men." 

In October 1728, "at the desire of several of the nobility and 
gentry of East Lothian, the Beggars Opera will be acted at Haddington, 
by Mr Phipps and the rest of that company of comedians, who have 
been so happy as to please the ladies and noblemen of this country last 
sessions. To begin at four o'clock."t It is worthy of note, that this was 
in the year that the Beggars Opera first saw light in London ! 

* Ramsay also wrote an epilogue, which was spoken by Mr Maurice Cockburn. 
t Coitrant, 22d-24th October 1728. 



The Annals of the Edinburgh Stage. 43 

Another performance is recorded on August i7th, 1731, by the 
young gentlemen of the grammar school, Haddington, under the direction 
of Mr David Young, of the tragedy of Jane Shore ; and the scholars of 
the Dalkeith grammar school, on the 23rd of the same month, acted 
Tamerlane and the Provoked Husband. 

On October I7th, 1728, the Courant contains the following announce- 
ment : " We hear a new set of comedians, who have a patent from his 
majesty, have taken a lease of a piece of ground in the Canongate, and 
are there to erect a playhouse." 

On Monday, July loth 1732, the Royal Company of Archers, after 
shooting for the arrow, and dining together, marched to the playhouse, 
and " saw acted the tragedy called Macbeath"* 

The actors who played on this occasion were very probably those 
who came to the city on October I7th, 1728, as noted above; although, 
how they contrived to escape the fate of Aston, and play until 1732, it is 
difficult to conceive. In 1733, they again appeared, and were evidently 
well known, and welcomed to the town. 

The Caledonian Mercury for June 4th, 1733, contains the following : 
" We are assured, that the Edinbiirgh Company of PLAYERS will open 
their house on Wednesday next, the 6th inst., with the Beggars' Opera; 
and that they have unanimously agreed to act on Wednesday night, the 
1 3th, for the benefit of the Edinburgh Infirmary ; the whole profits arising 
from that night's performance to be given in to the managers of that hospital 
without the least drawback." 

During this year (1733), there are pretty frequent mentions of 
the company. On July I2th, we read : t "The Edinburgh Com- 
pany of PLAYERS having lately acted several of Shakespear's plays, 
such as Othello, Hamlet, Henry IV., the Humo^trs of Falstaff, &c., 
with great applause ; we hear, they are to act to-morrow, the 1 3th, 
another of Shakespear's excellent plays, viz., King Lear and his three 
daughters" 

After the summer season the company evidently went on tour, 
returning early in November. On the first of that month, we read, 
" The Edinburgh Company of COMEDIANS being now all conveen'd, they 
are to open their house Monday next, the 5th inst., with the favourite 
play of Tamerlane. The parts of Tamerlane and Bajazet to be per- 

* Caledonian Mercury, July llth, 1732. t Ibid. 



44 The Annals of the Edinburgh Stage. 

formed by Mess. Barret and Wescomb ; Moneses and Axalla, by Messrs 
Miller and Ware ; and all other parts to the best advantage." 

" Never performed before in this city. On Wednesday next, the 26th 
inst. (Dec.), at the Edinburgh Theatre, at Taylors' Hall, will be acted the 
Tempest ; or, Inchanted Island, with all the musick, sinkings, risings, new 
scenes, and other decorations proper for the performance. No persons 
whatsoever (but those who manage the machinery), to be admitted behind 
the scenes. The doors of the pit and gallery not to be opened till after 
4 o'clock in the afternoon. The play to begin precisely at six o'clock." 

Caledonian Mercury, December 2 7th. " Yester night at the Edin- 
burgh Theatre, to the fullest audience that has been for some considerable 
time, was acted the Tempest; or Inchanted Island, with universal applause; 
every part, and even what required machinery, being performed in great 
order." 

"To-morrow, being Wednesday, 2nd inst. (January 1734), at the 
desire of several persons of distinction. At the Edinburgh Theatre, at 
Taylors' Hall, will be acted The Miser. The part of Lovegold, by Mr 
Wescomb, and all the other parts to the best advantage ; to begin 
precisely at six o'clock." 

" This evening (Jany. 7th), at the Edinburgh Theatre, being desired 
by several ladies, will be acted, The Careless Husband ; to which will be 
added, the entertaining ballad-opera, Tlie Devil to pay ; or, The Wives 
Changed. The parts of Jobson the cobbler, and his wife, Nell, by Mr 
Wescomb and Mris Miller. The doors not to be opened till four o'clock 
afternoon. To begin exactly at six." 

" For the benefit of Mr Wescomb. On Monday next, the 28th inst. 
(January), at the Edinburgh Theatre, in Taylors' Hall, will be acted the 
Way of the World ; to which will be added the opera of Flora ; or, Hob 
in the Well. The parts of Sir Wilful Willwood, in the comedy, and of 
Hob, in the opera, by Mr Wescomb. The doors to be opened half an 
hour after 3 of the clock, and to begin exactly at 6." 

" For the benefit of Mr Bulkeley. To-morrow evening (Feby. ist), 
will be acted, at Taylors' Hall, a play call'd Macbeth. To which will be 
added, Flora" 

" For the benefit of Mistress Woodward. At the Edinburgh Theatre, 
in Taylors' Hall, on Monday next, the i ith inst. (February), will be acted, 
Tlie Conscious Lovers, a comedy by Sir Richard Steelle. To which will 
be added, The Devil to pay. Jobson and Nell, his wife, by Mr Wescomb 
and Mris Miller. Doors open at 4, begin at 6." 



The Annals of the Edinburgh Stage. 45 

" To-morrow (being the 2oth inst.), [March], at the Edinburgh 
Theatre, in Taylors' Hall, will be acted for the first time, a comedy, 
called The Wonder, a woman keeps a secret. The part of the Scots 
Colonel, by Mr Weir ; and that of his servant Gibby in Highland dress, 
by Mr Wescomb." 

The company appears to have remained until August, for in the 
Mercury of the i3th of that month we find : " Early this morning the 
Edinburgh Company of COMEDIANS set out hence for Dundee, Montrose, 
Aberdeen, &c., in order to entertain the gentlemen and ladies, in the 
different stations of their circuit." 

That they were successful is pretty evident, for we read on the 5th 
September : " We learn from Dundee, that the Edinburgh Company of 
PLAYERS have been well received there, and acted frequently, to the entire 
satisfaction of the gentlemen and ladies. Particularly, the 27th past, they 
played for the entertainment of the Ancient and Honourable Society of 
FREEMASONS, the grand master patronizing the same, by assembling all 
the Masons of his Lodge, and marching at their head to the play-house 
in their proper apparrel, with hautboys and other musick before them. 
The Jubilee and Devil to pay were played to them, with the Freemason's 
Prologue and Epilogue, and the song of an entered mason apprentice, 
sung in chorus by four of the company, who have the honour to be Free- 
masons." 

The next mention of the Company is on November 4th: "The 
Edinburgh Company 0/" COMEDIANS being returned from their travels, with 
success and a fair character, have since been busied in decorating and en- 
larging their stage and pit ; and constantly at their rehearsals getting up 
fresh plays. Next Wednesday (Nov. 6th) they are to open their house with 
the excellent play of the Kind Imposter ; to which will be added a comick 
tragedy in one act, called, Chrononhotonthologos. The tragedy and tickets 
to be had at Allan Ramsay's shop." 

" By the Edinburgh Company of COMEDIANS at the Theatre in 
Taylors' Hall. To-morrow the nth inst., will be acted a comedy, called, 
The Relapse ; or, Virtue in Danger. To which will be added (never per- 
formed here) a Pantomime Entertainment in Grotesque Characters ; being 
the comic part of the celebrated Perseus and Andromeda ; Intermix'd 
with several diverting scenes, from Cephalus and Procris and the Burgo- 
master trick 'd, with all the scenes, &c." 

" N.B. By reason of the extraordinary charge the Company is at, on 



46 The Annals of the Edinburgh Stage. 

account of the entertainment, nothing less than the full prices will be taken 
during the whole performance. The Doors not to be opened till 4 o'clock 
and 'tis hoped no gentleman whatever will take it amiss, if they are refused 
admittance behind the scenes ; it being impossible to perform the enter- 
tainment, if there is the least obstruction in that part. To begin exactly 
at 6 o'clock. Pit tickets at 2s. 6d., Gallery is. 6d. To be had at Mr 
Ramsay's." 

Caledonian Mercury, 1735, Jany. 2nd. "By the Edinburgh Company 
of Comedians, at the Theatre in Taylors' Hall. To-morrow the 3rd inst., 
will be acted the comedy called The Tempest ; or, The Inchanted Island. 
Written originally by Shakespear, and altered by Sir William Davenant, 
and Mr Dryden. With all the scenes, machines, and other decorations. 
To be introduced by an entire new Sea Scene, with songs and musick 
proper for the same, also the original Furies song by M. Price and Mrs 
Bulkley ; with the song of Dear Pretty Youth, set to musick by the late 
Mr Henry Purcel. To begin exactly at 6 o'clock. 

" N.B. On account of the representation of the sea, no person what- 
ever can be admitted behind the scenes." 

" Jany. Qth. We are assured that on Monday next will be acted at the 
Edinburgh Theatre, (being particularly desir'd) The Relapse ; or, Virtue in 
Danger, a comedy. To which will be added, the merry tragedy of Chron- 
onhotonthologos. ' ' 

" Jany. i5th. Yesternight the several members of the most ancient 
and honourable society of FREE MASONS now here, march'd in procession 
with aprons and white gloves, attended with flambeaux, to the play-house, 
Taylors' Hall, where they saw (acted at their desire) the comedy of Henry 
the Foiirth" 

"Jany. 22nd. For the benefit of Mrs Bulkeley Oroonoko and The 
Devil to Pay. Widow Lockit Mrs Bulkeley. 

" N.B. Mrs Bulkeley being weak and almost incapable to walk, 
cann't acquit herself to her friends' satisfaction, yet hopes to be honoured 
with their presence." 

"Jany. 3ist. Benefit of Mistress Weir at the Edinburgh Theatre, 
The Relapse, and a Pantomime Entertainment." 

The Season must have closed soon after this, for the next entry we 
find is on November i8th. " To-morrow (iQth) the Tender Husband and 
a new Pantomime Entertainment in grotesque characters, called the Per- 
plex d Polander, or Columbine, a Courtezan, the part of Harlequin by a 



The Annals of the Edinburgh Stage. 47 

person who never appeared in that character on the Edinburgh stage ; 
Polander Mr Bridges ; Pero Mr Wescomb ; Columbine Mrs Miller ; 
Maid Mrs Quin. All the parts entirely new dressed. Doors open at 4, 
no person to be admitted behind the scenes, and no money taken under the 
full price." 

(Dec. 1 8th). By the "Edinburgh Company <?/" COMEDIANS." At the 
Taylor's Hall on Monday, 22nd Dec., The Drummer and a. new Panto- 
mime Entertainment, called, the Hussar or Harlequin Restord. 

On Feby. 2nd, 1736, the "famous Italian rope dancer," Madam 
Violante, danced on the straight rope and did her " other surprising per- 
formances which have justly received the applause of the Publick these 
several months back." On the present occasion the performance was for the 
benefit of the poor of the city. 

It is not stated where this performance was given ; but on Monday, 
Feby. Qth, the Signora is advertised to perform on the slack rope at the 
" new theatre " in Carrubber's Close, with a Pantomime Entertainment and 
several dances on the stage by Mr Hind and " Mrs " Violante. Pit 2s. 6d. 

This must refer, to the building which Allan Ramsay soon afterwards 
fitted up as a theatre. There can be no question that the present date 
(Feby. 1736) was prior to the time when Ramsay's alterations were com- 
menced. The last of Signora Violante's advertisements for this season is 
on Feby. 25th, after which the building was remodelled. 

In the Caledonian Mercury for September i6th, an exceedingly in- 
teresting announcement occurs : " The new theatre in Carrubber's Close, 
being in great forwardness, will be opened the first of November. These 
are to advertise the Gentlemen and Ladies who incline to purchase Annual 
Tickets, to enter their names before the Twentieth of October next, on 
which Day they shall receive their tickets from Allan Ramsay on paying 
305. No more than forty to be subscribed for. After which none will be 
disposed of under two guineas." 

This is the first intimation we have of Allan Ramsay's play-house a 
speculation by which he lost heavily through the narrow-mindedness of the 
powers that then were. It should be remembered that this was the first 
regular theatrical establishment ever erected in Scotland, and that it was 
brought into existence by the enterprise of the poet, Allan Ramsay. 

The opening was postponed to the 8th November, when the Recruit- 
ing Officer and the Virgin Unmask 'd were played. Unhappily the casts 
have not been preserved. 



48 The Annals of the Edinburgh Stage. 

In the Mercury of November i5th, we read as follows : " On Mon- 
day last the New Theatre in Carrubber's Close was opened (which is 
thought by all judges to be as complete and finished with good taste as 
any one of its size in the three kingdoms) when the following Prologue 
was spoken by Mrs Bridges : 

" Long has it been the business of the stage 
To mend our manners, and reform the age. 
This task the muse by nature was assign'd, 
Ere Christian light shone in upon the mind ; 
Ev'n since these glorious truths to men appear'd, 
Her moral precepts still have been rever'd, 
And when the sacred monitors have fail'd, 
. Just satyre from the stage has oft prevailed. 
Tho' some sour criticks full of phlegm and spleen 
Condemn her use as hellish and obscene ; 
And from their gloomy thoughts and want of sense, 
Think what diverts the mind gives Heav'n offence. 
Would such from truth and reason form their sample 
They'll find what's meant for precept, what example, 
Nor think when vice and folly shall appear 
The characters were drawn for them to wear ! 
Fools in their native follies should be shewn, 
And vice must have its language to be known. 
To such this lesson then we recommend, 
Let each mend one the stage will have its end, 
Good sense shall flourish, Reason triumphant reign, 
And hypocrites no more their power maintain, 
The muse shall once again resume her throne, 
And our stage vie with Athens or with Rome. 
Long in those realms she held her rapid flight, 
Filling their minds with profit and delight ! 
Till in despight of sense and with disgrace, 
Dull Ignorance awhile usurp'd her place, 
For many ages bore the palm alone, 
And with buffoons defiled her sacred throne. 
But late at length she reach'd Britannia's shore, 
And Shakspere taught her once again to soar. 
At last transplanted by your tender care, 
She hopes to keep her seat of Empire here. 
To your protection then, ye fair and great, 
This fabrick to her use we consecrate : 
On you it will depend to raise her name, 
And in Edina fix her lasting fame." 

On December i7th, Madame Violante is advertised to give six per- 



The Annals of the Edinburgh Stage. 49 

formances in the Old Assembly Hall, and on "Monday next" (Dec. 
20th) for her benefit " will be performed several new and surprising en- 
tertainments on the strait rope by herself as she did at London for 3 years 
successively before the late King," &c. 

" i. She dances a minuet on the rope as neatly as can be danced 
on the floor. 

"2. A dance upon a board laid upon the rope, without its being any- 
way fasten'd thereto. 

"3. A dance with two boys fastened to her feet. 

" 4. A dance on the rope with 2 as heavy men as any in town fastened 
to her feet. 

"5. She dances on the rope with 2 swords at her feet. 

" 6. She performs the exercise of the colours on the rope, to the sur- 
prise of all spectators. To begin at 6. Price 2s. 6d." 

After this season she seems to have resided permanently in Edin- 
burgh, as a teacher of dancing, until her death in 1741. 

What fortune Allan Ramsay's theatre may have had, during its brief 
existence of little more than six months, is unknown. That it was shut up 
immediately on the passing of the New Act, * 10 Geo. II. cap. 28, June 
24, 1737, is certain. Ramsay must have lost heavily by his speculation, 
and was no doubt much annoyed at the frustration of his darling project. 
He contented himself however, so far as the public was concerned, with 
writing the following address : 

f To the Ilonbl. Duncan Forbes of Culloden, Lord- President of the Session, and all other 
judges, who are careful of the honour of the Government, and the property of the 
subject : Humbly means and shews 

To you, my Lords, whase elevation 

Makes you the wardens of the nation, 

While you with equal justice stand, 

With Lawtie's balance in your hand ; 

To you, whase penetrating skill 

Can eithly redd the good frae ill, 

And ken them weel whase fair behaviour 

Deserve reward and Royal favour, 

As like you do, these stonherd fellows, 

Wha merit naithing but the gallows ; 

To you, with humble bow, your bard, 

Whase greatest brag is your regard, 

Begs leave to lay his case before ye, 

And for an outgate to implore ye. 

* See Appendix. t Gentleman's Magazine, 1737, p. 507. 

D 



5<D The Annals of the Edinburgh Stage. 

Last year, my Lords, nae farrer gane, 
A costly wark was undertane 
By me, wha had not the least dread 
An Act wad knock it on the head : 
A play-house new, at vast expense, 
To be a large, yet bein defence, 
In winter nights, 'gainst wind and weet, 
To ward frae cauld the lassies sweet, 
While they with bonny smiles attended, 
To have their little failures mended ; 
Where satire, striving still to free them, 
Hads out his glass to let them see them. 
Here, under rules of right decorum, 
By placing consequence before 'em, 
I kept our troop, by pith of reason, 
Frae bawdy, Atheism, and treason, 
And only preach 'd frae moral fable, 
The best instruction they were able ; 
While they by doctrine linsy-woolsy 
Set aff the utile with duke. 

And shall the man to whom this task falls, 
Suffer amang confounded rascals, 
That, like vile adders, dart their stings, 
And fear nae God, nor honour kings ? 
Shall I, wha for a tract of years 
Have sung to commons and to peers, 
And got the general approbation 
Of all within the British nation, 
At last be tin'd of all my hopes 
By them who wont to be my props ? 
Be made a loser, and engage 
With troubles in declining age ; 
While wights, to whom my credit stands 
For sums, make sour and thrawin demands ? 
Shall London have its houses twa, 
And we be doom'd to 've nane ava ? 
Is our metrop'lis, anes the place, 
Where longsine dwelt the royal race 
Of Fergus, this gate dwindled down 
T' a level with ilk clachan town, 
While thus she suffers the subversion 
Of her maist rational diversion ? 

When ice and snaw o'ercleads the isle, 
Wha now will think it worth their while 
To leave their gowsty country bowers 



The Annals of the Edinburgh Stage. 51 

For the anes blylhsome Edinburgh's towers, 
Where there's no glee to give delight, 
And ward frae spleen the langsome night ? 
For which they'll now have nae relief, 
But sonk at hame, and deck mischief. 

Is there ought better than the stage 
To mend the follies of the age, 
If managed as it ought to be, 
Frae ilka vice and blaidry free ? 
Which may be done with perfect ease, 
And nought be heard that shall displease, 
Or give the least offence or pain, 
If we can hae't restored again. 

Wherefore, my Lords, I humbly pray 
Our lads may be allowed to play, 
At least till new-house debts be paid off, 
The cause that I'm the maist afraid of ; 
Which laide lyes on my single back, 
And I may pay it ilka plack. 

Now, its but just the legislature 

Should either say that I'm a faulter, 
Or thole me to employ my bigging, 
Or of the burden ease my rigging, 
By ordering, frae the public fund, 
A sum to pay for what I'm bound ; 
Syne, for amends for what I've lost, 
Edge me into some canny post, 
With the good liking of our king, 
And your petitioner shall sing. 

Although Allan Ramsay quietly submitted, and discontinued his con- 
nection with actors and acting, it should be recollected that he could afford 
to do so, as he did not depend upon the stage for his daily bread. Not so, 
however, the members of his late company. This little band of outlaws, 
as they might fitly be termed, struggled desperately to earn the few 
shillings that were necessary to keep them alive, and which they knew no 
way of obtaining save by "play-acting." A blank of two years occurs in 
our sources of information, but on January Qth, 1739, one John M orison, 
the Caledonian Mercury informs us, was committed by order of the Rt. 
Hon. the Lord Provost, for "presuming to put up placaerts (placards) 
within this city," advertising " That at night the Comedy, called the Care- 



52 The Annals of the Edinburgh Stage. 

less Husband," would be acted in Carrubber's Close, by Messrs Gifford, 
senr. and junr., Messrs Millar, Thomson, Waldegrave, Alison, Mrs Wood- 
ward, Mrs Gifford, Mrs Millar, and Miss Thomson. * Also that the above 
and other persons had last Friday acted the Tragedy of Macbeth, in open 
defiance of a late law, therefore the Provost and Magistrates sent the city 
officers to summon the whole dramatis persona to appear in the Council 
Chamber. The Caledonian Mercury cannot let such an opportunity slip 
without having its little joke at the expense of the poor players, and says, 
it will let its readers know in the next number how they ACT before the 
Magistrates. Of course the Presbytery at once indulged in their favourite 
occupation of persecution, to which end they empowered their clerk to 
prosecute in their name. 

The actors meantime, who had many friends among the legal fraternity, 
contrived to stave off the proceedings with partial success. The Lords of 
Session were appealed to, and numerous summonses were issued, in- 
cluding one against an attorney named Marriot, who had threatened to 
throw a city officer out of a window, when the latter visited the theatre in 
order to cite the company before the magistrates. But the object of the 
comedians was plainly to keep open their theatre as long as possible, and 
reap what harvest they could before taking up their beds and walking. 
To gain time they lived within the sanctuary of the Abbey, thus making it 
difficult for the officers of the law to serve summonses, &c. on them ; but 
the end came at last, and on March 2nd, the Court found the complaint 
proven, and the defenders liable to a fine of ^50 sterling each, the fine to 
be levied by distress or sale of their goods and gear ; and in case their 
moveables should not prove sufficient, the defenders were to be imprisoned 
for three months. The Caledonian Mercury adds to its account of this, 
that " as the decreet was ordered to be summarily extracted, they have 
already begun to file off! " 

This was a black look-out for those who loved the play, and naturally 
set a number of people a-thinking whether nothing could be done to alter 
such a state of matters. The only thing possible was to get a special 
playhouse bill passed. A very influential party, including many noblemen, 
gentlemen, merchants, citizens, and burgesses, accordingly petitioned in 
favour of a bill for enabling His Majesty to grant letters patent for erect- 
ing a theatre ; but on the other hand, the magistrates, the clergymen, and the 
University petitioned against it; and so, although Lord Glenorchy brought 

* Mrs Bulkeley was also of the company. 



The Annals of the Edinburgh Stage. 53 

into the House of Commons the said bill for a playhouse, the same being 
read for the first time on the 4th April, the influence was too strong 
against it, and it was allowed to drop. 

The performances, in the same year (1739), of one Thomas Topham, 
a " strong man," who did wondrous feats of letting four men stand on 
his body, lifting a table six feet long by the strength of his teeth, and so on, 
need not be chronicled here, beyond the bare mention of the fact that he 
seemed to enjoy much popularity. 

Until December 2ist, 1741, not another mention of the Drama in 
Edinburgh is to be found ; on that day, however, the following advertise- 
ment clearly shows that acting had again been tried with some small degree 
of success ; 

" Just published, price one shilling, Humbly inscribed to her Royal 
Highness the Princess Amelia. 

" PAMELA. A comedy, which after being performed many nights 
at London was introduced to the Theatre in Edinburgh last Friday 
where it was received with great applause and is to be performed again 
to-night."* 

The company that played Pamela seems to have been under the 
management of Thomas Este. Who this gentleman was it is difficult 
to say, for his identity must not be confounded with that of William Este, 
mentioned by Chetwood, and who died in 1742-3. 

Thomas Este lived till 1745 (see page 55), and till that date continued 
as manager in Edinburgh. 

" On March i3th, 1742, By desire of his Grace the Duke of Hamilton, 
for the benefit of the Master Hamiltons, at the Taylors' Hall, will be per- 
form'd a Concert of Vocal and Instrumental Musick, after which, gratis, 
She woud and she wou'd not, to which will be added, by desire, the 
Honest Yorkshireman, performed by Liliputians." 

March i6th, at the Taylors' Hall, "was represented the tragedy of 
Cato to a fuller house than was ever known in that place. The fine senti- 
ments of this play, met with that applause, which they deserved from every 
free Briton. The Ladies particularly distinguished themselves by their 
virtuous distress. Cato drew tears from the fairest eyes." 

Some lines were written and published at the time, " On seeing Boys 
act the Tragedy of Cato," but are scarcely worth reprinting, t 

The Company was again acting in October, for on the 8th we read, \ 

* Caledonian Mercury. t See Fragmenta Scoto-Dramatica. Ibid. 



54 The Annals of the Edinburgh Stage* 

the Beggars Opera was " played to the entire satisfaction of the audience, 
who were so well pleased with the performance, that they desired it might 
be acted again on the following Monday." 

In December " we hear that the Company belonging to the Concert 
in Taylors' Hall have been at a considerable charge in getting up that 
celebrated entertainment, called the Negromancer, or Harlequin Doctor 
Faustus ; which will be performed next Friday, in the same manner as it 
was originally done at the Theatre Royal in Lincoln's-inn-fields." 

From all that can be gathered, Este seems to have been a capable 
manager and unquestionably smart. The device he had hit upon of charg- 
ing the audience, not to see the play, but to listen to a concert of 
"vocal and instrumental music," was clever, and served to evade the ob- 
noxious statute upon which Allan Ramsay and his Company had been 
wrecked. From Este's advent in Edinburgh, in 1741, to the present day, 
there has been an unbroken succcession of theatrical seasons year by year, 
and until 1767, when the patent was procured, this was due alone to the 
scheme of performing the plays gratis after the first part of the concert. 

Mrs Hamilton's benefit took place on the 3ist January 1743, the 
Mourning Bride and the Toy Shop being given gratis. Mr Lyon followed 
on February Qth, with Provoked Husband and the Devil to pay for his 
benefit. 

Feby. 2ist, at the desire of several ladies of distinction, "will be 
performed a concert of Vocal and Instrumental Music. After which will 
be given, gratis, Richard the Third, containing several historical passages, 
to which will be added, gratis, the Mock Lawyer. Tickets for the 
concert (on which are printed a new device, called the Apology and 
Evasion}, to be had at the Exchange and John's coffee houses ; and at 
Mr Este's lodgings, at Mr Monro's, musician, in the Cowgate, near 
Taylors' Hall. As Mrs Este's present condition will not admit of personal 
application, she hopes the ladies, notwithstanding, will grace her concert." 

An interesting paragraph occurs in the newspapers of February 
22nd, calling a meeting of the creditors of David Beatt, merchant, for 
March loth. This individual figures prominently in the after history of 
the Drama in Edinburgh. Only two other entries occur during 1 743 : 
on February 24th, King Lear and the Mock Lawyer were played for 
the benefit of the Master Hamiltons ; and on the 28th, the Wedding Day, 
never acted here before. 



The Annals of the Edinburgh Stage. 55 

The next mention we have of the Drama is the announcement of the 
Fair Penitent, on February ist, 1 744, when, " for the better accommodation 
of the ladies, the stage will be ornamented in a handsome manner, and 
illuminated with wax light." 

" N.B. There is opened into Scot's close, a convenient passage for 
the accommodation of ladies' chairs being set down at the pit and stage 
doors." 

This performance was for the benefit of Mrs Hamilton, who, after 
the announcement, states, " on account of her lingering illness, under 
which she has laboured for some months, being incapable of waiting on 
the ladies in person, she humbly hopes for a continuance of the favours, 
which she hath formerly received on the like occasion." 

" Feby. 9th. For the benefit of the poor in the new erected house in 
Edinburgh,* to-morrow, being Friday the i7th inst., will be given, gratis, 
the Orphan, with a farce, called the Devil to pay. As the managers of 
this concert are willing to throw in their mite towards the great and charitable 
work, it is hoped the same generous spirit that has hitherto appeared in 
support of so noble an undertaking, will now likewise exert itself on this 
occasion, that the concert may thereby answer the purpose for which it is 
intended." 

On Tuesday next, the 6th March, at the particular desire of a 
lady of quality, for the benefit of Mrs Este, at the Taylors' Hall, in the 
Cowgate, will be a Concert of Vocal and Instrumental Musick. After 
which, will be given, gratis, a tragedy, not acted this season, called the 
Mourning Bride ; with entertainments between the Acts, by M. Froment 
and Madame Dumont. And a new farce, call'd Sir John Cockle at Court ; 
or, the sequel to The Miller of Mansfield ; with an humorous Epilogue 
in the character of Nobody, to be spoken by Mrs Este. 

Nothing further is heard of the comedians or their doings until the 
i ith February of the following year,t when by desire of a lady of quality, 
for the benefit of Mrs Hamilton, at the Taylors' Hall, Venice Preserved; 
JafHer= Hughes; Pierre = Lyon; Belvidera = Mrs Hamilton; with dancing 
by Miss Thomson. 

On the day previous to this performance taking place, namely, on 
Sunday loth " about 6 in the evening, died Mr Thomas Este, one of 
the managers of the Concert in the Taylors' Hall, who has for these 4 

* This refers to the Charity Workhouse erected the previous year. 
t Caledonian Mercury, February yth, 1 745. 



56 The Annals of the Edinburgh Stage. 

years past most agreeably entertained the town with his excellent per- 
formances on the stage. As he was a most indulgent and affectionate 
husband, a tender father, a sincere friend, and a facetious and agreeable 
companion, his death is greatly lamented by all who had the pleasure of 
his acquaintance. " 

On March i3th, Tunbridge Walks, or the Yeoman of Kent, and the 
Lottery, with dancing by Mons. Froment and Miss Thomson, for the 
benefit of Master William Hamilton, by desire of His Grace the Duke of 
Hamilton. 

" By desire of several persons of distinction. April 3rd. The 
Constant Couple, or A Trip to the Jubilee, &c., with Harlequin Skeleton ; 
concluding with a grand dance, called Pigmalion, for the benefit of Mons. 
Froment, and last night of playing this season. Tickets at old John's 
and Exchange coffee houses, and Mons. Froment's school in Bailie Fife's 
Close. Pit, 2/6; Gallery, 1/6." Mr Este seems to have had a second 
benefit, when The Wrangling Lovers, or Like Master Like Man, a farce, 
was performed. This was the production of William Lyon, a member of 
the company, and was published by him during the same year (1745), and 
printed for him by R. Drummond. In the preface he expressly states that 
it was compiled from Vanburgh's Mistake for Mr Este's benefit. As a 
farce it is far from being destitute of merit, and under the name of Lovers 
Quarrels was played for many years in the Edinburgh Theatre. 

With this, the records of the Taylors' Hall may be said to end. 
Occasional notices of performances there crop up from time to time ; 
but the Canongate was destined as the future home of the Drama in 
Edinburgh, and to that locality we must now turn our attention. 

* Caledonian Mercury, February I2th. 



THIRD PERIOD, 



1746 to 1769. 




CHAPTER IV, 

CANONGATE CONCERT HALL, 1746-1751. 

E now arrive at a period in Scottish History, the main features of 
which are well known. Prince Charlie's romantic and quixotic 
expedition has not got much to do with the " Annals of the 
Edinburgh Stage," save inasmuch that it caused such intense 
excitement at the time, that nearly everything else was neglected, and in 
particular, the newspapers had no space in which to record the doings 
of the players. 

The play-house, however, despite the Pretender and his hungry 
Highlanders, seems to have been kept open, and it is most probable that 
during the year 1746 Mrs Ward, the actress, first came to Edinburgh. 
Arnot, in his History of Edinburgh, states that Ryan, from Covent 
Garden, laid the foundation stone of a new Theatre in the Canongate in 
1 746, and Maitland assures us, that this house was completed and opened 
during the following year. This information is most likely correct, as is 
also Arnot's further statement, that the building of the new house was 
undertaken in consequence of a split in the company at Taylors' Hall, 
and that the best of the actors went with Mrs Ward to the Canongate, 
while a remnant stayed behind in their old quarters. 

Dr Carlyle, in his " Autobiography," makes an interesting mention of 
the company in Edinburgh in 1746. He had been to London, and to the 
theatres there, and speaking of the English performers says : " Mrs 
Pritchard, Mrs Clive, and Macklin, were all excellent in their way ; but I 
had seen Hughes and Mrs Hamilton in Edinburgh, and whether or not 
it might be owing to first impressions, I then thought that they were not 
surpassed by those I saw in London." 

Regarding the new Concert Hall in the Canongate, it is extremely 
unfortunate that about the first few years of its existence, so little infer- 



6o The Annals of the Edinburgh Stage. [1746. 

mation can be had. Save what is given above, the whole of the circum- 
stances of its building, as well as the names of its builders and promoters, 
are apparently lost. Haply, at some future date, unsuspected sources of 
information may be unearthed for our edification and satisfaction. In the 
mean time we must be content with only the most meagre accounts even 
the title deeds of the Concert Hall property throw no light upon the 
matter, not even the date of its building being mentioned.* 

One thing however is certain, that Mrs Ward was a member of the 
first company of players who " strutted and fretted their hour upon its 
stage," for she was announced at Covent Garden, in the autumn of 1748, 
as " from Edinburgh." Of this actress, who spent much of her life in the 
provinces, little has hitherto been written ; her connection with Edinburgh 
was long and intimate, and will be fully chronicled in the following pages. 
Regarding her career prior to the period now treated of, not much can 
be gathered. In 1731, she was acting in Dublin along with Mr Ward, 
her husband ; again, in 1735, we find her in the same city, but from that 
date to 1747, when she was unquestionably in Edinburgh, there is no in- 
formation as to her whereabouts. In 1 745, however, there was published in 
Edinburgh, by R. Drurhmond, an opera, called The Happy Lovers ; or, the 
Beau Metamorphos d, by Henry Ward, comedian ; and in the same year, 
the Petticoat-Plotter ; or, More ways than one for a wife, a farce in two 
Acts, also by Ward, who probably was the husband of the actress. It 
is questionable if these pieces were performed in Edinburgh at the time of 
publication, for in the list of characters no performers' names are 
inserted. The name of Hugh Hughes, comedian, however, is among 
the list of subscribers to The Happy Lovers. By this it seems quite 
possible that Ward and his wife were located in Edinburgh, and even 
acting, as early as the autumn of 1745. 

The name of Drummond is directly connected with the next piece of 
information we have regarding the Edinburgh Stage. The following 
Extract from the Scots Magazine of November 1747, sufficiently well 
introduces the matter : 

"A defamatory poem having appeared about the middle of November, several of the copies 
were seized, and Robert Drummond, printer, was taken up and accused of being the publisher. 
The Bailies before whom the matter was brought, found that the poem contained many scandal- 
ous, false, seditious, calumnious, and malicious expressions, tending most unjustly to defame 
George Drummond, Esq., present Lord Provost of Edin. ; Walter Grosset, Inspector General 

* I am indebted to John (jlover, Esq., S. S.C., for his kindness in ransacking these musty documents for me. 



1 747.] The Annals of the Edinburgh Stage. 61 

of the Customs ; Prin. Wishart, Messrs Logan, Glen, and Webster, Ministers of Edinburgh ; 
and others of still higher and more respectable characters ; and that it was printed and pub- 
lished by the said Robert Drummond. Therefore, they ordained him to be carried to Prison, 
and hence, on the 25th November, betwixt the hours of 12 and i, to the Cross of Edinburgh, 
there to stand bareheaded, with a label on his breast inscribed thus, For printing and publish- 
ing a false, scandalous, and defamatory libel, till all the copies seized of the poem should be 
burnt by the hangman ; then to lie in prison till he should give bond to remove out of the 
city and liberties, and not to return fora year, on pain [of] ^100 stg." 

An application was made to the Court of Justiciary for an alteration 
of this sentence, but without effect, and the whole penalty was strictly en- 
forced. Drummond's printing house being shut up, and his journeymen 
and apprentices idle in consequence, they put their heads together and 
managed to perform the Gentle Shepherd at the Concert Hall,* for their 
master's benefit. Public feeling in favour of Drummond ran pretty high 
at the time, and the party who considered Drummond's sentence too 
severe, turned out in large numbers to the play, and demanded its re- 
petition on several succeeding evenings. So great were the audiences, 
that galleries or amphitheatres had to be erected on the stage to accommo- 
date them. 

Arnot mentions that the new Concert Hall was built on credit. This 
is very probable, and gains special likelihood from the evidence of the 
following announcement in the columns of the Caledonian Mercury : t 

" By particular desire, in order to pay part of the expense of erecting 
the New Concert Hall. At the Concert Hall in the Canongate, on 
Monday next, being the 23rd current, will be performed a CONCERT OF 
MUSICK. 

" N.B. Tickets for the Concert to be had at the Coffee-houses, and at 
Mr Shore's at the foot of the Canongate, and at Mr Hinde's House, the 
Boar's head Tavern in Leith. 

" After the first part of the Concert will be presented (gratis) the true 
and ancient History of King Lear and his Three Daitghters, written by 
Shakespear. The part of King Lear to be performed by Mr Lacey ; 
Gloster by Mr Philips ; Edgar (alias Mad Tom)=Mr Davies ; Cordelia 
=Mrs Crofts ; with Entertainments of Dancing by Monsieur Picq and 
Madamoiselle De Frene. 

" To which will be added (gratis] a Tragi-Comi- Pastoral Farce, called 
the What dye call it. Thomas Filbert by Mr Lacey ; Jonas Dock by 
Mr Philips." 

* This statement is made on the authority of Arnot. t Jany. 1749. 



62 The Annals of the Edinburgh Stage. [ I 749- 

"At the Concert Hall, &c., January 25th. The Fair Penitent. 
Sciolto = Davies ; Horatio = Philips ; Lothario= Lacey ; Calista = Mrs 
Hamilton ; and The Hussar, or Harlequin Restord. Harlequin = Crofts ; 
Hussar = Philips ; Petit Maitre = Lacey ; Columbine = Mrs Davenport. 

" All the scenes, machines, and dresses entirely new. No less than full 
price will be taken during the whole performance." 

" For the benefit of Mrs Hamilton on February 1 3th, Venice Preserved. 
Jaffier= Lacey ; Pierre = Davies ; Belvidera = Mrs Hamilton." 

"On February i5th, for the benefit of Mr Philips, Hamlet. At the 
particular desire of several Gentlemen and Ladies, the Scene of Hamlet's 
Instructions to the Players will be restor'd. Hamlet Lacey ; Ghost= 
Davies ; Ophelia=Mrs Hamilton ; GraVedigger= Philips ; with a new 
Epilogue written by Somebody and spoke by Nobody. To which will 
be added a Farce, called Miss in Her Teens" 

On February 22nd, Mrs Crofts took her benefit and played Miss 
Jenny in The ProvoKd Hiisband. Townley = Lacey ; Manly = Davies ; 
Sir F. Wronghead= Philips ; Lady Townley = Mrs Hamilton. 

February 24th, The Way of the World. Marwood=Mr Hamilton. 
And on the 27th, for the benefit of Mrs Berry, Zara, and the Lying Valet. 

For the first of March we have recorded a very full cast of King 
Henry IV. " By desire of several Gentlemen and Ladies a scene of 
humour between the Prince of Wales and Falstaff will be restored." 
Hotspur = Lacey ; King Henry = Crofts ; Prince John = Mrs Berry ; Wor- 
cester = Hinde ; Sir R. Vernon = Davenport ; Sir Walter Blunt = Hamil- 
ton ; Prince of Wales = Davies ; Douglas = W. Hamilton; Bardolph = 
Waldegrave ; Francis = Berry ; Sir John Falstaff= Philips ; Lady Piercy 
= Mrs Crofts ; Hostess = Mrs Davenport. 

" To which will be added (gratis) a Pantomime Entertainment, in 
grotesque characters, called, Pigmalion ; or, Columbine Restord : with the 
tricks and escapes of Harlequin. Harlequin= Crofts ; ist, 2nd, 3rd. and 
4th Masons by Messrs Thomson, Hinde, Waldegrave, and W. Hamilton ; 
Pigmalion=Picq ; Columbine=Mrs Davenport; Scaramouch Johnston ; 
Old Woman=Davenport ; Clown=Berry. Tickets of Mr Thomson at 
his house in the area of the Concert Hall." 

On March loth, Monsieur Picq had a benefit, when was played The 
Conscious Lovers, and on the I4th Mdlle. D'efrene*had Richard the Third. 

* This variation in the spelling is copied exactly as printed in the announcements. 



1749*] The Annals of the Edinburgh Stage. 63 

King Richard = Lacey, " being the last time of his appearing in that char- 
acter this season, with singing by a young gentleman who never appeared 
on any stage before." 

On March 29th, Miss Este had a benefit, when she played Tom 
Thumb in Fielding's Tragedy of Tragedies, and on April 4th, Cato was 
announced, with Mr Davies in the title part ; being his first appearance 
in it. 

Previous to this Lacey took his benefit on Friday, March 3ist, 
Tancred and Sigismunda (not acted this season), written by the late ingeni- 
ous Mr Thomson (author of " The Seasons"). Tancred = Lacey ; Osmond 
= Philips ; Siffredi = Davies ; Sigismunda = Mrs Crofts. 

"April 7th. Hamlet. Hamlet = Lacey ; and a Dramatick Satire, 
never acted here, called Lethe ; or, sEsop in the Shades, by Mr Garrick. 
/Esop = Philips ; The Fine Gentleman = Davies ; French Marquis = 
Lacey; Drunken man = Crofts; Mrs Riot = Mrs Crofts; Mrs Tattoo = 
Mrs Davenport. To begin half-an-hour after 6 o'clock." 

Lethe was repeated, along with the Suspicious Husband, for the bene- 
fit of Mr Davenport, on April loth, and on May 5th, being positively the 
last concert but one that will be this season, for the benefit of Mr Davies 
and Mr Philips, Othello, Moor of Venice (not acted this season). By par- 
ticular desire the trance scene will be restor'd. The part of Othello= 
Davies ; I ago Philips. After the 3rd act, the Minuet and Louvre ; by 
Mrs Davenport and Mdle. De Frene (in men's cloaths)." 

" For the benefit of a distrest family, May loth, The Distrest Mother, 
with a new farewell Epilogue of thanks to the town, to be spoke by Mr 
Philips." 

" N.B. The proprietors of the Concert Hall intended to have con- 
cluded the season with the last concert, and humbly to have taken leave of 
the town, with thanks for the many favours received ; but as there is a par- 
ticular family whose distresses demand particular relief they humbly hope, 
the giving out this one concert will not offend, which will positively be 
the last, till the winter season."* 

It was during the progress of this season that there took place one of 
the most remarkable of the many disturbances which, from time to time, 
occurred in the Edinburgh Theatre. 

Regarding it a letter is published in the Caledonian Mercury, dated 
April i Qth, as follows : 

* Caledonian Mercury. 



64 The Annals of the Edinburgh Stage. [ I 749- 

" SIR, As a stranger in Edinburgh, I was willing to pass an evening in the Concert Hall 
in the Canongate ; and as Henry IV. is a favourite play, I made choice of Monday last 
(April 1 7th), when the same was performed, and had the pleasure to see the different charac- 
ters performed properly enough : After which the concert bills made me believe that a panto- 
mime was to be the next part of my entertainment ; but (as it often happens) the machinery 
was not in order, for an immediate appearance : and instead of dumb show, the Company had 
the joy, particularly the Ladies, to be entertain'd with the prettiest representation of the Man 
of Honour, according to Garrick's taste, perform'd by a select number of moving genteel wax- 
work things, who with the greatest spirit strutted a while on the stage, and, by touching a 
certain spring, drew their swords, damrtd thefidlers, and in the most polite manner, tore the 
candles from their sockets, tos'd them to all the corners of the theatre, and after several flashes 
appearing, common enough upon the stage, the whole concluded with one immense peal of 
thunder, which gave the greatest satisfaction to the spectators, and particularly to all the men of 
taste who are lovers of decency and decorum in polite assemblies. I would not have troubled 
you with an account of this entertainment, but that the members of the Concert Hall should, 
next time of performing the above interlude give notice of it to the publick in their bills, that 
every gentleman who intends to be present, should strictly prohibit his footman from carrying 
Potatoes, dried Limon-skins, or any such implements of disturbance with them, that the per- 
formers may exhibit with the greater safety. Yours, DUMBO." 

In the above humorous narrative we have the particulars of the 
famous " Culloden " riot, which Arnot, in his "History of Edinburgh," 
describes at some length. His account of it is that certain military gentle- 
men, who were at the play, called upon the band to play the tune "Culloden," 
upon which some disturbance arose among the civilian portion of the audi- 
ence, who, in their turn, ordered the musicians to strike up " You're wel- 
come, Charles Stuart." This command the orchestra immediately obeyed, 
whereupon the officers drew their swords, drove the fiddlers from their 
seats, and then leaped upon the stage. Among the first of these over-zeal- 
ous loyalists was the son of a chieftain who had been instrumental in 
drawing the Pretender to the rash attempt of '45, but who, soon after, 
deserted the cause and joined the Hanovarians. This young gentlemen 
leaping upon the stage with the rest, slipped his foot and fell on his back, an 
incident which was greeted by an immense peal of laughter from the audi- 
ence. The officers by this time, through mortification and alcoholic passion, 
being unable to cope with the storm of missiles which greeted them from all 
parts of the house, took to the gallery stairs, determined to punish the 
inhabitants of that lofty region. The celestials, ever gifted with superior 
wit, chose to sport their oak rather than fight an unequal contest against 
drunken soldiers and naked blades. Accordingly they tore up forms and 
barricaded their door securely against the intruders, who had scarcely 
mounted the stairs when they found themselves attacked in the rear by the 



1749-5-] The Annals of the Edinburgh Stage. 65 

Highland chairmen, armed with their chair poles, who, being all staunch 
Jacobites, lost no time in avenging the misfortunes of their hero. The 
officers being unable to advance or retreat had to surrender at discretion, 
leaving the chairmen masters of the field. An announcement was posted 
up next day forbidding the band to play any music except what had been 
appointed by the management. 

Davies, Phillips, and Lacey all left at the close of this season (1748-9). 
Mrs Hamilton, however, stayed on, and Mr Conyers came in Lacey's place 
as lead. 

On the 2nd October, 1749, The Provok'd Husband was acted for the 
purpose of trying the qualities of a young lady, who was anxious to join 
the company ; she essayed the part of Lady Townly ; but whether she 
was successful, or who she was, is not recorded. 

The regular season opened on November i7th with the Constant 
Couple. Sir Harry Wildair by Mr Conyers, his first appearance on this 
stage ; Lurewell by Mrs Hamilton. To begin at 6 o'clock. 

" N.B. Annual tickets for the pit at ,1, ios., and gallery at i8s., to 
be had at the Exchange Coffee House." 

On the 2ist, in addition to the Beaux Stratagem, there was played 
for the first time a pantomime entertainment called the Hussar, or Harle- 
quins Escape into a Pint Bottle, as it was performed 40 nights together 
at the Theatre Royal in Covent Garden. Harlequin by Mr Conyers. 

A benefit was given for the unfortunate R. Drummond, printer (see 
page 60), on the i7th February 1750, Richard III. being the piece, in 
which Conyers played Richard, Stevens King Henry, Waldgrave 
Buckingham, and Mrs Hamilton Queen Elizabeth. With dancing by 
Mdlle. D'Efrene, and singing by Mr Conyers, and a new Epilogue by Mr 
Stevens, entitled "A Rake's True Picture." 

Mr Thomson took his benefit on March I4th, and presented The 
Tempest, " written originally by Shakspere and alter'd by Sir William 
Davenant and Mr Dryden, late Poet Laureate." Trinculo = Salmon ; 
The Grand Singing Devil = Conyers ; Ariel = Mrs Salmon; Neptune = 
Conyers ; Amphitrite = Mrs Hinde. With all the original music composed 
by the late Mr Purcel, and all other decorations proper to the play. To 
begin at 6 o'clock. 

Mrs Hamilton's non-appearance at Mr and Mrs Salmon's benefit 
about this time brought forth some curious paragraphs in the columns of 
the Caledonian Mercury. Considerable jealousy seems to have existed 

E 



66 The Annals of the Edinburgh Stage. 

between the two ladies, but on what score does not plainly appear. Some 
time after (April 3Oth), Mrs Hamilton wrote to the editor disclaiming all 
participation in and knowledge of the dispute.* 

By an advertisement on June i4th, we learn that a garden, after the 
manner of Ranelagh, was opened at Lauriston Lauriston Gardens. It 
was opened on the I2th with a public breakfasting, and on the i5th a 
concert of music was given in the evening. " No person to be admitted 
without printed tickets, sixpence each. To begin at 6 o'clock." 

On the 25th there was advertised a four hours' entertainment, " The 
Ladies and Gentlemen to be entertained with Coffee, Tea, and Tea-bread, 
and a good band of music, accompanied with two French Horns." The 
charge for this extraordinary entertainment was is. Thomson was the name 
of the projector of this concern, but whether this was Thomson the actor or 
not is not certain. Concerts in Heriot's Gardens were advertised some little 
time after ; perhaps they were in opposition to the enterprise at Lauriston. 

The Beggars Opera was advertised to be given at the Concert Hall, 
Canongate, on July 3Oth. Polly by Mrs Storer, Captain Macheath by 
Mrs Hamilton, and Lucy by Mrs Lampe, and to be repeated with the same 
cast on August 6th. It is impossible, however, that these performances 
ever took place. Mrs Storer certainly did not arrive in Edinburgh 
until November 5th, Mr Lampe accompanied her, and Mrs Lampe, who 
had been taken ill in Dublin, very likely followed soon after. 

Mrs Storer appears to have been a singer of very considerable ability, 
and possessed in addition an agreeable person, t She first appeared on the 
stage at Dublin in 1 743. In 1 747, she played Polly in the Beggars Opera 
at Covent Garden, and seems to have made a hit, as it was performed 
pretty often during the season. In 1749 we find her again in Dublin, 
having been engaged along with Mr and Mrs Macklin, Mrs Bland, Miss 
Minors, Mr and Mrs Mozeen, Signer Pasquali, and Mr and Mrs Lampe. 
According to Victor, J this company was a failure, and although we have it 
on the same authority that it was engaged for two years, Genest says the 
musical portion (which included Mrs Storer, Mr and Mrs Lampe, &c.) left 
the theatre at the end of the first season ( 1 749). They certainly performed 
at concerts in Dublin in 1 749-50, so Genest is probably wrong in his state- 
ment. After their two years' engagement was out, Sheridan did not 
re-engage them, and Edinburgh became their destination. 

* Caledonian Mercury. \ Genest, vol. x. 322. 

% Hist, of the Theatres of London and Dublin, Genest, vol. x. 368. 



175-] The Annals of the Edinburgh Stage. 67 

So on the 24th September we read in the Caledonian Mercury as 
follows ; 

"Whereas, Hen. Thomson and Thomas Davie, have purchased of 
the proprietors of the NEW CONCERT HALL all their right, title, and interest 
in the same together with all the cloaths, scenes, and everything else there- 
unto belonging, they humbly beg leave to inform the nobility and gentry, 
&c., that having engaged several new actors, singers, dancers, &c., they shall 
open the said hall under their direction on Monday the 29th October, with 
a concert of musick, after which will be given gratis, The Beggars Opera. 
The part of Polly by Mrs Storer, and Lucy by Mrs Lampe, with several 
new entertainments of dancing. 

" N.B. The Orchestra will be enlarged, and the voice accompanied 
with a Harpsicord, on which Mr Lampe is to perform. Thirty annual 
tickets for the pit and boxes, and twenty for the gallery, will be delivered 
out for the year ensuing ; which are to be had at John's Coffeehouse ; 
pit and boxes at two guineas, and gallery at one." 

" The managers engage that there will be at least thirty concerts, 
exclusive of benefits." 

The Theatre did not however open on the 2 9th, and in the following 
day's paper the explanation may be found, in the shape of a letter 
from Mr Storer to Mr Thomson, dated from Dublin, October I5th, 1750, 
which runs as follows : 

" Sir, I had the favour of both your obliging letters, but the pleasure I received from the 
contents of them, was very soon soured by the unlucky and most mortifying accident that 
possibly could have happened. Mrs Lampe has kept her bed these sixteen days in a high 
fever, one day given over, the next the greatest hopes of recovery, and so alternately for 
above a fortnight past. 

" As to setting out before her, the very thoughts of being left alone would absolutely kill 
her ; nor could the entertainments be the least forwarded without Mr Lampe. We are doing 
all we can in this situation, we have engaged a man singer, he is an agreeable figure, and 
(except low) has a better voice than any man on the stage, Mr Lampe has a high opinion of 
his capacity ; he is already perfect in the Moor of Moor-Hall ;* and sings the songs with great 
spirit. I have secured all the musick of Romeo and Juliet ; Merchant of Venice ; Tempest ^ &c., 
and have only this to say, that, as we are out of all manner of business, our inclination and 
interest both join to make us set out with the utmost expedition. I am, Sir, your most 
obedient, &c. CHARLES STORER." 

Beneath this letter is a paragraph putting off the opening inde- 
finitely until the arrival of Mrs Storer, Mr Lampe, &c. 

* Dragon of Wantley. 



68 The Annals of the Edinburgh Stage. \_ 1 75- 

In the Caledonian Merciiry of November 6th is an intimation that 
" Last night Mrs Storer, the celebrated singer, arrived here from Dublin, 
and is to perform to-morrow night at the New Concert Hall." On the 23rd 
Mrs Storer appeared as Phillida, in the ballad opera of Damon and Phillida ; 
while on the same evening The FairPenitent was given with the following 
cast : Horatio = Davies ; Lothario = Kennedy ; Lavinia = Mrs Robert- 
son ; and Callista= Mrs Davies, being the first time of her appearance on 
the stage. 

On November 28th, Davies played Hamlet, the other parts as 
follows: Ghost = Kennedy ; King=Hinde; Polonius = Berry ; Laertes 
= Storer ; Horatio = Davenport ; Guildenstern = Waldegrave ; Grave- 
diggers = Robertson and Berry; Queen = Mrs Hinde ; Ophelia = Mrs 
Storer. 

Tickets to be had, among other places, at Salmon's Coffee House in 
the area of the Concert Hall. Annual Tickets at John's Coffee House. 

Thomson and Davie, or Davies, who was no other than the future 
biographer of Garrick, had shown great spirit in the engagement of their 
company. Besides Mrs Storer as vocalist and light lead, Mrs Kennedy 
(also from Dublin) was celebrated both as an actress and vocalist. Lampe 
as a composer is too well-known to require more than mention here ; the 
history of his connection with Edinburgh, however, has not hitherto been 
written, and his wife, formerly Miss Young, the sister of Mrs Arne, was a 
singer. The company, in fact, seems to have been good all round, perhaps 
too good, inasmuch as the salaries were too great for a hard-up community 
such as that of Edinburgh to support. 

Mrs Kennedy made her first appearance in Edinburgh as Rose in the 
Recruiting Officer, November 3Oth. The other parts being filled as 
follows: Captain Hume = Kennedy ; Justice Ballance = Thomson ; 
Worthy = Davenport ; Bullock = Berry ; Kite = Hinde ; Recruits = Ro- 
bertson and Berry; Captain Brazen = Storer ; Melinda=Mrs Hinde; 
Lucy = Mrs Berry; and Sylvia = Mrs Robertson. 

On December 3rd, Davies played Othello to I ago by Kennedy, and 
Desdemona, by Mrs Davies. 

December ;th, Jane Shore, with Mrs Hamilton in the title-role, with 
a pantomime entertainment, called Merlin, or The British Enchanter. 

On December i2th, The Devil to Pay, the part of Sir John Loverule 
by Mr Corry, being his first appearance in Edinburgh, in which character 
will be introduced the Early Horn. On the i4th, Davies appeared as 



I/5O- 1 -] The Annals of the Edinburgh Stage. 69 

Richard III. for the first time, and the play was repeated on the 2ist, 
with Ricard as Richard, and Hopkins as Henry VI., being the first 
time of their appearing on any stage. 

The Beggars Opera was given on the 28th as follows : Captain 
Macheath = Corry ; Peachum = Storer ; Filch = Roberston ; Polly = Mrs 
Storer ; and Lucy = Mrs Lampe. 

This company continued appearing during the early months of 1751, 
although it is to be regretted that no records of what they did can be 
found. 

On April 23rd, 1751, the Gentle Shepherd was given by a company of 
gentlemen for the benefit of a family in distress. This was repeated in 
May, but from that date until June i ith, 1752, there is no clue as to what 
was going on. On the latter date, Mr Simson, from Drury Lane, played 
Hamlet. And on the 22nd of the same month Mrs Hamilton was given a 
benefit by some young gentlemen, who were announced to do so " not so 
much for their own diversion as to help her in her present unhappy cir- 
cumstances, having been left some time ago behind by the company, sick, 
and having part of her family to leave behind her should she follow them ; 
therefore she humbly hopes this reason will plead her excuse in giving the 
town a second trouble." 




CHAPTER V. 

LEE'S MANAGEMENT 1752-1756. 

N the summer of 1752, Mr John Lee, late of Drury Lane, came 
to Edinburgh with the intention of purchasing, and settling 
down as manager of the Canongate Playhouse. According to 
his own account* he had been requested to do this, and had been 
p romisd the patronage and friendship of a number of gentlemen of in- 
fluence, among whom were Lord Elibank and the Honble. Andrew Pringle 
of Alemoor. The theatre up to this period had been very badly managed, 
and had fallen into a state of decay, out of which all lovers of the Drama 
were anxious to see it raised. Results soon showed that the choice of 
Lee was a good one, for in addition to being an excellent actor, he possessed 
energy, tact, and administrative ability. In the mean time, however, some 
difficulty arose as to the price to be paid for the theatre property ; and this 
being referred to arbitration, on March 7th, 1753, the arbiters (Sir Gilbert 
and Mr Lockhart) fixed upon the following amount for lease, scenes, &c. : 

^200 which Lee had paid down. 

;ioo with interest, payable at Whitsuntide 1753. 

^"200 1754. 

1755- 



^"645 Total, t 

This purchase was made from a Mr Thomas Robertson, who was 
factor for the then proprietors. Lord Elibank and his friends, who had been 
the principal movers in getting the theatre on such easy terms for Lee, do 
not seem to have been satisfied that they had done enough for their 
protege. Very soon after they got up a subscription, with which to buy Lee 
an annuity of ^100 for five years, on condition that he resided in Edinburgh 

* Address published 1767, and pamphlet, "A Narrative of a Remarkable Breach of Trust, &c., 1772." 
t Both Arnot and Jackson give utterly wrong versions of the amount to be paid. 



I75 2 -] The Annals of the Edinburgh Stage. 71 

as manager and actor. Lord Elibank likewise promised to try and get 
a patent so soon as the theatre rose sufficiently in the public estimation. 

So far, Lee had every reason to be satisfied, even flattered, by his 
reception at the hands of the chief patrons of the Drama in Edinburgh, and 
his career promised to be prosperous. 

His original inducement in leaving London to seek his fortune in the 
north, however, had originated in a quarrel with Garrick. Lee seems to 
have started his theatrical life at Goodman's Fields Theatre ; where during 
1 745-6 he played such parts as Sir Charles Freeman, in the Stratagem, 
Ghost, in Hamlet, Hotspur, in Henry IV., &c. During the following 
season, at the same house, he played Carlos, in the Revenge, Richard 
III., Cassio, in Othello, and for his own benefit, Hamlet. For the next 
season (1747-8) Garrick engaged him for Drury Lane, where he would 
appear* to have acted for the first time on November I4th, as the Bastard 
in King Lear. During this season he acted Myrtle, in Conscious Lovers, 
Mountjoy, in Henry V., Ferdinand, in Garrick's revival of Dryden's altera- 
tion of the Tempest, Belmour, in Jane Shore, Rosse, in Macbeth, and, at 
his joint benefit with Matthews (April i4th), Col. Standard, in the Constant 
Couple. Throughout the next season, 1 748-9, his round of parts remained 
much the same. This probably dissatisfied Lee and induced him to seek the 
rupture that followed. At any rate, on the 23rd October 1 749, he appeared 
at Covent Garden as Ranger in the Suspicious Husband. Although still 
under his engagement to Garrick, he had broken his articles and gone over 
to the other house, where he remained during the season, playing among 
other parts, Axalla, in Tamerlane, Dauphine, in Henry V., Campley, in 
the Funeral, and on March ist (1750) Romeo to Miss Bellamy's Juliet. 
He appeared at Quin's benefit as Alexas, in All for Love, and at Miss 
Bellamy's, as Lothario in the Fair Penitent. For his own benefit he acted 
Richard III. Lee found that Garrick was not a man to be imposed upon, 
and at the commencement of the season 1750-51 was compelled to return 
to Drury Lane, where he reappeared as George Barnwell on 27th Decem- 
ber, but his name does not appear very often during the season. For 
his benefit he acted Hamlet. In 1751-2 he was still at Drury Lane, 
and played for his benefit the part of King Lear to the Cordelia of 
Mrs Ward, t His articles being then out, he determined to turn his face 
towards the North, and, as related above, arrived in Edinburgh safely. 

* It is the first mention of his name at Drury Lane by Genest. + Genest, vol. iv. 



72 The Annals of the Edinburgh Stage. IJ75 2 - 

According to the compiler of the "Thespian Dictionary," (1802), Lee's 
pretensions to ability as an actor were more than balanced by his vanity. 
He had a good person and voice, and more than ordinary knowledge in 
his profession. Where he failed was in aping the position and importance 
of Garrick. " He was for ever," as Foote said, " doing the honours of 
his face ; he affected uncommon long pauses, and frequently took such out- 
of-the way pains with emphasis and articulation, that the natural actor 
seldom appeared." His temper became so bad as to banish him from 
every theatre in the course of time. He was unquestionably unpopular 
among the members of the profession, and to this may be traced, 
no doubt, the origin of many very unfavourable criticisms which he 
received. 

Lee himself says,* that in order to get actors to come to Edinburgh 
from London he had to offer salaries for the entire year ; otherwise there 
would have been no inducement for them coming so far north. As, how- 
ever, the Edinburgh season only lasted a few months, he had to transplant 
his company, when not employed at head-quarters, to Glasgow, Newcastle, 
Scarborough, and other towns. This system only commenced after his first 
season, during which he seems to have contented himself with employing 
what talent he found in Edinburgh upon his arrival. One of the first 
things he did was to commence reforming the many abuses that existed in 
the economy of stage management ; and to Lee is due the distinction of 
having been the first to raise the status and morale of the theatre in Edin- 
burgh. We find him strenuously setting his face against part of the audi- 
ence (save on special occasions) occupying seats on the stage, and he en- 
deavoured with great success to stop the practice of "gentlemen " being 
admitted behind the scenes. So anxious was he to stop this that he partly 
caused his own ruin, by going to the expense of altering the box entrance, 
which till then (1754) had lain across the stage. Besides making great 
improvements in the scenery and decorations of the theatre, he tried many 
experiments, one of which turned out rather unexpectedly. To improve 
the stage thunder, he procured a parcel of nine pound shot, which were put 
into a wheel-barrow. This was run up and down by a carpenter across 
a number of ridges nailed upon the back of the stage. One evening, the 
play being Lear, the new thunder was put into requisition, and for some 
time proved effective. But at length, as the King was braving the pelting 

* See pamphlet, "A Narrative," &c., 1772. 



! 75 2 -3-] The Annals of the Edinburgh Stage. 73 

of the pitiless storm, the thunder-god's foot slipped, and down he came, 
barrow, shot, and all. The balls running down the declivity of the stage 
knocked the scene on top of poor Lear, and continued their career into the 
orchestra, putting to flight the musicians and totally destroying the bass 
fiddle ; while, to crown the whole, the sprawling thunderer lay prostrate in 
sight of the audience, like another Salmoneous, and Lear having emerged 
from the wrecked scene was skipping about like a man dancing the egg 
hornpipe. 

Regarding Lee's first season, little took place that calls for any men- 
tion. Or, perhaps, it would be correct to say that little can be discovered 
as to what did take place. Nothing could shed any light on the subject, 
save it were a set of the playbills ; but the most careful research has 
resulted in tracing only one or two specimens of these ; while the news- 
papers are almost silent regarding what went on at the " Concert Hall " 
at this period. 

On July 2nd, 1752, for the benefit of Mr Simson, The Orphan. Castalio 
by Mr Simson ; Alcasto= Mr Thomson ; Polydore= Mr Corry ; Chamont 
= Mr Davenport ; Chaplain = Mr Salmon ; The Page= Master Simson ; 
Serina= Mrs Davenport ; Florella= Mrs Salmon ; Monimia= Mrs Ham- 
ilton.* July 7th, the Gentle Shepherdess given by a Company of Gentle- 
men for their diversion, for the benefit of a family in distress. Lee does 
not seem to have had anything to do with these performances. When his 
first season commenced is not certain. The Beggars Opera, on Novem- 
ber 24th, is the first advertised performance. Mr Corry played Macheath ; 
Mrs Hamilton, Lucy ; Mrs Storer, Polly ; the music was conducted by 
Signor Pasquali, who played a Grand Concerto between the acts. 

The Taylors' Hall was running in opposition. On December 5th 
was given a new Pantomime Entertainment, Harlequin Gardener, in 
which Mr Stewart exhibited some surprising feats on the slack wire in full 
swing! (Pit 2s., Gallery is.) 

Some time in December, Romeo and Juliet was brought out at the 
Concert Hall. Probably this was the version mentioned in the " Bio- 
graphia Dramatica," as having been altered by Lee for the Edinburgh 
Stage, and described therein as one of his four " Literary Murders." 

The Courant of Tuesday, January 3oth, 1753, is "assured that the new 
whimsical Farce called the Enraged Musician, or The Tempest Rehearsed, 

* Courant, 25th June. 



74 The Annals of the Edinburgh Stage. [1753-4. 

lately wrote by Signer Pasquali, will be performed at the Concert Hall 
on Friday next, and we have also heard that he has taken the hint from 
that famous print called the ' Enraged Musician,' done by Mr Hogarth, 
and that Signer Pasquali will play the Enraged Musician himself, this 
being the first time of his attempting to speak on any stage." 

No more information is to hand regarding this season, and of the 
following we learn nothing until February i2th (1754), on which date the 
Courant prints the following ; " We hear that the comedy of Much Ado 
About Nothing (written by Shakespere) was received at the theatre last 
night with universal applause, and are desired to acquaint the public that 
printed copies as it is altered to the stage are to be had of Mr Yare, book- 
seller, in the Parliament Close*" It is possible that Lee adapted Much 
Ado in the same way as he had done Romeo and Juliet. 

" At the New Concert Hall in the Canongate, next week will be pre- 
sented gratis a new Tragedy never acted before, called Herminius and 
Espasia, (written by a Scots Gentleman), characters by Mr Lee, Mr 
Griffith, Mr Wright, Mr Love, Mr Torrington, Mrs Lee, Mrs Price, and 
Mrs Danvers."* It was produced on February 25th. 

Mr Griffith, mentioned here, was new to the company this season. 
Where he came from, however, it is difficult to say. He may have been 
the son of the actor of that name, who, in 1731, was in Dublin, and evi- 
dently doing well. This elder Griffith, in addition to his professional 
duties, was the secretary to the Grand Lodge of Ireland. The younger 
Griffiths was long connected with the Edinburgh stage. 

On the 28th February, Herminius and Espasia was repeated, and a 
concert in the Assembly Hall given by a Mr Macpherson, upon the same 
evening, was advertised to begin at " half-an-hour after five o'clock and con- 
clude soon enough to afford the company an opportunity of going to the 
play, which on this occasion is to open exactly at half-an-hour after 7 and 
end about 10." t 

Mrs Lee took her benefit on Monday, March 4th, the piece being the 
Suspicious Husband, with the farce, Miss in her Teens, copies of which 
(new edition) were sold at the pit door, price 4d. Nothing under full 
price was taken (Boxes and Pit 2s. 6d., Gallery is. 6d.) and apparently 
there was a very full house, as an Amphitheatre had to be erected upon the 
stage to accommodate the audience. 

* Courant, February 1 2th 1754. t Ibid. 



1 753~4-] The Annals of the Edinburgh Stage. 75 

March 9th, Griffith's benefit, when Lee performed Young Bevil in 
the Conscious Lovers for the first time. 

March 2Oth, Mrs Price acted Polly in the Beggars Opera, also for 
the first time. 

" By desire of several ladies of quality, for the benefit of Mrs and 
Miss Hamilton, March 22nd, The Rehearsal. Bays = Love, with Hob 
in the Well, and singing by Mr Sheriff and Miss Hamilton." 

For Monday, I5th April, the Merchant of Venice, " newly alter'd from 
Shakespear and Lord Landsdown, and adapted for the stage," was adver- 
tised,* with the special stipulation, " that gentlemen passing over the stage 
are not to make continuance behind the scenes, as the new painted scenes 
are scarce dry " ! Mr Lee played Shylock and Mrs Lee, Portia; both being 
their first appearances in those parts. 

Lee spent the summer in travelling with his company, with the result, 
as he himself tells us, that he lost ^500. His third instalment of the pur- 
chase money for the theatre was due in May 1754 ; but on December ist 
it had not been paid. Some tradesmen seized upon part of his goods for 
debt, to relieve which state of matters he applied to Lord Elibank. That 
gentleman assured Lee that he himself and some friends would become 
security upon an assignment of the theatre. Lee inquired if this could not 
be done in trust, to which his Lordship replied in the negative. The result 
of this was that a proper deed of assignment of the theatre and its proper- 
ties was drawn out and signed by Lee on December 27th. Its ostensible 
object was to prevent tradesmen, who had debts against Lee, from seizing 
the theatrical property such as furniture, scenes, &c., "for," Lord Elibank 
said to Lee, "although they would badger you if the theatre was your 
property, they will be frightened to do so when it belongs to us." Lee was 
obliged to accept this explanation of Elibank's actions and intentions ; 
although his heart seems to have misgiven him as to the " friendliness" of 
the transaction. To complete the farce of the whole thing, Lord Elibank's 
factor took an inventory and formal instrument of possession, and in Feb- 
ruary 1755, gave Lee a paper empowering him " to continue as manager," 
but expressly declaring that the " gentlemen " were not to be liable for any 
debts Lee might contract. 

The "gentlemen " mentioned above were by name as follows : 

Rt. Hon. Patrick Lord Elibank. 

* Courant. 



7 6 The Annals of the Edinburgh Stage. [1754-5. 

The Hon. Andrew PringleofAlemoor, Senator of the Col. of Justice, &c. 

Hon. Thomas Miller of Barskimming, Lord Justice Clerk, &c. 

Hon. George Brown of Coalston, Senator of the College of Justice, 
Lord of the High Court, &c. 

Hon. James Burnet of Montboddo, ,, ,, 

Hon. James Veitch of Elliock, ,, ,, 

Patrick Home, Esq., Advocate, and Director of the Royal Bank. 

David Ross, Esq., Advocate, &c. 

David Stuart Moncrieffe, Esq., Advocate, &c. 

Hon. David Kennedy, Esq., Advocate. 

Sir John Dalrymple, Bart., Advocate. 

George Morison, Esq., Advocate. 

William Alston, W.S., &c. 

Alexander Maxwell, Wine Merchant, Edinburgh. 

James Calender, Shopkeeper in the same city ; with 

John Lee, Proprietor of the Old Theatre there. * 

Lee never received any back bond, but, in March 1755, Mr Burnett, 
agent for the gentlemen, granted a missive letter in these terms, 

" Sir, Whereas, by a deed bearing date the 27th day of December last, you have disponed 
to me, and certain other gentlemen therein named, your Tack of the new Concert Hall in the 
Canongate, with the scenes, &c,, according to an inventory signed by you, and by the same 
deed you acknowledge the Receipt of the Price being ^500, this is to declare that notwith- 
standing such acknowledgment, there is truly paid by us but ^316 by a bond we granted 
for that sum to Moubray & Clapperton, Tradesmen in Edinburgh ; and that the remainder of 
the ^500 is still in our hands ready to be made forthcoming to you." 

While this was going on behind the scenes, the season (1754-5) 
opened in due course towards the end of December. The first piece 
advertised was the Suspicious Husband, and the following announcement 
made its appearance : "As boxes were last winter frequently taken by 
ladies, who only fill'd the front rows thereof, yet (by nominally pre-engag- 
ing the whole) excluded others from coming to the play 'tis proposed this 
season to follow the regulation of the London Theatres, viz. for servants 
at the time of engaging them either to show or take as many tickets as 
they would keep places for, which method alone can furnish an opportunity 
of accommodating each company and secure the seats being kept without 
confusion ; and as the boxes are so altered as not to have the necessity of 
passing over the stage to them, no gentleman can possibly be admitted 

* Narrative, 1772. 



1 754-5-] The Annals of the Edinburgh Stage. 77 

behind the scenes." A few days after, the public were informed that Mr 
Salmon (who was the box-keeper, and lived in the area below the theatre) 
would grant tickets " marked with the date of the day and description of 
the places taken on sight, whereof every gentleman or lady must be satis- 
ed of the seats being secure without the least confusion." t The altera- 
tions mentioned above as having been made in the boxes, no doubt cost 
a good deal of money, and very probably helped materially to run Lee 
into debt. 

The company this season was much the same as last. Love had gone 
to Dublin, to make one of Victor and Sowdon's Company. In exchange, 
Edinburgh received Kennedy from Dublin, although Mrs Kennedy 
remained in the latter city along with their daughter. The following 
account is from Lee Lewis : \ 

" Mrs Kennedy remained in Dublin, to give her husband intelligence of the new 
d irection ; and was, soon after the departure of Mr Sheridan, engaged on a salary of four 
pounds per week. Her husband was then playing with Mr Garrick's counterpart, Mr John 
Lee, at Edinburgh. Conjugal love and paternal affection, with almost a certainty of a very 
good engagement, powerfully stimulated him to return home to his wife and family. He 
arrived in Dublin in 1755, after about a year's absence. Mrs Kennedy was re-engaged at 
her former salary ; but without being able to obtain any provision for her husband. She 
expostulated with the managers on the cruelty of separating man and wife, and did not fail 
to remind them, that in Sheridan's management, her husband had, for the last three years, 
three pounds a week. They would not give any such salary; but, to oblige her, they 
offered to allow him thirty shillings a week, which, they said, was as much as they could 
possibly afford him. 

"Mrs Kennedy, thus repulsed, went home and acquainted her husband of what had 
happened, who, being rather warm in his temper, resolved that nothing but one or both of 
the offenders' lives should appease his wrath, or satisfy his wounded honour. Thus 
determined, he issued forth, borrowed a case of pistols, and instantly went to the lodgings of 
Sowdon." 

Sowdon craftily laid the blame on Victor, to whom Kennedy next 
went, to find, however, that that worthy equally denied it. The warlike 
Kennedy, with a pistol in each hand, then insisted that Sowdon should be 
sent for, and when the two managers were brought face to face, and could 
no longer lay the blame on each other there was no help for it but to 
grant Kennedy the salary he desired, namely, three pounds per week. 

* Courant. 

t It is worthy of note, too, that nothing but full price was taken throughout the season. 

Memoirs, vol. ii. p. 58. 

Victor and Sowdon, who had hired the Theatre from Sheridan. 



78 The Annals of the Edinburgh Stage. [1754-5. 

Such was the gentleman that Lee added to his company for the season 
under consideration. 

Another and very important addition to the company this season was 
Lancashire, the low comedian. It does not appear that he ever received 
any stage training ; and his stage career, which was a pretty long one, 
was confined to Edinburgh. Jackson says of him,* " Mr Lancashire 
possessed a great fund of dry humour, and filled Shuter's line in low 
comedy. He was a great favourite with the public. He kept a tavern 
first in the Canongate and afterwards in the new town. He drank and 
joked with his customers ; laughed and grew fat ; and at length died, 
respected by many, and with the good word of all." 

This worthy member some years afterwards was nicknamed " Sir 
Cape," from the fact that he was first "sovereign" of the Cape Club which 
met in his tavern. There is no doubt that for many years his was a well 
known presence among the literary and jovial spirits of the day ; he was the 
friend of Ferguson the poet, who wrote the following epitaph upon him 

" Alas, poor Tom, how oft, with merry heart, 
Have we beheld thee play the sexton's part ! 
Each merry heart must now be grieved to see 
The sexton's dreary part performed on thee." 

January ist 1 755. The Constant Couple. Sir Harry = Griffith; Colonel 
Standard = Lee ; Clincher senior = Kennedy ; Lady Lurewell = Mrs Lee. 
January 4th, Richard III. = Lee ; Anne = Mrs Lee ; Queen Elizabeth = 
Mrs Price. January 6th. Romeo and Juliet. January 8th. M^lch Ado, 
with grand masquerade scene. January i3th. King Lear. January 
1 5th. Recruiting Officer. Captain Plume = Mr Lee; Sylvia = Mrs 
Price ; with Duke and no Duke, first time here ; Tranpolin = Stamper. 
January 22nd. Busy Body. Marplot = Griffith; Sir George Airy = 
Kennedy ; Sir Francis Gripe = Stamper ; Charles = Torrington ; Sir 
Jealous Traffick = Wright ; Miranda = Mrs Lee. February 24th. As you 
like it. Touchstone = Lee ; Jacques = Wright; Orlando = Griffith ; Corin 
= Stamper ; Amiens (with songs) = Adams ; Celia=Miss Hamilton; 
Rosalind = Mrs Price. 

The above casts are taken pretty well at random from the numerous 
advertisements that appear this season in the Courant. They are much 
fuller and more regular than had ever appeared before. 

* History of Scottish Stage, p. 42. 



1 755-^-] Ttie Annals of the Edinburgh Stage. 79 

March 3rd. For Mrs Lee's benefit, Provoked Husband, when an 
amphitheatre was erected on the stage, and servants allowed to keep 
places. 

March loth. Benefit of Mrs Price. Macbeth. Speaking and sing- 
ing witches by Stamper, Keasberry, Salmon, Lancashire, Mrs Hamilton, 
Mrs Wright, Miss Hamilton, Miss Wells, &c. Lady Macbeth = Mrs 
Price. The above is the first mention to be found of Lancashire's name. 
It was probably his first appearance. 

There was a short summer season, and the winter campaign opened on 
November 25th (1755), with the Stratagem; Archer = Lee; Mrs Sullen = 
Mrs Ward ; and the School of Anacreon, with Mr Wilder in the 
cast. This gentleman seems to have been a good actor, and always a 
favourite with his managers ; his chief character was Colonel Oldboy in 
Lionel and Clarissa.* 

An interesting announcement appeared early in the season, as 
follows : " If there be any neglect in furnishing ladies or gentlemen with 
bills of the Concert, their giving immediate intelligence to Mr Lee, in 
order to have it remedied, will be esteemed a particular favour." 

December 2nd. Beggars Opera. Macheath = Wilder ; Polly = 
Miss Hamilton. 

January 3rd, 1756. King Lear. King Lear = Lee; Edgar = Flet- 
cher; Cordelia = Mrs Barclay (her first appearance here). January 2ist. 
Fair Penitent. Horatio = Heyman ; Sciolto = Keasberry ; Altamont = 
Torrington ; Rossano = Paterson ; Lothario = Lee ; Lavinia=Mrs Bar- 
clay ; Caliola = Mrs Ward. 

On February 23rd, some disagreement sprang up between Lee and 
the "gentlemen " who had befriended him, with the result that while Lee 
was on the stage they took possession of the property, along with the 
money drawn at the doors. Events that followed show pretty conclu- 
sively that these " gentlemen " had contemplated taking this action, for 
some time before they had written and engaged West Digges to be their 
stage director and principal actor. Lee, with all the moral right on his 
side, but without a legal peg to hang his case upon, set about exposing 
the whole business ; but the " gentlemen" had foreseen what he would 
do, and had him promptly arrested at the suit of Burnet, the play- 
house tailor. On February 26th, his furniture was sold off and his 

* Thespian Dictionary. 



8o The Annals of the Edinburgh Stage. [i 755-6. 

children turned out into the street. Four days afterwards Digges arrived in 
Edinburgh. Lee says : " In this melancholy situation I had leisure to 
look back awhile ; and to reflect that within the space of a few hours, I 
was, by an unparalleled act of fraud and barbarity, thrown from the posses- 
sion of a considerable property, with an income of ^600 a year, into a 
loathsome gaol ; with about ^8 in my pocket ; two children destitute in 
Edinburgh, and my wife (unable to form a true idea of this oppression) 
with two more waiting in London for supplies from me, nay, with an 
absolute certainty, all the time, that my effects exceeded by many 
hundreds of pounds, every debt I owed." 

He lay two months in jail, which greatly hurt his health, but was 
liberated by those who had instigated his arrest, when they thought he had 
been sufficiently taught not to seek to measure swords with them. 

In July, however, Lee entered an action for the restitution of the 
theatre and the same day was re-arrested at the suit of a stone-mason. 
He was again liberated the following morning, but would have been pre- 
vented from appearing at the case he had instituted, which was to come on 
upon July 2ist, by still another arrestment, had not the Sheriff-Substitute, 
James Balfour of Pilrig, refused the warrant. The judgment was given of 
no-process ; so Lee circulated a handbill, the contents of which the news- 
papers had refused to insert as an advertisement : " As the cause between 
Mr Lee, Proprietor of the Theatre, plaintiff, and the Rt. Hon. Lord Eli- 
bank, Andrew Pringle, Esq., Mr John Dalrymple, &c., defendants, is put 
off" till the ensuing season ; Mr Lee begs the favour of his creditors to 
meet him at John's Coffee House to-morrow at 4 o'clock in the afternoon, 
in order to place his affairs in such a posture as may conduce to their 
mutual interests." 

The effects of this disgraceful affair were long felt in the law courts. 
In 1763 John Bruce, playhouse painter (in 1755) sued Beatt, manager for 
the "gentlemen," for a debt of ^27, 8s. The Sheriff-Substitute and his 
principal both decreed the debt with interest and expenses. The Outer 
House annulled that decree, but in 1766 Bruce eventually won his case in 
the Inner House. * 

When Lee saw there was no good in remaining any longer in Edin- 
burgh, he crossed over to Dublin, where he received an offer from Sheridan, 
who had unsuccessfully tried to engage Barry to come to Dublin. Sheri- 

* Lee's Narrative, 1772. 



1 75 5~6.] The Annals of the Edinburgh Stage. 81 

dan had never seen Lee act, but offered him ^400 for the season. It 
seems, however, he did not answer Sheridan's expectations.* Mr Wilder 
followed Lee to Dublin, and made a great hit as Macheath, his wife 
playing Polly. 

To resume the thread of our History, the " gentlemen " had not been 
forgetful that Mr Lee's place, both as actor and manager, had to be filled. 
In the latter capacity a Mr Callender was engaged by them. Mr Callen- 
der had no qualification in particular for the post. He had been a mer- 
chant, and seems, although he was not successful as a manager, to have had 
a certain amount of address and business knowledge. His position, how- 
ever, resolved itself very soon into what, now-a-days, would be called 
an "assistant acting manager's" place. All the business of the stage, 
the engaging of players (to a certain extent), the advertising, and 
other important duties were performed by West Digges. Digges was 
an actor whose career, even in an age when romance might be said 
to be part and parcel of an actor's life, must be regarded as exceptionally 
romantic. 

It has generally been considered that he was a natural son of the Hon. 
Elizabeth West, who, in 1724, married Thomas Digges, Esq., of Chil- 
ham Castle, Kent. But there are no grounds for supposing that Digges 
was born out of wedlock. The report very likely arose from his mother's 
relations not wishing to be connected with an actor. 

In appearance Digges was both dignified and handsome ; his eye was 
full of animation, and his features were well adapted for the stage. In 
addition to these advantages he had an engaging manner and address, 
which, no doubt, along with a carelessness in money matters conspired 
as much to ruin him as it did to make him popular. Victor the historian, 
who knew him well, says : " In Mr Digges almost all the requisites to 
form a great actor seemed to unite ; every advantage of art and nature, 
except an harmonious voice." Genest says: t "Digges' family con- 
nexions (he had been at one time presumptive heir to an earldom) 
and the many singular circumstances which marked his entrance into 
life, were so well known, that his first appearance engaged the atten- 
tion of the politest circles. His address was easy and engaging his 
manners refined and polished he had received a liberal education 
and few men ever sacrificed more to the graces no man was ever a 

* Genest, vol. x. p. 408. t Vol. x. 366. 

F 



82 The Annals of the Edinburgh Stage, [1755-6. 

greater favourite with the fair, or a more pleasing companion among his 
own sex." 

His first appearance on the stage was in Dublin on November 2 7th 
1 749. Venice Preserved. Pierre = Sheridan ; Renault = Gibber, junr. ; 
Belvidera = Miss Danvers; and the part of Jaffier by Mr Digges, a "gentle- 
man lately arrived from England, who never yet appeared on any stage." 
Hitchcock says : " He supported his character with feeling, tenderness 
and variety, beyond expectation but he had a harshness in his voice, 
which time afterwards considerably abated." That was at Dublin, where 
Digges continued all the season, playing such parts as Antony, Jidius 
C&sar ; Castalio, The Orphan; Hastings, Jane Shore; &c. Remaining 
in Dublin he played, besides a host of others, the parts of Pyrrhus, 
Distressed Mother ; Myrtle, Conscious Lovers ; Scandal, Love for Love ; 
and Macheath. * He remained in Dublin till the close of the season 
1752-3, when it would appear he was obliged to quit Ireland, on account 
of the many debts he had contracted. For some time previously he had 
been living with Mrs Ward, who was a member of the Dublin Company 
in 1752-3. When he came to England he took up his residence at Felt- 
ham, whence he despatched many letters to his lady friend at Dublin, 
where she had remained, with the object, no doubt, of making a settle- 
ment with Digges' creditors. Some time in September this seems to have 
been accomplished, partly with some money Digges had raised and sent 
over to Ireland in Sowdon's custody. Digges then returned, and acted 
throughout the season 1753-4, during which occurred the memorable dis- 
turbance that compelled Sheridan to leave Ireland for some years, t 
Debts cropping up again, Digges removed to London and stayed in St 
James' Sanctuary along with Bland. During 1754-5 ne was probably 
hiding; but it is likely he returned to Dublin, although- not to act, 
some time previous to being engaged for Edinburgh, where, as we have 
already seen, he arrived in the beginning of March 1756. 

Owing to the absurd custom which then prevailed, of describing 
newly come actors as "gentlemen" from so and so, it is impossible to 
fix Digges' first appearance in the Canongate Playhouse. On March 6th, 
Lord Townly was played by a " gentleman from the Theatre Royal in 
Dublin, being his second appearance on this stage." This probably refers 
to Digges. Again, on March 29th, Henry VIII. Cardinal Wolsey, 

* Genest. + In which Digges played a very prominent part. 



1756.] The Annals of the Edinburgh Stage. 83 

by a gentleman, &c., same as above. This is almost certain to have been 
Digges. Wolsey was one of his best parts, and in selecting it had 
rightly calculated on making a hit, for it was repeated several times before 
the season closed. The only other performance worth noting was on 
April 24th, when, " by particular desire of the Masters and Brethren of 
the Ancient and Honourable Society of Freemasons," Mr Paterson took 
his benefit. The Fatal Marriage was the piece, the prologue "to be 
spoke by a brother mason properly clothed, epilogue by Mrs Ward, and 
several mason songs between the Acts, and a grand chorus by the brethren." 

The summer season was as usual held during the race week, the 
following being the programme : 

" Concert Hall in the Canongate. Will be presented gratis (after 
the several Concerts), the following Dramatic performances : 

" Monday, 27th September. The Rehearsal, Bayes = Mr Love (first 
appearance here for 2 years). Tuesday, 28th, Romeo and Juliet. Suit- 
able preparations are making for this performance. A solemn dirge, with a 
superb funeral procession of Juliet attended by the different orders of 
Monks and Friars in the Roman Church to the Monument of the 
Capulets, will be exhibited in it. All the decorations will be entirely new." 
" The part of Romeo, by Mr Digges ' (being his first appearance here in 
that character)." This, it is worthy of note, was the first time his name 
had been announced. Friar = Mr Love; Mercutio = Stamper ; Juliet = 
Mrs Ward. " Wednesday, 29th. No performance, on account of there 
being a charity assembly. Thursday, 3oth. Henry VI. Hotspur = Mr 
Digges (first appearance in the part) ; Falstaff= Mr Love ; Lady Piercy = 
Mrs Ward. Friday, October ist. Beggars Opera. Macheath = Digges. 
October 2nd. Henry VIII" Truly a curious list of attractions for a 
race week, if judged by present day tastes ! 

Mr Digges advertised at this time that "letters from the country," 
directed to him as " manager of the Theatre in the Canongate, would be 
punctually and carefully obey'd," showing that Mr Callender had been 
already relegated to the post of second in command. 

The season 1756-7 was ushered in by a performance of the Gentle 
Shepherd, by a " company of young gentlemen." This was on the 23rd 
November, in the Taylors' Hall, Cowgate, where occasional performances 
were still given from time to time. In the advertisement of this per- 
formance, it was specially announced that, " as the Hall was out of 
repair, the same is now repaired at a great deal of expense to the pro- 



84 The Annals of the Edinburgh Stage. L 1 756-7- 

prietor, so that ladies and gentlemen will be well accomodated." This 
reads as if the " Taylors' Hall " was to be often used for scratch pro- 
ductions ; but, whether it was so or not, there is no evidence. The first 
play announced at the Theatre, towards the end of November, was 
The Revenge, by Dr Young; and almost immediately on the back of that 
was produced a play that was destined to fill an almost unique place in 
the history of the Drama, and the importance of which demands a full 
and careful narration. 




CHAPTER VI. 

DOUGLAS. 

N the Evening Courant of Saturday, December 4th, 1756, there 
is the following announcement : " A New Tragedy called 
DOUGLAS, written by an ingenious gentleman of this country, 
is now in rehearsal at the Theatre, and will be performed as 
speedily as possible. The expectations of the public from the perform- 
ance are in proportion to the known talent and ability of the Author, 
whose modest merit would have suppressed a Dramatic work, which we 
think by the concurrent testimony of many gentlemen of taste and 
literature will be an honour to this country." And on the 9th Dec- 
ember there is a brief notice that the " New Tragedy of DOUGLAS 
will be performed on Tuesday i4th." Such was the scanty informa- 
tion afforded the public through the medium of the public press* of 
this remarkable production of John Home's Tragedy of Douglas. It is 
very evident, however, that a more extensive publication of the event was 
unnecessary. Mr Digges knew excellently well the business of advertis- 
ing, and while, during the same month, he inserted long announcements in 
the newspapers of other performances, he contented himself with publish- 
ing merely -the shortest notices respecting Douglas. He counted, and 
rightly, on drawing good houses from the circles of polite society, in which 
the author was a great favourite ; and these, after all, were the chief 
supporters of the theatre. But the production had an importance and pro- 
duced results that at the time were not even dreamt of. In reading through 
the scattered accounts that remain one is apt, for one thing, to pause in 
amazement at the illiberal feeling and bigotry of the worst type that was 
displayed by the clergy. Home, the author, as is well known, was the 
minister of Athelstaneford, and when it became known that he, a minister 

* The Caledonian Mercury contains identical information, word for word. 



86 Tke Annals of the Edinburgh Stage. [ r 756. 

of the Kirk, had not only written a tragedy, but had actually trafficked with 
the players for its production in the " accursed " theatre in the Canongate, 
the more bigoted of the clergy lost all patience and all self-control. Of 
charitableness it is questionable if they ever had any to lose. Denunciations, 
admonitions, and fulminations came thick, and the righteous indignation of 
the Presbytery descended not only on the devoted head of the author of the 
play, but on several luckless ministers who had been foolhardy enough to 
see Douglas acted. One clergyman, the Rev. Thomas Whyte of Liberton, 
was suspended for six weeks ; a mitigated sentence, be it noted, which he 
owed to the plea that, though present at a performance, in the theatre, he 
concealed himself as well as he could to avoid giving offence ! An " Act and 
Exhortation " was read from the pulpit, and the Glasgow presbytery, 
anxious not to be outdone in exhibition of zeal although obviously 
without motive, there being no theatre in Glasgow patched up a lamen- 
tation over the " melancholy fact, that there should be a tragedy written 
by a minister of the Church of Scotland ! " 

Poor Home dreaded facing the tribunal of his clerical brethren, and 
in the mean time betook himself to London, where he succeeded in getting 
Mr Rich of Covent Garden to produce his play. This further enraged his 
enemies at home ; and although, through the friendly offices of the Rev. 
Edward Stedman, minister of Haddington, he had the advantage of pro- 
ceedings on the part of the presbytery being postponed for a considerable 
time, he eventually, rather than face the charge to be brought against him, 
thought it best to tender his resignation.* Dr Carlyle was another of the vic- 
tims pounced upon. He was, however, of too strong-minded a disposition 
to be easily put down, and as he was fully convinced in his own mind of the 
rectitude of his actions, defended himself with skill and success. The 
General Assembly in fact, by 1 17 votes against 39, declared him free from 
all censure. Meanwhile the zeal of the clergy in many respects defeated 
its own object, and really served in a marked way as a capital advertise- 
ment ; for there is little doubt that the interest in the drama among trades- 
men and mechanics, which was first awakened by performances of the 
Gentle Shepherd on various occasions, was enormously increased by the 
production of Douglas, and the bitter opposition it received from the hands 
of the clergy. 

Of the Tragedy itself it is scarcely necessary to say much. That it 

* The often made assertion, that he was ignominiously expelled from the Kirk, is utterly without founda- 
tion. 



1 75 6.] The Annals of the Edinburgh Stage. 87 

became greatly popular, both here and in London, and continued so for 
many years, cannot be wondered at. It was an age when high sound- 
ing bombast did yeoman's service in place of genuine work. Not that the 
piece is devoid of merit. Indeed, for the work of a man who could have 
had no practical knowledge of the stage and the requisites of dramatic 
writing, it is astonishing, as exhibiting some remarkably effective work. 
Of pourtrayal of character there is scarcely a trace. The characters one 
and all, through all the five acts, never once descend from their exalted ped- 
estal of pedantical blank verse ; if there is an exception, it is to be found in 
the part of Old Norval, who certainly shows a few signs of being mortal, 
and not a stuffed mummy of the author's imagination, The play has been 
quite dead for many years ; but it is, perhaps, worthy of perusal if only to 
see what stuff went down with pur forefathers for work of genius. As 
already said, however, its original production was a memorable event in 
the History of the Scottish Stage. Original productions of new plays in 
the provinces were as scarce then as now ; besides, the fact of its being 
written by a Scotsman lent an additional attraction. Scotsmen were 
then very " clannish." A story peculiarly illustrative of this and of the 
impression made on his countrymen by Home exists in tradition. At the 
first performance of Douglas, when Young Norval was busily employed 
giving out one of his rodomontading speeches, a canny Scot, who had been 
observed to grow more and more excited as the piece progressed, unable 
longer to contain his feelings, called out with evident pride, " Whaur's yer 
Wully Shakspere noo ! " This humble admirer of the play and its author 
was, however, by no means alone in thinking so highly of the piece. Men 
well able to judge went the length of saying that it was the " best play 
written since Shakspere," Mr David Hume, the philosopher, who was an 
intimate friend of Home's, praised it in the highest terms, and Mr Henry 
Mackenzie, also a friend of the author's, in writing Home's life a number 
of years afterwards, speaks of both author and play in terms of the highest 
eulogy. 

Douglas was not Mr Home's first dramatic work. So- early as 
the autumn of 1749, he went to London, and offered Mr Garrick his play 
of Agis. Garrick did not accept it, alleging as a reason that it was not well 
adapted for the stage. So Home, with his vanity sorely mortified, vented 
his feelings in writing some verses on Shakspere's monument in West- 
minster Abbey. It is well that in the present age the vergers are 
more alert in doing their duty, and do not allow disappointed poets 



88 The Annals of the Edinburgh Stage. | 

to scribble on the monuments in Poets' Corner. Evidently Home must 
have taken a copy of his verses in his pocket book, for it is given in the 
Life by Mackenzie. The lines run as follows : 

" Image of Shakespeare ! to this place I come 
To ease my bursting bosom at thy tomb ; 
For neither Greek nor Roman poet fired 
My fancy first, thee chiefly I admired ; 
And day and night revolving still my page, 
I hoped, like thee, to shake the British stage ; 
But cold neglect is now my only mead, 
And heavy falls it on so proud a head. 
If powers above now listen to thy lyre, 
Charm them to grant, indulgent, my desire ; 
Let petrifaction stop this falling tear, 
And fix my form for ever marble here." 

Evidently the " powers above " did not hearken, for Home eventually 
returned to Athelstaneford. Here he immediately set about writing Douglas, 
the plot of which, according to Carlyle, first occurred to him on 
hearing Mrs Janet Denorn, Mrs Hepburn's sister-in-law, sing the old 
ballad of " Gil Morrice." Five years afterwards, for he took that space of 
time in the composition of his tragedy, namely, in February 1755, with the 
play in his pocket, Mr Home set off on horseback from his house in East 
Lothian for London. The opinions at that time entertained by his friends as 
to the excellence of the piece and its certainty of success were very sanguine. 
This is evident from Dr Carlyle's account of the commencement of the 
author's journey. He was accompanied a certain distance on his way by 
some of his most intimate friends, of whom Dr Carlyle was one ; and he re- 
lates, that the habitual carelessness of Mr Home was strongly shown by his 
having thought of no better conveyance for his MS., " by which he was to 
acquire all that fame and future success of which his friends were so con- 
fident, than the pocket of the greatcoat in which he rode," Dr Carlyle and 
his other friends were troubled for the safety of the Drama, their admira- 
tion of which he describes "as approaching to idolatry " ; so they " turned a 
little out of their road, to procure from a clergyman of their acquaintance 
the loan of a pair of saddle bags in which to deposit the MS." Arrived 
in London, and armed with a powerful introduction, Home presented this 
" heir of his invention to ' King David,' as Mr Garrick was familiarly 
called. His theatrical majesty, however, returned it with the mortifying 
declaration that it was totally unfit for the stage ! So as a last resource, 



77/6- Annals of the Edinburgh Stage. 89 

the Edinburgh Theatre was tried, and Mr Digges put the work into 
rehearsal."* " Its rehearsals," Mr Mackenzie says, " were attended by 
that literary party, who were the constant companions of the author, and 
then the chief arbiters of taste and literature in Edinburgh Lord 
Elibank, David Hume, Mr Wedderburn, Dr Adam Ferguson, Adam 
Smith, and others." ... "I was then a boy, but of an age to be some- 
times admitted as a sort of page to the tea-drinking parties of Edinburgh. 
I have a perfect recollection of the strong sensation which Douglas 
excited among its inhabitants. The men talked of the rehearsals ; the 
ladies repeated what they had heard of the story ; some had procured, as 
a great favour, copies of the most striking passages, which they recited at 
the earnest request of the company. I was present at the representation ; 
the applause was enthusiastic, but a better criticism of its merits was the 
tears of the audience, which the tender part of the Drama drew forth 
unsparingly."t 

The following account is by Dr Carlyle : "I attended two rehearsals 
with our author and Lord Elibank and Dr Ferguson and David Hume, 
and was truly astonished at the readiness with which Mrs Ward con- 
ceived the lady's character, and how happily she delivered it." . . . "The 
play had unbounded success for a great many nights in Edinburgh, and 
was attended by all the literati and most of the judges, who, except one 
or two, had not been in use to attend the theatre. The town in general 
was in an uproar of exultation that a Scotchman had written a tragedy of 
the first rate, and that its merit was first submitted to their judgment. "j 
Besides these posthumous accounts of the performance and of its great 
success, the following is doubly interesting, firstly, as being a contemporary 
criticism ; and secondly, from its length, so unusual in newspaper notices 
at that time, and for many years afterwards : 

" To the printer of the Caledonian Mercury" 

" Sir, Your inserting the following impartial observations on a late Dramatic work, will, 
I hope, oblige all your readers as well as your humble servant. If the merit of a work could 
be ascertained by the general approbation it receives during its representation, and the ardour 
with which all ranks crowd to the Theatre, or the irresistible power it has of drawing tears 
from every spectator, we might safely pronounce the tragedy of DOUGLAS to be one of the 
most perfect works of genius any age has produced. Experience, however, teaches us to be 

* " Life of John Home," &c. t Ibid. 

% Page 311, Carlyle's "Autobiography." 



go The Annals of tJie Edinburgh Stage. \_ 1 75^- 

more reserved in our decisions ; and an ingenious critic has justly asserted, that the hour of 
publication is the hour that decides the reputation of a Dramatic performance. But though 
we must defer our final judgment of the piece till it can be calmly and deliberately scann'd 
in the closet, now is the time to pronounce on the merit and ability of the actors who, during 
the run of this play, have given so much pleasure to the public. The genius of the author, 
and the ability of the chief performers, seem, by good fortune, to have been formed to 
illustrate each other in the highest degree ; for we will venture to affirm, that as there is no 
other part that could have so fully shewn Mrs Ward's amazing powers in tragedy, so there is 
but one actress in Britain who could have performed the part of Lady Barnet* as well as she 
has done, and we are far from being certain that there is any actor at all who could have 
equalled Mr Digges in the character of DOUGLAS. Other actors there are, perhaps, who can 
express violent passions with more execution than that gentleman, and oftener raise pity and 
horror than he ; but in copying nature with judgment throughout a whole piece, in preserving 
the attention to recital, and in that charming simplicity of action, so long banish'd the stage, 
we think him inferior to no other actor in Britain. In the part of young Douglas, his 
excellent taste and judgment peculiarly appear. Other actors would have endeavoured to 
dazzle an audience by the most splendid action, and have shewn in a Scotch Theatre that 
Douglas was at least of as good blood as Piercy. But this judicious actor has taken no 
liberties of the kind ; for he has carefully followed what seems to be the author's idea. When 
Young Douglas first appears as a peasant's son, his native spirit struggling under the disadvan- 
tage of his condition and supposed birth, produces a bashfulness and modesty in his manners, 
which recommended still more to the noble patron whose life he has saved by his valor. And 
when he is afterwards instructed in the story of his birth, though he naturally assumes a 
nobler part, and gives freer vent to his spirit, yet he has still respect to the injunction of his 
mother, to bear himself in public as the son of Randolph. In short, this excellent actor 
seems to have copied exactly that beautiful picture Lady Barnet draws of her husband and 
son near the end of Act 3 commencing, ' As he looks now, so looked his noble father,' &c. 
While I am warmed by this young gentleman's theatrick excellence into so public a praise 
of it, I cannot help adjoining this testimony to the great satisfaction he has given to all 
ranks of people by the apparent good effect of these indefatigable labours he hourly bestows 
on the improvement and regulation of the Drama. When I assert I never desire to view the 
action of any dramatic work more perfectly or properly conducted than the Douglas was, I do 
but common justice in saying that every lover of elegant decency in theatrical entertain- 
ments is indebted to this gentleman for the propriety and strict regulation with which this, 
as well as every other piece, has been represented since his direction of our theatre. . . . 

Yours, &c., CRITO." 

All this success, however, as before shown, was not without most 
determined opposition. 'A moderate-sized pamphlet might be made up of 
the names alone, of the multitudes of separate publications, pro and con, 
that were published at the time. Dr Carlyle, who had been Home's 
fellow-student, and Adam Ferguson, both wrote supporting the Theatre 
party. A pamphlet by the former was entitled, " An Argument to prove 

* The original name of Lady Randolph. 



1756.] The Annals of the Edinburgh Stage. 91 

that the Tragedy of Douglas ought to be publically burnt by the hands of 
the Hangman." This was a purely ironical squib, and although cleverly 
written was so far beyond the comprehension of the opposition party, that 
they mistook the arguments as intended seriously, allowing their bigotry 
and lack of humour, which evidently went hand and glove, to make com- 
plete fools of them. 

The run of the Tragedy, for the period and place, was undoubtedly 
without parallel ; but we must be careful not to be misled into drawing 
comparisons with the long runs at the same period in London. As a 
matter of fact, the first run of Douglas does not seem to have extended 
beyond four consecutive "playing" evenings, namely, Tuesday i4th, 
Thursday i6th, Friday i/th, and Saturday i8th December, the adver- 
tisement distinctly saying that it "will be performed these evenings and 
no more this season." * However, advertisements in those days, unlike 
the present day ones, were not infallible, and we find on Wednesday 22nd 
" by desire " it was again played, " being positively the last time of play- 
ing." Whether it was also performed on the Monday and Tuesday pre- 
ceding, it is impossible to say, as the newspapers give no clue. At any 
rate, the limit of the length of its run, supposing it actually was played 
on the 2oth and 2ist (a most unlikely thing), would be but seven nights ! 
It was not again played in Edinburgh till February Qth 1757, when 
"material alterations by the Author" were advertised, t In view of 
these facts several statements made by Carlyle in his Autobiography seem to 
be misleading, and the following relation, although sufficiently graphic not 
to require an apology for insertion, reads peculiarly like an innocent fiction 
on the worthy Doctor's part. " Digges rode out one forenoon to me, say- 
ing that he had come by Mr Home's desire to inform me that all the town 
had seen the play and that it would run no longer, unless some contriv- 
ance was fallen upon to make the lower orders of tradesmen and apprentices 
come to the playhouse. After hearing several ways of raising the curiosity 
of the lower orders, I desired him to take a walk for half-an-hour, and look 
at the view from Inveresk Churchyard, which he did ; and in the mean 
time I drew up what I entitled, ' A full and true History of the Bloody 
Tragedy of Dotiglas as it is now to be seen acting in the Theatre in the 
Canongate.' This was cried about the streets next day, and filled the 
house for two nights more." 

* Gout ant, i6th December. t Ibid. 



92 The Annals of the Edinburgh Stage. [ J 756. 

The cast of Douglas upon this its first production was as follows : 
Lady Barnet = Mrs Ward ; Anna = Mrs Hopkins ; Douglas = Mr Digges ; 
Lord Randolph = Mr Younger ; Glenalvon = Mr Love ; Norval = Mr 
Heyman. 

At that time the doors of the theatre opened at five and the perform- 
ance commenced at six. The charges were 2s. 6d. for Boxes and Pit, and 
is. 6d. for Gallery. 




& <7 <? '* 




CHAPTER VII. 

DIGGES' MANAGEMENT 1756-7-8. 

R DIGGES having the management in his own hands was not 
slow in showing that he meant to " deserve success " if he 
could not " command " it. To procure novelties was then an 
almost impossible task for a manager four hundred miles distant 
from the metropolis ; but Digges was possessed of exceptional energy and 
certainly, during his long although interrupted connection with the Edin- 
burgh stage, showed himself most capable of catering well for the public. In 
the middle of the Douglas run, and when the excitement of the production 
might almost have been thought to have little more than begun, we find 
Digges making the following announcement : " To oblige the public with 
as elegant a variety of Entertainment as possible the manager has pro- 
cured from London the New Opera of The Tempest compos'd by Mr 
Smith, and play'd with the greatest applause to several crowded audiences 
last winter at the Theatre Royal in Drury Lane. That it may have the 
best chance of universally pleasing, he has introduced the several songs in 
the Opera into the business of the play, so that both Harmony and Action 
will, it is hop'd, in this performance contribute to the pleasure of the 
public. The new Grand Overture will be performed according to the 
score of the Opera, and nothing omitted but the recitative. There will be 
no music play'd before the New Overture." * This is followed up with 
further interesting matter relative to the scenery. "A principal scene of the 
Tempest rais'd by magic, is new painted for the occasion, with a perspective 
representation of the ship, rocks, ocean, &c. The stage will be entirely 
darkened for the representation of the storm ; the candles therefore cannot be 
lighted till after the commencement of the first act." t The theatre was 
closed several days to admit of preparations, and when these were com- 

* Conrant, December i8th 1756. t Ibid. Various days, December 1756. 



94 The Annals of the Edinburgh Stage. [1756-7. 

pleted the piece was produced on the 28th. It is almost needless to add 
that with such elaborate preparations no gentlemen were admitted behind 
the scenes. The cast for the Tempest was as follows : Singing Spirits 
Milcha = Sadler, Ariel = Mrs Love ; Prospero = Heyman ; Trinculo = Love ; 
Ferdinand = Younger ; Caliban (with new song in character) = Stamper ; 
Hypolito = Stamper ; Miranda = Mrs Hopkins ; Dorinda= Mrs Ward. 

A piece called the Royal Merchant, "never acted here," was performed 
on the 3Oth, in which was introduced a mock coronation of the King of 
the Beggars, "In which all ranks and order of beggars in their various 
ragged robes will walk with distinguishable gravity and comical decorum 
accompanied to the music of frying pans, porridge pots, salt boxes, &c." 
This seemed to take, and was repeated on January 3rd. Douglas was re- 
peated on February Qth and I4th, when (on the latter date at any rate) 
" select pieces of old SCOTS Music " were played between the acts. Mrs 
Ward took her benefit on the 26th February with Venice Preserved and 
The Tamer Tamed or Catherine and Petruchio, " never acted here." The 
Pit and Boxes as well as Gallery were, on this occasion, laid out at 2s. 6d. 
Digges played the part of Jaffier, and Love Pierre. 

On March loth a Comedy in two acts by Dr Smollett is advertised as 
in preparation at the Canongate Playhouse. This was probably the farce 
The Reprisal, which was brought out at Drury Lane on January 2 2nd 1 757. 

Douglas was advertised, "by desire of several Ladies of quality," for 
March i5th, with a prologue intended to be spoke at its representation in 
England, as it is now in rehearsal at Covent Garden. 

On the following evening (March i6th) for the benefit of Mr Thom- 
son, late manager of the theatre, The Drummer, by the late ingenious 
Mr Addison. Tickets at Mr Thomson's house at the Abbey. Mr 
Thomson evidently was a bankrupt, and the method of referring to this is 
decidedly entertaining. The advertisement goes on to say: " N.B. 
As Mr Thomson's state of health will not permit him personally to wait on 
his friends, he humbly hopes that will plead his excuse, and that they will 
favour him with their company that night." 

On March 22nd Digges played Othello "for the first time." 

The season was an unusually long one, the performances lasting till 
after the middle of August, the last of which there is any record being on the 
2Oth of that month. * During these nine months a very long list of plays 

* See Fragmenta Scoto Dramatica, taken from original playbills. 



1 75 7-^.] The Annals of the Edinburgh Stage. 95 

was performed, among the most notable of which may be mentioned, 
The Conscious Lovers, Jane Shore, The Mask of Comus, The Mourning 
llride, Hamlet, Merchant of Venice, Othello, The Beggars Opera, The 
Rehearsal, Romeo and Juliet, Henry IV., Twelfth Night, and The 
J^rovok'd Husband. 

The following season (1757-8) was opened about November 26th, on 
which day an announcement was made that " Mrs Mynitt," having been 
overturned in her chaise and her face greatly bruised, she would be unable 
to appear for a few nights. By the loth December, however, she seems 
to have recovered, for on that evening she played Estifania in Rule a 
Wife. This lady played old women roles, such as Mrs Peacham and the 
Nurse in Romeo and Juliet. She was the wife of William Mynitt, an ex- 
cellent comedian ; her own abilities, though respectable, do not seem to 
have been tremendous. According to Chetwood, in his " History of the 
Stage," " she had an amiable person and excellent voice, and was an 
agreeable actress both in tragedy and comedy." Another new comer, 
Mr Brown, was in all probability the former manager at Bath, with whom 
Mr Digges had been acquainted in Dublin during the season 1753-4. 
At that time Mr Brown had offered Mrs Ward an engagement at his 
theatre in Chester, of which, however, on her arrival, he denied all know- 
ledge, although he was brought before the Mayor to compel him to keep 
his promise. Mr Digges, who was living within St James' Sanctuary in 
London, at the time expressed himself very indignantly on the subject in 
his letters to Mrs Ward. The difference, however, had evidently been 
made up, and we find Mr Brown making his first appearance in the Canon- 
gate on December ist as King Richard III. About this time Mrs Ward 
had to be apologised for as being extremely indisposed, and Mrs Hamil- 
ton (who had also deputised for Mrs Mynitt) took her place. On the 
26th December, Macbeth was performed, with " the characters entirely 
new dress'd, after the manner of the Ancient Scots." Mrs Ward's indis- 
position must have been pretty serious, for we do not find her name appear- 
ing again till the i8th January, when she played Queen Catherine in Henry 
VIII., to Digges' Wolsey. It is worthy of note that Wolsey was one of 
the first parts this gentleman ever appeared in, in public, on which occasion 
he was dressed in a shape, as it was technically called, of the stiffest order ; 
decorated with gilt leather upon a black ground, black stockings, black 
gloves, and a powdered periwig. In this guise he so tickled the humour 
of Foote, who was sitting in the pit, that that gentleman, waiting till the 



96 The Annals of the Edinburgh Stage. [ r 75 7-8- 

customary round of applause had subsided, ejaculated in a pretended 
undertone, " A Roman chimney-sweeper on May-day." Like all Foote's 
smart sayings, there was plenty of sarcasm and some wit in this, but of 
politeness or kindness none. 

On January 3rd 1758., The Alchemist was given for the first time 
here. Abel Drugger = Brown ; Kastril = Digges ; Dol Common = Mrs 
Mynitt. 

On the Qth, Every Man in his Hiimour was announced for the first 
time in Edinburgh. Captain Bobadil = Digges ; Dame Kitely = Mrs 
Stamper. 

On February ist (for Mr Brown's benefit), the Gamester was played 

for the first time in Edinburgh, with Brown and Mrs Ward in the chief 

parts. On the 9th, a note is appended to the foot of the bill, that alludes 

to what is clearly the first indications of the famous " High life below 

stairs" riot. It reads as follows: "The extreme offence which the 

footmen in their gallery give almost every night to the audience, by 

incessant noise, and other abuses of the indulgence allowed them, has 

compelled this public notice, that on the first disturbance of any sort, 

which shall happen in that place, the gallery shall be shut up, and no 

servant shall be admitted gratis into any part of the house, on any account 

whatsoever." Mr Digges took his benefit on the nth, with the Orphan, 

and the ballet of the Prussian Camp. Home's tragedy of Agis, which had 

been written previously to Douglas, was performed by Garrick, in Drury 

Lane, during this season (February 2ist), with tolerable success, and was 

produced in Edinburgh for the first time on March 4th, the principal 

parts being sustained by Messrs Digges, Brown, Love, Holland, Parsons, 

Mrs Mynitt, Mrs Stamper, and Mrs Ward. It seemed to take a moderate 

share of success, for it was repeated on the 6th, 8th, and I4th. On the 22nd, 

Merry Wives of Windsor, with Digges as Dr Caius, a part no doubt 

well suited to his somewhat stilted and formal manner of acting. The 

season finished with a revival of the Gentle Shepherd, which had a 

remarkable run. It commenced on the 29th April, "the characters to be 

dressed in the Scots dresses," and was repeated on May 2nd, 4th, 6th, 

nth, 1 6th, and 2oth seven nights in all! Digges was Patie ; Peggy, 

by a person (being her first performance on any stage) ; Jenny = Mrs 

Ward. A " N.B." upon the bills announces, "The utmost care and 

application has been taken to learn the Scots dialect in this piece as 

perfectly as possible, that the beauty of this excellent pastoral may 



1 75 7-^.] The Annals of the Edinburgh Stage. 97 

receive as much justice as is in the performers' power to give it." In 
those days the weather at that time of the year appears to have been different 
from what is usually experienced now, because upon the occasion of the final 
performance (2Oth) an assurance is given that " the house will be rendered 
extremely cool ! " 

During the progress of this season a rather amusing disagreement 
took place between the members of the orchestra and Mr Digges. The 
details, which have been preserved in copies of the original handbills dis- 
tributed at the time by the different interested parties, afford us some 
glimpses of interesting matter connected with the economy of the theatre 
at the time. The real facts of the case seem to have been that Digges had 
failed to pay up arrears of salary, and that towards the end of the season 
the musicians, having too much reason to suspect that he might "take 
unto himself wings and fly away," resolved that unless the amount was paid 
up they would refuse to play. Digges, who perhaps had not got the money, 
for he was getting sorely into debt by this time, speedily found a pretext 
by which he could forfeit the entire money due to the band. This was to 
announce an opera* for a night (not one of the usual playing nights), 
upon which Mr Marine, the leader of the orchestra, was to give a concert 
in Mary's Chapel. Mr Marine promptly turned round and, addressing the 
audience, informed them that it being a concert night, and not one of the 
usual playing nights, he and his brother musicians would be unable to 
attend at the theatre. Digges then discharged Marine and a Mr Thom- 
son, who he said had been impudent to him when demanding his money. 
This resulted in the band deserting in a body, and so firm was professional 
freemasonry among musicians in these days, that Digges could not get a 
single fiddler to come to his theatre, except two "poor lads," who, after 
playing a few nights, were boycotted to such an extent that they had to with- 
draw. The high moral tone that the musicians assumed in speaking of their 
wrongs, and the mighty dignity that Digges displayed in retorting, are 
alike extremely amusing. For instance, one broadsheet issued by the 
former commenced as follows : " When the subjects of oppression are 
under the absolute dominion and uncontrolled power of lawless tyranny, 
there is no relief to their misery : tears and groans are the sole expressions 
of their grief. But in a land of liberty, where violence and injustice are 
restrained by public laws, wrongs may safely be complained of, without 

* The pieces for the next playing night were always announced from the stage by the manager or one of the 
chief actors when the play for the evening had concluded. 

G 



9 8 



The Annals of the Edinburgh Stage. 



[1757-8. 



dread of the taskmaster, and justice be obtained in spite of the oppressor. 
But though the law may restrain the outward act of wickedness, it cannot 
correct the depravity of the human heart : rancorous malice and deep- 
mouthed calumny will be liberally bestowed against the innocent person 
who is protected from other oppressions;" and so on through a long pomp- 
ous introduction. The gravity with which the public were appealed to 
and the importance attached to the squabble are exquisitely ludicrous. 
After issuing several papers flatly contradicting each other, in which the 
musicians accused Digges of all sorts of things, and mentioned that Mr and 
Mrs Love among others of the players had refused to act unless they were 
paid up the arrears due to them, Digges got Mr Love to write denying 
this, many of the other members of the company wrote to the same effect, 
and Mr Phillips, clerk to the theatre, state'd that ^7, gs. 6d. stg. was the 
total sum due by the management to the band. The amount, on the other 
hand, as stated by these gentlemen was ^25, 155., made up as follows : 

To Mr Reoch, per bill, 

Do., for 8 nights at 43. 6d.,* 
Thomson, per bill, 

Do., for 8 nights at 55., 
Smeitton, 8 nights in 1756 at 35., - 

Do., 9 nights at 25., - 
Napier, 10 nights at 33., - 
Kercher, 9 nights at 45., - 
Do., per bill, - 
Do., in part of a bill then due to him 

and others of the band, 
Mrs Fisher and Robison in part of do., 
Mr Marine, 8 nights at 55., 
,, Do., in part of a bill then due to him 

and others of the band, 
Stewart, 8 nights at 43. 6d., 
Do., in part of a bill, &c., 
,, Do., for music books, - 
,, Muggersland, 9 nights at 25., 
One night due the whole band last season, 



Deduce paid Mr Kercher, 35. 6d., 

And add for three hands who attended at an enter- 
tainment in Mr Thomson's, vintner, in the Abbey 
by Mr Digges to the rest of the Comedians, - 



l 


II 


6 


i 


16 


o 


i 


15 





2 


o 


o 


I 


4 


o 


O 


18 





I 


10 


o 


I 


16 





I 


6 


o 


. 

I 


4 





O 


12 





2 


O 


o 


O 


IO 


o 


I 


16 


o 


I 


1 1 


6 


O 


8 





o 


18 


o 


I 


1 1 





** 


7 


o 


o 


3 


6 



3 6 



i 1 1 



15 o 



* These were evidently extra playing nights. 



1 758.] The Annals of the Edinburgh Stage. 99 

How the quarrel was patched up is not on record, but it seems to 
have terminated amicably about the middle of April,* and the storm in 
the teacup being ended, matters went easier on both sides. 

Some time in May (1758) Mrs Ward left Edinburgh to fulfil an en- 
gagement in Liverpool, where she performed till the end of August. 
During this time a regular correspondence was kept up between her and 
Digges. Copies of her letters having been preserved, were published by 
the late James Maidment. t It is necessary here to say something 
regarding the authenticity of these most interesting epistles, in view 
of the fact that their genuineness has often been questioned. Were 
the originals available at the present day, the writing, ink, paper, &c., 
would, in the hands of an expert, help to prove the fact for or against ; but 
as these are either destroyed, or concealed in the cabinet of some 
curiosity hunter, it remains for us to judge of them by internal evidence. 
At first sight, any one conversant with the history of the Edinburgh 
Stage might probably pronounce against them, or at least doubt their 
authenticity, for this reason, that the only two of Mrs Ward's letters 
which have the year affixed, bear date 1753, in which year Mr Digges had 
never seen Edinburgh. This, however, is evidently a misprint, and the 
3 should be an 8. Careful reading and re-reading, combined with a 
knowledge of contemporary events, establishes this important point. The 
information in them corresponds minutely with that available from other 
and undoubted sources, and in all cases fits in perfectly with the bits of 
information otherwise known ; it is therefore perfectly safe to accept their 
evidence. Over and above the information they supply us regard- 
ing things external, as they may be called, i.e., in connection with the 
management of the Edinburgh Theatre, they throw us many curious 
side lights into the more private concerns connected with that establish- 
ment. Thus we find, in the first place, that the long and- to judge 
by Digges' letters of former years affectionate connection subsisting 
between that gentleman and Mrs Ward, was showing unmistakeable 
symptoms in 1 758 of drawing to a close. As is usual the gentleman was to 
blame for this, his conduct being not only unfaithful but cruel, and his 

* The dispute has always been known as that of the "GENTLEMEN MUSICIANS," as they so styled 
themselves in their first manifesto. The other side, with more spleen than wit, termed them "fiddlers." 
An Epilogue, in commemoration of the amicable settlement of the disagreement, was written and intended to 
be spoken by Mr Stamper, on April loth. It is fairly humorous, though not worth insertion here. The 
curious may find it in Logan's " Fragmenta Scoto-Dramatica." 

t " Letters which passed between Mr West Digges, comedian, and Mrs Sarah Ward. Edinburgh, 1833." 



roo The Annals of the Edinburgh Stage. 

manner peevish if not boorish. Mrs Ward seems, on the other hand, to 
have increased in her affection and devotion in proportion as he insulted 
and ill-treated her. Reading between the lines we find certain evidence 
that they were terribly in debt in Edinburgh. Digges was a gentleman 
who loved his ease and comfort above all things, and luxuries were not to 
be had, even in those cheap days, on a salary of four guineas a week,* with 
himself, Mrs Ward, and their several children to keep. Her immediate 
reason for leaving Edinburgh may not wholly have been Digges 1 cruelty, 
but it was certainly an important factor."*" Money was no doubt partly 
the reason ; for previous to her departure for Liverpool they seem 
to have been in great straits. While she acted in Liverpool important 
events were transpiring in Edinburgh, where Digges continued his resid- 
ence. In the first place Bates, or Beat, or Beatts, as his name is vari- 
ously spelt, appeared upon the scene. This was not his first connection 
with the "good town " however, for in 1745 he played no less important 
a part than that of proclaiming the Pretender at the Cross. He was at 
this time (1758) manager of the theatre in Newcastle, and had no doubt 
come to Edinburgh to try to effect a similar footing in the Canongate. 
Various schemes were spoken of, and it is very probable that had Digges 
been as good at intrigue as he undoubtedly was in management, or even 
had Mrs Ward been there to direct him, he would have secured for him- 
self and her a firm and profitable position in the concern. He, however, 
allowed Beat and Callender to arrange with the proprietors to become 
joint managers. Not only did he fail to secure a footing in the manage- 
ment, but he even neglected to make a good bargain with Beat and 
Callender when they had obtained the coveted position. In this he was 
deplorably foolish, for with his and Mrs Ward's popularity he could 
have easily commanded even the large sum of 11, iis., which 
was the amount she advised him to ask for their joint services per 
week. \ 

Mrs Ward's plan was, that if Digges, Callender, and Beat got the 
management jointly, they should engage the company for nine 
months, opening at Newcastle on September i2th, Edinburgh Decem- 
ber 1 2th, and Glasgow T2th April, remaining there till the end 
of May. Callender, on the other hand, wanted to engage for 

* Such was their joint salary (benefits not included) for 1756-7-8. " Love Letters," p. 114. 
t " Love Letters," p. 87, &c. Ibid., p. 75. find., p. 93. 



The Annals of the Edinburgh Stage* 101 

the whole twelve months, a plan which Mrs Ward very pertinently 
points out was the beginning of Lee's ruin.* During her stay 
in Liverpool, Mrs Ward received several offers of engagements for 
the winter. One was from Barry, who was about to establish his 
memorable Crow Street Theatre in Dublin ; another was from Garrick, 
couched in such a manner however that, whenever he thought she was 
not going to Dublin, he was able to sneak out of it. Garrick was a master 
of such finesse. The third, which was from Rich, although refused at 
the time, she eventually accepted. Her benefit at Liverpool was very 
poor, only ^40, and she laments that she would not be able to pay off a Mrs 
Crassan in Edinburgh, who had lent her money, and who. although a sort 
of pawnbroker and money-lender, was evidently a great friend of hers. 
Some years afterwards, Mrs Crassan showed that her regard for Mrs 
Ward was genuine, for in 1762, when Digges arrived in Edinburgh 
with Mrs Bellamy, and wanted to borrow money from the old quarter, 
Mrs Crassan, indignant at his conduct to Mrs Ward, refused to 
have anything to do with him ; and only consented to transact business 
upon Digges taking his oath upon the Bible that he was really married 
to Mrs Bellamy ! Commenting upon this, Lee Lewis in his Memoirs 
says, " A pretty good stretch for a man who could never dine 
without saying grace, and frequently repeating it twice during the same 
meal ! " t 

There is also in these letters some talk of a Mr Gibson who was 
willing to purchase the theatre in his own and Digges' names ; Digges 
to pay up his share out of the profits. That project came to no- 
thing, for which, no doubt, Mr Gibson in after years was profoundly 
thankful. Mrs Ward went straight from Liverpool to Newcastle, where 
she assumed the name of Mrs Digges, by right of marriage, and entered 
into an agreement with Beat, for herself and Digges to open at New- 
castle at nine guineas a week and six benefits. Digges arrived in due 
time, but after they had acted a few nights, Mrs Ward suddenly 
set off for London, where apparently she had a previous engage- 
ment with Mr Rich of Covent Garden. Her motives for so doing are 
difficult to fathom ; but it is not unreasonable to suppose that her final 
disagreement and separation from Digges had much to do with it. There 

* "Love Letters," p. 107. 

t Vol. iii. p. 46. It should be borne in mind that, if this story is like a great many of Lewis' state- 
ments in his short account of the Scottish Stage, it requires the proverbial grain of salt. 



1O2 The Annals of the Edinburgh Stage. 

is a letter without date,* the last included in the volume before mentioned, 
wherein she most pathetically informs Digges of her final decision that all 
is over between them. As before stated, Digges was greatly if not 
entirely to blame. His whole life was one of thoughtless indulgence, while 
she, although frail, seems to have possessed not only a tender and loving 
heart, but a forgiving spirit as well. The following extract, which con- 
cludes this epistle, sufficiently indicates this : 

" I hear give you up your vows : give them and your person where you have bestow'd 
your affection ; you shall never hear that I make the least complaint of you ; 'tis not yours, 
but nature's fault that deprives me of you. Of what then can I blame you ? My sorrow 
shall be silent, and to myself alone. You know I have not a wish beyond you ; and that 
though I am now a writeing to you for the last time, and to take my leve of you for ever, 
I can't help tell you that all my happeness is gone with you ; and find, form what resolution 
I will, I am doom'd to be wretched without you. Judg then what I must suffer ; but every- 
thing to affoard ease is deny'd me ; the friendly releafe of tears, which would sometimes come 
to my ade, is now refused me. The love I bear Mr Digges will I cherish in my breast, and 
give it to his child, if it shall please God to let it see the light. Excuse me for mentioning 
what perhaps you do not choose to remember ; I could not help it. That you may be 
ever happy, is the wish of her who is your sincear friend and humble servant." 

"S. WARD." 

It is also possible that Mrs Ward's leaving Newcastle may have 
been occasioned by the fact that Mr Love was the manager there 
for Beat. Mrs Ward had previously made the most solemn vows 
never to act in the same play with this gentleman, on account of his 
having done Digges some underhand action, the nature of which is not 
known, and perhaps the keeping of the vow may have hastened the end of 
her connection with Digges. She arrived in London in September ; 
and so her "strange eventful" history, for the present, is ended. 
Mrs Bellamy, who was acting at Covent Garden in 1758-9, thus men- 
tions in her interesting memoirs Mrs Ward's arrival. t "We likewise found 
there Mrs Ward from the theatre at Edinburgh, whom Mr Rich had en- 
gaged for the ensuing season. She was accompanied by a frightful being, 
to whom she gave the title of husband. This lady had one of the most 
beautiful faces I ever beheld. But her figure was vulgar to a degree. 
By the stoop and magnitude of her shoulders it might be imagined 
that she had formerly carried milk pails. Her beauty would have been 

* Written, however, evidently about the beginning of September, when she left Newcastle. 
t P. 198. 



1758.] The Annals of the Edinburgh Stage. 103 

much more conspicuous in that line than in the character of a queen or 
young princess." 

It need scarcely be added to this, by way of comment, that Mrs 
Bellamy was a very jealous woman, and feared Mrs Ward supplant- 
ing her. 




CHAPTER VIII, 

CANONGATE CONCERT HALL Continued. 

I EATS object in engaging Digges was clearly to secure the 
services of Mrs Ward. He would readily have given her 
good terms for herself, but she stuck steadfastly to her lover, 
and no doubt sacrificed her own interests by so doing. It was 
for this end, that is, to make Beat engage Digges, that she called 
herself Mrs Digges. Digges therefore must have reflected somewhat 
unpleasantly on his own conduct when, after Mrs Ward's departure, he 
was informed by Beat that there was no further use for his services. 
The engagement had been for both, and was broken by one of them 
leaving, so Digges went over to Ireland, where he seems to have got 
an engagement. Perhaps Beat had other reasons for thus getting rid 
of Digges. The actor's popularity was great, and his known wish to 
become manager, if not proprietor, made it dangerous to have him on the 
premises. This fear must have influenced Beat, otherwise it was clearly 
to his benefit to retain the services of an actor who could fill the house. 
Beat even admits as much in an address he issued the following year. 
In Mr James Aickin, however, he was successful in obtaining a leading 
actor of very high ability, to fill Digges' place, although he and Callender 
made but a sorry affair in the selection of the other members of the 
company. Six of their number are recorded by Tate Wilkinson in his 
valuable Memoirs * as having belonged for many years to the Portsmouth 
Theatre. "But in consequence of some pique," he says, "which had 
happened on my playing all the principal parts the year before " (he had 
been in the habit of " starring " at Portsmouth during the summer), 
" several had taken it so much in dudgeon that a great desertion ensued. 
The hero, Mr Cook (alias Gentleman), who, though very lame in years, 

* P. 91, vol. ii. 



1 758-9-1 The Annals of Ike Edinburgh Stage. 105 

had been the stock Romeo,* Mr Gates, Mrs Price (who afterwards 
married Mr Parsons), Mrs Mozeen, Mr and Mrs Fitzmaurice, all had 
invited themselves on a jolly party for Scotland." Wilkinson's poor 
opinion of them, which he expresses pretty freely, was evidently endorsed 
by the Edinburgh audiences. 

Mr James Aickin, t who took Digges' parts, was unquestionably an 
actor of talent ; it is worth noting that according to Wilkinson \ 
Foote expressed great admiration for his ability. The season 
opened on November i3th; and the only item of importance that 
occurred until the end of March, was the production for the first 
time in Edinburgh of The Earl of Essex, during December. In 
the Courant of March i7th, 1759, is the following interesting announce- 
ment: "Last Thursday (March i5th) evening, arrived here from 
London Mr Foote, and will perform on Tuesday the part of Cad- 
wallider in a farce of his own composing, called the Author? Foote had 
been acting during the autumn of the previous year at Drury Lane. 
Garrick's resources at that time had been much weakened through 
the desertion of Mr Woodward and several other performers, who, with 
Mr Barry of Covent Garden, had made common cause, and started a 
new theatre in Dublin the famous Crow Street Theatre. So the 
"great little man" in his difficulty was obliged to conciliate Foote, for 
whom, however, he retained to the full extent his bitter antipathy ; and 
had him (in conjunction with Wilkinson) acting during the autumn of 
1758. However, Foote's London Benefit, through a sudden freak of the 
Lord Chamberlain not allowing the Farce of the Author to be played, 
was but a poor house ; so during the months of January and February 
Foote was considerably pinched for funds. Always a man of excessive 
extravagance, an unexpected mishap such as this threw him on his 

* The following paragraph from the Rdinburgh Chronicle, published the next year (December 3rd, 1759), 
evidently refers to this gentleman : " I once imagined our ladies had more humanity, the gentlemen a belter 
taste, than to sit tame spectators, as they last winter did, while good old Lear was barbarously murdered on the 
stage, not by his daughters, but by a limping fiend of an actor. How ridiculous was it to see Lord Townley, 
with one leg short and the other long, like a hen on a hot girdle, hirpling through the stage." Then again 
" Who could endure to see the awkward Gates gnawing the noble words of Shakespere to pieces? I one day 
{still speaking of season 1758-59) saw Mr Beatt's actors arrayed in their own filthy rags, drawn up in order 
behind the scenes. Never till that moment stood I in such a presence ; never till then had I a right idea of 
Sir John Falstaff's recruits." 

t Aickin is the spelling Jackson gives ; Genest gives it Aikin. The former way was probably correct ; it 
was adopted in the bills of the play at any rate. 

J Memoirs, p. 92, vol. ii. 

Courant, November nth, 1758. 



io6 The Annals of the Edinburgh Stage. [1758-9. 

beam ends, and during these two months, according to Wilkinson, his 
narrow purse produced a long face and a spare table, two things not by 
any means to Foote's liking. He was, however, remarkable for resource, 
and on this occasion, after casting about a little, he hit upon the expedient 
of writing to Callender at Edinburgh, who, in the midst of a poor season, 
readily snatched at what was almost sure to prove a big attraction, and 
so Foote prepared to set out for the north. 

" At that time," says Wilkinson,* " birds of passage from London to 
Scotland were experiments unknown for it was judged impossible for a 
London theatrical sunflower to survive the chillness of such a barbarous 
northern clime ; but opinions and experience, which make fools wise, 
have proved it to be not only a happy asylum, but as fine a hothouse for 
the preservation, and as good a nursery for rare and delicate plants as 
ever those of Drury Lane and Covent Garden could at any time produce. 
Foote at Edinburgh was quite a phenomenon. Every one in London 
stared at his strange disposition, to adventure from the metropolis of 
England a journey of 400 miles to Edinburgh, and wondered that an 
actor of eminence should venture to a place where, at that time, a 
sixty pound benefit was a treasure." 

The following extract is from the Memoirs of Samuel Foote by 
Cooke,t and graphically describes his method of " raising the wind" for 
the journey : 

" ' Well,' said Foote to his friend Wilkinson, on receiving the letter from Mr Callander, 
' this Scotch expedition must be risked ; but where are the ways and means ? I must 
solicit Garrick, I believe, and yet it vexes me to the heart to let him assume such a superiority 
over me, even in money matters ; yet necessity has no law.' Garrick was accordingly 
applied to next day for the loan of ;ioo, which he readily granted ; but (as Wilkinson 
remarks), in his usual manner of conferring favours, ' he would endeavour to see Pritchard (the 
treasurer of Drury Lane), about noon, and then he would speak to him about it ; and then 
he (Foote) might draw on him in the evening for the sum, leaving a note of acknowledgment 
for the amount.' Foote, although not too proud to ask the favour from Garrick, was above 
appearing before Pritchard the treasurer to receive the cash, so he employed his friend and 
rival mimic Wilkinson to do the errand for him ; and at a supper they gave to their boon 
companions that night (off Garrick's money), Foote, while ridiculing Garrick's poetry, said, 
' that poor David's verses were so wretchedly bad, that should he himself die first, he dreaded 
the thought of Garrick composing his epitaph.' " 

" His trip to Edinburgh was very successful. The gentry received him into their houses, 
and the public were received by him (in the theatre) in great numbers, and he returned to 
London in the May following in good health and spirits and with a full purse." 

* Memoirs, vol. ii. p. 72. t P. 92. 



1 7 59.] The Annals of the Edinburgh Stage. 107 

Foote was splendidly received in Edinburgh ; according to Wilkin- 
son,* " it answered much better than was expected; the stage at that time 
being a place of resort in Edinburgh only for such independent persons as 
dared to judge for themselves, and venture into that seat of profanation." 

Besides his own pieces, The Author, The Diversions of the Morning, 
and The Englishman Returned from Paris, Foote appeared as Shylock, 
Gomez in the Spanish Friar, the Earl of Essex, Bayes in the Rehearsal, Sir 
Paul Plyant in the Double Dealer, &c., and gave what in all probability 
was the first morning performance of a play in Scotland. It was on Friday, 
March 3Oth ; the doors open at 1 1, and the " curtain to draw up at 12." 

About this time a proposal was published by Mr Alexander Thom- 
son, late sole proprietor of the Canongate house the same gentleman 
mentioned a few pages back as living at Holyrood, to print by subscription 
" An Historical Account of the Stage in Edinburgh." Subscriptions were 
taken by the Author at " Falstaff's Head " at the foot of the Canongate, 
price to be 2s. Nothing seems, however, to have come of it. t 

In the month of June a scheme was proposed in the columns of the 
Edinburgh Chronicle, by which criticisms of the theatrical performances 
were to be printed regularly. It was suggested that the writers 
should be independent gentlemen, who in this way might afford 
healthy advice to the players and agreeable entertainment to the public. 
The original scheme fell through, but was again taken up, with the result 
that a pamphlet \ of 50 pages was published early in 1 760, entirely devoted 
to notices of the performances that had taken place during the summer 
season six months previous ! 

During the summer, Callender, who seems to have been disgusted 
with the bad business that had been done all season, left the concern. 
Beat, now sole manager, according to Lee Lewis, || "having no stock 
to proceed upon, contrived to persuade one Dawson of Newcastle, who 
kept a carrier's inn, and in a low way had scraped together a tolerable 
sum of money, to undertake with him the joint management." Had 
Beat been wise in his generation, he would also have taken Digges into 

* Memoirs, vol. ii. p. 74. 

t The writer has been unable to find any trace of its having been published. 

J "A view of the Edinburgh Theatre during the summer season, 1759, &c., by a Society of Gentlemen. 
London, 1760, price is." 

During the following season the Edinburgh Chronicle devoted considerable space to the subject of the 
Drama. See p. no. 

II Memoirs, vol. iii. p. 48. 



io8 The Annals of the Edinburgh Stage. [1759-60. 

the concern, and so have secured skill as well as capital, neither of which 
qualifications he himself possessed. Digges still had his eye on the place, 
and arrived in Edinburgh on the 8th of November. That he fully meant 
business is proved by the fact of his announcing his arrival in the news- 
papers, after which the paragraph, or advertisement as it really was 
although in paragraph form,^ goes on to say : " The excellent perform- 
ance of this actor gives the most pleasing expectations to all lovers of 
dramatic entertainments, that we shall once more see theatrical repre- 
sentations worth our attention. Ribaldry and trash will give place to taste 
and truth, and the works of a Shakspere will be exhibited by a Gentleman 
who has established his merit as an actor ; as well by a judicious taste in the 
conception of character, as by equal abilities in the public performance of 
it." A puff, the style of which clearly betrays Digges' own hand. How- 
ever Beat, who did not seem to see the matter quite in the same light, 
refused him an engagement, and perhaps even said nasty things of Digges 
behind that gentleman's back. At least Digges accuses him of this, and 
in the tone of a much injured man makes out his own defence against the 
charges in general, and that of the dismissal from Newcastle, the previous 
year, in particular. An article in the Edinburgh Chronicle t gives both a 
graphic and sensible account of the dispute. It says 

" A paper war is certainly a harmless war. While other wars, by unavoidable expenses, 
impoverish, it, by the duty arising from the consumption of paper, enriches a nation. Other 
wars destroy the subjects, it only the goose-quills of a country. The war which has been 
long carried on between Great Britain and France, is of the former ; that new commenced 
war between the sovereigns Digges and Beatts, of the latter kind. Digges, like Britain, boasts 
of his illustrious allies ; Beatts, like France, of his numerous subjects and dependents. Digges 
supports the expenses of war by credit ; Beatts, upon an emergency, can melt down, if not the 
plate, yet at least the tinsel ornaments of the tragic buskin. Digges, like his native country, 
despises, Beatt, like France, publishes anathemas against his enemies. Beatts, like France, is 
aspiring too high ; it is absolutely necessary to let him know himself. Delenda est Carthage, 
else Rome is undone. Beatts is undoubtedly blind to his own interest. Certain I am, that 
Digges' Hamlet and Macheath would in one month bring in more money to the managers 
than they received during the whole course of last winter's acting. . . . J Upon the whole, 

* The newspapers then had a column " EDINBURGH," which contained much miscellaneous information, 
all of it inserted as news, although much of it was paid for, just the same as advertisements. The theatre adver- 
tisements were always so inserted. The reason the writer is certain about Digges having paid for this announce- 
ment is, that the copy consulted for the present work was the original office file of the Coitrant, on which was 
marked then (and for many years after) the price of the advertisements, also if they were paid, or to whom they 
were to be charged. In this case the usual charge, " 35. 6d.," with " paid," is appended in ink. 

t 3rd December 1759. 

J Part of this article is printed in a note, p. 105. 



1759-60.] The Annals of i lie Edinburgh Stage. 109 

if Mr Beatts brings not Mr Digges upon the stage, I would advise him to procure a set of toler- 
able puppets ; the Company who would attend his actors will certainly attend his puppets. I 
can assure them, they will be more entertained, and equally well instructed by the latter." 

Digges said that he had been " enjoined by persons whose commands 
I shall ever be proud to obey," * to refute all the slanders said against him, 
and thanked the public as follows for their support of his cause : t "The 
very remarkable spirit with which the town has been pleased to receive 
and consider my case lately publish'd, calls for my most publick and grateful 
acknowledgement." He goes on by warning the town that Beat is about 
to publish a counter statement to his. This, in the course of a couple of 
days, made its appearance, and gave a full account of the Newcastle dis- 
missal recorded a few pages back. 

In the mean time, about the end of November, the theatre opened, 
and about two weeks afterwards Digges was engaged. He says, in yet 
another of his many addresses, that he "cannot attribute his re-establish- 
ment on the stage of this metropolis to anything but public favour, and 
returns his thanks for the indulgent reception he met with on Saturday 
night." The following rather amusing " Simile " was published during 

the dispute : 

" A clown without one grain of sense 

Assum'd an air of learning ; 
He thought it gave him consequence, 
And that it look'd discerning. 

He read, not knowing right from wrong, 

As chance his will did vary, 
Or mighty Milton's sacred song, 

Or Ainsworth's dictionary. 

One day a friend his choice decry'd 

With much respect and breeding, 
To whom the clod with sneer reply'd, 

Why d n me, is't not READING ? 

Thus Beatt, the stage and critic's pride, 

Deserves to be admir'd ; 
By him a Digges is laid aside, 

And ev'ry stroller's hir'd. 

And should the town his conduct blame, 

As much from worth detracting ; 
He too will kindle in a flame, 

And say, why, is't not ACTING ? " 

* Courant, November 2oth. + Ibid., December 1st. 



i io The Annals of the Edinburgh Stage. [1759-60. 

Digges' first appearance this season was on December i5th, as 
Hamlet. The Edinburgh Chronicle speaking of this performance says, 
" Nature has happily adapted his figure to the dignity and gracefulness of 
the part ; and his knowledge of the Author is conspicuous in every line he 
utters." It goes on to instance his delivery of the soliloquies as " critically 
perfect," and declares that " they are not recited with the frigid exactness of 
mere declamation." Again it commends the delicacy of his " first reception 
of Horatio and the two officers who come to acquaint him with the strange 
appearance of his Father's apparition ? The surprise he assumes in the 
course of their narration is admirable ; " and so on through a long, well 
written and evidently carefully thought over notice. On the igth The 
Recruiting Officer was played, when from the same source we glean that 
the performance " owed its favourable reception to that genteel vivacity 
and easy spirit of frank good humour with which Mr Digges supported its 
principal character." 

The Edinburgh Chronicle, as may be gathered from the above, had 
been printing pretty exhaustive accounts of the theatrical doings in the 
Canongate. This departure, however, met with little support and even 
violent opposition, on the part of their readers, so towards the end of 
January (1760) the practice was discontinued. 

On the evening of Wednesday, January i6th, the farce of High Life 
Below Stairs was announced for the first time in Edinburgh ; * but the 
footmen in the city obtaining some information regarding the nature of the 
farce, and thinking that such a piece was an insult to them, determined 
upon opposition. Before the curtain drew up Mr Love came forward and 
read a letter which he had received, threatening both the managers and 
the playhouse in case that farce should be acted, and also saying that above 
seventy persons had engaged to sacrifice fame, honour, and profit, to pre- 
vent it. The audience, however, ordered the farce to be proceeded with, 
which was accordingly done ; but almost immediately a great noise arose in 
the footmen's gallery. The gentlemen in the pit called to them to behave 
themselves, otherwise they would be turned out and never permitted to 
enter the playhouse again. As the men would not stop, this had actually 
to be done before the performance could be gone on with. The immediate 
result of this was the closing of the footmen's gallery, into which these 
gentlemen's gentlemen had hitherto been admitted free, and the insolent 

* It had been brought out in London the preceding autumn. 



1760-1.] The Annals of the Edinburgh Stage. 111 

behaviour of the men on this occasion hastened the abolition of the ob- 
jectionable system of "Vails," or drink money, at that time insisted upon 
by the footmen from gentlemen for the most trifling services rendered. 

A Mr Reddish, who was a member of the company this season, it is 
worth noting, afterwards married Mrs Canning, the mother of the statesman 
and orator George Canning. He seems to have been a poor actor, and 
eventually died a maniac in the York Asylum.* The following is from 
the columns of the C our ant : "We are told that on Monday next (April 
2ist, 1760), there will be a grand procession by the honourable fraternity 
of free and accepted masons at the laying of the foundation stone of the 
charity workhouse for the parish of the Canongate, after which they will 
walk in order to the playhouse, when the tragedy of Macbeth is to be acted 
for the benefit of that charitable institution." During the course of this 
season it maybe noted that Milton's Masque of Comus and The Guardian 
were both produced. 

The next season was ushered in by an announcement that Season 
Tickets could be procured at Mr Beat's house in Monteith's Close, and 
year after year we find the same announcement as long as Beat continued in 
the management. Nothing important occurred during the season. Digges 
was gone, apparently to Ireland, and in his place Lee, who since his im- 
prisonment seems to have met with many reverses, was engaged. On the 
5th of February 1761, The Way to Keep Him was acted for the first time 
in Edinburgh, with Lee, Aickin, Parsons, King, Mrs Love, &c., in the 
cast; and on April i8th, by desire of the Duke and Duchess of Douglas, the 
Beggars Opera was given for the benefit of the poorhouse in the Canon- 
gate, Macheath = Mr Love; Polly = Mrs Mozeen with High Life 
Below Stairs as an afterpiece. On May 2nd, Mr Lee, by way of "fare- 
well," read Milton's Paradise Lost, in the forenoon, at 25. 6d. a ticket ; 
the performance to be given within Mr La Motte's large room in James' 
Court. 

During the summer Mr Sheridan paid Edinburgh a visit. Recently 
turned out of his own theatre in Dublin, he had been staying in London, 
and came north with a big project of giving two sets of eight lectures each ; 
the first set on Elocution, and the second on the English tongue. The most 
extraordinary thing is that he actually completed both sets, the lectures 
being given in the operating room of the Royal Infirmary. 

* Representative Actors, p. 424-5. 




CHAPTER IX. 

JACKSON, DIGGES, AND BELLAMY. 

HE season 1761-62 a notable one as it proved opened in 
December ; the first performance of which there is any note 
being on the 26th, when the Rehearsal was played. On the 
28th, The Busybody Marplot = Griffith ; Miranda = Mrs 
Brooke. Spectacle in those days, although not attempted in anything 
like the lavish manner in which even ordinary plays are mounted in our 
time, was much in vogue, and from various sources of information we 
learn was as potent an attraction then as it is now. 

On January 6th, King Henry VIII. was played, " introducing the 
procession from the Abbey at the Coronation of Anne Bullen, with the 
ancient ceremony of the Champion in Westminster Hall." January 9th, 
Oroonoko " The part of Oroonoko by a gentleman." 

The "gentleman" was no other than Mr John Jackson, who 
afterwards came prominently before the Edinburgh public as actor, 
manager, and author, He was the son of an English clergyman, 
and had received a liberal education. As a man, and as a manager, he 
had many good as well as bad qualities. As an actor, he seems to have 
been fairly successful, but of his capacity as an author, it is perhaps best 
not to say anything. His greatest weakness was self-conceit, which, 
never small, grew with his years, till it finally ruined him by bringing him 
constantly into quarrels with everybody he came in contact with. 

By his own statement,* he wished to make his debut in the part of 
young Norval. Mr Love, who was Beat's general manager, was afraid to 
risk this, as the remembrance of Digges in the part was still so fresh in the 
minds of the audience, so Oroonoko was put up. Jackson, however, 

* History of Scottish Stage, p. 32. 



1761-2.] The Annals of the Edinburgh Stage. 113 

persisted in his wish to play young Norval, so the play was soon afterwards 
given out, and the bills were posted in the town. On the morning of 
the performance Jackson breakfasted with Mr Love, at which meal he 
reports the following conversation to have taken place: 

Mr Love. " Mr Digges has arrived in Edinburgh." 

Mr Jackson. " I am glad of it, as he will have an opportunity or 
seeing, for the first time, that favourite character exhibited by another." 

Mr Love. " That is very true, sir ; and it may yield you some 
temporary gratification in the performance. But what will be the con- 
sequence ? My advice is, that you should defer it, as it will certainly be 
one of Mr Digges' first performances, and comparisons may be unfavour- 
able. Shall shall I order the playbills to be suppressed ? " 

Mr Jackson (with great deference). " What ever you think right, I 
shall certainly concur in." 

Mr Love. " I was certain you would see this in the same light with 
myself. I shall therefore order the bills to be taken down." 

" He had the door in his hand, when I thus accosted him : ' Sir, I 
have not the least objection to your putting a stop to the representation 
of the play of Douglas, if you think it for your advantage. Certain I am 
that it is not for mine ; and mark the consequence. If I am not permitted 
to perform Douglas to-morrow night as advertised, I never will appear 
again, in any other part, upon the Edinburgh stage.' " * 

Jackson adds that Love acknowledged Digges had prompted him to 
persuade Jackson not to play Young Norval. Whether this was the case 
or not is of no consequence. If Digges was jealous, he did not long 
remain so, for, after witnessing Jackson's first performance in the piece 
from the third row of the pit,t he consented, on Jackson's acting it the 
second time, to take the part of the Old Shepherd. This was on March 
5th, when Miss Phillips was the Lady Randolph. John Home, the 
author, was present at Jackson's first performance of Young Norval, 
and assured that gentleman "he had scarcely ever been so well satisfied 
with the playing of the part of Douglas" $ It was a curious trait in 
Home's character, that for nearly fifty years after this he made a similar 
statement to every one in succession who essayed the part. During the 
season Jackson appeared in quite a number of characters, including 
Oroonoko, Romeo, Earl of Essex, Osmyn (Mourning Bride], Don Felix 
(Wonder], Jaffier, Douglas, Hamlet, Prospero, &c., &c. Digges also 



Jackson, History of Scottish Stage, p. 34. t/foV/., p. 37. %lbid., p. 37. 

H 



ii4 The Annals of the Edinburgh Stage. [1761-2. 

acted many of his old parts ; but the Edinburgh playgoers had a greater 
treat in store for them than the acting either of Digges or Jackson. The 
first intimation of this appeared in the Courant of May ist, as follows : 

" The following Four PLAYS ONLY 
will be performed successively at the Theatre, Canongate : 

TANCRED AND SIGISMUNDA, 
RULE A WIFE AND HAVE A WIFE, 

JANE SHORE, 

and the PROVOKED HUSBAND, 
in which a gentlewoman will appear for the first time on the stage of this kingdom. 

" Particular tickets (at the usual prices) will be printed, as no money will be received at 
the door. Whoever chuses Boxes for the said four performances, as none will be let 
separately, are requested to send as soon as possible to Mr Digges, who will attend every 
morning at the Theatre for that purpose from 10 to 4, and to prevent mistakes, Ladies are 
entreated to send their commands in writing. 

TANCRED AND SIGISMUNDA, 

first play on Wednesday, May 5th, to begin punctually at 7. Occasional prologue by Mr 
Digges. 

" The succeeding plays will immediately follow on Thursday, Friday, and Saturday. As 
these performances will be conducted with the utmost regularity and decorum, no person 
whatever will be admitted behind the scenes." 

Such was the first announcement of the appearance of the beautiful 
Mrs Bellamy, a lady who had been in the first rank as an actress in 
London, and who partly owing to her high parentage on her father's side,* 
and partly to her own vivacity, beauty, and wit had been admitted to the 
first houses and the most select companies for a long time ; indeed until her 
gigantic extravagance and openly loose manner of life had caused her to 
fall many degrees into difficulties and neglect. The season previous to 
this t she had been in Dublin, and while there was introduced to Digges. 
Although warned against Digges' persuasive tongue, good looks, and loose 
standard of morality, she speedily formed a violent attachment for him, 
and the couple both steeped to the ears in debt assisted each other 
in warding off angry creditors' attacks, and getting out of awkward 
fixes. On the principle of getting out of the frying-pan into the fire, 
Digges, as we have seen, came to Edinburgh in the beginning of 
the year. Mrs Bellamy, however, from some wayward caprice, refused 
to accompany him to Scotland ; but, perhaps finding his absence more 
difficult to bear than her repugnance to the " Land o' Cakes," she 
eventually followed her swain, and getting to a village ten miles from 

* She was a natural daughter of Lord Tyrawley. t 1760-1. 



1761-2.] 77ie Annals of the Edinburgh Stage. 115 

Edinburgh, refused to go any further, and took a vow never to 
enter the gates of the " good town." All entreaties were useless, 
so Digges, who well knew what a " catch " she would prove to the theatre 
if she could be got to perform, was compelled to have recourse to 
stratagem. It is best to give the account of her advent to the Scottish 
capital in her own words : * 

" A post chaise came to convey me on to the Grassmarket, as the driver told me. This 
I supposed to be a town. When I arrived at an Inn in the Canongate, a woman waited for 
me, of a most extraordinary figure. She was very lusty, had been handsome, was intolerably 
dirty, and was without stays. She came to conduct me to my apartments. She acquainted 
me that she had ordered dinner at the Inn where we were ; particularly, a very fine turbot, 
which she dwelt much upon. To my great surprise, when the boasted dinner appeared, the 
very fine tiirbot proved to be a large piece of coarse thornback. 

" Between six and seven o'clock in the evening, a coach came to convey me to my 
apartments. When we arrived, after having mounted three pair of stairs, I was introduced 
to the genteel Miss Coulstone. 

" The sound of music now reached my ears. Upon my enquiring from whence it came, 
I was answered, from the Theatre, which was directly opposite. I no sooner made the 
discovery, than I took a pair of scissors, and cut my hair off quite close to my head, to prevent 
my being solicited to appear in public. 

" The piece which was performing was the Beggars' Opera^ in which my gentleman 
(Mr Digges) acted Macheath, a part he was esteemed very capital in. After the Opera, he 
hastened to me, when he informed me that the English papers having announced my 
absence, it was conjectured who the new comer was. The next day, Mr Bates, joint pro- 
prietor of the Edinburgh Theatre, with Mr Dawson, the acting manager, acquainted Mr 
Digges that it would be useless to open the doors, unless he could induce me to appear upon 
their stage. 

" There was no other alternative but my conforming to Mr Bates' wishes. The loss of 
my hair was the greatest bar to my appearance. However, for the first time I had 
recourse to false ; and as I had not even necessaries, I was obliged to have cloaths made at 
a great expense. But my success was so beyond expectation, that I was very well enabled 
to do this. Curiosity induced families to come from all parts of the country. 

" The season being so far advanced, eight nights were to be the limited number of my 
performing, and the last was to be for my benefit. The morning of that day I was arrested 
by the creditor who had been the occasion of my indiscreet flight from London. I was, 
however, soon set at liberty, the caption being against the laws of Scotland, which allow some 
days' notice to debtors before they can be taken. Upon this occasion, the first lawyers in the 
kingdom were volunteers in my cause, particularly Mr Montgomery, afterwards chief Baron 
and Dean of the Faculty. 

" As good frequently springs from evil, this misfortune seemed to be the means of procuring 
me the attention and civility I met with in so eminent a degree, during my residence in this 

* From Life of Bellamy, page 2IO. 



ii6 The Annals of the Edinburgh Stage. [1761-2. 

kingdom. In particular, it procured me the happiness of being admitted into the family of 
Mr Montgomery, upon the most intimate footing, of which I shall always have the most 
grateful sense. The most attached patronesses I had, besides those of the Montgomery 
family, which were numerous, were the Duchess of Douglas and Miss Elphinstone. Lord 
Ruthven likewise honoured me with his support." 

Mrs Bellamy's first appearance in Edinburgh, as already noted, was 
on Wednesday, May 5th, in Tancred and Sigismunda, when the following 
Prologue was spoken by Mr Digges : 

A PROLOGUE. 

SPOKE AT EDINBURGH ON MRS BELLAMY'S FIRST APPEARANCE THERE. 

" In early days, when error swayed mankind, 
The scene was censured, and the stage confin'd. 
As the fine Arts a nobler taste supply'd 
Old prejudice grew fainter droop'd and dy'd. 
Merit from sanction must deduce her date, 
If she'd arrive at a meridian height ; 
From sanction is the English stage become 
Equal to Athens, and above old Rome. 
If from that stage, an actress filled with fears, 
New to this northern scene, to night appears, 
Intent howe'er unequal to the flight, 
To hit what critics call the happy right ; 
She builds not on your sister's* fond applause, 
But timidly to you submits her cause ; 
For taste refin'd may as judicial sit 
Here, as she found her in an English Pit. 

Your plaudit must remove the stranger's fear ; 
The sons of genius are the least severe. 
Some favour from the fair she's sure to find ; 
So sweet a circle cannot but be kind. 
Then to your candid patronage she'll trust 
And hopes you gracious as we know you just." 

Expectation, regarding Mrs Bellamy's talents, seems to have been 
carried to a high pitch, and, from all accounts, was not disappointed 
in the result. The Courant newspaper, which very rarely took 
any notice of performances after they had taken place the announce- 
ments in advance alone being paid for on this occasion, so far departed 
from its usual procedure as to print the following paragraph : t 

* London. t May 8th. 



176 1 -2.] Tlie Annals of tJie Edinburgh Stage. 117 

" The expectation of the public was never so highly raised, nor its 
pleasure so truly gratified, as they have been for some nights at the 
Theatre. The house has been generally filled by five o'clock, and crowds 
turned away for want of room." Although only advertised at first for 
four performances, Mrs Bellamy, as she herself observes, was engaged for 
eight. Accordingly, on May nth, by particular desire of the Duchess of 
Hamilton, The Provok'd Wife; Sir John Brute by Mr Digges, "being 
his first appearance in that part these five years." Lady Fancyfull, by a 
gentlewoman, &c. ; "places to be taken as before, from Mr Digges at 
the Theatre." Possibly the seats did not go off quite so quickly as ex- 
pected, for on May loth, a rather obvious puff was inserted, as follows : 
" Many people having been turned from the doors of the Theatre last 
week for want of room, to satisfy public curiosity, and in obedience to 
the request of several persons of distinction, the house will continue open 
ONE WEEK LONGER." During this week, which consisted of four acting 
nights, The Orphan^ was produced, with Monimia by Mrs Bellamy, 
Castalio by Mr Jackson, Polydore by Mr Aickin, and Chamont (ist time) 
by Mr Digges ; Romeo and Juliet,\ Jackson and Mrs Bellamy in the 
title roles, Mercutio= Mr Griffiths, and Friar = Mr Love; and Macbeth, 
with Digges as Macbeth, Mrs Bellamy as Lady Macbeth, Macduff= Mr 
Aickin. Jackson, in his History, records the following curious incident which 
occurred during the above performance of Romeo and Juliet. " I remember 
her finding fault with my approaching too near her in the balcony scene. 
I apologised, by observing that it was impossible to refrain from even 
scaling the wall, if accessible, when so charming an object was in view. 
In this, I judge, I had nature for my guide," As a matter of fact, the 
way in which the lights were arranged on the stage in these days made 
it necessary, if the Juliet was to be seen to advantage, that the Romeo 
should stand far back on the stage, or out of the focus, as it was termed, 
and where he was scarcely visible. Jackson avows the matter of the 
lights was furthest from his thoughts when he acted as above ; but Mrs 
Bellamy, in spite of his polite speech, thought otherwise, and consequently, 
next season, when she was all-powerful in the management, Jackson 
did not get an engagement or as he puts it in his History, "he did not 
choose to accept one." 

Digges, anxious for a few more "golden eggs," announced other 

* Courant. t May I2th. J May I3th. 



ii8 The Annals of the Edinburgh Stage. [1762. 

three plays, and endeavoured to persuade Mrs Bellamy to appear ; but 
she had taken some tantrum, and positively refused to play again, save on 
one evening, for her own benefit. 

This took place on the 22nd, the other two peformances being 
advertised as a " mistake." The piece she selected for her benefit was 
Cleone. Digges took his benefit on the last night of the season, the 
29th,* with the Beggars Opera. Captain Macheath= Digges ; Peachum 
= Aickin; Lockit = White ; Lucy = Mrs Parsons; Polly = Mrs Mozeen 
Tickets and places to be had of Mr Digges at his lodgings near Queens- 
berry House in the Canongate. 

The long summer recess now set in, and it would have been strange 
indeed if an even less restless and enterprising mind than that of Mrs 
Bellamy had not turned its attention to the hitherto little-explored field of 
action that Glasgow afforded. That city was, in fact, far behind Edinburgh 
in the matter of polite amusements, and, until the year under notice, had 
not possessed anything approaching the dignity of a regular theatrical 
establishment. Of Glasgow, nineteen years previous to this period, 
namely in 1743-4, Dr Carlyle writes as follows : t " There never was but 
one concert during the two winters I was at Glasgow, and that was given 
by Walter Scott, Esq., of Harden, who was himself an eminent performer 
on the violin, and his band of assistants consisted of two dancing-school 
fiddlers and the town waits." Although not connected with the present 
subject, it is worth noting that Carlyle likewise records post chaises and 
hackney coaches to have been unknown then in the western capital. 
Of sedan chairs they had some three or four, which, Carlyle says, 
were kept for "carrying midwives about in the night, and old ladies 
to church or to the dancing assemblies once a fortnight." It may be 
mentioned, at the same time, that another class of amusements, (?) of 
scarcely so reputable a nature as theatres and concerts, flourished 
amazingly. Nineteen years had, however, seen giant strides made in 
Glasgow in the matter of improvements, and it is not surprising that 
Mrs Bellamy received a cordial invitation to spend the summer months 
at St Mungo's city. Her own account of the expedition requires no 
apology for its insertion here : 

" Upon my first engaging at Edinburgh, the gentlemen of Glasgow offered to build a 
theatre by subscription, if our company would promise to perform there in the summer. To 

* Mrs Bellamy did not appear on this occasion. t Autobiography. 



1762.] The Annals of the Edinburgh Stage. 119 

this we readily consented, as the inhabitants were not only opulent, but liberal to a degree. 
The theatre being now ready, we formed very agreeable ideas of the jaunt. 

" When we were about to set off, after having discharged my bills, I found I had not 
cash sufficient to defray the expenses of the journey. The chaises were ordered and expected 
soon to be at the door. Not knowing how to raise any money I sent one of my women, 
whose name was Waterstone, to a watchmaker's in the High Street, to dispose of the silver 
repeater Mr Digges had given me. The person I directed her to apply to had gained a re- 
putation by making several for that great mechanical genius, the Duke of Argyll. The chaises 
were now at the door, and I waited with the greatest impatience for the arrival of the money 
some hours." Vol. iv. p. 13. 

It seems that the repeater had been bought by Digges but never paid 
for, and as the girl unluckily went to the maker of the watch to dispose of 
it, he very rightly had her locked up in the Tolbooth ! Mrs Bellamy in 
her usual manner got into a terrible state of excitement, but eventually pro- 
cured influence for the girl's release and enough money to take her to 
Glasgow. 

* " The next day at noon we saw the delightful city to which we were going, at a little 
distance before us. The magnificence of the buildings and the beauty of the river elated my 
heart. 

" When we arrived at Glasgow one of the performers exclaimed, ' Madam, you are 
ruined, for you have nothing left but what you have in the chaises.' I was informed that the 
stage of the new theatre had been set on fire the night before, and that all my paraphernalia 
and wardrobe, which lay there unpacked, had been consumed by the flames. 

" The conflagration I found was occasioned by the following circumstance. A Methodist 
teacher, who held forth in the city, told his auditors that he dreamed, the preceding 
night, he was in the infernal regions at a grand entertainment, where all the Devils in Hell 

were present, when Lucifer, their chief, gave a toast, the health of Mr , who had sold his 

ground to build him a house upon (meaning the theatre), and which was to be opened the 
next day for them all to reign in. 

" The poor, ignorant, enthusiastic hearers of this Godly preacher found their enmity 
against Satan and his subjects instantly inflamed by this harangue. And in order to prevent 
so alarming an extension of his infernal majesty's empire, they hastened away in a body to 
the new playhouse and set the stage on fire. Luckily the flames were extinguished before any 
other part of the theatre was consumed. It appeared that this religious mob had been joined 
by others who wished to take advantage of the conflagration, as a great deal of the false 
trumpery upon the regalia of mock kings and queens had been taken away, and being found 
of no value, lay scattered about the fields. As the theatre was a mile from the city, and the 
flames did not burst out so as to become visible, the incendiaries completed their design and 
silently retired. 

" Instead of throwing myself into violent agitations and lamenting my loss, as many 

* It is well to mention that, according to Tate Wilkinson (Memoirs, vol. iii. p. 230), the incidents here 
mentioned happened in 1764, after Mrs Bellamy's last season in Edinburgh. She certainly went to Glasgow 
in that year ; but whether on this particular expedition is very questionable. 



I2O The Annals of the Edinburgh Stage. [1762. 

would have done, I very coolly said I would go and view the ruins : and ordered the chaise 
to drive immediately to the theatre. I there viewed the ashes of all my finery, which had 
cost me many, many hundreds of pounds, and at that time, upon a moderate computation, 
^900, there being among them a complete set of garnets and pearls, from cap to stomacher. 
When I returned to the inn I enquired for Mr Bates, for as to the other partner I never had 
any knowledge of him. 

" Having got the loan of clothes and having fitted up a temporary stage they acted the 
Citizen and the Mock Doctor. Macbeth and Douglas were much called for. But these pieces 
could not be performed till cloaths proper for appearing in them were made and brought from 
Edinburgh. As I had no black vestment of any kind sent to me among the numerous ones of 
different colours, I made that an objection to playing Lady Macbeth. Upon which I was 
assured by one of the inhabitants that her Ladyship walked every night at the Castle of 
Dunsinaine dressed in white satin." 

So in white satin sure enough Lady Macbeth did appear, and in 
Glasgow. Mrs Bellamy goes on to speak in the highest terms of the 
hospitality and kindness she experienced during her sojourn there ; every 
one seemingly striving to show their appreciation of her talents. 

The race week in Edinburgh was always a " draw," and with the attrac- 
tion of Mrs Bellamy the management justly considered they might expect 
an increase of business during their usual brief but lucrative autumn season. 
So with proper enterprise they set about getting the house put in good 
order. The announcement of this reads as follows : * " The inside of 
the Theatre in Canongate is now painting and decorating against the races. 
The orchestra is enlarged and a fine Harpsichord added to the band of 
music. Some new comedians are expected from England to appear in the 
five select plays advertised. We hear that the Burlesque Opera of the 
Dragon of Wantley, composed by the late ingenious Mr Lampe, and not 
exhibited here these twelve years, will be reviv'd in the race week." 

The Theatre opened on Saturday, September 4th, with the Provok'd 
Husband. Digges seemingly had tired of booking seats through the day 
and acting at night as well ; for we find a note at the foot of the advertise- 
ment stating that a " box book is opened by the clerk of the theatre." Upon 
September 4th the name of Bellamy appears for the first time upon the bills,t 
not only Mrs, but Mr as well. Digges had, in fact, changed his name, for 
that of his lady. " For family reasons," we read in the Courant of that 
date, <( a gentleman of the theatre has been obliged to alter his name in the 
public bills." Mrs Bellamy in her memoirs gives a somewhat roundabout 
reason for this change, alleging that Digges' mother had died and left him 

* Courant, 25th August 17^2. t During the Spring it had been " a Gentlewoman," &c. 



1762.] The Annals of the Edinburgh Stage. 121 

property on condition that his name never again appeared in a play- 
bill. His mother did leave him ,4000 ; but not for two years afterwards, 
and on condition that he never acted again. Digges kept the condition 
till the legacy was spent, and then gravitated back to his old profession. 
Tate Wilkinson's explanation of the change of name, although bluntly 
expressed, is perhaps correct ; he says: "As living together in Scotland 
constitutes a marriage while in that kingdom, he most graciously exchanged 
the name of Digges for Bellamy." Digges certainly was no marrying man, 
although it really does seem that Bellamy, with all her faults, desired a legal 
union with her lover. Lee Lewis * records that when she urged him 
upon that subject, his reply was, " Madam, I give you leave to treat me 
like a foot-pad, rob me and let me go, but don't tie me neck and heels." 

During the present summer Digges hired a house in Bonnington, 
which was then a pleasantly situated village quite in the country. How 
Digges and Bellamy managed to get home at night after the play was 
over, is certainly difficult to understand. No doubt it would be in chairs, 
but as these would have to pass down the Horse Wynd, and through 
what is now called the Lower Calton into Leith Walk, then a mere 
country road, to Pilrig Street, which was little more than a rough cart 
track, the journey cannot have been altogether pleasant especially when 
we bear in mind that there were no lamps, and that the chance of meeting 
foot-pads was not remote. Within their Bonnington residence the twain 
kept up a great style, continuing their joint course of extravagance to 
the furthest limit ; nevertheless they did not find their life made up of 
unmixed enjoyment. One dispute they had ran so high, that although it 
was then midnight, and in the winter season, Digges began, in a violent 
rage, to take off his clothes, with the intention of drowning himself in a 
pond contiguous to their lodgings. Mrs Bellamy surveyed the operation 
with the utmost calmness, and when he had run out of the house, arose from 
her seat with the same nonchalance, and fastened the street door. The 
rigour of the season, along with a little reflection, soon cooled the violence 
of his resolution. On his return, a capitulation took place before entrance 
was granted him. His teeth chattering in his head with the cold, he was 
obliged to submit to the severest terms the lady in possession of the 
fortress thought fit to propose ; after which he was permitted to enter, 
and an act of general amnesty was issued for that time.t 

* Memoirs, vol. iii. p. 47. t Love Letters, by Digges and Ward, 1833. 



122 Tfie Annals of the Edinburgh Stage. [1762-3. 

On September nth, Macbeth, " as written by Shakspere," was per- 
formed, " with all the original songs and dances." The following letter, 
published at this time, shows that the stage was rapidly creating a wider 
and more spontaneous interest : 

" To the Managers of the Theatre. * 

" SIR, The remarkable decency with which the stage is at present conducted, and the 
late addition to your company of some people of acknowledged merit, have entitled you to 
the sincere good will and regard of the public. This, I think, you must be conscious of, not 
only by the applause with which you are always received, but also by the crowds that eagerly 
frequent your house. But, Sir, give a spectator leave to ask you, why, when you have so very 
capital an actress now on your stage, you chuse to neglect gratifying the audience of this city 
with a tragedy which never failed drawing full houses, and receiving uncommon applause, I 
mean the favourite tragedy of Douglas. You were the original in the character of the young 
man in that excellent piece, and as we must certainly see a Lady Randolph excellently played, 
let me hope you will oblige many of your friends, and in particular, Yours, ' CRITO.' " 

The hint was not thrown away, if indeed the letter was not a 
managerial puff in advance, for Home's tragedy was performed on 
the 1 5th September, with Mrs Bellamy, for the first time, as Lady 
Randolph ; Old Shepherd = Mr Granger ; Glenalvon = Mr Griffith ; Lord 
Randolph = Mr Aicken ; and Douglas = Mr Bellamy. A note on the bills 
says that " the music and dresses will all be Scotch." The performance 
proved a great success, and the short autumn season closed on September 
1 8th with Rule a Wife and Have a Wife. 

A scratch performance was given at the theatre on the 23rd, " for the 
benefit of an officer's widow and five children, who died at the taking 
of Havanah,"t after which the theatre remained closed till November 
loth, when the winter season of 1762-63 commenced. The first piece 
played was the Beggars Opera, in which Digges (alias Bellamy) gave 
his well-known impersonation of Captain Macheath, regarding which 
O'Keefe said " Digges was the best Macheath I ever saw in person, 
song, and manner." 

The Courant of January i5th, 1763 (Saturday), announces that, "as 
her Majesty's birthday is on Tuesday next week, the days of playing will 
be Monday, Wednesday, Thursday, and Saturday. 

On the 25th, Mrs Bellamy played Jane Shore for the first time here, 
and on February 2nd, Lady Brumpton in The Funeral, or Grief a la Mode, 
also for the first time in Edinburgh. February 24th, Mrs Bellamy's 
benefit The Revenge, and last two acts of The Orators, by Foote. March 

* Courant, September 8th. t Courant. 



1762-3.] T/ie Annals of the Edinburgh Stage. 123 

2nd, Beggars Opera, by desire of the " Queen of the Hunters." Captain 
Macheath = Bellamy ; Lucy = Mrs Pye, her first appearance on this stage. 
In the Courant of the same day, " We hear that Mr Kennedy, who was 
so much admired for his performances at the Theatre Royal, Drury Lane, 
is to make his first apppearance here as Daniel in the Conscious Lovers, 
and speak the Epilogue, ' Bucks have at ye all,' for the benefit of Mrs 
Kennedy." Mrs Kennedy had been a member of the company all the 
season. 

In the beginning of the month of March, Mr De la Cour, the scenic 
artist, considered himself sufficiently aggrieved to make public a complaint 
against the " managers," not only for having underpaid him for his work, 
but for taking on a new man to supplant him. The following are his own 
words, and they afford us some interesting details regarding the size of the 
stage and other matters : 

"Mr De la Cour to the Public.* 

" As the managers of the theatre, in order to prejudice me, do now employ another to 
paint their decorations for both here and Glasgow, spreading about that I have been too dear, 
the only remedie I could think of to expose this false report and undeceive the public, was by 
giving an account of my prices, as also in what manner I have been paid. For the front 
scenes, such as towns, chambers, forests, &c., of fifteen feet square each, never above ^"7, 75. ; 
for the wings, 1. is. ; and so in proportion for the rest, though those I did for Newcastle 
were still cheaper. As I received the payment of above only by benefits, the managers, 
instead of being losers, must have considerably gained, because they were always on such 
nights as the charges of the house could not otherwise have been cleared. Last year, for 
instance, they gave me Monday, February ist, as jhis was a fast day of the Church of 
England. Had it not been for the goodness of my friends, I could not have defrayed 
expenses, which amounted to ^22. f W. DE LA COUR." 

The audiences of this period, and indeed those for many years after, 
were very different in composition to the miscellaneous crowds that in 
these latter days swarm to the theatre. The "audience" long ago, not 
only in a small town like Edinburgh, where it might almost be said every 
one knew every one else, but even in London, was much in the nature of 
a definite body composed of definite units. The element of chance entered 
but rarely into it ; in fact, a general rule might be laid down that occasional 
theatre-goers never turned out save upon some extraordinary excitement 
or attraction, such as the Douglas production, or Mrs Bellamy's first 
appearance. It would be safe to say, that at other times a strange face 

* Courant, March 5th. 

t Considering the house only held about 60, this charge was quite as high in proportion as any of the 
London theatres at the time. 



124 Tlie Annals of the Edinburgh Stage. [1762-3. 

in pit or boxes especially the former was but a rare occurrence. 
This does not imply that identically the same persons went night after 
night to the playhouse ; but there were a certain number of regular 
playgoers who probably might each of them average at least one 
night a week in the theatre. This, with four acting nights a week, 
and counting the house at 6$ as a maximum hold (^50 for boxes 
and pit, and ,15 for gallery), would require four audiences of about 
600 people each, or 2,400 individuals in all, who were regular play- 
goers in Edinburgh. In all probability this is considerably above 
the actual number. No doubt the majority of the regular pittites 
frequented the theatre oftener than once a week, so perhaps somewhere 
between two and three audiences might more nearly represent the true 
state of matters. It is not necessary in the present work to dilate 
further on this subject, interesting as it is, and although it undoubtedly 
opens up a plentiful harvest of thought regarding the influence a 
body so compact and united in sympathies must have exercised. Indeed, 
we see proofs of it constantly in the history of all theatres during the 
last century and the early years of the present. Woe betide the luck- 
less manager who offended this wayward and jealous monster. Now-a- 
days the public take no more trouble to show their dislike or disapproba- 
tion of a house, or manager, or company, than to stay away from the play. 
Then it was quite different, as the cases of Sheridan in Dublin, Beat in 
Edinburgh,* and Kemble in Covent Garden, well testify. To show the 
family nature of the audience at this time, and in particular the large 
infusion of the " law " element that entered into its composition, it is 
interesting to read the following announcement : 

" As a ball is given by the Faculty of Advocates on Monday next, 
the play of Henry IV., in which Mr Bellamy is to appear for the first 
time in the character of Sir John Falstaff, for the benefit of Mrs Mozeen, 
is therefore deferred to the next day, Tuesday." 

Bellamy's impersonation of the unctuous knight was evidently a success, 
as it was redemanded, and consequently repeated on April Qth, and again 
on July 2Oth. In the beginning of May, the season, which had been 
very successful, was evidently showing signs of waning, or at least the 
audiences were falling off, so the days of playing were reduced to three, 
namely, Tuesday, Thursday, and Saturday. 

* See 1767. 



1762-3.] The Annals of the Edinburgh Stage. 125 

On May I7th, King Lear and the pantomime of Pygmalion were 
produced, in the latter of which was introduced the " surprising escape of 
harlequin into a quart bottle," evidently a burlesque of the remarkable 
fraud that was perpetrated at the Haymarket Theatre, London, in 1749. 
On June I4th Digges performed Othello for the first time, and a few days 
afterwards the following most interesting announcement appeared : * 

" THEATRE. 

" The managers, desirous to gratify the town with every new entertainment which comes 
within the compass of their abilities, have the pleasure of informing the public that they have 
prevailed on some eminent performers of the 

ITALIAN BURLETTA, 

OR, 

COMIC OPERA, 

To visit the metropolis for a short time. The band of music will consist of the very 
best hands the managers can procure, and the orchestra enlarged accordingly. The first 
representation will be, of that universally admired composition, called 

LA SERVA PADRONA, 

OR, 

THE MAID THE MISTRESS. 

" Tickets are printed for the occasion, and although the expenses are large, yet to gratify 
that curiosity which must arise, in regard to a performance never before exhibited in this 
country, the entertainments will be only at the common price. 

" Books, in which the opera is translated into English, will be sold at the doors of the 
house. The above burletta will be performed on Tuesday next, 2ist inst. The overture to 
strike up exactly at seven o'clock. No person on any account can be admitted behind the 
scenes." 

The preparations for this engagement were most extensive ; in par- 
ticular the orchestra was much strengthened, and for the time was con- 
ducted by Signor Arigoni. The Courant^ gives the following notice of 
the performance : 

" On Tuesday evening was performed at the theatre the famous burletta of Pergolesi, 
called La Serva Padrona, to a most crowded and polite audience. The band of music was 
the finest ever heard there, and the whole entertainment gave universal delight and satis- 
faction. The action of Signor Gurrini, who played the part of the old man, was particularly 
excellent, and Signora Gurrini, who played the part of the maidservant, sung several songs 
with uncommon approbation ; the duets, in particular, were remarkably fine, and the last, 
where humour and harmony were so happily blended, was encored, and repeated to the 
general applause of every person. The overtures were admirably performed. Signor 
Arrigoni conducted the band, and Signor Santo Lapis played the harpsichord. It was 
allowed by the best judges that no musical entertainment could be better executed." 

* Courant, June i8th. t June 22nd. 



126 The Annals of the Edinburgh Stage. [1763-4. 

The opera was repeated on the 23rd, with the Intriguing Chambermaid, 
in which Digges made his first appearance as the Drunken Colonel, and 
Mrs Kennedy her first appearance as Lettice, 

Other operas performed were as follows : On June 27th, // Giocatore, 
or the Gamester, by Carbonini of Genoa, with three grand overtures : 
the ist, by the Earl of Kelly ; the 2nd, by Jommelli ; the 3rd, by Mr 
Abel. On July nth, Fracollo ; and July 2Oth, L Uccellatrice", or the 
Female Bird Catcher, by Signior Jumelli.* And on the 3Oth July, the 
season closed with Romeo and Juliet. 

It may be noted here, although not strictly connected with the history 
of the playhouse, that on July 2Oth, the first proposal for the building of 
the North Bridge was made public. There is strong evidence that, for 
several years prior to this, with the steady growth of commerce and the 
progress of all peaceful arts, an ever growing desire had sprung up among 
the citizens for modes of living more congenial to cleanliness and comfort, 
not to mention health. Indeed, the wonder is that our forefathers, in an 
age very far from wanting in refinement and certainly replete with 
accomplishment, could put up with the fearfully insanitary and cooped up 
life that the piles of " flats " and narrow closes rendered unavoidable. 
The first symptom of the desire for more room, air, and convenience, was 
the construction a few years previous to this of New Street, nearly 
opposite the Playhouse. The experiment was a great success, and the 
town, which till then had possessed only two thoroughfares broad enough 
to be termed streets, namely, the High Street (and Canongate) and Cow- 
gate (including Grassmarket), began immediately to undergo that trans- 
formation which, still going on, "bids fair shortly to obliterate every vestige 
of the "good town " that was. 

On November igth 1763^ it was announced that the theatre was 
repairing and " ornamenting," with a complete set of new scenery, and that 
a few Subscription Tickets for the season were ready to be had at the Old 
Coffee House, at the office in the area of the theatre, or of Mr Beat, at his 
house in Monteith's Close. And, in a few days after, Mrs Bellamy's third 
(and last) season opened in Edinburgh. 

A new play by a " Scotch Gentleman," and entitled, Shes Not Him 
and He Is Not Her, was produced on February 6th, and on the 1 1 th the 
Careless Husband, with the following cast : Lady Betty = Mrs Bellamy ; 

* So spelt in the advertisement. t Courant. 



1763-4-] Tfa Annals of the Edinburgh Stage. 127 

Sir Charles = Aickin ; Lord Foppington = Creswick ; Lord Morelove = 
Bridges, his third appearance on this stage; Lady Easy = Mrs Mozeen ; 
Lady Graveairs= Mrs Pye ; Edging = Miss Wooley. 

As before stated, Digges and his lady continued their old ways of ex- 
travagance, and as was the inevitable result, the tradesmen who had given 
them credit became clamorous towards the close of the season for a 
settlement of their accounts. Mrs Bellamy, who at times shewed much 
tact, contrived a plan that took her worthy partner out of the reach of 
his creditors, and at the same time did not interfere with the success of 
the season at the theatre. This was suggested by the arrival, in 
February, of Mr Tate Wilkinson, a gentleman who was perhaps the most 
versatile actor of his day, and to whom succeeding generations of dramatic 
antiquarians owe a great debt for the interesting and almost invariably 
correct * biographies, scraps of theatrical history and anecdote, that he has 
incorporated in his several publications. He was of a somewhat remarkable 
character, and in his younger days had a most erratic and bohemian disposi- 
tion. Nevertheless, through being possessed of shrewdness and insight 
into human nature, he contrived to succeed both as an actor and, in his 
later days, as manager of York Circuit, t His first engagement was at 
Drury Lane, where, however, he offended Garrick by mimicking that great 
but touchy individual. Foote he offended in a similar manner. Garrick 
did his best to spoil Wilkinson's chance of success by putting him on in 
parts that did not suit him ; but it would not do, and Wilkinson, chiefly by 
his clever imitations, made a considerable name. In Dublin he was a 
great favourite, and was sent there on one occasion by Garrick to hurt 
Woodward and Barry of the Crow Street Theatre, by " taking off" these 
gentlemen in the theatre in Smock Alley. Wilkinson, with much policy, 
saw it would be a mistake to make enemies of two such potent magnates, 
and kept his mimetic powers in a safer channel. 

He had been acting in Dublin with Barry during the first portion of 
the present season, and might indeed have continued there till its close, 
but that his wandering spirit wanted change, so with no other object he 
journeyed to Scotland, and arrived in Edinburgh as stated. The account of 
what happened upon his arrival will be best given in his own words : J 

* Fitz Gerald's statement, that Wilkinson's books are a "mass of truth, blunder, and falsehoods," 
notwithstanding. 

t He also rented the Edinburgh Theatre ; see anon. 
J Memoirs of Tate Wilkinson, vol. iii. p. 42. 



128 The Annals of the Edinburgh Stage. [1763-4. 

" Edinburgh is romantically and pleasantly situated ; indeed, more so than can be ima- 
gined or described. The new streets, hotels, superb squares, &c., are astonishing; but, 
added to all those elegancies, in the winter season, the town is well lighted throughout. This 
description will make a narrow-minded cockney stare who thinks green peas were never seen 
in Scotland, and supposes all the inhabitants live on barley broth, haggis, and crowdy. In 
point of elegance and spirit, there is no such city in the kingdom of Great Britain, except 
London and Bath. But, reader, observe, Edinburgh was not in this state when I first arrived 
there in February 1764. It was then merely confined to the old town, and destitute of many 
of those elegancies it now possesses. On my setting down at Edinburgh I neither had engage- 
ment nor acquaintance with any person whatever, theatrical or otherwise, but had gone there 
at hap hazard, and removed myself four hundred miles from London into a strange country, 
and took that wonderful circumbendibus to North Britain uninvited, merely from my own 
whim and inclination : but on enquiry was highly pleased to find my old friend Mrs Bellamy 
was there, with whom I had not only dined at Mr Calcraft's when she lived in Parliament 
Street, but had been on an intimacy for years by seeing her constantly as a visitor at Lady 
Tyrawley's at Somerset House. I was no sooner announced in Scotland than most friendly 
received, and a general insisted invitation to make a home of her house and Mr Bellamy's 
(alias Digges), at Bonnington, during my stay at Edinburgh : It is a pleasant village situated 
little more than a mile from the town, but now I dare say nearly connected by the additional 
streets and buildings. Mr Digges was certainly the most polite gentleman in the world to his 
ladies, and not choosing to have Mrs Digges' name in the bills (for living together in Scotland 
constitutes a marriage while in that kingdom) he most graciously exchanged his name of Digges 
for Bellamy ; also, let that lady perform whatever character she would, she was always placed 
at the head of the bill, as for instance : 'This day Romeo and Juliet ; y#///=Mrs Bellamy ; 
Romeo=Mr Bellamy. On being introduced into the green room I met with little neat Mrs 
Mozeen, my Portsmouth Desdemona, 1758, who by the name of Edwards had been bred care- 
fully up, and introduced to the London audience by Mrs Clive, who was so partial to her 
adoption, that she for the first time gave up Polly, which she would not do to Mrs Gibber, and 
acted Lucy, (which was beyond compare) on producing her own taught Polly ; but Mrs 
Mozeen's powers were weak, and she fell by tasting the apple like her mother Eve, and the 
chaste, the comical, the enraged Clive discarded her, and resumed Polly herself, and let her 
pupil down the wind to prey on Fortune. Mrs Mozeen was at Edinburgh, 1764, under the 
wings of a long tall Northumberland manager of Edinburgh whose name was Dawson, con- 
jointly with a Mr Bates. Edinburgh Dawson had, like a true lovyer, sacrificed all his busi- 
ness and good situation at Newcastle, to prostrate himself with offerings of incense and gaudy 
mock trapping of false silver and gold lace at the feet of his theatrical Princess, which at last 
ended in his wilful ruin. Mrs Mozeen had a plurality of lovers and always put me in mind 
of Shakspere's lines, 

' Behold yon simpering lady, she who starts at 
Pleasure's name, and thinks her ear prophaned with 
The least wanton word ; wou'd you believe it ? ' &c. 

" A Miss Wordly also was there, whom Mrs Bellamy has mentioned in her apology as 
being termed the Goddess of Nonsense, as a compliment to her being remarkably the con- 
trary ; but there my friend Bellamy forgot herself, for she was so called by acting that part for 
my benefit in a farce of Fielding's, entitled The Pleasures of the Town, and was so christened 
by Mr Aickin, who was then in Edinburgh, in high and deserved estimation, and with whom 



1763-4-] The Annals of the Edinburgh Stage. 129 

I had the satisfaction of many, many happy days, or rather evenings (not omitting our 
Scotch pint of claret, and neither of us averse to Madeira to the latter I then and now 
give the preference), particularly recollecting one hour's laugh with him on my nearly breaking 
my neck by a fall into the coal cellar. The third day of my being in Edinburgh I had a card 
of invitation from Mr Dowson and Mr David Bates, to sup with them at a tavern. I was en- 
tertained very respectably : and in the course of casual conversation Mr Dowson (who was 
the monied manager just then) asked me what terms I required for eight or ten nights ? said, 
they could not afford anything extravagant, as I had come uninvited (which should never be 
done), and at the prime part of the season, when they wanted not any foreign aid. Besides, 
Mr Dowson said (and with truth) Mr and Mrs Bellamy were towers of strength. The Scotch 
managers and I parted very civilly, but no hint of terms for an engagement on either side. The 
day following, at dinner with Mr Digges, I informed him and his lady what had passed, and that 
it had determined me to quit Scotland immediately. Mrs Bellamy replied, that what the mana- 
gers had told me was the exact state of facts as they then stood. 'And,' said she, 'as Mr Bellamy 
and myself are concerned in the profits in one interest ; and as we settle all the plays, we do not 
want you, Mr Wilkinson, as it is evident you have thrown yourself into their power if you play at 
all ; and if not, you have no alternative but to depart and make better use of your time, as 
you certainly can ; for Bates and Dowson undoubtedly think, as you are on the spot, you will 
not neglect any decent engagement. But my friend Tate,' continued she, ' you are sure I 
wish you well, from my long knowledge of you, and if you will for once depend on my advice 
and stay over Saturday and Monday next, a wonderful change may happen in the movements 
of the theatrical machine that will astonish Bates and Dowson, and you may command your 
own terms : at present they are sure they can do without you, but Sunday next will cause a con- 
trary opinion.' I was much surprised, and begged Mrs Bellamy to be explicit. ' Why,' said 
she, ' Tate, I will prove myself explicit and honourable to you, as I can rely on your secrecy. 
There is a law in force in Scotland, that if any person whatever is in debt, and known to be 
quitting the kingdom, they can arrest, even on a Sunday, on oath being first made. Mr 
Digges is much involved here, and is so unfortunately circumstanced at this juncture, that he 
cannot possibly continue longer, without loss of liberty. On Saturday night Mr Digges will, 
on some pretext, get all the cash he can from Mr Still, the treasurer. Dowson is not destitute 
of property and must pay the actors. Mr Digges will by Sunday night be secretly and securely 
conveyed out of their reach, and safe on the other side of the Tweed, in Old England. On 
Monday Bates and Dowson will be in the utmost consternation, and their only relief will be 
that of requesting your assistance.' The event turned out exactly as Mrs Bellamy's secret 
advice had painted ; and on the prophesied Monday they were obliged to offer me, un- 
asked, two clear benefits, who a week before would not have given one without the charges 
being duly paid into their coffers instead of my purse. 

"The Minor was first resolved on; next, the Mayor of Garratt ; both were quite new. 
Mrs Cole was thought rather improper, also Dr Squintum, as touching on matters then 
judged too serious ; but I was very fashionable, and all was right ; but Major Sturgeon was 
the favourite. I acted in various plays and farces, from Richard, Bayes, &c., to the Lyar; 
in short, I played many good parts, and was received with candour and much approbation. 
Mrs Bellamy had two benefits, and both much honoured in the compliments they paid her 
on those nights. 

" I was soon well acquainted with several leading gentlemen, particularly with Mr 

I 



130 The Annals of the Edinburgh Stage. [1763-4 

Nicholson Swetart (sic\ who was then universally known, and as well remembered from 
London to Edinburgh, and at every public place of resort, as any worthy spirited gentleman 

can be, and in consequence respected in the three kingdoms I was not only satisfied, 

but even delighted with my expedition to canny Edinburgh The season ended ; Mrs 

Bellamy wished me to proceed on an expedition then forming for a new theatre at Glasgow 
just finished, but I at that time was in a bad state of health and therefore declined it." 

Mrs Bellamy in her Memoirs* mentions Wilkinson: 

" To sum up," she says, " the whole of his character in a few words, he has always been 
justly admired as an actor, beloved as a man, and esteemed as a friend. His person is tall, 
his countenance rather sportive than beautiful, and his manner agreeable. As to his 
theatrical talents, they are far above the common rank ; he has infinite merit in comedy and 
excels in mimicry." 

A curious story is also related by her, that Mr Wilkinson, stopping 
at a wayside inn on his road from Glasgow to Edinburgh, had requested 
to be served with dinner ; the landlord however informed him that the 
famous Mr Wilkinson, the actor, was then in the house, and that till he 
had been served no one else could have anything. Wilkinson, naturally 
astonished at such a piece of information, said he was personally acquainted 
with Mr Wilkinson, and desired to speak with him. Accordingly he was 
ushered into the room, where he found a broken-down actor of the name of 
Chalmers from the Norwich Company, who, having no money, had taken 
this somewhat novel method of raising credit. Wilkinson, perhaps in 
need of company and a laugh, dined with his alter ego, and had to pay 
the bill for both. Chalmers left to travel the road Wilkinson had come, 
and so probably at his next stopping-place did not receive so cordial a recep- 
tion as he had had in his progress up to this meeting with the real man ! 

Wilkinson's actual first performance in Edinburgh was on February 
1 3th, as Foote, Shift, Smirk, Mrs Cole, and the Epilogue, in The Minor. On 
the 1 8th he played Trim in The Funeral, introducing the Cries of London. 
The Mayor of Garratt was acted for the first time in Edinburgh on the 2oth. 

Mrs Bellamy took a benefit on March I2th, when, to prevent con- 
fusion at the doors, ladies were requested to send servants to keep their 
places not later than four o'clock. Boxes, Pit, and Gallery, 2s. 6d. 
Wilkinson took his benefit on April 1 4th, when King Lear was played. 
" Between the play and farce a variety of entertainments, particularly by 
Mr Wilkinson, who will treat the ladies and gentlemen with a dish of all 
sorts ; the bill of fare consisting of whim and novelty, Mr Thurot's trip to 

* Vol. vi. p. 43. 



1763-4-] The Annals of the Edinburgh Stage. 131 

Carrickfergus, and a new comic medley, or MUM MUM MUM, written by Mr 
Garrick." 

On June 3Oth, The Miser. Lovegold = Stamper ; Frederick = 
Aickin ; Clerimont = M 'George ; Ramilie = Collins ; List = Lancashire ; 
Mariana = Mrs Pye ; Harriet = Miss Worley ; Lappet = Mrs Mozeen ; 
with an occasional epilogue by Mrs Bellamy. This was the last time she 
was advertised to appear in Edinburgh. 

Sometime in July Mr Sheridan arrived in town, and gave readings 
at the meeting-house in Skinner's Close, and on Wednesday, 25th July, 
"at the request of several persons of distinction," he performed Hamlet 
at the theatre. He also performed Richard III. (July 28th), and Cato, 
August 8th.* Mrs Bellamy, however, had severed her connection with 
the theatre before this. In fact, according to her own statement, she left 
on account of Mr Sheridan being engaged, but she makes a mistake in 
her Memoirs in stating this to have happened after she returned from 
Glasgow, as it was before she went there, and before the season in Edin- 
burgh had closed. The following announcement from the Courant of 
July 25th fully confirms this: "As Mrs Bellamy is not to appear any 
more on the Edinburgh stage, she begs leave to return her thanks to the 
public in general, and to those friends who have done her the honour to 
patronise her in particular, for the favours she has received during her 
residence in Scotland, of which she will ever retain the most grateful 
sense." Why the engagement of Mr Sheridan should make her take so 
decisive a step is not clear ; perhaps Edinburgh had become too "warm " 
for her ; at all events, she went to Glasgow, and according to her own 
account, returned to Edinburgh before finally leaving for the south. In 
her Memoirs, she says David Hume offered her his lodgings. The Bon- 
nington house having been sold off by the creditors, she took a " small 
English house in New Street." She then quotes the above advertisement, 
and says she inserted it in the newspapers every day for a month, a state- 
ment as purely fictional as a final sentence she adds to it in the shape of a 
N.B. " All persons who have any legal demand upon Mrs Bellamy, are 
requested to deliver in their accounts at her house, opposite Lord Milton's 
in the Canongate, within one month of this date, in order to receive the 
same." Such a N.B. never appeared until she wrote her Memoirs. And 
so this beautiful, clever, but foolish woman passed from the scene, and her 
name was heard no more in Edinburgh save in the law courts* 

* The season closed 22nd August. 




CHAPTER X. 

CANONGATE CONCERT HALL, 1764-5 TO 1767, AND 
CANONGATE THEATRE ROYAL, 1767-1769. 

[ESSRS Beat and Dawson, perhaps because they found the 
difficulties of forming a company without Digges' assistance to 
be too much for them, did not make a start the following 
season until the 29th of December, when the play of The Miser 
was performed. On January 7th, 1765, the following announcement 
appeared : * " As a report has industriously been spread by the enemies 
of the theatre, that it was in a hazardous and crazy condition, the managers 
thought it their duty, for the satisfaction of the public, to apply for a 
visitation of the Dean of Guild Court, who, on the I9th ult., narrowly 
inspected the said theatre, and found the same, as by their said report, in 
every respect perfectly sufficient. The persons who visited the theatre 
were the Lord Dean of Guild, Messeurs James Robertson, Patrick 
Jamieson, mason ; George Syme, sclater ; John Young, wright ; William 
Dallas, wright." 

Thomas and Sally, by Dr Arne, was produced for the first time on 
January i9th, and The Gamester on February 9th. But the season showed 
no signs of paying ; so Dawson and Beat were compelled to make 
overtures to Mr Wilkinson, who, after playing with Foote at the Hay- 
market during the preceding summer, had wandered as far away as 
Exeter. His own account of this, his second season in Edinburgh, is 
well worth insertion. 

f " Before I finished at Exeter, I had the most pressing invitations repeatedly from Messrs 
Dowson and Bates at Edinburgh, intimating they could not go on without my immediate 
assistance. A pretty little trip at the end of January from Exeter to Edinburgh ! However, 
preliminaries were soon settled, and I proceeded to London, where I rested only two or three 

* Courant, "T Memoirs, vol. iii. p. 258. 



1764-5-] Tlw Annals of the Edinburgh Stage. 133 

days and posted down for the north. Mr Dowson was purposely come to Newcastle, to treat 
me from thence post to Edinburgh ; we only continued one day. We got safe to the capital 
of Scotland the first week in February 1765. The theatre had sustained the loss of Mr Digges 
and Mrs Bellamy ; the only true support was Mr Aickin. There was, it is true, a Mr Stamper, 
who had been a great favourite, but he had grown quite inebriated, and that from morning 
drinking. The company was much the same, except Mr Stamper, Mr Creswick, a Mr Parker, 
and Mrs Pye from Ireland, also Mr and Mrs M'George. * We went on tolerably \$\ Richard 
III. was acted,f a character at Edinburgh I was always particularly well received in, and with 
more than common applause; but during the summer session in 1764, Mr Sheridan had 
engaged for a certain number of nights, and on one of those nights had acted Richard, at 
which time the want of a young gentleman or lady to supply the part of Prince Edward 
rendered it impracticable to have the play acted, unless Mrs Mozeen, whose figure was neat 
and youthful, though bordering at that time on the vale of years, would quit petticoat hopes, 
in Lady Anne, of royal coronation, and assume the young monarch in expectation of the same 
honours. But in the winter, Mrs Wheeler's daughters, who promised remarkably well on the 
stage, supplied the children's parts very ably. Mrs Mozeen expected her Lady Anne as her 
stock part, and no supposition could be well grounded for Mrs M'George taking offence at 
it ; for though she had played Lady Anne with Mr Sheridan in the summer season, she must 
have known it was necessity and good nature in Mrs Mozeen to have resigned Lady Anne for 
Prince Edward on a matter of emergency, which obstacle being removed, and the children 
provided for the royal stock, she had double claim for former rights. But on the night 
Richard III. was acted, in the scene where Mrs Mozeen in Lady Anne made her appearance, 
a general uproar ensued, aye even to the pelting of the lady ; the collegians, one and all, 
having formed a severe party at the malevolent misrepresentations instigated by Mr and Mrs 
M'George, whose wrongs were related with double force to the town, as being cruelly deprived 
of Lady Anne, a character in which she had been received with so much praiseworthy 
applause. Mrs M'George intended to have produced another Lady Anne to the wondering 
audience to lament a husband, but Manager Dowson having been alarmed by authenticated 
intelligence that mischief was brewing, barricaded the entrances and kept them double 
guarded by doorkeepers, to prevent Roxana with her dagger from gaining admittance behind 
the scenes, and thereby wounding the bosom of his beloved Statira. It was an hour before 
the uproar ceased ; but Mrs Mozeen evinced if she had little body she had a great soul. The 
audience were very attentive, and honoured me much that evening in every scene, except 
where Lady Anne made her appearance, and then marks of rage, indignation, and contempt 
ensued. The riot did not subside with that night, but lasted above a fortnight, and was 
carried to such extremes that not any ladies visited the theatre from apprehension of dis- 
turbances and outrage. Manager Dowson, who paid adoration to his beloved Statira, even 
equal to the poet's fancy, levelled all his fury on her desperate foe Mrs M'George, by an 
immediate dismission, which stroke of sudden impolicy at that juncture only served to enrage 
the more. 

"Dowson, still faithful to his mistress, rather than Mrs M'George's party should have 
reigned triumphant, I verily believe would have taken a torch at noon and set our famed 
Persepolis on fire ; but the fates did what the manager could not, for though the collegians 
gave ammunition and manual assistance in Mrs M'George's defence, yet they did not (or 

* What Wilkinson means by this it is difficult to understand. t l8th February. 



134 TJie Annals of the Edinburgh Stage. [1765-6. 

could not) afford to offer their purses ; therefore, as provisions grew scanty, that tragic queen 
thought it more prudent and better generalship to retreat than be starved by attacking a 
fortress she found determined on obstinate defence, so off she and her spouse went ; and 
peace and harmony were once more restored." 

Wilkinson's first benefit was on March 2ist,* when Rival Queens 
or " The Death of Alexander the Great, with the triumphal entry of 
Alexander into Babylon, and a grand chorus ; " and Harlequin Soldier, 
taken from Allan Ramsay's tale of the " Miller and Moon."t His second 
benefit was on April I3th, when there was played, in addition to 
Coriolanus, a new burlesque tragedy of two acts (never acted before), 
called the Death of Bucephalus, being a parody " written by a person of 
fashion," the performances " to conclude with a funeral procession, ac- 
companied by a solemn dirge."J This was the last night of acting, and 
the company, along with Wilkinson, proceeded to Glasgow, where, that 
gentleman relates, he was received with the same cordiality and friendship 
as he had been in Edinburgh. 

Wilkinson's lodging while in Edinburgh was at the first house within 
the head of St Mary's Wynd. 

The following winter season, which opened on November 2nd, 1765, 
with The Orphan, in which Mr Young from Drury Lane played Chamont, 
was most uneventful. Besides the usual popular pieces of the time 
(which be it noted included a large percentage of Shakspere's works), 
there was performed Ben Jonson's Every Man in his Humour, which 
took sufficiently well to call for a repetition, Love in a Village, Thomas 
and Sally, and The Mayor of Garratt, all of which were great favourites. 
Mr Aickin had his benefit on March 3rd, when the performance of 
Romeo and Juliet called forth the following curious announcement : 
" We hear that Mrs Baker, although she never played Juliet before, 
and is fully conscious of the impropriety of her figure for that character, 
has consented to do it on Monday for Mr Aickin's Benefit, and hopes 
the audience will accept of her performing it in the best manner she is 
able." 

During this season we get one of those curious side lights into the 

* This date is given by Wilkinson himself as 22nd, and so it was originally advertised, but it was altered. 
Probably Wilkinson copied 22nd from one of the bills that had been first issued. Memoirs, iv. 6. 

J" This piece Wilkinson says was taken from the French by Mr Shaignean of Dublin. Memoirs, iv. 6. 
J The piece was a burlesque of the Death of Alexander mentioned above. 
Courant. 



1 765-6.] The Annals of the Edinburgh Stage. 135 

nternal economy of the theatre which constitute so interesting a feature 
in its history. In this instance it consists of a pamphlet, now of extreme 
rarity, which came out under the title of " A Letter from a Gentleman 
in Edinburgh to his Friend in the Country, occasioned by the late 
Theatrical Disturbances." The author, besides dealing with the state 
of the theatre, and the merits (or demerits) of the company, records 
some most curious bickerings between management and audience. 
After stating pretty roundly that the managers were "ignorant, con- 
fident, and insolent," he goes on to speak of the stupidity of 
these gentlemen in casting plays in a manner that nowise suited the 
members of the company, putting, for instance, a light comedian to 
play heavy parts, a tragedian to play low comedy, and so on. Then 
he says, 

" Stayley is undoubtedly the best performer we now have,* and on any theatre must 
make a respectable appearance. His voice, his person, his action, command attention, and 
gratify expectation. But, can you believe it, though such a person is well calculated by 
his merit, when known, to fill a house, and one would therefore imagine ought to be 
encouraged for the manager's advantage, yet he seldom appears in a playbill at all; and 
when he does, oftener in a despicable part, than in a capital one. f Cloten, Friar Lawrence, 
with twenty such trifling characters, they allot him, while an Aickin, a Tindal, and a Young, 
attempt the highest ; but who are no more to be compared to Stayley as actors, than ' I to 
Hercules.' I will not dispute, however, but these three may play each in their turn 
principal parts with applause, provided they are given them judiciously. But the case is not 
so ; for what parts they do play are commonly (take notice, I do not say altogether) so 
absurdly adapted, that I have often thought the managers wanted to see how far they could 
provoke the audience without their resenting it." 

It would seem that even after the parts had been badly cast and the 
names printed, they were often altered at the last moment without any 
apology given to the audience. " Didier," the annonymous writer con- 
tinues, " attempts to play almost contrary to the decree of God and nature, 
for his voice, person, his action, are all against him." He resembled, it 
seems, a " spread eagle painted on a sign post." Again, Stamper and 
Lancashire, both noted low comedians, were made to appear in tragedy, 
though it was " as ridiculous to see these two play tragedy, as it would 
be for one of our reverend clergymen to perform in a pantomime 
entertainment." " The female characters," the pamphlet continues, "are 



* Not quite Jackson's opinion, but more likely to be near the truth. 

t This is very interesting when read in connection with what follows next season 



136 The Annals of the Edinburgh Stage. [1765-6. 

distributed in the same manner with those of the men. Mrs Baker is 
turned out to make way for Mrs Bland Hamilton, an actress that, however 
she might formerly excel Mrs Baker, is infinitely her inferior now. She 
has lost her voice, her looks, her teeth, and is deformed in her person." 4 
Mrs Robson, it would seem, had been introduced to the prejudice of 
Mrs Didier, a woman superior to her in every way. What is pointed 
out as an even more serious grievance, is the laxity of discipline, which 
eventually extended to the almost entire abandonment of rehearsals. The 
public, after putting up with several cases of discreditable performances, 
at length took exception to the omission of a hornpipe, which was advertised 
to be danced between the acts of the Beggars Opera. The demand to 
have it given being reluctantly complied with, Mr Beat took an oppor- 
tunity of taking a Mr Home, who had been the leading spirit in insisting 
on the hornpipe being given, to task for his conduct in the matter. Home 
complained of this to the audience ; but as he had an uncouth way of 
telling his story, he was for some time only laughed at by the pit. 
Perseverance, however, won him a hearing, upon which the performance 
was stopped, and Beat's appearance demanded. That gentleman, how- 
ever, chose to absent himself, and Dawson, instead of soothing matters 
with a conciliatory speech from the stage, foolishly attempted to address 
the house from the back of the pit with his hat on ! This only inflamed 
the malcontents more, and after hustling the foolish manager about, the pit 
resolved that the performance should finish, when, if Beat refused to appear, 
they would proceed to violent measures. The play therefore was finished, 
and the ladies allowed to depart, when, Beat still refusing to apologise, the 
audience set about tearing up seats, sconces, scenes, boxes, and whatever 
came within their reach. Evidently this quarrel was soon patched up, 
and the house again reopened. 

The Courantoi Monday, March 1 7th, contains the following announce- 
ment, which is peculiarly sad when taken in connection with Wilkinson's 
remark quoted on page 133 : " Mr Francis Stamper, who performed in 
the tragedy of Macbeth last Wednesday night, died about two o'clock 



* It is really impossible to say whether this refers to the Mrs Hamilton who had been so long connected 
with the Edinburgh stage, or to Mrs Bland or Hamilton, who had acted with great success for many years 
under Rich at Covent Garden. The two Mrs Hamiltons are totally distinct individuals, but it is possible that 
Mrs Bland Hamilton may have been in Edinburgh this season, and returned the following season under the 
name of Mrs Sweeney. 



1765-6.] 77^6' Annals of I he Edinburgh Stage. 137 

on Saturday afternoon, and was interred this evening in the Canongate 
Churchyard." 

EPITAPH BY MR STAYLEY. 

" Is Stamper dead ? He is ! to all below. 
Look in each face you'll read it in their woe ! 
He who was wont to raise the general smile, 
And for whole nights a world of care beguile : 
(Oh sudden change !) whence comes it, Stamper, now, 
You fix such gloomy sorrow on the brow ? 
' Forgive my son ' the comic genius cry'd : 
He never grieved a soul; but when he died !" 

Mr Stayley was, in his day, quite an original character ; whether as 
actor, teacher of elocution and English, poet or what not, nothing seemed 
to come amiss to him. He was far from being a genius, but his versatility 
must have been great ; yet although such an one, we should conceive, 
would be of considerable utility in a theatrical establishment perhaps 
from this very reason he had become, as we have already seen, very 
unpopular with the Canongate management. This, during the following 
year, brought about results of great importance in the History of the 
Edinburgh Stage. 

At his benefit, on April 3rd, Mr Stayley played Hamlet ; he then 
" treated the ladies and gentlemen to a dish of Mr Foote's best tea." 
To which was added a comedy in five acts, altered from The Mistake by 
himself called Metaphrastus, or the Wrangling Lovers the performance 
concluding with Ranger's description of a playhouse, or " Bucks have at 
ye all, adapted to the meridian of Edinburgh!" The announcement 
of this somewhat liberal entertainment finishes by stating, that " the house 
will be illuminated with wax. Mr S., whose first arrival in this kingdom 
was about three months ago, intirely relies on the voluntary pleasure of the 
public for those honours at his benefit, which want of acquaintance and 
longer opportunity to endeavour to merit will scarce allow him to expect." 

The last performance for the season was on April 2ist, when the 
Clandestine Marriage was played for the first time here ; the characters 
by Aickin, Tindal, Didier, Quin, Lancashire, Kennedy, Mrs Bland 
Hamilton, Miss Westray, Mrs Robson, Mrs Didier, &c. 

There does not appear to have been a regular summer season, but on 
October nth Mr Stayley got possession of the theatre, and gave a per- 



138 The Annals of the Edinburgh Stage. [1766-7. 

formance of the Gentle Shepherd, himself playing Sir W. Worthy, Mrs 
Hamilton,* Mause, and the rest of the characters " by lads and lasses in 
the true language, dress, &c., of the time and country, with a prologue 
shewing the great utility of the stage, and regard to a graceful and proper 
manner of speaking and reading, written to be spoken by Mr Stayley." 
This was a success, and was repeated on the i8th. 

The winter season a most momentous one as it proved opened on 
or^about the 29th of November 1766 with the Recruiting Officer. On 
December I7th, Oroonoko was given, with a Mr Younger from Covent 
Garden in the title role he had been engaged in the double capacity of 
actor and assistant manager and our old friend Mrs Ward as Imoinda. 
On December 2oth, the same lady played Lady Capulet to her daughter's 
Juliet. At the latter performance, some disturbance seems to have taken 
place through gentlemen having contrived to get behind the scenes, whereat 
the management published a notice that stringent regulations had been 
made to prevent the same occurring in the future. Stamper being dead, 
Edwin, who was in Ireland, had been asked to fill his place, but unfor- 
tunately that gentleman had not sufficient money to pay his passage, so 
Parsons got most of Stamper's parts. 

In the beginning of January, Jackson again made his appearance, 
and, by his own statement, intended to appear in the new character of 
purchaser of the theatre. Possibly negotiations were entered into between 
him and the gentlemen proprietors, who were unquestionably sick of their 
possession, which was destined indeed to become in their hands, in a 
few weeks' time, a veritable white elephant. Jackson's account,t how- 
ever, of his connection with the affair reads much more like romance than 
truth. He says, that an "honourable personage" dissuaded him from 
completing the purchase, and even caused him to determine to " bid adieu 
to every connection with the stage for ever." How ill he kept his resolu- 
tion will soon appear. What the "honourable personage" had snatched 
from the grip of the gentlemen proprietors, namely, a purchaser for the 
theatre, was almost immediately thrown in their way by one of the most 
curious and at the same time eventful incidents we have yet recorded. 

Mr Stayley, as already mentioned, contrived to make himself unpopular 
inside the theatre, the result of which was his non-engagement for this 
season. But although unpopular inside he was far from being so outside, 

* The Edinburgh Mrs Hamilton, undoubtedly. t History of Scottish Stage, p. 59 and on. 



1766-7.] The Annals of the Edinburgh Stage. 139 

and in fact, according even to Jackson, who appears to have been no friend 
of his, he had gained for himself with certain people the name of being 
a great actor. 

" Mr Stayley," says Jackson,* " to a tincture of Genius, had acquired a smattering of 
stage knowledge \ which might have rendered him an useful member to a theatre ; but a 
mediocrity in the science (sic) did not suit his VAST IDEAS. He had adopted in compliance 
with the taste of his audience, a pomposity in his pronunciation and an eccentricity of tones, 
and mode of deportment, which, by a country audience, was pronounced great acting. 

" I accidently saw him perform Macbeth at a provincial theatre. In the battle between 
him and Macduff, after fighting round each front wing, and having been ten times apparently 
run through the body, and twice down, he got up, and staggering towards the lamps, fell a 
third time ; where upon one knee, or writhing in different postures, he uttered a dying speech 
of five-and-twenty lines composed by himself, and, at length, expired amidst a thunder of 
applause ; and the bulk of the audience retiring, pronounced him the first actor in the 
world." 

The result of Stayley's not being engaged was a riot in the theatre, 
of the most violent type. Jackson, who was an eye witness, describes it 
as follows : \ 

" Some of the most violent of his (Stayley's) partizans assembled in the pit and called for 
the manager. The sum of their requisition was that Mr Stayley should be engaged. He was 
in waiting in one of the upper boxes, and was at the desire of the party, with the forced con- 
sent of the managers, admitted upon the stage to tell his own story. He advanced forward 
to the audience, in order to deliver, obviously, a prepared speech. ' I am proud,' says he, 
and sorry thus to appear before this audience ; proud for the honour and sorry for the cause 

' The partial and prepared few who had espoused the part of the actor, though they had 

procured him an entrance to the stage, could not command the voice of the house. The 
friends of the managers and lovers of order stopped the speaker short, by a majority of voices 
insisting upon the amusements of the evening being continued. Stayley retired disappointed 
and disconcerted, amidst a confused clamour ; and the play and farce went on without 
further molestation. When the curtain dropped the malcontents remained behind ; and 
though scanty in their numbers, made so violent and successful an effort upon the fears of the 
managers as to extort from them a promise that Mr Stayley should be engaged." 

The management had committed a blunder in not having engaged 
Stayley at the opening of the season, and had they been wise they would 
have rectified their omission by yielding with a good grace on this occasion. 
Had they done so victory had been theirs, for notwithstanding anything 
Stayley may have been as an actor, they should have humoured their 

* History of Scottish Stage, p. 60. 

t A remark evidently prompted by jealousy, as Stayley had been a number of years on the stage, longer 
in fact than Jackson. 

t History of Scottish Stage, p. 61, &c. 



140 The Annals of the Edinburgh Stage. [1766-7. 

patrons, the public, by giving them what they so plainly demanded. Jack- 
son shrewdly remarks, had he been manager, " as long as they chose to 
come, the public should have seen him." The fault up to this point was 
want of tact or discernment on the part of the managers ; but their sub- 
sequent conduct was foolishness of so gross a nature, as almost to deserve 
the consequences it drew upon them. The next morning but one * after 
the riot the following hand-bill appeared : 

"THEATRE. 

" EDINBURGH, January 12, 1767. 

" The managers and performers humbly hope, that, from the dangerous situation both 
they and the Theatre were in on Saturday night, after the farce was over, from a party who 
stayed behind the rest of the audience, in behalf of Mr Stayley, and, by throwing stones, pieces 
of sticks, half pence, and lighted candles, COMPELLED a promise of his being engaged, as the 
ONLY MEANS left to preserve the theatre from fire and destruction, they shall stand justified to 
the public in suspending all entertainments till they can be assured of a proper protection ; 
and also of refusing to admit as one of their community, a man capable of taking such un- 
warrantable and wicked means to gain his ends. 

JAMES AICKIN. 
JOSEPH YOUNGER. 
A. J. DIDIER. 
W. SEDGWICK. 

J. DAWSON. WILLIAM ADAMS. 

D. BEATT. C. SMITH. 

CHA. TINDAL. 
THOS. LANCASHIRE. 
SIMEON QUIN. 
THOS. YOUNG." 

This defiant resolution was further emphasised by bills posted about 
the town as follows : 

" THEATRE. 
THERE WILL BE 

No PLAY 
TILL FURTHER NOTICE." 

The " further notice " was given on the 24th, on which evening the 
house was re-opened. The managers probably thought that the excitement 
had cooled down ; but they were grievously mistaken. The theatre was 
immediately filled, and symptoms of the coming storm were soon abundantly 
manifest. Noise was all that was indulged in for a while, then a peremptory 
demand was made for an apology from the management. This was re- 

* The riot was on January loth. 



1766-7.] The Annals of the Edinburgh Stage. 141 

fused ; so, after the ladies had been allowed to leave the building, the audi- 
ence proceeded to wreck the house before and behind the scenes. Benches 
were torn up, candles thrown about, scenes smashed, and everything 
destroyed that could be ; their ire even extended to the mirror in the green 
room, which was thrown on the floor and broken. The actors at first, it 
seems, tried to keep the rioters off the stage, and to this end defended their 
stronghold with stage weapons ; even the musicians made some sort of 
stand in their borderland between the pit and stage ; but neither fiddle bows 
nor mock halberds proved of any avail against real swords and improvised 
cudgels, the only reverse the attacking party received being when several 
of them tumbled headlong down a trap which had been cunningly loosened 
from below. The City Guard turned out, but were also repulsed, and by 
the time a detachment of soldiers, sent for from the Castle, had made its 
appearance, the theatre was gutted alike of rioters and fittings. 

A most interesting and graphic description of the scene is given by 
the semi-innocent cause of all the destruction, namely, Mr Stayley. It 
appears in an exceedingly curious pamphlet published by that gentleman 
shortly after the riot, and when he had made up his mind to settle in Edin- 
burgh as a master of elocution. It is " entitled, THE THEATRICAL HURRI- 
CANE." 

" The proverb says, and proverbs seldom lie, 

We look on troubles past with well pleased eye. 

If vengeful Heav'n, for causes of its own, 

Be pleas'd to send a furious tempest down ; 

With dreadful frowns eclipse the darken'd day, 

Tear forests up, and sweep whole flocks away ; 

How soon the Power, If supplication bend, 

Can prove, appeas'd, a kind, forgiving friend ; 

Bless, with a peaceful Calm, the sunshine air, 

And what He had destroyed again repair ! 

So when your late resentment rose so high, 

And fell, like thunder, from the bursting sky ; 

Drove, like a whirlwind, o'er this mimic world, 

And all to ruin and confusion hurl'd ; 

Not even sparing Juliefs nuptial bed,* 

Where Beauty just before repos'd her head ; 

While horrid cat-calls terrify the ear, 

And drive our music from their midway sphere. 

The fiery Tybalt shudder'd at the sight ! 

And banish'd Romeo took a second flight ! 

* The play that night was Romeo and Juliet. 



142 The Annals of the Edinburgh Stage. [1766-7. 

The frighted Fryar left his cross and ran ! 

And dead Mercutio rose a graver man ! 

Sly Abram took a peep, and lost his glee ; 

Nor stay'd to ask ' Do you bite your thumb at me ? ' 

And where the shame ? When danger was so great, 

The bravest gen'rals will sometimes retreat. 

No honour, rashly, like a. fool to die : 

E'en Hector chose himself one day to fly ; 

And left his Trojan walls alone to stand. 

And bear the fury of Achilles hand ; 

And stand they did, at least, for ten long year* 

But ten short minutes did our bus'ness here. 

Ourfoi/s gave way before Toledo steel, 

And real rage made mimic anger reel. 

While some staunch bucks ; O, fatal dire mishap ! 

Were caught themselves in our theatric trap ; f 

But, scorning fear, gave one conclusive blow, 

And sunk, like Banqutfs ghost, to realms below ! 

While those above, who saw their tragic end, 

(Extravagance of grief bespeaks a friend) 

In vengeful sorrow, rang so loud a knell, 

They crack'd, in doleful peals, our fun'ral bell, f 

While some young hand seiz'd time by the fore-lock 

And broke his main spring, when they broke our clock 

A clock ! which went as true as clock could go ; 

But six at night some thought it struck too slow 

Th' appointed hour which bad our curtain rise 

To entertain you, with a vast surprise ! 

Some strutting hero ! and a ranting elf 

Your pardon, Brethren, for I mean myself. 

But oh ! the direst deed sure ever done ; 

Our mirror, Ladies ! bright as any sun ! 

Our fine large glass ! where many a King and Queen 

Have view'd their figures and majestic mien ; 

Where I myself \\a\z ogled heretofore, 

And seen such sights as I shall see no more ! 

That very glass weep, Ladies, while I speak, 

(But brittle things ye know are apt to break) 

Was dash'd in shivers on the green-room floor, 

And laid interred beneath an unhins-'d door. 



* Stayley in a note says, " Bad grammar, but Poetica licentia." 

t The large trap in the middle of the stage gave way with several gentlemen, who, cutting the rope w hich 
supported it, went to the bottom. 

J A large bell which hung behind the scenes. 



j 766-7.] The Annals of the Edinburgh Stage 143 

But now, with joy, we see the deluge cease, 
And the white dove return'd again with peace ; 
With pleasure view each crowded, brilliant row, 
Sure sign of concord, like the heavenly bow ; 
And, like that token of IMMORTAL grace, 
May sacred beauty ever gild this place ; 
May we no more provoke the public rage, 
And may the public guard a grateful stage" 

When the uproar was over, the long arm of the law was reached 
out to punish those who had been foremost in fomenting it. These 
were for the most part law students and young lawyers, a section of the 
community which on one or two subsequent occasions were very 
forward in making disturbances in the theatre, and were just as 
sharp as and perhaps a trifle more spirited than their successors of 
to-day. An action was brought against them by the proprietors of the 
theatre for the wilful destruction of the property, and as they were destitute 
of any means of defence, they were compelled to resort to stratagem. After 
casting about for a while, they hit upon a most excellent device to avoid 
the consequences of the action should it come to a hearing. 

It consisted in bringing a counter action against the proprietors of the 
theatre,* who were some of the most respectable persons in Edinburgh, as 
being liable, under the statute of Queen Anne, where owners of unlicensed 
theatres were classed as " rogues and vagabonds," to be "stripped naked 
from the middle, and openly whipped until his or her body be blooded, or 
may be sent to the house of correction, there to be kept at hard labour," &c. ; 
also under the statute loth of George II. This was a very serious action. 
No less than four of the proprietors of the theatre were Judges of the 
Supreme Court, and might have been tried as rogues and vagabonds ; in 
fact, so general was the proprietory of the theatre, that it was impossible 
for their lordships to try the question. The names of the Judges entered 
as proprietors were Lord Aylemoor, Lord Monboddo, Lord Ankerville, 
and Mr Baron Stewart (Court of Exchequer). Not only were these four 
judges proprietors, but several of the Lords of Session had sons in the 
same predicament. Such could not judge in their sons' cause, so it was 
found that a quorum of judges to preside and pronounce in the cause 
could not be obtained. Therefore, most fortunately, both actions were 
quashed. The one could not go on without the other. 

* Report of Trial, 1825, Siddons v. Ryder. Lord Alloway's opinions. 



144 The Annals of the Edinburgh Stage. [1766-7. 

And so ended as it were in convulsions the last season of the theatre 
in Edinburgh without a patent. The riots, however, had done some 
good, for they made it most plain that such a state of things as an illegal 
theatre, with the principal dignitaries of the law as proprietors, was an 
anomaly not to be endured. So several gentlemen, independently of 
the proprietors, petitioned Parliament for a patent. Then the proprietors, 
hearing of this, made common cause with them, for they could easily see that 
were a patent to be obtained which was independent of their theatre they 
would lose considerably. A bill had been drafted and sent up to London 
to be brought before the House of Commons ; but, better counsels pre- 
vailing, a clause was eventually added to the bill then preparing for the 
extension of the royalty of the city, enabling his majesty to license a 
theatre in Edinburgh. The gentlemen proprietors stated publicly, at a 
meeting held in " Hazard's" during the month of January,* that when- 
ever the patent had been secured their only desire would be to cover some 
losses they had sustained in connection with the old house ; after which they 
were willing to deliver over the whole thing, patent and all, to whomsoever 
the public approved. How they kept their word we shall see. In the 
mean time the playhouse was put into a sufficient state of repair, and 
several members of the late company took advantage of it to have benefit 
performances. The first, however, who took the opportunity to " turn 
an honest penny," t was Mr John Lee, the former proprietor of the 
building, who had been prevailed upon to make application to the 
proprietors for the patent. Lee was not well advised in this, for although 
a public favourite, he could scarcely have forgotten his former disputes 
with the gentlemen proprietors, not to mention his incarceration in con- 
nection with the affair. Perhaps he thought they had forgotten, or else that 
they only awaited an opportunity of making retribution for the injuries they 
had formerly done him. But although the proprietors repeated their former 
declaration that in the disposal of the patent they would be entirely 
governed by the public voice, it seems very clear, that while giving these 
assurances they were all the time secretly arranging to dispose of the 
patent (when it was got) to another gentleman, who was not even known 
as yet to the Edinburgh public. Lee, although an older, does not seem to 
have become a much wiser man, than when he ran his head into the lawyers' 
clutchesten years before, or he would have perceived that even if hisapplication 

* See Pamphlet entitled " Nil Mortalibus Arduum," 1767. t March 2nd, Suspicious Hitsband. 



1766-7.] The Annals of the Edinburgh Stage. 145 

was not distasteful in itself, it was at once rendered so by the backing it 
received from the Stayley party, who strongly supported him. In the 
mean time, Mrs Baker had her night on March 5th, followed by Miss 
Ward and Mr Younger. Mr Aickin, it may be mentioned, had 
departed ere this for London, where he was engaged at Drury Lane 
Theatre. 

Beat, as will be seen by the following extract from a letter of Mrs 
Baker's to Tate Wilkinson, * had also left : 

" Beat has taken himself to his brother's in Fifeshire, and lives secured from duns, upon 
the fat of a lean land. The magnanimous Stayley was left behind in Edinburgh, where he is 
employed in writing madrigals to his own praise ; sad ones they are indeed ; and Lancashire 
draws beer opposite St Mary's Wynd." 

Mrs Ward risked a benefit on the 3oth, but, alas ! her popularity was 
evidently gone, for we read in the Courant of the following Wednesday 
as follows : 

" Mrs Ward thinks it her duty to return her most grateful thanks to the few friends who 
did her the favour of appearing at her benefit on Monday last, and also thinks it necessary to 
inform the public that, as a recompense for her quitting London for Edinburgh, she has 
received about forty pounds for her performance here, instead of two hundred and twenty had 
she continued in England for the same space of time." 

A few days after this a company of equilibrists moved up from 
Bruce's Close into the theatre, and during the race week a Mr Fisher's 
Company, from the west country, gave a few performances. 

And so things went on quietly enough till the middle of November, 
about which time a rumour spread that the newly acquired patent had 
been made over by the gentlemen proprietors to a Mr David Ross, late of 
Covent Garden, but hitherto unknown to fame in Edinburgh. This 
caused much speculation, and when the news developed from rumour to 
certainty, the excitement of the playgoing public seems to have known no 
bounds. Two parties were formed ; one supporting the proprietors, and 
the other, self-styled the " public party," with Lee and Stayley in com- 
mand. The latter party was mad with rage now that it found itself out- 
witted, while Ross's supporters exulted that the tables were turned upon 
the instigators of the Stayley riot. It was urged on the one hand that 
the proprietors had no right to dispose of the patent save with the consent 
and approval of the public especially in the face of their expressed 

* Memoirs, vol. iv. p. 26. 
K 



146 The Annals of the Edinburgh Stage. [1/67. 

sentiments on the matter. On the other hand, the proprietors, now that 
they had actually obtained the patent, chose to ignore the pretensions of 
the public party, and denied all obligations. And there can be little 
doubt that these gentlemen, although exalted in rank and as might be 
supposed removed from such feelings, felt a considerable amount of grim 
satisfaction in thwarting the wishes of the people who had given them so 
much trouble and annoyance. The first decided action on the part of the 
opposition, as the popular party may be termed, was taken on November 
27th, when a handbill was circulated stating, "As it is now certain 
that the gentlemen " (i.e., the proprietors), " who took upon them 
this day se'nnight to form a resolution with regard to the disposal 
of the patent for a theatre in this place were no more than trustees 
for the public, after their debts were paid or security granted there- 
for, it is hoped that all gentlemen who disapprove of their extraor- 
dinary resolution will meet at Fortune's to-morrow at 1 1 o'clock, to 
consider what steps are proper to be taken to prevent its being carried 
into execution." 

The meeting was accordingly held, and Alexander Lockhart of Craig- 
house, Esq., Dean of the Faculty of Advocates, was elected preses, when 
it was agreed that Mr Ross was an " IMPROPER PERSON " to be entrusted 
with the management of the theatre ; and a committee was formed con- 
sisting of the Chairman, the Earl of Kelly, Lord Gardenstoun, Hon. Mr 
Baron Grant, the Solicitor General, Sir Adam Ferguson, Bart., Archibald 
Cockburn, Sheriff- Deputy of Edinburgh County, Patrick Millar, Bailie 
of Edinburgh, &c., who were to take the necessary steps to prevent 
Mr Ross getting the patent. 

The only result was a fierce paper warfare, which was taken up 
on both sides with right good will, every sort of sarcasm, abuse, and 
threat being enlisted in the cause. Ross knowing very well that he was 
in undoubted possession and could snap his fingers at his opposers, 
issued an address setting forth his claims to the patent, while Lee 
followed suit by publishing an account of his previous grievances with 
the late proprietors a silly thing when he wanted a favour from the 
very same men. It is unnecessary, and would prove but uninterest- 
ing, to go in detail through all the handbills, pamphlets, &c., that appeared. 
One or two, however, are selected as specimens of the shorter (and 
perhaps more pithy) productions. The first is a mock playbill, hitting off 
the characteristics of the new company : 



1767-8.] The Annals of the Edinburgh Stage. 147 

" At the THEATRE ROYAL in GRAY'S CLOSE, 

on Saturday, Dec. izth, 
will be presented a COMEDY (altered from Congreve in 4 Acts), 

called the 

DOUBLE DEALERS, 
Maskwell by Mr Hogshead. 

The other characters by Messrs Solon, Veerabout, Perpendicular, Opium, Miss Per- 
pendicular, the celebrated Miss Fanny,* and others. 

Before the play, gratis, contrary to the custom of the playbills formerly, will be performed 
a CONCERT of Vocal and Instrumental Music. The Orchestra to be conducted by 
the Hon. Mr Aron Rant, who has himself made all the fiddles and bows for the 

occasion 

N.B. Mr Opium will provide night caps, gratis, for those that are inclined to be 
sleepy." 

Mr Ross, who acted in a heavy manner, is clearly indicated by 
" Mr Opium." The following is a handbill of the time : 

" We have been always aware not only of the 
WHO but the WHAT 
The public is a Beast 
In America a LYON 

In Scotland an A 

Let it bray." 

This effusion drew forth the following reply : 

" In mentioning the who and what y 

The what explained we see, 
To name the it'ho might prove as pat, 
For what's the who but LEE?" 

The more serious business of the autumn consisted, in the first place, 
of getting the theatre sufficiently repaired to be able to continue the per- 
formances until better accommodation could be provided for the Drama. 
This Ross fully intended to do as soon as possible, and he showed in the 
working out of his schemes, and the accomplishment of his design, none 
of the laziness he was notorious for. In the mean time, however, the 
old playhouse being patched up a little, was opened on December Qth, 1 767, 
the play being The Earl of Essex, which thus had the distinction of 
being the first legally performed play in Scotland. Mr Ross himself 
appeared in the title role, and previous to the play spoke a prologue from 

* This referred to Mrs Ross, who had been the "famous" Fanny Murray. 



148 The Annals of the Edinburgh Stage. [1768-69 

the pen of James Boswell, Esq.* According to Jackson, the season that 
followed was a prosperous one. The novelty of performing plays by royal 
permission probably was sufficient attraction for a few months ; for on the 
principle that the king can do no wrong, many people who previously had 
absented themselves may have been induced to witness an entertainment 
to which the royal sanction had been given. Whatever made the play- 
house suddenly popular, it was neither splendid acting nor the production 
of novelties, notwithstanding that Mrs Baker was the leading actress, 
and Mr Ross himself took the principal male characters. The season lasted 
till the middle of May. Jackson, in his History, states that during 
this season he again appeared in Edinburgh, in the part of Romeo to Miss 
Brown's Juliet. In this statement, Jackson displays a very fair specimen 
of the carelessness with which he wrote, for it was not till the succeeding 
season that either he or Miss Brown so appeared. 

The first notice we have of the season (1768-9) is on the 3Oth of 
January 1 769, when a performance was given of the " serious " opera of the 
Royal Shepherd, with scenes (by Mr Moore) and dresses "entirely new." In 
this Miss Brown who was a daughter of Sowdon appeared as Thamyris. 
During the season, Jackson acted Hamlet to Miss Brown's Ophelia, 
the Guardian to the same lady's Harriet, and, as already said, Romeo to her 
Juliet. What more fitting than that during the summer recess they should 
take a benefit for themselves and enact the good old fashioned domestic 
drama (tragedy sometimes !) of Marriage ? And on the opening of the theatre 
next season, November i8th, we find in the playbills Mrs Jackson, instead 
of Miss Brown. A few days previous to this, the following notice had 
appeared in the public press : 

" The unhappy accident of the bridge, deprives the town of a convenient road to the 
new theatre, and therefore Mr Ross cannot open it this season. The old theatre has been 
surveyed by the Dean of Guild Court, and is quite sufficient. Mr Ross hopes the friends 
and patrons of the Drama, will not add to his losses and disappointments by keeping from 
the old theatre, as they may rest assured if it was not perfectly safe he would not suffer it to 
be opened." 

* See Appendix. 



FOURTH PERIOD. 



1769 to 1809. 




Theatre Royal f&JO tu I85S 




Prior to 1830 




CHAPTER XL 

THE THEATRE ROYAL IN SHAKSPERE SQUARE. 

|T is now necessary to review the steps Ross had been taking 
during his two years of proprietorship to secure a proper 
theatrical building. Casting his eyes about him, he could not 
fail to see that fashion was steadily setting in in favour of 
migration to the fields beyond the " Nor' Loch." Although but a few 
houses had showed themselves in that neighbourhood so early as 1 767, it 
was evident that ere long it would become the home of all the first people 
in Edinburgh. Hence the "new" town, as laid down in Craig's plan, 
was the spot to be pitched upon for a new theatre. That settled, Ross' 
next care was to raise a sufficient capital to commence building, and in 
this he showed himself an adept. According to Jackson, whose account * 
of the transaction is the only available authority, Ross proceeded some- 
what on the lines adopted in connection with patent houses in England, and 
issued shares at 100 each, which entitled the holders to free admission and 
three per cent. ; the security being a mortgage over the property. 
Twenty-five t of these were taken up. The building, however, cost about 
.5,000, in addition to which the late proprietors were to receive 1,100 
for their old tumble-down building in the Canongate ; the expense of the 
patent, which Ross had to defray, came to 300 ; while 500 had to be 
invested in two annuities of 50 each for two old ladies, Mrs Hamilton 
and Mrs Thomson, w r ho were among the original proprietors. In all, 



* History of Scottish Stage, p. 73. 

t Jackson's statement is confirmed by the evidence produced in arbitration when the building was acquired 
by the Government in 1859. From it we learn that twenty-two gentlemen each took one 100 share, and one 
gentleman 300 worth of stock. They were to get free access, and three per cent., except one or two, who got 
five per cent, and no admission. 



152 The Annals of the Edinburgh Stage. [1769-70. 

close upon .7,000 * was required before completing the new theatre. The 
site which had been selected, as is well known, was where our General 
Post Office now stands. When taken by Ross, it was part of a field 
belonging to the Orphan Hospital, now removed ; curiously also it was the 
very spot that had been used for about twenty years as a preaching ground 
by the famous Whitfield.t It is said that this eminent divine, on coming 
to Edinburgh in 1768, and finding a "devil's" house in process of con- 
struction upon the spot where he used to denounce all such abominations, 
was fired with righteous zeal to such an extent that with difficulty he was 
restrained from there and then carrying a lighted brand to consume it ! 
He however confined himself to maledictions, which no doubt he did not 
spare. Despite this, and notwithstanding the various and trying difficulties 
Ross had to contend with chief among which was the falling of part of 
the North Bridge in November 1769^ the new Theatre Royal destined 
as it was to have a remarkable, in fact, unique career was opened on 
December 9th, r 769, just two years to a day from the first legal per- 
formance of a play in Scotland. The piece played on this occasion was 
the Conscious Lovers. On the Monday following, December nth, the 
Beaux Stratagem was given, by desire of the Grand Master and the 
fraternity of Freemasons, Mr Ross playing Archer, and Mrs Baker, Mrs 
Sullen. But although there were several "bespoke" nights, and not- 
withstanding the prices were raised, the season proved a conspicuous 
failure. Want of capital to engage novelties was no doubt chiefly at the 
bottom of this. Jackson sensibly remarks, " Depending too much upon 
the novelty of new walls, new scenery, and new decorations, he had 
neglected providing a company of performers that ought to have kept 
pace with the splendour of the house." || A publication called the New 
Rosciad, appeared during January 1770, containing rhyming criticisms on 
the members of Ross's company. In this, Mrs Baker was very highly 
spoken of, while Mrs Jackson was somewhat severely handled. This called 

* Lee Lewis says that Bland was then in Edinburgh, and lent Ross .1600. This sum Ross 
bought off by granting an annuity of ,100 a year to Bland, and giving him a benefit every year during the 
month of February for 25 charge. This account is most likely correct. The annuity at all events comes to 
the front again in 1777. 

t At one time Whitfield had a large tent erected on the spot, and charged for admission. 

J See ante, p. 148. 

They were now, pit and boxes, 35. ; gallery, 2s. ; upper gallery, is. ; at which rates it held about .140. 

|| Lee Lewis says, " Ross made no great stir to engage performers, but his perpetually drunken prompter, 
Heartley, kept on writing letters of proposed engagements to people who regarded his letters, as they deserved, 
with contempt." 



i 



I77O- 1 -] Th e Annals of the Edinburgh Stage. 153 

forth a reply, chiefly devoted to extolling Mrs Jackson, and running down 
Mrs Baker. It is very likely, from the style of the writing, that the reply 
came from Mr Jackson's pen. In the first publication the talents of the 
majority of the company are discounted in a marked manner, and judging 
from all appearances, the criticisms, although disparaging, were mainly just. 
So without funds, and disheartened with his enterprise, Ross made over 
the theatre on a three years' lease to the famous Samuel Foote, the terms, 
according to Jackson, being 500 guineas per annum. This led to the 
accomplishment of a feat which, considering the age in which it was done, 
with its attendant drawbacks of travelling, &c., was brilliant even for 
such a mind as Foote's to conceive. 

We have already seen that this clever playwright, comedian, and 
wit, was the first legitimate " star " who ever ventured so far as Edinburgh. 
In fact "starring," beyond the circuit of Bath and Dublin, was, when 
Foote started on his first journey to Scotland in 1759, quite an innovation 
on established customs; but now in 1770 he conceived and executed a 
scheme of surpassing dimensions. This was no less than the bringing 
of his Haymarket Company * right down to Edinburgh. The Hay- 
market was only licensed for plays during the summer months, when 
Drury Lane and Covent Garden were closed ; so Foote embraced this 
opportunity of employing not only himself, but his company as well, during 
the winter months, by acting in Edinburgh. Thanks to Jackson, this fact 
has been long well known to the curious in such matters ; but somehow 
the importance of the undertaking and its proper significance, when taken 
along with the fact that such an experiment was not again attempted for 
nearly ninety years afterwards, has never been properly emphasised or 
pointed out. It stands out nevertheless as a monument to the enterprise 
of the man who conceived and carried it to a successful issue. The season 
opened about the middle of November, t but ere that a somewhat curious 
adventure befell Foote during his journey north. \ A violent snowstorm 
had come on, which obliged Foote to put up at Moffat for a night, and he 
lodged at the King's Arms in that town. Next morning he set out, but 
found himself completely snowbound, and had to retrace his steps to Moffat. 

* Lee Lewis says he paid ,100 a week to his company while in Edinburgh. 

t Genest says November loth. 

J It is related by Chambers, who gives the date of this adventure 1774-5 (during which winter Foote was 
not in Scotland), but from the contents of a letter from Foote to Wilkinson printed further on, it must have 
happened at this period that is, if there is any truth in the story at all, and considering the manner in which 
Chambers picked up his stories it is at least doubtful. 



154 The Annals of the Edinburgh Stage, [1770-1. 

There a certain Mr M'Culloch of Ardwell, a genial Commissioner of Scotch 
Customs, learning who the unfortunate traveller was, wrote and affixed to 
Foote's carriage window the following lines : 

" While Boreas his flaky storm did guide, 
Deep covering every hill o'er Tweed and Clyde, 
The north-wind god spied travellers seeking way \ 
Sternly he cried, ' Return your steps, I say ; 
Let not one foot, 'tis my behest, profane 
The sacred snows that lie on Erichstane ! " 

Foote reading this relaxed into a smile, and said, " I should like to 
know who wrote that ; be he who he may, he is no mean hand at an 
epigram." Ardwell acknowledging the soft impeachment, Foote continued, 
" My dear sir, no apology is necessary ; I am fine game for every one, 
and I take any one for game when it suits me." 

During the several days they had to remain until a thaw set in, a close 
intimacy sprung up between this gentleman and Foote, and afterwards 
they spent many a jovial evening at Ardwell's house in Springfield, Leith 
Walk.* 

The good folk of Edinburgh were not backward, it would seem, in 
showing that they appreciated the novelty of seeing a first-class London 
company brought to their doors. Foote has indeed been popularly 
accredited with having cleared a thousand pounds during the season ; 
whether he did so or not it is, of course, impossible now to say, as managers 
then did not seek to advertise their successes by publishing the amounts 
of their private incomes. It has to be borne in mind that the theatre 
only held ^140 ; that the nights of acting were sometimes three, some- 
times four in a week ; and above all, that Foote had a large and highly 
paid company in his service ; and lastly, that he himself lived like a prince 
when his funds admitted of it. Taking these things into consideration, 
it is more than probable that the statement which Cooke makes in his life 
of Foote is true, namely, that although the season paid expenses, Foote 
was by no means compensated for the trouble and anxiety attending the 
venture. The following letter is sufficiently interesting to warrant insertion 
here : 

" To Tate Wilkinson. Esq. 

" I thank you, my dear Sir, for your congratulations on my arrival in Scotland, where, by 
the by, I have encountered more perils than in a voyage to the Indies. Not to mention 

* The centre one. 



I77 ' 1 -] Tlie Annals of the Edinburgh Stage. 155 

mountains, precipices, savage cataracts " (Foote evidently did not appreciate scenery !) " and 
more savage men, I was locked up for near a week in a village, dirty, dismal, and desolate, by 
a deluge of snow. 

" I think of quitting this town in three weeks, and shall certainly pay my homage to you 
in your kingdom of York, but not with the least design of becoming your subject. All my 
campaigns shall end with this place, and my future operations be confined to my own princi- 
pality. I am glad to find that your theatre stands its ground, though you are so unfortunate 
as to hobble a little. I shall let you know, by a line, on what day I shall be likely to see you. 
I beg my compliments to your amiable queen, and the whole royal brood. 

Believe me, sincerely yours, 
"Edinburgh, February i6th." SAM FOOTE. 

A great deal of the success of this season was unquestionably due to 
the excellent acting of Mr Woodward, who as a comedian stands out with 
a reputation that has had few duplicates. Charles Mathews perhaps alone 
among recent comedians was in many respects what Woodward is said to 
have been. The latter actor, however, added to his comedy acting a 
wonderful ability as harlequin. The pupil of the first and best of all 
harlequins, Rich, he is said to have been second only to his master. The 
part of harlequin in those days, be it remembered, was no mean one in 
which to excel ; and to illustrate how completely unlike the modern gentle- 
man in spangles is to his predecessor, it is worth noting that Woodward 
always had a double for jumping through walls and windows and such 
matters of routine, the acting portion of the part being all that he 
would trouble himself with. His first appearance here was on November 
1 9th, in the part of Marplot, in the Busybody. So excellent was Woodward 
in this role, that even Garrick had given up acting it for fear of 
invidious comparisons being made between them. The remaining parts 
were cast as follows : Sir George Airy = Robson ; Charles = Dancer ; Sir 
Jealous Traffick = Collins ; Whisper = Lancashire ; Sir Francis Gripe = 
Weston ; Patch = Mrs Didier ; Miranda = Mrs Baker. With the In- 
triguing Chambermaid Drunken Colonel = Woodward ; Goodall = Farrell ; 
Trusty = Knowles ; Lettice= Mrs Baker. On Saturday, November 24th, 
Foote produced his own play of the Minor, which, as was to be expected 
of a play that held up hypocrisy to ridicule, immediately brought the 
thunders of the clergy down about his ears. On the Sunday but one follow- 
ing, the Rev. James Bain preached on the " Theatre licentious and 
perverted," the whole discourse being an illiberal and narrow-minded 
attack upon the Minor. The sermon was immediately after printed, 
and with a somewhat curious sense of humour was dedicated by the author 



156 The Annals of the Edinbiirgh Stage. [1770-1. 

to " Samuel Foote, Esq." No doubt that gentleman appreciated the 
compliment, and laughed well in his sleeve at the fine advertisement he 
was getting without payment through Mr Bain's pious exertions.* 

December 3rd, Merchant of Venice. Shylock = Foote ; Antonio = 
Sowdon ; Gratiano = Jackson ; Launcelot = Weston ; Gobbo = Lancashire ; 
Portia = Mrs Baker. 

January 3rd 1771, Old Batchelor- Fondlewife = Foote ; Bellmour 
Fearon; Vainlove = Robson ; Sharper = Didier ; Sir Joseph Wittol = 
Woodward; Captain Bluff = Gentleman; Setter = Vandermere ; Belinda = 
Mrs Jackson; Araminta=Mrs Collins; Silvia = Mrs Didier; Lucy = 
Mrs Fearon ; Laetitia= Mrs Baker. 

On February i4th, Mrs Jewell made her first appearance here as 
Polly in the Beggars Opera, and, if a highly eulogistic notice which appeared 
soon after in the Courant may be trusted, made a great impression by her 
fine vocalisation. Robson was the Macheath, and Mrs Didier played Lucy. 
Woodward took his benefit on March 2nd, Every Man in His Humour 
being the play, in which he sustained the part of Bobadil. This was 
generally allowed to be his best impersonation. He first played it in 
I 75 l >^ when Garrick revived the play with much splendour at Drury 
Lane. During the greater part of the rehearsals at that time the comedian 
seemed very attentive to Garrick's ideas as to how Bobadil should be 
played. But in the absence one morning of the great man, Woodward 
indulged himself in the exhibition of his own intended manner of re- 
presentation. While the actors were laughing and applauding, Garrick 
entered the theatre, and attended unperceived to what was going on. At 
length he stepped forward, and cried, " Bravo, Harry, bravo ! upon my 
soul, bravo ! Why, now this is no, no, I can't say this is quite my idea 
of the thing. Yours is, after all to be sure, rather ha Woodward 
perceiving the manager a little embarrassed, with well affected modesty 
said, " Sir, I will act the part, if you desire it, exactly according to your 
notion of it." " No, no ! by no means, Harry. D n it, you have actually 
clinched the matter. But why, my dear Harry, would not you com- 
municate before ? " J 

On his benefit here, the attendance of ladies and gentlemen was so 
great that not only the pit but a great part of the first gallery was par- 

* The sermon was published at 40!., and went through two editions before the year was out. 

"\~ 29th November. 

J Davies' Miscellanies, vol. ii. 68-9. 



I77 1 ' 2 -] The- Annals of the Edinburgh Stage. 157 

titioned off as boxes. On the Monday following (March 4th), Woodward 
published in the newspapers his " most sincere and grateful acknowledg- 
ments to the nobility and gentry for their splendid and numerous appear- 
ance," and begged leave to say, "he is more sensible of their favours, as 
they were conferred without the least application." If true and there 
is no reason to doubt it Woodward's was perhaps the first benefit in 
Edinburgh that had been voluntarily supported. The custom was for 
actors to wait upon their patrons and attempt to sell tickets, but more 
often to submit to the most humiliating and insulting usage and language. 
An epilogue was specially written for Mrs Jewell to speak on her benefit 
(March iQth), but there being not sufficient time to procure the Lord 
Chamberlain's permission for this, it had to be left out ! The play was 
Macbeth (also played on Mrs Jackson's benefit, March I3th), with Jackson 
as Macbeth; MacdufT = Fearon ; and Hecate = Mrs Jackson. The last 
night of the season was on April loth, and seems to have been a second 
benefit for Woodward. 

As already indicated, Foote was not greatly charmed with the result 
of his experiment in Edinburgh, and disposed of his lease to our old friend 
Digges, who opened the following season with Macbeth on November 23rd, 
1771, " to a crowded and polite audience." " On Mr Digges' appearance," 
says the Courant, "the applause was the most universal that ever was 
heard ; it was several minutes before he was permitted to speak, and the 
audience welcomed him not only with thundering claps but with loud and 
repeated huzzas." * So far so good, and it must have given him satisfac- 
tion to see that others besides his creditors remembered him and took an 
interest in his doings. The company got together was a very good one, 
and among the members who made their first appearance here may be 
mentioned Mrs Hartley and Mr Wood. 

Mrs Hartley was a woman of extraordinary beauty, which, according 
to all accounts, had more to do with her success on the stage than any 
histrionic ability she possessed. Garrick said of her that he never saw a 
" finer creature," and that her " make was perfect." Her lovely face, and 
lithe, tall, delicate figure had rapidly won for her the leading place at 
Covent Garden, in such parts of tender tragedy as Jane Shore, and the 
puling heroines of Murphy's Alzuma and Mason's Elfrida. When sitting 

* Lee Lewis says there was 120 in the house, which although full had almost no ladies among the 
audience, the time of year being too soon for their public appearance ! 



158 The Annals of the Edinburgh Stage. [1771-2. 

for her portrait to Sir Joshua Reynolds,* she gave him the following answer 
to a compliment he bestowed on her, " Nay, my face may be well enough 
for shape, but sure 'tis as freckled as a toad's belly." Her first appearance 
here was as Monimia in the Orphan, on December 4th, 1771. 

Woods had been delayed in coming north, but where he came from it 
is by no means clear. One account, t the only one in fact the present 
writer has been able to discover, says he was at the Haymarket in 1771. 
This may have been the case, but Genest does not mention his name. 

On the second last day of the year The Jubilee was " performed for 
the first time and gave the most general satisfaction to a numerous and 
polite audience."| On this occasion Digges' old characteristic of puffing 
was splendidly shown in the following paragraph, which went the round of 
the newspapers. " We hear the cup made use of in the Jubilee was 
actually cut and made by Shakspere from a mulberry tree planted by him, 
that it remained many years in the family, and was very lately presented 
to Mr Digges by Mr John Shakspere of Dudley, in Warwickshire (sic] 
a distant relative of the celebrated poet." (!) 

This performance was received with great approbation, and be 
came in fact a stock piece for several years. One critic upon its first 
appearance says, " he never remembers to have seen so much regularity 
of action in a performance where bustle forms a principal ingredient," and 
another particularly commends the plan of having the members of the pro- 
cession (of Shakspere characters) "figuring out by action some principal 
event in each play." 

Two other pieces seem to have been very popular this season, namely, 
the West Indian and Thomas and Sally. Douglas was performed on 
January 27th, with the following cast : Old Norval= Digges ; Glenalvon 
= Woods ; Lord Randolph = Adcock ; Douglas = Fleetwood ; Anna = Mrs 
Granger ; Lady Randolph = Mrs Baker. March i8th was Digges's night, 
when King Lear was played. The whole house was illuminated with wax. 
The boxes, pit, and first gallery were all at one price, and were all to be 
" carpeted and cleaned, and great care taken to fix the bottoms of the 
sconces, so that no damage can be done to the ladies cloaths." This in- 
dicates at least one drawback in attending the theatre in those days, namely, 
the chance of candle drippings falling on the spectator. On April 6th, Bland 
played Othello for his own benefit, Woods taking the part of lago, being 

* See Life of Reynolds, by Leslie. | Letters of Candidus, 1802. J Courant, January ist, 1772. 



1 77 2 ~Z'~\ The Annals of the Edinburgh Stage. 159 

his first appearance in that character, Desdemona= Mrs Hartley. On 
April 8th, The Merchant of Venice. Shylock by Digges, being his first 
appearance in the part. The season closed April 22nd. A " race week " 
season followed on July i8th and closed July 3ist 1772,* during which 
brief period no fewer than five of Shakespere's plays were produced ! and 
yet it is said that Shakspere is only now beginning to be appreciated, when 
on an average we scarcely have an opportunity of seeing as many of the 
great bard's plays in the same number of years. 

Soon after this Digges took unto himself a partner, in the person of 
John Bland. This individual had passed through quite a romantic career ; 
beginning with a university education, he had set off soldiering during 
his early years, had served at the battle of Dettingen, and had been made 
a prisoner of war at Fontenoy. Not content with that, he served under 
General Honey wood in quelling the Rebellion of 1 745, and then transferred 
his activity to the stage, which he continued to adorn for a very long term 
of years.t 

Digges having secured a partner, set out for London to look after 
getting recruits and novelties for the coming season. Arrived in the 
metropolis, he very speedily fell a prey to the rapacity of his creditors, 
notwithstanding his having taken the precaution to live within the pre- 
cints of the court. The way this fell out was as follows : a certain Dr 
Baillie had lent sums of money to Mrs Bellamy, so far back as 1761 or 1762, 
and in 1 763 Digges had become security for the amount. This bill became 
prescribed in seven years ; nevertheless the Doctor (who lived in Edin- 
burgh) sued Digges for the money, when that gentleman took the Theatre 
Royal in 1771, but lost his case for the reason stated. By some legal 
quirk, however, he obtained a warrant to arrest Digges in London. The 
method employed to fetch him out of the magic circle of the sanctuary, was 
to write to him in the name of some actress anxious for an engagement in 
the north, and who wished to see him ; being confined to her rooms, 
etc. The bait took, and Digges instead of finding an actress met two 
bailiffs, who speedily gave him the mysterious tap on the shoulder and 
pronounced the significant words, " In the king's name." The arrest- 
ment was illegal, but to obtain redress by fair means would cause a 
delay of weeks, perhaps months ; and in the mean time what could Bland, 

*Moss first appeared here during this season. He was a pupil of Macklin's, and was said to be second only 
to Kean as Shylock. He filtered down through the profession till he got so low as barns, and died in poverty, 
t The famous Mrs Jordan was Eland's niece, and Wm. Glover of Glasgow was a descendant of his. 



160 The Annals of the Edinburgh Stage. [ T 77 2 -3- 

without a company, do with the Theatre Royal ? Baillie solved the 
difficulty by proposing that Bland and Digges should conjointly surrender 
all their ready cash, accept two bills for ^100 each, and bind themselves to 
pay ^100 yearly until the whole amount of the original debt (^500) should 
be paid off! There being no hope of immediate redress, they complied. 
When Digges returned to Scotland, however, he lost no time filing a 
memorial in the Court of Session to be released from the obligation of the 
bond, alleging it had been obtained by intimidation, as well as in direct 
contempt of the previous decision of the Court of Session on the matter. 

Notwithstanding this awkward business, the theatre was opened in 
good time, namely, on November 2 ist, 1772, when, it was advertised, " care 
will be taken to have the house properly aired ! " The West Indian 
was the opening play, which, according to the Courant, was played to a 
" very polite and numerous audience, and the actress who made her first 
appearance as Lady Rusport (Mrs Day) received the loudest and most 
genuine marks of public favour." On December 3rd, the Beggars Opera, 
Lucy = Mrs Weston (late Miss Adcock) ; Polly = Miss Withington. Dec- 
ember roth, Henry VIII. , Cardinal = Digges ; King Henry = Fleetwood ; 
Queen Catherine = Mrs Day; Anna = Mrs Inchbald. During Decem- 
ber Digges entered into negotiations to bring down the celebrated Mrs 
Yates from London.* This was a step highly appreciated by at least one 
section of the audience, for a number of the Faculty of Advocates sub- 
scribed the sum of ^150, with which to augment Digges's original offer to 
^400. Even this sum, however, proved an insufficient bait for the great 
lady, and it was not till ^700 had been offered for herself and husband for 
the remainder of the season that she consented to come. 

The announcement of the completion of the terms of agreement 
proved very satisfactory to the public, and the excitement it caused was 
great. The exact date Mr and Mrs Yates were to arrive was un- 
known, but nevertheless all the places in the theatre were taken up in 
advance for their first nights, and the manager advertised in the most precise 
terms that no solicitations on the part of gentlemen to come behind the 
scenes would be listened to. Mr Yates was the first to make his appear- 
ance, on January nth, when he played Shylock. On the next night 
but one he appeared in the very different character of Touchstone, 
and on the following evening as Captain Brazen, in the Recruiting Officer. 

* Lee Lewis (Memoirs, vol. iii. p. 74) gives a very incorrect account of this engagement. 



r 77 2 -3-l The Annals of the Edinburgh Stage. 161 

Still no Mrs Yates, and the suspense on the part of the public was only 
allayed when Digges announced that through some mistake her stage 
dresses had not yet arrived, and so she was unable to appear. On 
January i9th, however, the missing trunks having been recovered, she 
appeared as Mandane in the play of Cyrus, which had never been 
played here before. She also played on subsequent dates the parts of 
Belvidera, Lady Townly, Jane Shore, Mrs Oakly, &c. The press 
spoke in the highest terms of her excellencies, and, indeed, praised 
the company all round. Perhaps they were right in doing so, although 
the following very curious contemporary criticism is likely to be trust- 
worthy. It is contained in a letter from Dr Carlyle of Inveresk to a 
lady friend, and discloses a rather peculiar state of things at the time : 
' The playhouse has been much frequented since Mrs Yates arrived, who 
receives infinite applause. For though she often appears on the stage 
more than half seas over, she's not the less agreeable to all the male 
part of her audience, who come there a little disguised themselves ; and 
in this land of obsequious wives, you know, there is no disputing the 
taste of the men." The regular performances at the Theatre were diver- 
sified by the appearance of Mr Nicholson Stewart, a local amateur of 
undoubted abilities, as Richard III. This performance was given for 
the purpose of helping to build a bridge over the river Carron, the prices 
asked, and obtained, being 55. all over the house, by ticket only. 

Considerable stir was caused by the announcement that a new play 
entitled The Prince of Tunis, by a local author, was to be produced, with 
Mrs Yates in a principal part. The author of this piece was Henry 
Mackenzie the " Man of Feeling." It was not long before the interesting 
fact of the identity of the author became known, and naturally great expecta- 
tions were indulged in ; many conjectures being made as to the probable 
success of this, the author's first dramatic venture, as compared with that 
of Home's memorable Douglas. Fortune, however, always fickle, denied 
the same favour she had bestowed on the production of Home's tragedy, 
and Mackenzie's work, although momentarily successful, never obtained 
a hold on the public. 

It was first produced on March 8th, on which occasion Mrs Yates, 
attired as the " Genius of Scotland," L spoke a silly prologue. The 
Courant says, 

" The play was received with very great applause It is many years since a new play 
has been ushered into the world at our Theatre. It has been generally allowed that dramatic 

L 



1 62 The Annals of the Edinburgh Stage. [ I 773- 

genius has been on the decline for several years in Great Britain, and we. must give our assent 
to this opinion. We may affirm that if the testimony of a genteel and crowded audience may 
be credited, the Prince of Tunis will hold a distinguished rank among modern Tragedies. 
The fable is interesting, the language poetical, the sentiment just, and the catastrophe affect- 
ing. The play upon the whole was extremely well acted. Mrs Yates' powers were called 
forth and shone conspicuously in the unfortunate Zorlima, and the unhappy fate of the vir- 
tuous Heli was fairly represented by Mr Digges. When the curtain draws up the audience 
are surprised with a most picturesque scene, when Mrs Yates appears as the Genius of Scot- 
land, and speaks an excellent prologue." 

Despite such a flattering notice, The Prince of Tunis was acted but 
five times during the season.* The names of the other performers in the 
piece were, Messrs Fleetwood, Inchbald, Woods, and Webb, Miss 
Glassington and Mrs Weston. Mrs Yates' last night was April 3rd, and 
the closing performance of the season was on April 23rd, after which the 
company went to Glasgow. 

On July 1 7th they returned and opened for the race week. London 
performers being mostly free at this season of " the year, it was not 
wonderful that they, one by one, should follow Foote's good example, and 
seek both change and profit in a journey to the " Land o' Cakes." 
On this occasion the folk of Auld Reekie were treated to the performances 
of the greatest low comedian of his day, namely, Ned Shuter. By some 
writers he is put down as having been vulgar, and prone to pander to the 
gallery. Certainly it seems that it was only necessary for him to appear on 
the stage to put that celestial region in convulsions ; but according to many of 
the best judges, the humour of his performances was of a quality unsurpassed. 
Charles Dibdin, in his "History of the Stage," describes him as a "theatrical 
wonder." " Neither on the French nor on the English stage," he says, 
" do we find any one to whom we can compare him." Shuter had one failing, 
namely, an overweening love of company, which led him into great social 
excesses, and eventually, through the agency of the bottle, finished his 
career prematurely. He died three years after the present date, in his 
48th year. During this short summer season was produced, on July 
1 9th, for the first time in Scotland, Goldsmith's then new comedy of 
She Stoops to Conquer or, as it was originally called, The Mistakes of 
a Night, in which Shuter played his original part of Hardcastle. It 
had been originally produced in London the preceding spring, with great 
success. Dr Johnson, writing of it before its first production, said, 

* The " Debating Society," at a meeting on March igth, decided that the Prince of Tunis was equal to 
most of the modern tragedies lately performed or printed in Britain. 



I 773'4'] The Annals of the Edinburgh Stage. 163 

" Dr Goldsmith has a new comedy in rehearsal at Covent Garden, to 
which the manager predicts ill success. I hope he will be mistaken. I 
think it deserves a very kind reception." 

On November I3th, the Theatre having been "new decorated and 
painted in the most elegant manner," was opened for the season. It is 
worthy of note that only a few days before this * Dr Johnson had re- 
turned to Edinburgh from his memorable tour in the Hebrides. It 
would be interesting to find that he had visited our theatre during his 
sojourn in Auld Reekie.t He may even have been present at a repre- 
sentation of his friend Goldsmith's comedy on November I7th, but 
unfortunately, if he went, Boswell's prophetic instinct as to what would 
interest posterity was for once at fault. 

On November 29th, Venice Preset-ved. Pierre = Digges ; Jaffier = 
Inchbald ; Renault = Woods ; Elliot = Moss ; Belvidera= Mrs Inchbald. 
On December ist, King Lear. Lear= Digges ; Bastard = Woods ; Kent 
= Webb; Albany = Inchbald ; Cordelia = Mrs Inchbald. December 9th, 
Hamlet. Hamlet = Digges ; King = Webb ; Ghost = Inchbald ; Polonius 
= Wilson ; Laertes = Woods ; Osric = Death ; Ophelia = Mrs Weston. 
January loth, Merchant of Venice. Launcelot = Moss ; Gobbo = Charteris ; 
Portia = Mrs Webb. 

Mrs Baker does not seem to have appeared at all this season ; her 
business of teaching English probably took up all her time. 

Foote appeared again in Edinburgh on February i ith, the play being 
The Bankrupt, written by himself, and played then for the first time 
here. According to a contemporary journal, called The Weekly Magazine, 
he received ^250 for acting seven nights. On the following 4th of 
March, Foote appeared for the last time in Scotland. 

A tragedy, called Eldred, by no other than Jackson the actor, 
was brought out February i9th, with a small share of success ;J the 
author, his wife, and a Mr Robinson from Dublin, all taking part in the 
production. The season closed on April 9th with a benefit to Jackson, 
the play being The Merry Wives of Windsor. Sir John Falstaff= Jackson ; 
Ann Page= Mrs Jones. 

During the following season, 1774-5, tne opening date of which is 
uncertain, almost nothing falls to be recorded, excepting the appearance of 
Mr Dutton on January i4th, and subsequent evenings, in such parts 

* November gth. t He left on the 22nd. J It was played three nights 



164 The Annals of the Edinburgh Stage. [1774-5 

as Scrub, Tony, Mungo (Padlock], &c. Mr Astley,* with a company of 
rope dancers and tumblers, drew crowds during the month of January. 

During this winter there resided in Edinburgh a gentleman of the 
name of John Topham, a Londoner, who during his sojourn in the north 
wrote a number of letters to friends in London, regarding what went on 
in Edinburgh, t Among other things, he speaks of the Theatre as 
follows : 

" To R. D., Esq. 

" Edinburgh, January 2nd, 1775. 

"Sir, 

This metropolis is said to be very gay ; if I may judge from the little specimen I 
have already had of it, reports say nothing but the truth. The concerts have received the 
assistance of a new singer from London, the assemblies are opened for the reception of those 
who choose to dance, and the theatrical heroes have already opened their campaign. As yet, 
I believe, they have had but few spectators, as the genteel people here fix one day for 
beginning to partake of these amusements, and are so very polite that they never go before 
that day on any account. In compliance with your desire, I take this leisure of acquainting 
you with the present state of the theatre, and the performances there. 

"The present theatre is situated at the end of the new bridge in the new town, and on the 
outside is a plain structure, like most others of the same nature. It was built by the sub- 
scription of a certain number of gentlemen, who let it originally to a manager for ^400 a year. 
Mr Ross was the first person who took it, and his name was inserted in the patent, which 
made him manager as long as he chose. A few years ago, plays were not in that repute at 
Edinburgh they are now. The ministers, jealous for the good of their flock, preached 
against them, and the poor players were entirely routed. They have now, however, once 
more taken the field, and the clergy leave them to their ungodliness. During these contests, 
Mr Ross found that the benefits of the theatre did not answer to the expenses of it, and re- 
treated in good time. Our modern Aristophanes, who imagined he had wit [enough to laugh 
the Scotch out of their money, took it of Mr Ross at the same price that was originally paid 
for it. He brought on all his own comedies successively, but as most of the humour was 
local and particular, few people here understood it. ... Mr Foote attempted to in- 
troduce the Minor upon the stage. Ministers who had long lain dormant now rose up in 
arms ; the character of Mrs Cole gave them offence. They imagined themselves pointed out, 
but were so kind as to throw the injury upon religion. . . . The Scotch clergy, not con- 
tented with damning the play itself, very piously pronounced all those damned who went to 
see it. ... 

"When one recollects the former profession of Mr Digges, the politeness of his manners, 
and his other accomplishments, one is sorry that his necessities should ever have driven him 

* He had performed during the autumn in Edinburgh, at the Comely Gardens, a sort of Vauxliall then 
very popular, situated at Comely Green. He regularly toured the country year after year with his entire 
company, after the close of the London season. 

i 1 Letters from Edinburgh, written in the years 1774 and 1775, containing some Observations on the 
Diversions, Customs, Manners, and Laws of the Scotch Nation, during a Six months' Residence in Edin- 
burgh. By John Topham. London : Printed for J. Dodsley in Pall Mall, MDCCLXXVI. 



1 774-5-] Tfa -Annals of the Edinburgh Stage. 165 

on the stage ; but when one is witness to the attention he pays to his business, to his extreme 
excellence as an actor, and to the pleasure which he gives his audience at such moments, 
every man is selfish enough to be happy that those necessities made him a player. 

" As to himself, he derives all those brilliant qualifications from nature which form a great 
actor. He has a handsome and expressive countenance, a penetrating eye, and a good voice. 
Some people will tell you that there is a severity in his look, ill suited to comic parts ; but 
those who have seen him in the part of Macheath, must discover that he can dress it in 
smiles when he pleases. His person is rather above the middle size, well formed, and, as far 
as his time of life will allow of, capable of assuming any appearance. If he has any fault, 
generally considered, it is that of not walking the stage so properly as might be expected. 
He throws too much of that carelessness and indifference into his manner, which in some 
characters approaches to the vulgar, and can never be adapted to tragedy in any. 

" The theatre is of an oblong form, and designed after the manner of the foreign ones. I 

do not know its exact dimensions, but at 35. (pit and boxes) it is capable of containing about 

^130. The pit seems considered here as the parterre in the French theatre, into which the 

, gentlemen go who are not sufficiently dressed for the boxes. The ornaments are few, and in 

an unaffected plain style. It is lighted with wax, and the scenery is well painted." 

In another letter Topham says : 

" Digges having had no opportunity of forming his style on the London models, has 
evolved a style of his own. He is now at the head of a company who seem intended as foils 
to himself, and though they change every year, I am informed they never change for the 
better. The smallness of the salaries accounts for this. There is only one or two whose pay 
exceeds a guinea a week, nor can the receipts of the house afford more, while the rent is so 
high. Mr Digges is therefore constrained to do that from necessity which, I am told, Mr 
Garrick does from choice. 

" Mr Digges acts each night of performing, four times a week. 

" His best parts are Captain Macheath; Sir John Restless in All in the Wrong-, Sir 
John Brute,* The Provoked Wife ; the Guardian, farce of the Guardian ; Pierre, Cardinal 
Wolsey, Cato. 

" In these, I think, he is excelled by no actor I have yet seen on the stage." 

Early in February, Digges, ever on the look out for attractions, 
announced a grand masked ball to be given in the Theatre. Two years 
previous to this, namely, on January I5th, 1773, Lady Macdonald con- 
ceived the idea of holding a masquerade at her home of Duffhouse, and in 
spite of great opposition carried out her project. It was the first thing of 
the kind attempted in Scotland since the Reformation, and was accordingly 
much spoken about. Digges was present, dressed as a Dutch sailor,t and 
had there conceived the notion of getting up a similar thing by subscrip- 

* In this character, Topham says Digges excelled Garrick. 

t See London Chronicle, January 2ist 1773. James Boswell was also present as a dumb conjuror. Dr 
Johnson writing to Boswell says, " I have heard of your masquerade ; what says your Synod to such innova 
tions?" See Boswell's Life of Johnson. 



1 66 The Annals of the Edinburgh Stage. [1775-6. 

tion. The scheme, however, when tried was not successful, and in a few 
days its announcement was withdrawn, and a Ridotto advertised to take 
its place, the difference being that masks were not worn nor fancy 
costumes used at the latter form of entertainment. 

During the race season this year, the famous Miss Young or Younge 
was brought down from Drury Lane as the attraction ; and the following 
winter season opened on December 6th, 1775. Mr Woods, who was still 
in the company, was to have taken a part in the new tragedy called Bar- 
barossa, but he having a cold and sore throat the piece was changed. On 
December 26th, the new pantomime of Harlequin from the Moon was 
produced, with fane Shore as a first piece. Mr Brown was Harlequin and 
Maria Teresa, Columbine. This piece was evidently a hit, and being always 
played as the after piece, some smart playgoers, to the number of sixty- 
two it seems, wrote to Digges urging on him the advisability of instituting 
" half-price." This solicitation Digges most politely but firmly declined ; 
very pointedly remarking in his reply,* that if "ever what is called 'after 
price ' is taken at the doors of this theatre, it must terminate in the inevit- 
able ruin of the manager, particularly," he continues, "if he pays so 
ENORMOUS a Rent as the present manager is loaded with." This did not 
satisfy the agitators for reform, and something very like a riot occurred 
at the doors, through a crowd trying to force its way into the house with- 
out payment at all. On the following evening "proper officers" were 
placed, with orders to apprehend any offenders, and, probably for the first 
time here, pass-out checks were given to "Gentlemen wanting to go out 
between the acts." For several years previous to this a number of actors 
and actresses, notably Mr Stayleyand Mrs Baker,t had made a livelihood 
by giving lectures on and teaching elocution, pronunciation of the English 
language, &c. This had been greatly overdone, and led to the following 
curious advertisement being inserted in the public press this spring : 

" At a period when the attention of the public is so laudably engaged in the study of the 
language of our sister kingdom ; it is hoped it will not be deemed improper to pay some 
regard to that of our own : and that an effort to keep alive some of the first pieces of poetry 
that can adorn any language will meet with the approbation of those possessed in any degree 
of the Amor Patrise, or who do not wish the Scotch name to sink into utter oblivion. There- 
fore on Friday next, the isth March, in St Mary's Chapel, 

MR YOUNG, \ 
will deliver a lecture on the Scottish Language." 

* Courant, December 25th. J Prompter at the theatre. 

+ She lived at this time in Mint Close. 



1 775-6-] The Annals of the Edinburgh Stage, 167 

Some time during the autumn of 1775, was published a very curious 
pamphlet, entitled the " Edinburgh Rosciad," which contains rhyming 
criticisms of the abilities of various members of the company then per- 
forming. It opens with a panegyric on Digges, and then, after giving 
some words of encouragement to Mills, who appears to have been a young 
actor of promise, it goes on to say : 

" Beynon's * some ease, and Nature's given him grace, 
In person handsome, with a pleasing face. 
If he the plaudits of the town does want, 
Let him, when buskin'd, not to slide and rant. 
Button f has merit in Tom Weston's cast ; 
He's pretty good in Scrub, and Doctor Last. 
Webb in most comic parts deserves applause ; 
His easy air he all from Nature draws : 
But never let the Tragic Muse disgrace 
Her verse heroic, with his vacant face. 
Inchbald, the all-work player of the house, 
Comes next to get his ditty from the muse ; 
To-night \\e'$Jaffier, Henry, or Othello, 
To-morrow Quixotte, or a Punchinello" 

Owens, " from Nature's got a marking face, but speaks with little 
judgment, little grace." Smith is described as " the genteelest in theatric 
lore " " He's but beginning," but has a " handsome shape and person." 
Brown it seems, according to the rather ingenuous critic, " has a voice," but 
he advises him "to stretch it!" Hamilton is advised to take more pains and 
drink less gin ! But Charteris, " for comic merit, need not yield, to any 
hero in theatric field." Dawson, it appears, is the " walking gentleman," 
and Hallion is strongly advised to leave the stage and become " a private 
man." Simpson, it seems, was " sans voice, sans action, et sans manly 
ease." Remington has the epithet " Red Hot " applied to him, and is 
advised to go back to the country, there to "rant and tear." Granger 
is " quite the coxcomb, with a face of brass," and Young is " last by far in 
the theatric rear." The ladies are next reviewed, and do not get much 
more consideration than the men. Mrs Inchbald, for instance, who was 
the leading lady, is allowed to be beautiful ; "but for want of requisites, 
the tragic muse doth fret and the comic sneer !"" She whineth so her 
part, she's water gruel from the very heart! " Mrs Ramsay comes in for 
greater laudation, her voice being particularly commended. Mrs Simpson 

* Leading Gentleman. f Low Comedian. 



1 68 The Annals of the Edinburgh Stage. [1776-7. 

lacks passion, while Mrs Webb is described as very useful and " sings 
very sweet." Mrs Remington extorts applause " in spite of her want of 
beauty." Miss Mills " is but young ; when used to her trade, she may be 
clever in the chambermaid." But Mrs Saunders is strongly exhorted to 
carry her " barking " voice to a country town.* 

A more than usually great attraction was reserved for this race season, 
Mr and Mrs Barry being engaged for ten performances. Their first piece 
was 7*he Grecian Daughter, in which they played their original parts of 
Evander and Euphrasia, as acted by them at Drury Lane in 1772, and 
during the month they appeared in quite a number of capital parts. 

The next season, which was to see a change in the management, 
opened on November i6th, 1 776, with Miss Cately in a leading part. This 
lady's peculiar charm of vocalisation at once won the admiration of the Edin- 
burgh public, and during her continuance here, which ended December 2Oth, 
she drew crowded houses. On her last appearance she introduced the 
following two verses into her famous song of " Push about the Jorum ": 

" Tho' Juno bold 

Can cuff and scold, 
Yet, spite of all detractors, 

When'er she's cool 

Her golden rule 
Is thanks to Benefactors. 

With hand on heart 

Before I part 
In that heart's love I'll rank ye, 

And grateful still, 

Go where I will, 
I'll ever thank ye !" 

Before leaving town Miss Cately very kindly gave a special benefit for 
the Charity Workhouse, which drew a crowded house as well as a most com- 
plimentary letter of thanks from the treasurer of that institution. A notable 
production was Charles Dibdin's Waterman, on January i ith, 1777, for the 
first time in Scotland. This, the best known of Dibdin's many productions, 
was first brought out at the Haymarket in 1774, where, much to Garrick's 
chagrin, he having previously refused it, it proved a great success. The 
most extraordinary thing about this " Operetta," or rather " Ballad Opera," 
is, that in spite of all the ill-treatment it has received in the shape of cur- 

* The usual annual benefit for the Charity Workhouse realised ,145, 1 5s., a larger sum than had ever 
been drawn upon similar occasions. Weekly Magazine, Ap. 1776, p. 160. 



1 7 76-7-] T/ie Annals of the Edinburgh Stage. 169 

tailments, alterations, additions, &c., it not only still keeps the stage, but 
is popular to a degree not generally appreciated. It has in its time been 
terribly hashed, and Dibdin is made responsible for a number of songs which 
he did not write, but which are always included now. It is interesting to 
note, in comparison with the sums that are paid to authors and composers 
of comic operas now-a-days (Dibdin was his own librettist), that all Dibdin 
got for his share of the profit of a piece which in its time has netted many 
thousands of pounds to various people, was as follows : 

His benefit, - ,35 

Publication of words, - 48 
Do. of music, - 30 



The grave of this remarkable man, who did so much to immortalise 
the " wooden walls " of old England, is suffered by the fourth generation 
of his countrymen to lie mouldering and neglected in a cemetery so dismal 
and unkempt, that it is now proposed to level the tombstones, and convert 
the place into a park or playground for the babies and nursemaids of 
Camden Town. 

The Waterman became enormously popular here, and during the re- 
maining part of the season was played many nights. The members of the 
company taking part in it were Messrs Richards, Jackson (not John 
Jackson), Dutton, Mrs Clagget, and Mrs Richards. While on the 
surface things were thus moving pleasantly along, the affairs of the 
theatre, and more particularly those of Mr Digges, were getting into a 
terrible pickle. His old debts (those he ran away from in 1764) he had 
been paying, or trying to pay by yearly instalments. As Bland, however, 
was surety for this arrangement as well as for the theatre rent, Digges, it 
can easily be imagined, did not worry himself much. For five years, how- 
ever, he had contrived to keep his head above water ; but finding the 
effort growing more and more irksome, he took out cessio bonorum in the 
end of January, and mustered up resolution to give himself up a prisoner in 
the Canongate Prison. He took leave of the public in a preamble at the 
head of the playbill for the 25th of the above month. In this he states 
that, " as the conduct and care of the theatre of this kingdom has been his 
invariable study, at the expense both of his health and fortune, he trusts 
that the generosity and candour of the audience (which he has so constantly 
experienced) will not desert him at this anxious and serious crisis." 



170 The Annals of the Edinburgh Stage. [1776-7. 

Digges soon found that prison walls were a restraint very irksome to 
one of his bohemian nature, so he gave^ his jailor the slip, and accompanied 
by another man's wife set off for pastures new, bidding adieu for ever, as 
he thought, to Bonnie Scotland. The following letter was written by him 
before the crash, and shows that he was still, as of yore, anxious to keep up 
the tone of the performances. 

" To Tate Wilkinson, Esq. 

" As I presume you are come from London, I send to you to entreat you to turn your 
postchaise immediately towards this metropolis, where your presence will be (as it always 
will be to me) most welcome and acceptable. 

" Some of the first personages here, and every friend I have, have long since advised me 
to wipe off a long score of old, and, I may add, imposing and fraudulent demands, by taking 
the benefit of the Scotch act of insolvency. I am now at last about to do so. This crisis will 
relieve me of many untoward straits, in which two large bail bonds, which I signed for Mrs 
Bellamy (who I shall ever mention with respect and compassion), continually involved me. 
A few days will end this matter. In the interim, as the season here is now beginning when 
money ever used to come into the house, I know no moment in which you can be of more 
substantial and critical use to YOURSELF or me ; and that I may introduce your aid in the 
strongest and kindest manner possible, I will, when you come, tell the public, in whose favour 
I stand in the best light, that you visit this spot to support me in my temporary difficulty. 

"I am certain, as Foote has not been here these two years, that you will attract the utmost 
notice ; but catch the tide of success. I know you need no advice about the tide of kindness. 

" Often, very often, have I repeated the favour to myself, of drinking the health you thank 
me for. Now you have no need to thank me for doing what I am sure was meant to be done 
without your hearing of it. 

" I have a good company. When Douglas was under difficulties, he called upon Percy 
for his aid ; and as Home's prologue says : 

" For Douglas, Percy bent his English bow." 

So hasten with your abilities, which are arrows that never miss. I am, sincerely, your 
obedient, 

"January 2ist, 1777." W. DIGGES. 

His departure left Bland in a sorry plight, for at the time 
he stood in that gentleman's debt about ^1300. In inviting Wilkinson, 
however, he had done the best thing possible, and it was lucky the York 
magnate was able to come and play "during Mr Digges' necessary 
absence from the stage ! " as the bills set forth. Sheridan's Rivals, pro- 
duced originally at Covent Garden in 1775, was first played here on 
March i2th 1777, but unfortunately the cast has not been preserved, 
and the season closed on April iQth. 

The race week this year brought along with it the fascinating Mrs 

* According to Lee Lewes, w r ho is likely to be correct in this matter. 



Annals of the Edinburgh Stage. 171 

Abington (July iQth to 3ist), and on August 3rd, she acted again for the 
" benefit of the performers." It may readily be believed by those acquainted 
with the extraordinary gifts this lady possessed, that she made herself 
extremely popular. The first portion of the succeeding winter season, 
1777-8 was quite without events worth noting, until at the end of the year, 
the houses having been poor, Mr Bland found himself in arrears with his 
company, who promptly refused to act. An accommodation, however, was 
come to, and the performances were continued. Bland, for all that, was 
at his last gasp, and would readily have retired had he been able. 

The production of the pantomine of Harlequin Dr Faustus this 
season is worth noting, if only for the fact that it was prepared and 
conducted under the superintendence of Mr West, the Sadler's Wells 
Clown, who had been specially brought down for the purpose. The cast 
was as follows : Harlequin = Hallion ; Pantaloon = Jackson ; Maccaroni 
= Charteris ; Infernal Spirit = Richards ; Clown = West. West was the 
father of William West, musician, composer, actor, and manager, who, 
commencing his stage career as a child at the very beginning of the 
present century, only died as these sheets were going to press (February 
1888) ; truly a veteran of the stage. 

The season dragged on its weary length ; only one bright ray 
making its appearance to gladden the managerial heart. It consisted of 
a performance with mock animals introduced on the stage, which attracted 
full houses and drew forth from a contemporary print the following : 

" For Edina polite, what a pity to say, 
That the drama 's neglected through every good play ! 
While a bill crammed with puffs every pocket unlocks, 
And can fill to the brim both pit, gallery, and box ! 
But the actors have slyly now given us a touch ; 
Why not beasts for performers, when th' audience are such ? 
They have held up the mirror to show us our faces. 
This honours the stage, while the town it disgraces." 

At one time Bland thought he had found some one to take the 
concern off his hands. Mrs Baker, it seems, although doing an excellent 
business in teaching English, had all along pined to be manageress of the 
Theatre ; and at last her ambition seemed likely of accomplishment, for she 
had found the necessary security. Bland too had agreed to the terms, and 
all was ready for sealing and signing. On the morrow that too would be 
done ; but the morrow for the chief party concerned never dawned. The 



172 The Annals of the Edinburgh Stage. [1777-8. 

excitement so greatly affected the poor lady that it arrested the action of her 
heart, and she died at the very moment of the realisation of her hopes. This 
was in the beginning of February, and she was laid in her grave sincerely 
lamented by many who knew her worth as a woman and as an actress. 

The following lines were written upon her death, and published in 
the Courant of February 2nd. 

ON THE DEATH OF MRS BAKER. 
" Ah ! cruel death, thou unrelenting foe ! 

To taste and love, why giv'st thou such a blow ? 

Could'st thou no other find (on whom to try 

Th' unerring arm of thy artillery), 

But her, who, with a more than common art, 

To youth and age rich knowledge could impart ? 

Whose speech each grace of eloquence possest, 

While genuine wit was her convivial guest, 

Nor aught of female but the form was seen, 

For all her mental powers were masculine. 

As Shakspere wrote, so she instruction gave ; 

Ruler of language, and not grammar's slave. 

But now, since gone to that uncertain bourn, 

From whence no travellers shall e'er return, 

Those left behind, when they their loss deplore, 

May aptly say, what Hamlet said of yore, 

Take her for all in all, and own 'twere vain 

To hope to look upon her like again." 

The following estimate of Mrs Baker's abilities, by Wilkinson,* is 
well worth insertion : 

" Mrs Baker was a woman of strong understanding, aided by a good and highly finished 
education, wonderful natural abilities, and an actress of great capacity ; and she had performed 
three or four parts at Covent Garden, where they could not deny she possessed much merit. 
Her features were very good, but her figure was short, clumsy, and against her in many parts, 
which otherwise she was well calculated for. If a line had been drawn of competitorship, the 
first of that or the present day (1790), would have shrunk in the debate as to comprehension 
and real understanding, and yielded to her courtesy. Use is of greater importance than 
the London or any other audience are aware of. Mrs Pritchard was a striking instance, who, 
with a large figure, was esteemed the best Rosalind, though Mrs Wofrmgton, the beautiful, was 
her opponent. Prejudice for some time prevailed much against Mrs Baker, at York, when 
she acted during the races in August, 1768, and one winter, 1769 ; but at the latter part of the 
season she surmounted those prejudices. At Edinburgh, where she resided many years, she 
was ni universal esteem as an actress. But on a quarrel with Mr Digges (for her temper 
was soon ruffled, and she was too apt to rush into the different extremes of love and hate), 

* Memoirs, vol. iii. p. 64. 



1778-9-] The Annals of the Edinburgh Stage. 173 

she hastily quitted the stage, and then undertook the difficult task of teaching the English 
pronunciation ; for which she was not only capable but thoroughly qualified. In so doing, 
she received great promises and (what was better) great emoluments. She was received as 
a guest of knowledge and entertaining, lively conversation at the first tables in Edinburgh, 
which honours, at that city, would never without talents have been conferred." 

At the conclusion of the season, on April 22nd, Mr Bland issued the 
following interesting balance sheet : 

"Theatre Royal, April 24th, 1778. 
" To the Public. 

" Some reports having been propagated, to the injury of Mr Bland, concerning the dis. 
bursements of this season's receipts, he thinks it highly necessary to lay the following state of 
the Theatrical finances before the public, in order to vindicate his character from so unjust 
and illiberal an aspersion : 

Received at the doors, - - ^2058 17 o 

Paid of Current Charges (exclusive of rent) ^"1704 1 8 7 
towards Actors' Arrears, 78 15 3 

to Current Rent, - 134 n 4 

1918 5 2 

Balance in hand for Rent, ^140 n 10 

Due to Actors, - - ^99 4 5 

Music, - 31 12 6 

Servants, 31 77 
Rent, exclusive of 
what lies over 

for the races, 174 16 10 



^337 



" N.B. There is not a single article in the above statement but what relates to this 
season's expenses ; nor has Mr Bland received more than two guineas a-week for his trouble, 
which is included in the current charges." 

A summer season, commencing July 4th, 1778, had for its attraction 
Mr Reddish, already mentioned in these pages, and for one night only Mr 
and Mrs Jackson, who were "accidentally" in Edinburgh. The following 
winter season opened, November I4th, 17/8-9, with As You Like It and 
Comus Mr Woods making his first appearance in the part of Jacques, and 
Mr Jennings from the Theatre Royal, Dublin, making his Edinburgh debut, 
in the part of Touchstone. On November 28th, was acted for the first 
time in Scotland, Sheridan's School for Scandal, the cast of which on this 
occasion was as follows : Sir Peter = Mr Mills ; Sir Oliver = Mr Jennings ; 
Joseph = Mr Woods; Crabtree=Mr Taylor; Benjamin = Mr Hallion ; 
Rowley = Mr Webb ; Moses = Mr Baillie ; Careless = Mr Sparks ; Trip = 
Mr Lyon ; Charles = Mr Brown (from Theatre Royal, Bath); Maria = 



174 The Annals of the Edinburgh Stage. [i 7/8-9. 

Mrs Woods; Mrs Candour = Mrs Sparks; Lady Sneerwell = Mrs Mel- 
moth ; Lady Teazle = Mrs Wilson, 

This most pleasing of comedies evidently delighted the hearts of our 
playgoers, for it was played some thirteen or fourteen times during 
the season. 

On December i2th, the play of Zara was performed here for the 
first time along with a new musical extravaganza, called The Wives 
Revenged* the music of which was written by Mr Corri, a musician 
who had been for several years resident in Edinburgh, and who was in 
the regular habit of giving concerts in the St Cecilia Rooms. This 
gentleman must not be confounded with his son, who thirty-eight years 
afterwards gave the name of " Corn's Rooms " to the building then 
standing upon the site of our present Theatre Royal. 

It seems that Bland, notwithstanding his protestations to the contrary, 
had really run into great arrears with his rent to Mr Ross ; and now, it 
is to be presumed, through utter inability to carry on the Theatre from 
want of funds, had to quit. All the pros and cons of this event are far 
from being clearly known, and will, no doubt, remain shrouded in 
obscurity till time, the revealer of most things, brings with its forward 
course some revelation of the particulars. Much interesting relative 
matter, however, may in the mean time be gleaned from the following 
dying speech, as it may be called, of Mr Bland : 

"Theatre Royal, Dec. 23rd, 1778. 

" Mr David Ross, the proprietor of the patent for this city, having failed in every one 
of his own engagements to the gentlemen at whose expense the Theatre Royal was built, has, 
I hear (in order to excuse himself to them), circulated several reports to the prejudice of my 
character with regard to the payment of the Theatre rents. I therefore think it proper to lay 
the following short and true state of the case before the public. Mr Digges (through the 
means of my assigning over an annuity of ^"120 a year as security for the rent), will, 
including the current season, have possessed the theatre eight years. Mr Ross's whole rent 
during said period (allowing nothing for repairs, on which score Mr Digges has now a law 
plea depending) amounts to ^"4050, out of which he will actually have received, including 
the current year, which is part paid, and the rest secured ; I say, he will actually have re- 
ceived ^3330. His own demanded balance is ^720, in lieu of which he receives my annuity 
as forfeit next year, which by calculation is valued to above that sum, so that Mr Ross may in 
fact be said to have received more than his whole demand. He is now on the spot, and at 
liberty to deny any part of the above if he is able. 

* This was most probably Charles Dibdin's one-act comic opera produced at Covent Garden in 1778. 
The music not being published, the management would find it cheaper to encourage local talent than to obtain 
the score from the composer. 



'778-9-] The Annals of the Edinburgh Stage. 175 

" N,B. Mr Ross brought but ^400 with him to Scotland, and if the whole accounts 
of the Theatre since he possessed it were stated, it might be made appear, that he is between 
two and three thousand pounds in pocket, besides building the Theatre, purchasing the 
patent, and paying for his wardrobe. " JOHN BLAND." 

And so exit Bland by the back door, while Mr Corri enters by the 
front. The latter gentleman's name first appears publicly as manager 
in connection with a " Festino " he gave on March i2th. The pit was 
floored over, and there dancing was indulged in, while a sort of fancy fair was 
in full operation round the sides and in the boxes.* Mr Ross sustained 
a number of characters this season, his benefit being March i3th, 1779. 
This gentleman's performance of Macbeth was the occasion of the following 
pointed epigram, which was published in the Courant : 

" R s made a sad mistake of late 

We grieve the matter to repeat, 
Aiming at Duncan (as 'tis said), 
Macbeth he murdered in his stead ! " 

This drew forth the following reply : 

" The dying embers of poor Digges' merit, 
Are kept alive by Eland's most ranc'rous spirit, 
AVho can abuse one aptly formed to please, 
With grace of action, dignity, and ease ; 
Who has a voice as musical and clear, 
As ever pour'd upon the listening ear. 
How shrunk and wither'd are thy Digges' bays, 
How alter'd from thy former puffing days ! 
Where only at his shrine we find for praise, 
A farthing candle darting paltry rays." 

Despite Mr Ross's acting, Mr Corn's season turned out very badly. 
Concerts were given in the Theatre with equal want of success, and 
disputes arose between the manager and members of the Company 
over arrears of salary alleged to be due. Mrs Melmoth even went the 
length of publishing in the newspapers that she was going to take 
another benefit in consequence of Corn's failure to pay her salary. This 
Corri denied, and closed his doors for the season his first and last- 
on May 1 5th. 

A short summer season, opening on July I4th, followed ; Miss 
Younge, of Drury Lane, appearing as the particular attraction. There 

* The admission to this was 10/6. 



176 The Annals of the Edinburgh Stage. [1779-80. 

can be no doubt that for a number of years the prosperity and status of 
the Theatre had been declining. The companies engaged, although 
admittedly inferior each succeeding season, were more the result than the 
cause of this ; for, with salaries uncertain, good actors could scarcely 
be got to engage. The want of capital was a drawback which warped 
any show of enterprise, and the wardrobe, scenery and fittings were in a 
bad state. With the present season, however, it looked as if the warm 
glow of prosperity was about to radiate once again from our temple of 
Thespis, for Mr Wilkinson, now manager of the York circuit, appeared 
upon the scene as Lessee and Manager.* His opening announcement in 
the newspapers was very flowery in tone, and as events proved, did not 
promise more than he contrived, somehow or other, to perform. The 
season opened on December i8th, 1779, with the Jealous Wife; and, 
although for some time he had an uphill battle to fight, his excellent manage- 
ment and liberality in regard to stage appointments soon attracted those who 
had temporarily refrained from theatre-going, and his punctual payment of 
salaries, despite bad houses at the beginning of the season, reassured the 
minds of the actors, and at the same time brought better talent to the 
Edinburgh Stage. By these means, the season, although without record 
of any great novelties being produced or famous actors appearing, proved 
eventually a success, and was closed on April i2th, with a benefit for the 
charity workhouse. 

The summer season was announced to open on July 8th, but in 
the columns of the Courant of that date, Mr Wilkinson advertised as 
follows : " Not any boxes having been engaged for this evening, Mr 
Wilkinson is apprehensive he has advertised plays too early before the 
races, and as it is impossible to open the theatre without a great and un- 
avoidable expense, Mr Wilkinson is under the disagreeable necessity of 
postponing the play advertised for this evening till Tuesday next." The 
play was Percy, by Mrs Hannah More, and was produced accordingly, " to 
a very thin and ^brilliant audience," t with the following cast: Percy = 
Cummins, first appearance on this stage; Earl of Raby = Inchbald, first 
appearance here; Sir Hubert = Hallion ; Edric = Taylor ; Harcourt = 
Colby ; Douglas = Woods ; Birtha= Mrs Bailey ; Edwina= Mrs Inchbald. 
Two of these performers were new to Edinburgh, namely, Mr Cummins 
and Mr Inchbald. Of the former the Courant speaks with considerable 

* He paid Ross .400 for the season, Wandering Patentee. t Courant. 



17^0.] The Annals of the Edinburgh Stage. 177 

favour, although it goes on to say that " the loud rant at the conclusion of 
an impassioned speech, accompanied with an extravagant flourish of the 
right arm, sufficiently point out that this performer has not received his 
education at a London theatre, where those traps for applause have been 
long exploded." The acting of Mr Inchbald, who was a son of the former 
actor of that name on the Edinburgh Stage, was characterised as being 
" decently judicious " ! Woods, in the same play, acted with " spirit, judg- 
ment, and ease," while it is curious to find Mrs Inchbald criticised in almost 
the same terms as in the " Edinburgh Rosciad," already quoted. " Mrs 
Inchbald," the Courant says, " we are sorry to observe, possesses few other 
qualifications as an actress than an elegant figure and a beautiful counte- 
nance." 

Mr Lewis of Co vent Garden, who appears to have been the prin- 
cipal actor in this Summer company, is objected to by the critic quoted 
above, because his style of delivery, unlike the slow and pompous utterance 
rendered so familiar by Digges in Edinburgh, was rapid and simple, and 
" in many instances ran too trippingly upon the tongue." 

Mrs John Jackson took a benefit in July, when a piece by her husband, 
entitled Tony Lumpkiris Rambles Through Edinburgh, was produced, and 
on July 26th, another piece by Jackson was played. This time his 
work was of a much more ambitious character, being nothing less than a 
tragedy entitled William Wallace. Of this production the Courant says : 
'" We should have been happy to have informed our readers that the char- 
acter of Wallace had received additional lustre on the stage ; but sorry are 
we to say, he is little more than the ghost of that Wallace who shines so 
conspicuously in history." This sweeping criticism called forth a furious 
reply from the author of the play ; but, like many similar effusions from the 
same pen during the next twenty-five years, was as conspicuously lack- 
ing in wit as it was full of wrath. 

Upon the whole it is questionable if the summer season paid Mr 
Wilkinson, and it was perhaps with a considerable feeling of pleasure that 
he announced his regret at having to relinquish the theatre to Mr Ross, who 
had entered into partnership with Mr Heaphy for the approaching winter. 

An exceedingly interesting letter appeared in the columns of the 
Courant of December i8th 1780, which, although not exclusively relating 
to the theatre, is well worth insertion : 

" SIR, As I was sauntering over the Bridge last Saturday evening, I was struck with the 
appearance of a playbill at the Post-Office, filled with names I had never seen or heard of 

M 



178 The Annals of the Edinburgh Stage. [1780-1 

though I have attended every theatrical revolution in London and Edinburgh for these twelve 
years past. This was an attack upon my finances, for which I was totally unprepared ; for the 
frugality of the manager, I suppose, prevented him from communicating it to the public by the 
usual channel of a newspaper. I instinctively began to consult my purse upon the costs and 
damages, and recollected that no less a sum than three shillings would procure me a place in 
the pit or boxes. ' 35.' I said, as I turned them over in my hand, ' why what a multitude of 
things may be done with 35. For 33. you may be an extraordinary subscriber of " Sibbald's"; 
for a month, riot in the extensive regions of literature, and read " four books at a time " ; you 
may ride from Edinburgh to Leith and from Leith to Edinburgh twelve times for 33. ; for 
33. you may six times expose yourself at the Pantheon, where you may join the motley group 
of //literati, discourse with confidence on subjects you do not understand, and join absurdities 
together like cherries upon a stick ; every oyster cellar, tippling house, &c., is open to 33. ; 
nay, it will go a great way towards procuring a seat in the New Kirk, where you may sit in com- 
pany with the Lord Provost and Magistrates.' I was roused from this economical reverie by 
the appearance of a female acquaintance going to the Theatre ; frugality gave me the slip, and 
gallantry carried the day. There was nothing remarkable in the audience ; the lower part of 
the house was genteel, though not numerous, and the higher boxes were as usual occupied 
by the sisters of frailty. But how, Sir, shall I describe the performers : our last set was barely 
decent; the present is, in my opinion at least, infinitely inferior." 

The season appears to have opened about January 6th 1781, on 
which date, Mr Wilks, from Dublin, performed for the first time in Edin- 
burgh. On February i2th, Edinburgh's old favourite Digges appeared 
again, and seems to have been well received. On the following day 
there is evidence in the pages of the Courant that his familiar style of 
pompous puffing was still practised by him. He addresses the public 
as follows : 

" The extraordinary marks of favour and applause with which I was honoured by a most 
brilliant and crowded audience on my first appearance on this stage on Monday last, claim on 
my part the MOST PUBLIC acknowledgment for so flattering, so distinguished, a reception. 
Every return in my humble power can be but a poor equivalent for favours heaped upon me 
for a number of years with such continued attachment and generosity. I beg leave to add 
that a just sense of your kindness (so far beyond my merits) can only terminate with the life of 
your ever obliged and most obedient humble servant, 

"WEST DIGGES." 

Digges must have made his last bow to an Edinburgh audience some 
time in February ; how he contrived to live in that city without being 
arrested is astonishing, and further shows the confidence not to say 
impudence that he possessed in such liberal proportions. 

From Edinburgh he went to London, and appeared at the Haymarket 
during the summer.* From London he went to Dublin, and remained 

* Genest. 



1781.] The Annals of the Edinburgh Stage. 179 

there until, during the summer of 1 784, he was seized with a paralytic stroke, 
while rehearsing with Mrs Siddons ; after which he never again acted. 

After this terrible calamity had overtaken Digges, a benefit was 
organised for him at Dublin, and Mrs Siddons played in it. She was 
afterwards publicly accused of having charged Digges for her services, and 
this led to her being hissed upon her re-appearance on Drury Lane 
stage. Digges, after showing some reluctance, was at length prevailed 
upon to deny that he had paid her anything, and so her character was 
vindicated. The circumstances need not be given in full, as they do not 
directly relate to the matter in hand.* What will prove more interesting 
is a letter from Charles Kirkpatrick Sharpe to Mr Maidment, which has 
never hitherto been published, and which is full of curious matter, not only 
relating to Digges but to the Edinburgh Stage in general, t 

"Mv DEAR SIR, "Sunday Night, aoth January 1833, 

" I return you your curious stage vol., and two more which you 

were so good as to lend me. I perceive from your cuttings that both friend and foe deemed 
Digges a stiff tragedian ; and Mr Thomson tells me, that when he appeared in London, his 
acting was thought old-fashioned. Mr T. saw him in all his principal parts, but could 
give me little material information. He acted Hamlet in a sort of military uniform, and Mac- 
beth in a Highland dress. His face was extremely handsome, and he was perfectly well 
shaped : he possessed the air noble (all the Delawares I ever saw had it) so as to be remark- 
able, even on the streets. My mother describes him as about the common height ; with a high 
nose, and very fine teeth ; dark brown hair and a very powerful voice. His singing in the 
Beggars' Opera was admired by Lord Kellie, and all the best judges of music here. 

" Mrs Ward, my mother says, was a middle-sized woman, with a fair complexion (there 
is little certainty about the complexion of players) and rather pretty. From conversations 
between my father and mother long ago (the memory of the latter is now much enfeebled), I 
remember concluding that Mrs Bellamy and Mrs Baker were in much higher esteem here. 
My father never talked of Mrs Ward as anything extraordinary. What follows is what I re- 
collect concerning other actresses. Mrs Bellamy trod the stage always like a woman of rank ; 
her voice was powerful, yet uncommonly plaintive when she pleased (Dr Dodd mentions, ' the 
plaintive voice of Bellamy ' ). She had high features, and her face was red. When here, she was 
the most extravagant fool possible ; so that she hired porters to carry her canary birds from 
Edinburgh to Glasgow. Digges and she resided in a house near the toll-gate, on the New- 
haven Road. The house remains. They dined by candle light in the middle of summer. 
She could not sing, but once played Mrs Hammiken here, in Beggar? Opera^ with great 
applause. I don't know if you ever saw that character in the castrated skeleton of the present 
day. I will describe the way I remember it acted when we meet. Mrs Baker excelled everybody 
in Lady Macbeth. There is a portrait of Mrs Ward in Rowe's tragedy oiJtodo, in Bell's British 
Theatre. I never saw a print of Digges, but I remember very well a picture (by Runciman) 

* For particulars, see Genest, vol. vi., pp. 205 and 329. 

+ By the courtesy of J. Mansfield Mackenzie, Esq., W.S., in whose collection the MS. is preserved. 



180 The Annals of the Edinburgh Stage. C 1 ?^!. 

of him in the character of King Lear, which hung long in Martin's sale-room, many years 
ago ; it latterly became the property of Mr Walker, and was sold, among his other rubbish, 
in London for 18 shillings. It gave one no notion of the actor's face, if I remember right, as 
the mouth and chin were muffled in an immense white beard, which, mingled with a copious 
white periwig, ' rode on the whirlwind ' over the unlucky canvas. It was a shocking daub, 
though I dare swear David Laing or Mr Sievewright would now give a great price for it. 

" Here is all (and nothing at all) I have got to tell you about the Theatrical Lovers. I 
send my volume of playbills. My mother says, that whenever the Gentle Shepherd was acted 
here in her youth, people were in convulsions of laughter at the bad Scotch pronounced by the 
English players. I'll warrant the compliment was returned in other places. When you have 
written your preface, if you will allow me a perusal, perhaps I may be able to furnish some 
trifling hints. " Meanwhile, believe me ever, Dear Sir, 

" Very sincerely yours, 

" CHAS. KIRKPATRICK SHARPE." 

On February 2ist a benefit was given for the building of a new High 
School in Edinburgh, and on April Qththe theatre closed for the winter season. 

It may be mentioned that Heaphy, who shared the management this 
year, had long been manager of the Cork Theatre, and was an honourable 
gentleman,* besides being well experienced in his business. The season 
turned out very badly, and on one of the last nights Ross went clandes- 
tinely to the doors, took away the whole receipts of the house, and himself 
directly afterwards to London. 

The opening of the Theatre for the summer season is of particular in- 
terest, since Kemble the great John Kemble, made his first appear- 
ance in Edinburgh, on the first night, July 23rd. 

Heaphy and Ross were both away, and Wilkinson had come from 
York to open the theatre during the race week, bringing Kemble, 
who at that time was in his company. The opening piece was The 
Toy Shop, in which Kemble played the Master of the Toy Shop. On 
the same evening Suett from Drury Lane appeared as Tipple in The 
Flitch of Bacon. On July 24th, Kemble played Contrast in the Lord of 
the Manor, and Puff in the Critic. On July 3oth was given, New Way 
to Pay Old Debts, "for the first time." Sir Giles = Kemble ; Arable = 
Chalmers ; Justice Greedy = Bailey ; Wellborn = Cummins ; Margaret = 
Mrs Chalmers ; Lady All worth = Miss Scarce. 

On August 4th, Wilkinson took his benefit, and the theatre was 
closed, to be reopened in the winter by a new manager, who for a quarter 
of a century exercised a most potent influence partly good and partly 
bad upon the Edinburgh stage. 

* Lee Lewes, vol. iii. p. 8 1. 




CHAPTER XII, 

JACKSON'S REIGN. 

N that most pompous and inaccurate work by John Jackson, 
facetiously entitled a " History of the Scottish Stage," the 
author, who in 1781 became manager of the Edinburgh 
Theatre, states that he purchased the theatre from Ross for an 
annuity of 150 per annum, with an undertaking to pay arrears of interest 
due to the proprietor-shareholders, and also the debts and incumbrances 
on the building, &c. " This transaction," says Jackson, " took place at 
London, November loth, 1781."* Somewhat different is the version 
given by Lee Lewes,t who alleges that, after Ross had decamped to 
London, Jackson took advantage of his absence to bring an action against 
him for wages alleged to be due. Having obtained judgment, he went to 
London with the warrant in his pocket, and used it effectually in imposing 
his own terms on the bankrupt proprietor and patentee. Whichever 
story is correct, Jackson certainly got the theatre on advantageous terms, 
and immediately issued a long address " to the Public," in which, with 
much pompous servility of phrase, he promised nearly everything. It 
must be allowed that he considerably repaired the theatre, a step no doubt 
absolutely necessary, and got some new scenery, dresses, &c. As for the 
lavish promises he made, the most that can be said for him is, that he kept 
the theatre in a rather better state of efficiency than his predecessors. 
Jackson says : 

I " I must remind the public of Edinburgh of the situation in which I found the 
theatre. I cannot devise any thing so wretched. There were neither scenes, wardrobe, or 
any other appendage suitable to a Theatre Royal. There was not even a roof; the thing 
so called was like a sieve, which let the rain through in a million of places. 

"With the house in this deranged state, I commenced manager. From the engage- 

* Hist. Scot. Stage, pp. 76 and 82. t Memoirs, vol. iii. p. 82. Hist. Scot. Stage, p. 179. 



182 The Annals of the Edinburgh Stage. [1781-2. 

merits my predecessor had entered into, comprising a list of many respectable names, 
but not one that possessed the powers of attraction, or, in the theatrical phrase, that was 
a drawing object^ I lost from two to three hundred pounds ; and before the end of the 
year, with painting, machinery, wardrobe, decorations, and repairs, I was above a thousand 
pounds in advance." 

Evidently Mrs Bulkley's was one of the " respectable names " re- 
ferred to. Ross had engaged her as " lead," but in that capacity she stood 
in Mrs Jackson's way ; so John, being a dutiful husband, shelved Mrs 
Bulkley, and gave the best of her parts, such as Letitia Hardy, Lady 
Teazle, &c., to his wife. Mrs Bulkley's patience becoming exhausted, 
she wrote to the papers,^ saying that Jackson had not kept his engage- 
ment with her, and so forth, to which he replied with a flat contradiction. 
He allowed that he had implemented Ross's engagement, and explained 
that he had only taken good parts from Mrs Bulkley when he found that 
she failed to draw houses in them even on "good playing nights," that he 
had not cast her to act on the " weak " nights, as she alleged, and he 
charged her with filling the house with "paper," a practice which others 
of the company had indulged in until stopped by the management. 

Jackson's statement that Mrs Bulkley did not draw can scarcely be 
credited, looking to the laudation in prose and verse of her merits as an 
actress that appeared in great quantities in the columns of the Courant and 
other papers. The dispute must have been made up, for the letters 
suddenly stop, and subsequently we find Mrs Bulkley playing Rosalind, 
Miss Hardcastle, &c. 

The Theatre Royal opened under the new management on December 
ist, 1781, with The Suspicious Husband^ but it appears to have been 
closed again shortly and reopened about the middle of January 1782. In 
the interval, Jackson opened a new theatre he had built in Dunlop Street, 
Glasgow, on January Qth, i782.t To run the Edinburgh and Glasgow 
houses simultaneously showed great enterprise on the part of the lessee, 
who even contrived to get some of the members of his company to play 
at both places. This, however, was rendered feasible by the fact that the 
Edinburgh nights of playing were never more than four, and often only 
three, while two seems to have been the weekly allowance in Glasgow. 
The fact, however, remains, and proves Jackson at this time to have been 
no sluggard. 

* Courant, January 29th, 1782. 

f Jackson says January 7th, 1781. The correct date is taken from the Courant. For a long account of 
this theatre, see History of Scottish Stage, p. 113. 



1782-3.] 77/6' Annals of the Edinburgh Stage. 183 

February 12th, 1782, Romeo and Juliet. Romeo = Ward; Friar 
Lawrence = Banks ; Capulet = Johnson ; Friar John = T. Banks; Peter = 
Hollingsworth ; Starved Apothecary = Charteris ; Mercutio = Hallion ; 
Nurse = Mrs Charteris ; Juliet = Mrs Ward. 

The Mrs Ward mentioned here came originally from Liverpool,* 
where she had developed from a mantua-maker to an actress. During 
the season 1780-1, she and her husband had gone to Drury Lane; 
they were in Edinburgh during this season ; and in 1782-3, she returned 
to Drury Lane, where she stayed many years. Mrs Ward seems to have 
been a most useful actress, but her husband was not of much account, t 
During this season Jackson's Eldred was revived with success (i. e., it 
was played several times whether to money or not is questionable), and 
on April ist, Mr Nicholson Stewart, " Edinburgh's amateur," played 
Chamont in The Orphan. 

April 8th, Cymbeline. Posthumus Leonatus = Ward ; Iachimo = 
Woods; Queen = Mrs Mountfort ; Helen = Mrs Charteris; Imogen = 
Mrs Bulkley ; with a new farce never yet performed, called the Fortune 
Hunter, or, A Trip to the Lighters, written by a gentleman of this 
city. 

April 2oth, Rivals. Sir Anthony Absolute = Johnson ; Captain 
Absolute = Woods ; Sir Lucius = Hallion ; Acres = Ward (first time); 
Miss Lydia Languish = Miss Kirby ; Mrs Malaprop=Mrs Charteris; 
Julia = Mrs Bulkley. Another row occurred over Williamson's benefit, 
for which that gentleman wished to advertise Mrs Bulkley as appearing 
for the last time in Scotland. This did not suit Jackson, and so a paper 
warfare was waged in the columns of the Courant. From the corres- 
pondence, we learn that the charge for a benefit was thirty-five pounds. 
The winter season closed about May loth, to reopen however on June 
8th, when the members of Jackson's company, who had been specially 
retained in Glasgow during the winter, appeared. Among their number 
were Mrs Walcot and Mrs Sparks, while Leoni the tenor appeared for 
several nights. This after season closed in the beginning of August 
1782. 

The winter season opened on January 8th (1783), with The Brothers, 
by desire of the Grand Master Mason of Scotland. On the nth was 
played Othello, with the following cast : Othello = Grist, his first appear- 

* Thespian Dictionary, and Genest. t Thespian Dictionary, which seems to be correct. 



184 The Annals of the Edinburgh Stage. [1782-3. 

ance in Scotland ; Iago = Woods; Desdemona = Miss Farren,^ her first 
appearance in this kingdom. On the Monday following (i3th), Hamlet. 
Hamlet = Grist ; Ghost = Woods ; Queen = Mrs Burden ; Player Queen 
= Mrs Mountfort ; and Ophelia = Miss Farren. On February ist, The 
School for Fathers was presented, with Fowler as Colonel Oldboy, and 
the famous Mrs Baddeley from the Theatre Royal, Drury Lane, as 
Clarissa, being her " first appearance in this kingdom " t 

Mrs Baddeley had not acted in London since the conclusion of the 
season 1780-81. She very probably came to Edinburgh direct from 
York, where she had enjoyed great popularity in such parts as Clarissa, 
Polly, Rosetta, and Imogen, which she acted extremely well. Genest| 
relates that, on taking her last benefit at York, she almost entirely lost 
credit with the audience, for besides being very lame, she was so stupidly 
intoxicated with laudanum that it was with great difficulty she finished the 
performance. She had fallen a complete prey to her craving for opium, 
which, combined with extreme irregularity of living, brought about a speedy 
death. It is said that, although she seldom tasted food, her complexion 
retained its beauty to the end. On February 5th, Mrs Baddeley played 
Ophelia to the Hamlet of Grist, with the part of the Player Queen by 
Mrs Charteris. On the loth, Lamash from Drury Lane appeared for the 
first time here, playing Belcour in The West Indian. 

An extremely interesting paragraph in the Caledonian Mercury of 
February i2th, 1783, informs us that "George Saville Carey, from 
London, will begin his lecture on mimicry at the Lower Room, St Mary's 
Chapel, on Thursday, at seven o'clock ; the whole to conclude with the 
examination of a stage candidate in the manner of the late Mr Garrick, 
and a dialogue in the Shades between Messrs Foote and Weston. Ad- 
mittance, 2S." 

This entertainment by the maternal grandfather of the great Edmund 
Kean, was so successful as to be repeated on several occasions, both at 
Mary's Chapel and the Old Assembly Rooms. 

The theatre was closed from the 12th to the 22nd of March, during 
which interval the company went to Glasgow, and played in Jackson's 
new theatre. On their return Mrs Jackson took her benefit on March 24th, 

* This could not possibly have been the famous Miss Farren who became Countess of Derby, 
t Genest says she acted with Wilkinson at York in 1783, and joined the Edinburgh company in 1783-4. 
He is wrong however in this statement. 
Vol. vi. p. 185. 



1783-4-] The Annals of the Edinburgh Stage. 185 

when Mrs Cowley's Which is the Man ? was played. Lord Sparkle = Grist ; 
Pendragon = Moss ; Miss Pendragon = Mrs Jackson ; Julia = Miss Farren. 

On Wednesday, March 26th, "by desire of a Lady of Distinction,' 
The Way to Keep Him. Lovemore = Woods ; Mrs Lovemore=Mrs 
Baddeley. 

For Mrs Cornleys' benefit on April 2nd, The Jealous Wife. Harriet 
= Mrs Baddeley ; Mrs Oakly = Mrs Cornleys ; with an address written and 
spoken by Mrs Cornleys. 

For the benefit of Mrs Moss, Monday, April ;th, The Generous 
Freemason. Concluding with an Epilogue in the character of a Free- 
mason's wife, by Mrs Sparks. 

On April Qth, for the benefit of Mr Woods, Cymbeline. Posthumus 
Leonatus = Woods, his first appearance in that character ; Imogen = Mrs 
Baddeley. 

On April i6th, for a charitable purpose, was performed Venice Pre- 
served. Pierre by H. Nicholson Stewart, Esq., with an Epilogue; 
Belvidera by Mrs Jackson. 

Mrs Baddeley's night was on April 26th, when was played School 
for Scandal. Sir Peter Teazle = Johnson ; Joseph Surface = Woods ; 
Charles = Ward ; and Lady Teazle, with an epilogue in character, " wrote 
by a gentleman of this city," = Mrs Baddeley ; with the Maid of the Oaks, 
Lady Bab Lardoon = Mrs Baddeley, in which she will introduce the air of 
" No Flower that Blows." Tickets to be had of Mrs Baddeley, at Mrs 
Cumings, Scale Stairs, Dickson's Close, the Exchange. 

On May 3rd, for the benefit of Miss Farren, Jane Shore. Jane 
Shore = Mrs Baddeley ; and the season closed on May 8th with Hamlet. 

The summer season opened on July i2th, when was produced for the 
first time here, the Comic Opera of The Castle of Andalusia. Pedrillo = 
Ryder, from the Theatre Royal, Dublin ; and Catalina = Mrs Baddeley. 
Ryder only played until the 26th, on which evening Rule a Wife and 
Have a Wife was performed ; Ryder as the Copper Captain and Mrs Jack- 
son as Estifania, being her first appearance in that character. The season 
closed on July 3Oth, with Love in a Village. Young Meadows = Tannett ; 
Madge = Miss Farren; Lucinda=Mrs Henderson; Deborah Woodcock 
= Mrs Charteris ; Rosetta= Mrs Baddeley. 

No more performances were given until the opening of the winter 
season on January 3rd, 1784, with Love in a Village; Rosetta by Miss 
Morris, from Covent Garden, her first appearance here. 



1 86 The Annals of the Edinburgh Stage. [1783-4. 

On January loth, the comedy of A Bold Stroke for a Husband, by 
Mrs Cowley, was played for the first time in Edinburgh. It had been a 
great success when produced at Covent Garden the preceding February, 
but Jackson was scarcely warranted in advertising it as "now performing 
at Covent Garden," in January 1784! The cast in Edinburgh was: Don 
Julio = Cautherley ; Don Caesar = Johnson ; Don Garcia = Sutherland ; 
Don Vincentio = Tannett ; Don Vasquez = Sparks ; Gaspar = Davis ; Don 
Carlos = Woods ; Donna Victoria = Mrs Wilmont Wells ; Donna Laura 
= Mrs Woods ; Minette = Mrs Sparks ; Donna Olivia = Miss Morris. 

On the 24th, Rosina was given for the first time here. William = 
Moss ; Captain Belville= Bell ; Belville = Tannett ; Phcebe= Mrs Sparks ; 
Dorcas = Mrs Mountfort ; Rosina = Miss Morris. 

February 23rd, Merchant of Venice. Shylock = Collins ; Launcelot 
= Moss ; Jessica (with songs) = Mrs Henderson ; Portia = Mrs W. Wells. 
With the burletta Tom Thumb the Great, " never acted here." Lord 
Grizzle = Moss ; Tom Thumb = Master Charteris ; Princess Huncamunca 
= Mrs Henderson. 

On March 3rd, " to a most brilliant and crowded audience, the tragedy 
of Venice Preserved was played for the benefit of the widow of Dr Smollett, 
the celebrated author of ' Roderick Random,' &c. The lady resides at 
present in Italy." A prologue, made up of sentiments quoted from 
Smollett's works, was spoken by H. Nicholson Stewart. 

Woods took his benefit on April 1 7th, and played a new farcical interlude 
called Hallow Fair (never yet acted), and Moss acted the Croaker in the 
GoodNatured Man on the i gth, for his own benefit, along with a new comical 
interlude, called The Good Woman Without a Head, and other attractions. 
But the event of the season, and, indeed, one of the most noteworthy 
occurrences in the whole history of the Scottish Stage, was the engage- 
ment and first appearance in Scotland of Mrs Siddons. Only the season 
previous this great actress had burst upon the astonished Londoners in the 
zenith of her tragic greatness. She had performed with Garrick many 
years before, at Drury Lane, but did not get, at that time, parts which suited 
her. Garrick is said to have been jealous of her abilities, fearing she 
might throw his acting into the shade. From whatever cause it was, she 
threw up her engagement, and did not reappear in the metropolis till 1782, 
when, as already said, her success was instantaneous and complete. The 

* Courant. 



1783-4-] The Annals of the Edinburgh Stage. 187 

news of her triumph soon reached Edinburgh, and Jackson, having been 
backed up by some advocates to the extent of ^200, consented to 
offer her an engagement. His own account is that he offered Mrs Siddons 
,200 from himself and ^200 of guarantee money. This offer did not 
meet Mrs or rather Mr Siddons' views, and the latter wrote stating he 
would prefer half the profits and a free benefit. This was agreed to, and 
Jackson evidently concluded that the ^200 guarantee would, by the new 
arrangement, fall to his share ; but Mr Siddons appears to have been an 
excellent business man, keenly alive to the advantage of drawing in all 
the money he could honestly lay hands on, and in this particular case he 
contrived to secure the guarantee fund before Mr Jackson had even 
thought of applying for it. It must have been with a sore heart that the 
manager, long afterwards, in his capacity of Historian, set down the 
following memorandum of the sum actually netted by Mrs Siddons for her 
nine performances and benefit. The statement is as follows : 

MRS SIDDONS' RECEIPTS. 

Nine nights' receipts, - - ^467 7 7 

From the gentlemen's subscriptions, - 200 o o 

Clear benefit, - 180 o o 

Presents by plate and gold tickets,* say, 120 o o 

967 7 7 

Almost before the terms were concluded, rumours of Mrs Siddons' 
engagement got about, and the matter excited great interest even before 
it was publicly advertised. The guarantors naturally thought themselves 
entitled to some preference in the choice of seats but, although a meeting 
was called on the subject, no particular result followed, and these gentle- 
men were eventually satisfied with being let into the pit before the doors 
were opened for the general public. The booking in advance appears to 
have been great, and many persons were unable to get places even before 
Mrs Siddons arrived. She appeared on May the 22nd, and from that day 
the scenes that took place in front of the theatre baffle description, and the 
details of them read almost like romance. Enormous crowds attended 
hours before the performance, for the chance of getting in, and when, to 
oblige the crowds, they were admitted at 3 o'clock, they began to assemble 
at 12. The guarantors thought themselves fortunate in having private 

* It is not quite clear what Jackson means by "gold tickets." 



1 88 The Annals of the Edinburgh Stage. [1783-4. 

access to the pit. The General Assembly of the Church of Scotland found it 
necessary to arrange their meetings with some reference to the hours at the 
theatre, for the members, particularly the younger ones, flocked to the play- 
house to get lessons in elocution. People came even from Newcastle to see 
this wonderful actress, and on one particular day 2557 applications were 
made for 630 places. To get at the box-office betimes porters and servants 
encamped on the street over night, and the military, whose bayonets were 
sometimes dyed a suspicious hue after the crush, were necessary to guard 
the gallery door. A sailor climbing in at a window said that he no sooner 
got in at the/0r/ hole than he got knocked on the head and tumbled down 
the hatchway. London thieves actually found it to their profit to come all 
the way from town ; such a harvest of wigs, hats, canes, snuff-boxes, purses, 
and watches never was gathered with greater ease. 

One incident that happened inside the theatre, although often told, is 
worth repeating. On the evening that the Fatal Marriage was performed, 
Mrs Siddons was so carried away by the emotions incidental to the part, 
that when the curtain fell she had to be assisted off the stage. Such act- 
ing had a wonderful effect upon the audience. A young heiress Miss 
Gordon of Gight, in Aberdeenshire, was carried out of her box in hysterics, 
screaming loudly the words caught from the great actress " Oh my 
Biron ! my Biron ! " Chambers says that several people who were in the 
theatre that night declared they never forgot the ominous sounds, " Oh 
my Biron ! " A year afterwards this Miss Gordon met, for the first 
time, the Hon. John Biron, who paid his addresses to and eventually 
married her. It was for her a fatal marriage in several respects, although 
it gave to the world the poet Lord Byron. 

Regarding the crowds that collected in front of the theatre, one more 
anecdote, related at the time as a fact, may be told. A young lady pass- 
ing by, on the way to drink tea with a friend, was caught in the crowd and 
presently found herself in the pit of the theatre, from which she was only 
extricated by being lifted on to the stage. 

The pieces performed by Mrs Siddons were as follows : May 22nd, 
Venice Preserved; May 24th, The Gamester ; May 26th, Venice Pre- 
served ; May 27th, The Gamester ; May 29th, Mourning Bride ; June ist, 
Douglas ; June 3rd, Isabella, or, The Fatal Marriage ; June 5th, Jane 
Shore ; June 7th, Jane Shore ; June Qth, Grecian Daughter, for her bene- 
fit ; June loth, Grecian Daughter ; June irth, Euphrasia, for the benefit 
of the charity workhouse. 



1783-4-] The Annals of the Edinburgh Stage. 189 

Thomas Campbell gives the following account, repeated from her own, 
of the reception Mrs Siddons had upon her first appearance in Edinburgh: 

" The grave attention of my Scottish countrymen," says he, " and their canny reservation 
of praise till they were sure she deserved it, had well nigh worn out her patience. She had 
been used to speak to animated clay ; but now she felt as she had been speaking to stones. 
Successive flashes of her elocution, that had always been sure to electrify the south, fell in 
vain on these northern flints. At last, as I well remember, she told me she coiled up all her 
powers to the most emphatic possible utterance of one passage, having previously vowed in 
her heart that if this could not touch the Scotch, she would never again cross the Tweed. 
When it was finished, she paused, and looked to the audience. The deep silence was broken 
only by one voice exclaiming, 'That's no 1 bad!' This ludicrous parsimony of praise con- 
vulsed the Edinburgh audience with laughter. But the laugh was followed by such thunders 
of applause that, amidst her stunned and nervous agitation, she was not without fear of the 
galleries coming down." 

Professor Wilson once remarked that he would have considered this 
anecdote a terrible condemnation of the taste and feeling of his countrymen, 
were it not that the laugh showed civilisation had made some way among 
them. 

Regarding Mrs Siddons' first performance, the Courant of the fol- 
lowing Monday spoke as follows : 

" Mrs Siddons played the part of Belvidera to a very crowded and genteel audience. 
We may with truth say that she fully gratified the very high expectations that were formed of 
her. Her wonderful powers were particularly eminent in the mad scene, which in ord inary 
hands is in general unnatural and disgusting. Her wild scream pierced the heart in a manner 
not to be believed. It conveyed at once the accumulated idea of the deepest horror, agony, 
and despair. There is little wonder that some ladies fainted at this part." 

On June i2th, the Courant says that " Mrs Siddons' taking leave of 
the audience was the most 'expressive silence' we ever beheld. It 
elegantly spoke gratitude, respect, and affection." And in the same 
paper she herself published the following : 

" Mrs Siddons confesses she has not words enough to express the 
feelings she entertains of her reception in this city ; but humbly hopes she 
may be understood by this brief but sincere silence, that she is grateful 
for all favours, and will ever hold them dear in her remembrance." 

So ended, in the most brilliant manner possible, the season 1 783-4. 

She left the same day for Dublin. In connection with her journey 
thither, the following extract from a letter by the Rev. Dr Mackenzie, 
sixty-three years minister of Portpatrick, is decidedly interesting : 

" I shall give you one instance of her (Mrs S.'s) amazing sensibility. . . . Our 
village consists of a natural crescent facing the sea, bounded by rocks, and a range of hills in 



190 The Annals of the Edinburgh Stage. 

the background. When she came to the shore to embark, and raised her eyes to throw a 
parting look, I suppose, at Scotland, the wildness of the scenes about her, the rocks, the 
seas, and perhaps the primitive appearance of the natives, rushed upon her so powerfully 
that she heaved a deep sigh, and, looking terrified for a moment, to our utter astonishment, 
she emitted all at once one of her wild cries. The effect was powerful beyond description 
the rocks, the shore, and the concave conveyed the echoes. There was a general rush from 
the houses scattered along the beach. Seeing men, women, and children so alarmed, she 
herself apparently became more terrified ; she repeated the cry, and actually screamed aloud. 
It was melancholy, and was mournful, and was piercingly loud. In a moment, as if by a 
sudden shock, or through the influence of some supernatural agency, the whole of the people 
lamented and sobbed aloud. Such a scene I never witnessed. There happened, singular to 
say, at that instant to pass a burial ; the village bell tolled. The dismal notes of the agitated 
people, with the tolling of the bell, and the howling of the bellman, as is the custom here, 
were all mingled together. But when she repeated these words, I then saw the scene she 
had in view : 

' Methinks I stand upon some naked beach, 

Sighing to winds, and to the seas complaining, 

While afar off the vessel sails away 

In which my treasure and my soul's embarked ! ' 

You might have seen the sailors involuntarily put their hands to the ropes, hoist the 
sails, and weigh the cables. One vessel actually sailed off, and the other would have followed 
if her husband had not interposed. ' Come,' says he, ' my dear, what is all this for ? You 
don't propose to swim to Ireland. Egad, if you don't make haste, the vessel will sail 
absolutely.' " 

The Rev. Doctor continues after a bit : 

" The husband of the great actress seems to be a good, plain sort of a man. One thing 
with regard to him is rather remarkable. I asked him, when his wife was in one of her tragic 
fits, whether he was affected equally with the rest of the audience. ' Why, really,' says he, 
' I have often wondered at myself in this particular. When she cries, I laugh. I cannot for 
the soul of me help it. And when she or her audience are grave, I am always near crying. 
I remark this of myself invariably. Besides,' says he, ' do you know that small beer is good 
for crying ? The day that my wife drinks small beer, she cries amazingly ; she is really 
pitiful. But if I was to give her porter, or any stronger liquor, she would not be worth a 
farthing.'" 

The Theatre opened again for a few weeks in the summer, during 
which, on July 3ist, Henderson the tragedian made his first appearance 
in Scotland, the play being Hamlet. August 2nd, he played Shylock ; 
August 3rd, Sir John Falstaff in Merry Wives. On the first evening of 
his appearance the house was only " respectable," but by the third night 
it was so crowded that the Courant says one might have thought Siddons 
was still acting. Henderson's Falstaff is described in the same place as 
being excessively humorous,* so much so that one gentleman nearly 

* See portrait in Kay's Portraits. 



1784-5-] The Annals of the Edinburgh Stage. 191 

laughed himself into convulsions. The performance of Hamlet is compared 
with Digges', " who played," says the Courant, " with little judgment ; 
was very deficient in the nicer touches of the art, and often had no con- 
ception of what he spoke. In judgment and taste, Henderson is eminent. 
He understands perfectly the character he plays, and never fails to give 
the just meaning of his author ; and this, in so difficult and various a 
character as Hamlet, requires the power of a master." 

August 7th, Macbeth, in which Henderson seems to have worn a 
Spanish dress, with a piece of tartan drawn across the shoulder in the 
manner of the insignia of an order of knighthood. 

August 8th, Falstaff in King Henry IV., first part, for his benefit ; 
loth, Richard III. ; I4th, King Lear ; i6th, Sir Giles Overreach. 

On August 1 8th, " Mr Henderson before leaving this city begs 
leave most respectfully to express his grateful sense of the indulgent and 
liberal patronage he has received from the public of Edinburgh, and to 
assure them that he shall ever retain a lively remembrance of the polite 
and flattering attention with which they have been pleased to honour 
him."* 

The winter season opened on January 8th, 1785, with The Suspicioiis 
Husband. The company was a strong one, particularly in ladies. Mrs 
Bulkley reappeared, and Mrs Baddeley, although greatly enfeebled by 
disease, was still available. Mrs Yates joined for a month in the spring, 
and Mrs W. Wells and Mrs Jackson both acted leading parts. 

Mrs Bulkley was advertised to appear on the opening night, in the 
part of Clarinda in the Suspicious Husband, but il seems that two days 
previously she had sustained some injury by being overturned in a carriage 
upon the North Bridge. The farce of Bon Ton was likewise played on 
the opening night, when Mrs Duncan, a new member of the company, 
made her first appearance, playing Miss Tittup. The theatre had been 
newly painted, and the audience was large. 

On Monday, January loth, was given the School for Scandal, the 
part of Sir Peter Teazle by Mr Everard, from the Theatre Royal, Drury 
Lane, being his first appearance in Edinburgh. Joseph Surface = Woods ; 
Crabtree= Kipling, being his second appearance on this stage ; Charles 
Surface = Waylett, being his first appearance here ; and Lady Teazle = 
Mrs Duncan, her second appearance here. To be followed by the Rival 
Candidates, the part of Narcissa= Mrs Baddeley. 

* Courant. 



192 The Annals of the Edinburgh Stage. [1784-5. 

She Stoops to Conquer was given on the i5th, with Everard as Tony 
Lumpkin, and Miss Hardcastle by Mrs Bulkley, who had now apparently 
recovered from the results of her accident, and made her first appearance 
this season. She intended to have spoken a rhyming address, which 
however, for some unknown reason, was printed in the newspapers 
instead. 

During January Jackson advertised that " Mrs Yates has declined 
visiting Edinburgh this season, not from any disagreement in regard to 
terms, as Mr Jackson consented to every particular of her terms, but from 
her being unable to leave London." This, however, could not have been 
on account of theatrical engagements there, as she had none this season in 
London,* besides which she did appear here later on. 

February 2ist, Othello. Othello = Clinch, from the Theatre Royal, 
Dublin, " his first appearance in Great Britain ; " Desdemona= Mrs Jack- 
son. The Courant says, "Mr Clinch, with a figure happily suited to the 
part and a voice powerful and agreeably modulated, entered into the spirit 
of the much injured Moor in a manner that deeply interested the audience." 
The announcement that this was Clinch's " first appearance in Great 
Britain," quoted above, is in all probability inaccurate, if, as seems probable, 
he was the Laurence Clinch whose career is briefly sketched in the 
" Thespian Dictionary." 

On March 24th, Mrs Yates commenced her engagement, appearing as 
the Duchess of Braganza in the Tragedy of Braganza, and on March 28th, 
Mr Yates made his appearance as Scrub; Aimwell = Woods ; Archer = 
Ward ; Mrs Sullen = Mrs Bulkley ; with Rosina, in which Mrs Baddeley 
played the title role. March 3151, Mrs Yates played Jane Shore. April 
;th, Provoked Husband. Lord Townly = Clinch ; Lady Townly=Mrs 
Yates. April nth, The Tragedy of Medea, first time here. Jason = 
Clinch ; yEson = Duncan ; Lycander = Waylett ; Creon = Woods ; Hecate 
= Hallion ; Medea = Mrs Yates, her original part. April 2Oth, Douglas, 
last night of Mrs Yates. 

Mrs Bulkley's benefit was upon the 23rd, when the play was 
Hamlet. The part of Hamlet (for that night only) by Mrs Bulkley, 
being her first appearance in that character. Ophelia by Mrs Baddeley. 
" Tickets to be had of Mrs Bulkley, at Mr Stevenson's, painter, Shakes- 
pere Square." 

* Genest, vol. vi. p. 349. 



1784-5-] The Annals of the Edinburgh Stage. 193 

The following notice of this curious performance appeared in the 
Courant of April 25th : 

" On Saturday night, the public were entertained with a singular exhibition at the Theatre 
by Mrs Bulkley, in the character of Hamlet. Although we cannot approve of the custom 
obtaining of females stepping out of the line of their character, yet we must own Mrs Bulkley's 
appearance in Hamlet was wonderful. For some time it was, perhaps, difficult to forget the im- 
propriety of a woman playing the part, yet, in the course of the play, the just and great ap- 
plause of the audience gave complete evidence that this circumstance was forgotten, and her 
excellence in the character soon got the better of prejudice. It is much to be regretted that the 
house was so thin ; and we will venture to say that, if this part is again represented, there will 
be one of the fullest houses that has been seen since the days of Mrs Siddons. Mrs Bulkley 
displayed great knowledge of the character of Hamlet, which few players that attempt it un- 
derstand. Through the various difficult parts she was always correct, and where requisite, 
animated and interesting. It would be too long to enter into the particulars of her excellent 
performance ; but, if consistent with the rules of the Theatre, we sincerely wish the manager 
may again allow this character to be played by Mrs Bulkley." 

In the Courant of the 27th is the following announcement : 
" MRS BADDELEY'S BENEFIT. Mrs Baddeley takes the liberty of offering her most grate- 
ful acknowledgments to the Public for their very indulgent acceptance of her endeavours, and 
hopes the same indulgence will induce them to pardon her not appearing on the night of her 
own benefit, as well as several late occasions, as she has been for some time confined to her 
chamber by severe illness." 

Her benefit was on the 3Oth April, when The Suspicious Husband 
was played. "Tickets to be had of Mrs Baddeley, at Mrs Cumming's, 
Dickson's Close." 

An original burletta called The Siege of Gibraltar, " the words by a 
gentleman and the music by Signor Urbani," was produced in the St 
Cecilia Hall, Niddry's Wynd, on Tuesday, April 26th. The announcement 
sets forth that " an imitation of the Firing of Cannon from the Garrison 
is introduced, and the Spaniards returning the same ; with a new Overture, 
Songs, and Recitative. The whole to conclude with a grand chorus, with 
Kettle Drums and Trumpets. A book of the burletta will be given gratis 
at the door." 

On the 4th of May, Mrs Bulkley repeated her performance of Hamlet, 
with Ophelia on this occasion by Mrs Sparks, but there is no record as to 
the size of the audience. 

Mrs Baddeley 's benefit had not resulted successfully, so she was 
allowed a second evening on May i8th, when the comedy of The Chapter 
of Accidents was played. This was the last piece performed during the 
winter season, 

N 



194 The Annals of the Edinburgh Stage. [1785-6. 

The Theatre opened for the summer season, and Mrs Siddons com- 
menced her second engagement in Edinburgh, on July i2th, the Grecian 
Daughter being the play. 

July 23rd, The Carmelite, by Cumberland (from Drury Lane, pro- 
duced December 2nd 1784) for the first time here. St Valori, the Car- 
melite = Clinch ; Lord Hildebrand = Wilmont Wells; Lord de Courci = 
Waylett ; Gyfford = Sparks ; Montgomeri = Woods ; Matilda, her original 
part= Mrs Siddons. 

July 27th, Miss Kemble appeared. "In figure and looks," says the 
Courant, " she is far from being so striking as her sister ; she has, however, 
an agreeable countenance and a pleasing voice." Woods, who supported 
Mrs Siddons, got very high praise, and seems to have made a great hit as 
Jaffier. As on her former engagement, great excitement was manifested 
by the public during Mrs Siddons 1 visit. On several occasions, particu- 
larly when she played Isabella and Belvidera, ladies had to be carried out 
fainting, and some even took fits of what nature is not recorded. Mrs 
Siddons' performances, with the amounts drawn for each, were as follows : 
July 1 2th, Grecian Daughter, ^95: T4th, Macbeth, ^125; i6th, Fair 
Penitent, ^126; i8th, Isabella, ^154 ; 2oth, Douglas, ^130; 23rd, Car- 
melite, ^128 ; 25th, Venice Preserved, ^130 ; 26th, Carmelite, ^"84 ; 27th, 
Which is the Man, ^84 ; 28th, Isabella, ^139 ; 29th, Suspicious Husband, 
(?) I 5 '> 3 tn > Jane Shore, ^115. August ist, Earl of Warwick, 123 ; 
2nd, Mourning Bride, ^107; 3rd, Provoked Husband (benefit of Miss 
Kemble), ^125 ; 6th, Gamester (benefit of Mrs Siddons), ^200, exclusive 
of Gold Tickets; 8th, Douglas (Benefit of Charity Workhouse), ^"137 ; 
9th, Earl of Warwick, 60, i6s. In all ^2077, i6s. On the i2th, 
Mrs Siddons appeared in Glasgow as Belvidera. 

When the next winter season 1785-6 opened (January i4th 1786), 
several changes had been made in the company. Mrs Baddeley was dead, 
Mrs Bulkley had left ; there remained however Mrs Jackson, and Mrs 
W. Wells ; while a valuable addition was made in Mrs Crawford, formerly 
Mrs Barry. This lady had played lead in Drury Lane for many years 
previous to the autumn of 1781, when she imprudently left that house and 
went to Dublin. The National Theatre, in the mean time, having secured 
the services of Mrs Siddons (from Bath), Mrs Crawford when she returned 
was not required, although she tried hard to regain her hold on the public. 

* Courant. 



1785-6.] The Annals of the Edinbiirgh Stage. 195 

Her powers, however, as an actress were undoubted, and she proved of 
great assistance to the Edinburgh company. 

It is unfortunate that the date of Mrs Baddeley's death is not to be 
found. According to the "Memoirs of Mrs Sophia Baddeley" by Mrs 
Elizabeth Steele (London, 1787), she died in July 1786. It is much more 
likely, however, that her death occurred in the autumn of 1785, for no men- 
tion of her name is found after that time.* Her " Memoirs" say : 

" She played one season in Ireland, and was very much liked ; but as the profits of the 
house did not answer the expectations of the manager, she [with her Paramour John] left 
Ireland, and went to Edinburgh, where she played for about two years. Her pay there was 
barely sufficient to support them ; but, as she was much beloved by the performers, when her 
health declined (for she fell into consumption), and she was able to play no longer, they, 
greatly to their honour, subscribed a weekly sum, to afford her all the comforts a sick bed 
required, and a proper person to attend her. After lingering a few months she departed this 
life at Edinburgh, July 1786, aged 41 years." 

January igth, Hamlet. Hamlet = Iliff, being his first appearance 
here ; Ophelia = Mrs Iliff. Iliff was the son of a clergyman, and had passed 
on sea and land a somewhat romantic career. He married Miss Palmer, 
who was formerly of the Edinburgh company, out of gratitude for that 
lady having rescued him from pecuniary difficulties, t He had a pre- 
possessing appearance and handsome figure, and evidently was well re- 
ceived here, j Mrs Iliff made a good Ophelia. The first appearance of 
Mrs Stephen Kemble had been advertised (to play Ophelia) for that 
evening (iQth), but it was put off till the 23rd, when she appeared 
along with her husband ; their opening play being Othello. Kemble's 
Othello was favourably criticised, although the Courant found fault with 
his turning to the audience while addressing the senate. 

On January 26th, The Beaux Stratagem. Archer = Betterton, from 
the Theatre Royal, Dublin, being his first appearance in this kingdom. 

January 3Oth, Richard III. Duke of Glo'ster by Mr Carey, " first 
appearance on this stage," and curiously the only mention of him to be 
found in connection with the Edinburgh stage . This was unquestionably 
George Saville Carey, dramatist* lecturer, and son of the famous Henry 
Carey, composer of the immortal ballad, " Sally in our Alley." On the 
same evening Kemble played King Henry ; Woods, Richmond ; and Mrs 
Woods, Lady Anne. 

The first mention of Mrs Crawford's name occurs in the announcement 

* The most careful search through the pages of the Courant newspaper has failed to throw any light on 
ihis point. t Thespian Dictionary. % Courant. 



196 The Annals of the Edinburgh Stage. [1785-6- 

for February ist, when Douglas was played. Iliff played Young Norval, 
a part for which his youthful appearance peculiarly fitted him, and Mrs 
Crawford assumed the role of Lady Randolph. The next mention of her 
name is on February I3th, when Jane Shore was performed ; Mrs Kemble 
playing Jane Shore, and Mrs Crawford, Alicia. 

The well known actor Wilson, from Covent Garden, and an old 
member of the Edinburgh company, appeared on February 23rd as 
Colonel Oldboy in Lionel and Clarissa. 

March 2nd, School for Scandal. Sir Peter = Wilson, first time; 
Lady Teazle = Mrs Kemble, first time. 

March 8th, King John. King John = S. Kemble; Prince Arthur = 
Mrs Iliff ; the Dauphin = Iliff ; Hubert = Bell ; Salisbury = a young gentle- 
man, being his first appearance on any stage ; Faulconbridge = Clinch ; 
Queen Elinor = Mrs Mountfort ; Constance = Mrs Crawford. On the 
following evening Mr H. Nicholson Stewart played Hamlet. 

On March 3Oth, Mrs Sparks made her first appearance here, acting 
Mrs Oakly in The Jealous Wife. On April loth, Nicholson Stewart 
played Richard III. It was his last performance on any stage; he died 
on the 24th of the same month. 

April 5th, King Henry IV. Sir John Falstaff= Wilson ; Hotspur = 
S. Kemble. 

Wilson took his benefit on April iQth, when was performed " a new 
comedy never acted here, called The Follies of a Day, or The Marriage 
of Figaro, as acted in Paris 80 nights in one season, and at Covent 
Garden over 50 consecutive nights." It is difficult to say how often 
Beaumarchais' original play was acted in Paris, but Jackson perpetrated a 
deliberate falsehood by advertising that Holcroft's adaptation had run 
"over 50 consecutive nights at Covent Garden." It was played some 
twenty-nine times in all during its first season (1784-5) at that house. * 
In Edinburgh, Wilson doubled the parts of Don Guzman originally 
played by Quick and Antonio, the drunken gardener, while his own 
original part of Dr Bartholo was played by Kippling. The remainder of 
the cast was as follows : Figaro = Lamash ; Basil = O'Reilly ; The Page 
= Mrs Iliff (with song, " Ah, well a day, my poor heart") ; Count Almaviva 
= Woods ; Countess = Mrs Sparks ; Susan = Mrs Wilson, "from Theatre 
Royal, Haymarket," her first appearance in Scotland. 



Genest, vol. vi. p. 357. 



\ 



1785-6.] T/ie Annals of the Edinburgh Stage. 197 

" For the benefit of Mrs KEMBLE. Mrs Kemble respectfully informs 
the ladies and gentlemen of Edinburgh that, after the play on Monday 
next (April 24th), she intends herself the honour of speaking an Epilogue, 
addressed to them, and written on this occasion. She laments being 
prevented by her situation from appearing in any character. The words 
of the Epilogue will be published, and delivered {gratis} at the doors of 
the theatre ; and Mrs Kemble hopes that will be considered as an 
apology, if she should, when the time arrives, be unable to speak it." She 
did not appear. The epilogue was as follows : 

" Untaught, unpractis'd in the ways of Art, 
Nothing to boast of but a grateful heart, 
Though oft by fiction aided, I have come, 
And warm'd by your indulgence, felt at home. 
Now I'd make known the feelings of that heart, 
My trembling lips refuse to speak their part. 
Expect no flow of language : I appeal 
To you, and all to pity what I feel. 
A woman pleads, a woman don't refuse ; 
But wherefore ask that boon of British youths ? 
Though all confused before these awful ranks, 
I come to pay the tribute of my thanks ; 
Thanks, gen'rous patrons, thanks from her receive, 
Who poor e'en here has nothing else to give. 
But, if in future years there should appear, 
Some spark yet latent of true genius here ; 
If I say, if matured by time and toil, 
Something from me e'er chance to win your smile, 
Those future years of mine, those future povv'rs, 
If such should be, shall still, shall still be yours ; 
And this night's kindness to your servant shown, 
Through her whole life, with gratitude shall own." 

May 1 7th, Kemble's benefit, "By desire of the Siddonian Club." 
On the 2oth the winter season came to a close. 

It is worth while noting that during this season a great many letters 
on theatrical topics were addressed to the editor of the Courant. The 
writers of these set themselves out to criticise in a very free manner, but 
they were almost all poor creatures. The only exceptions were the 
writers of a series signed "Peter," commencing January i6th, and of 
another signed " John Peppercorn." Both of these were well informed, 
discriminating, and able to write tolerable English. 

The summer season commenced on June 15th (advertised for I4th, 



198 The Annals of the Edinburgh Stage. [1786-7. 

but put off). The play was Othello, in which Pope, from Covent Garden, 
played the title role, making his first bow to a Scottish audience ; and his 
newly-married wife, late Miss Younge, played Desdemona. After playing 
for five evenings, the theatre was closed till July 6th, when Pope and his 
bride acted for other three nights, and the same company remained. 

July 1 7th, " Never acted here," The Country Girl. Moody = Woods ; 
Belville= Bland, junr. ; Harcourt= Bell ; Country Boy = Yates ; Sparkish 
(with a song) = Lamash ; Alithea=Mrs O'Reilly; Lucy = Mrs J. Bland; 
and Peggy, the Country Girl = Mrs Jordan, " being her first appearance 
in this kingdom." On the next night but one (iQth), another important 
" first appearance " was that of Mrs Kennedy, the vocalist and actress, in 
the male part of Don Carlos in The Duenna. 

July 22nd, She Would and She Would Not. Hypolita=Mrs Jordan; 
with The Romp Princess Tomboy = Mrs Jordan. She also played 
Letitia Hardy, with an address by herself (July 3ist) ; Viola, Tivelfth Night 
(August 3rd), etc. Considerable excitement seems to have been caused 
by her visit, but no notices appeared in the Courant of her performances. 

During the months of November and December 1786, and the earlier 
part of January 1 787, a company of tumblers from Sadlers Wells performed 
at the Theatre, and on the i3th January the regular season commenced. 
During its first few months there was nothing of any importance. Fennell, 
about whom a good deal will be said later on, had joined the company, 
and on February 5th, a Mr and Mrs Robinson made their first appearance 
in Edinburgh. They are described in the advertisements as being from 
the Theatre Royal in Dublin, and the supposition is natural that the lady 
was no other than the famous Mrs Mary Robinson, who, according to 
Genest,* retired altogether from the stage in 1 780. 

On April Qth, 1787, for the benefit of Mr Wilson, "will be presented 
a musical Pasticchio, after which a comedy, never acted here, called, /'// 
Tell You What. Mr Euston = Wilson ; Mr Anthony Euston = Kemble ; 
Charles Euston = Woods ; Colonel Downright = Wilmot- Wells ; Sir George 
Euston =Iliff; Sir Harry H armless = Lamash ; Major Cyprus = Ward; 
Lady H. Cyprus = Mrs Wroton ; Lady Euston = Mrs Sparks; Bloom = 
Mrs Wilson; and a Young Lady = Mrs Kemble. The prologue by Mr 
Iliff, and the epilogue by Mrs Kemble. After the play, a poetical address 
to the audience, called " The Judge's Charge to the Jury," to which will be 
added, never performed here, a comic opera in two acts, called Patrick in 

* Vol. vi. p. 137. 



1786-7.] Tlie Annals of the Edinburgh Stage. 199 

Prussia, by John O'Keefe (from the author's original manuscript, by 
permission). Darby = Wilson ; Quiz = Moss ; Father Luke = Hallion ; 
Rupert = Bland, junr, ; Greenbergh = Charteris ; Adjutant = J. Bland; 
Timiny Tickleback = Yates ; Flora = Mrs Wilson ; Mabel Flourish = Mrs 
Charteris; Norah = Mrs Iliff; after which "the scene will draw up and 
discover the stage fitted up exactly in the oratorio style, when a musical 
performance will commence called the ' Sons of Anacreon,' or ' The 
Harmonical Society.' ' Seven glees were included in this performance, 
and " to make the band complete, there will be an organ on the stage." 
" Tickets of Mr Wilson, No. 12 St James Square, New Town." 

The above programme was evidently thought good money's worth, for 
the house was crowded. At what hour the performances concluded is not 
recorded. 

On April i6th, Woods took his benefit, on which occasion he recited 
a prologue specially written for him by Robert Burns. 

PROLOGUE. 

" When, by a gen'rous public's kind acclaim, 
That dearest meed is granted honest fame ; 
When here your favour is the actor's lot, 
Nor ev'n the man in private life forgot ; 
What breast so dead to heav'nly virtue's glow, 
But heaves impassion'd with the grateful throe ! 
Poor is the task to please a barb'rous throng, 
It needs no Siddons' pow'rs in Southern's song ; 
But here an ancient nation, fam'd afar 
For genius, learning high, as great in war 
Hail Caledonia ! name for ever dear ! 
Before whose sons I'm honoured to appear ! 
Where every science, every nobler art, 
That can inform the mind, or mend the heart, 
Is known ; as grateful nations oft have found, 
Far as the rude barbarian marks the bound ; 
Philosophy, no idle pedant dream, 
Here holds her search by heav'n-taught Reason's beam ; 
Here Hist'ry paints, with elegance and force, 
The tide of empire's fluctuating course. 
Here Douglas forms wild Shakespeare into plan, 
And Harley * rouses all the God in man. 
When well form'd taste and sparkling wit unite, 
With manly love, or female beauty bright, 

* "The Man of Feeling," by Mackenzie. 



2OO The Annals of the Edinburgh Stage. [1786-7. 

(Beauty, where faultless symmetry and grace 

Can only charm us in the second place) 

Witness my heart, how oft with panting fear, 

As on this night, I've met these judges here ! 

But still the hope experience taught to live, 

Equal to judge, you're candid to forgive. 

No hundred-headed Riot here we meet, 

With Decency and Law beneath his feet ; 

Nor Insolence assumes fair Freedom's name, 

Like Caledonians you applaud or blame. 

O thou dread Power ! whose empire-giving hand 

Has oft been stretch'd to shield this honour'd land ! 

Strong may she glow with all her ancient fire ; 

May ev'ry son be worthy of his sire ; 

Firm may she rise with generous disdain 

At Tyranny's or direr Pleasure's chain; 

Still self-dependent, in her native shore 

Bold may she brave grim Danger's loudest roar, 

Till Fate the curtain drop on worlds to be no more ! " 

As is well known, this is not the only contribution of a similar kind 
that Burns made to stage literature ; but when we consider the keen 
dramatic instinct he showed in his " Jolly Beggars," it must ever be a 
matter for regret that so great a genius is unrepresented on the stage, and 
such a glorious chance of founding a Scottish drama was lost to us for 
ever. 

On May 2nd, for Kemble's benefit, O'Keefe's Young Quaker, for the 
first time here. Captain Ambush = Iliff; Shadrach = Yates ; Clod = 
Wilson ; Chronicle = Moss ; Dinah Primrose (with an epilogue in character) 
= Mrs Kemble ; after which a " theatrical medley," " The Maid that 
tends the Goats," a new song by a gentleman of this city, to be sung by 
Mrs Kemble a hint at the secret, by Mrs Kemble, as a Freemason's 
wife ; to be followed by The Frolic, after which a farce called The Fool, 
and the whole to conclude with Away to Leith Links, or a Goljing we 
will go. 

" Mr Kemble assures the public, notwithstanding the variety in his 
bill of fare, that the whole performance will be over by half-past eleven." 

From May loth to iQth the Theatre was closed. On the latter date, 
however, it opened, with Lee Lewes as an especial attraction. After 
acting in several pieces, Lee Lewes gave his " Lecture on Heads." -Mrs 
Jordan opened an engagement on June 7th, which extended until the 



1787-8. 1 The Annals of the Edinburgh Stage. 201 

middle of July. About the same time the Theatre closed, and the company 
went to Dundee, where they remained until the end of October. 

The Theatre was open from the 4th to the 22nd of December 1787, 
but closed then until January igth 1788, when it re-opened with The Way 
to Keep Him, and Peeping Tom. 

January 3Oth, Mrs Strickland made her first appearance as Lady 
Bell Bloomer in Which is the man ? 

February 3rd, Othello. Othello = Fennell, "who performed the 
character here last summer, and in London this season, by the name of 
Cambray." 

Jackson says,* " Towards the close of the season 1787 Mr Fennell, 
without any introduction or recommendation but his own appearance and 
report, became known to me. The audience approved of him ; and from 
their approbation I entered into an engagement with him for the next 
season, under the penalty of ^200." In the autumn, however, he had 
gone to London to purchase dresses, and Harris, who brought him for- 
ward, as noted above, offered to engage him and pay Jackson the ^200 
penalty, as well as any larger sum he might think reasonable for damages. 
Jackson declined this offer, and Fennell had more honour than to break 
his engagement. Jackson further says, " Mr Fennell continued the winter 
with me in Edinburgh ; and I must do him the justice to say, that he 
attended to his business in every instance with the nicest punctuality. 
He was never absent at one rehearsal, and cheerfully undertook, at the 
shortest notice, every part assigned to him." The extraordinary outcome 
of Fennell's engagement will be noted in its proper place a few lines below. 

February 6th, Fennell acted Macbeth, and appears to have been 
received with great applause ; t during the entire season, indeed, he acted 
nearly all the leading parts, Woods playing second lead. 

March 24th, Miss George, from Drury Lane, made her first appear- 
ance as Rosetta in Love in a Village. 

April 1 9th, Mr Bulkley's benefit, Much Ado About Nothing, with 
alterations from the MS. of David Garrick. Benedick = Williamson ; 
Beatrice = Mrs Bulkley. 

On April i8th an announcement appeared that Jackson was building a 
Colonnade in front of the Theatre, and was going to place three statues on 
the top of the building, namely, Shakspere in the middle, and Comedy 

* History of Scottish Stage, p. 149. t Courant. 



2O2 The Annals of the Edinburgh Stage. [1787-8 

and Tragedy on either side. He also proposed to make a green-room 
and extra dressing-rooms, inviting public subscriptions to aid him 
in his laudable enterprises. The alterations were allowed at a meet- 
ing of the proprietors, when Messrs Fullarton, Stuart of Allanbank, 
Andrew Balfour, Ramsay, Williamson, and Watson were present. 

The season closed on June 2nd with School for Scandal and the 
pantomime of Mother Shipton. 

On July 5th 1788 the Theatre again opened. Douglas. Lady Ran- 
dolph = Mrs Siddons ; Douglas = Fennell. 

July 1 4th, Julia, or the Italian Lover, by Robert Jephson. First 
time here. Mentevole= Fennell ; Julia = Mrs Siddons. 

Mrs Siddons had been expected a month earlier, and although 
Fennell was under no obligation to stay over the summer in Edinburgh, 
he had done so to oblige Jackson, who asked him in order that Mrs 
Siddons might have proper support. 

Fennell's remaining led to one of the most extraordinary cases of per- 
secution that ever disgraced a theatrical audience. After it was over, Fen- 
nell, who was the sufferer, published a " Statement of Facts," which gives 
a plain, correct, and unvarnished account of the whole affair. He says, 
" On the evening of the 8th of July, the day preceding the performance of Venice Pre- 
served, Mr Jackson put into my hands the following letter, which he had received that 
morning by the Penny Post, evidently written in a disguised hand : ' Sir, If the parts of 
Jaffier and Pierre are not differently cast before to-morrow, the play will not be allowed to go 
on. It is unpardonable in a manager to thrust a fellow into a part which, he must be 
sensible, he is totally incapable of performing. THE PUBLIC.' ... On the follow- 
ing evening I came forward in the performance of my duty, and was proceeding in it, when I 
heard several hisses, and the cry of ' Off, Off ! ' from some part of the Pit. A reception so 
unusual and distressing, while it redoubled the applause from every other part of the house, 
naturally led me to consider what could be the cause of it. Instantly the anonymous letter 
flashed on my remembrance ; nor was I long before I concluded that the hissing must have 
proceeded from the authors of it. Recovering, therefore, from my embarrassment, during 
which the kind indulgence of almost the whole audience had supported me, I advanced, to 
discover, if possible, amongst whom the disapprobation prevailed. Several gentlemen having 
called out ' Hear him ! Hear him ! ' a silence gradually ensued ; upon which I thus addressed 
the audience : ' It would be but affectation in me to pretend ignorance of the cause of this 
partial disapprobation ; but I should ' here I was interrupted by several hisses from the Pit ; 
which, being immediately drowned by the louder and almost universal marks of applause, I 
changed my intended address to the audience in general and, referring only to the author of 
the letter, (and his abettors, who I was naturally led to imagine were my persecutors, en- 
deavouring to put their threats in execution), I said, ' I cannot wonder that some persons 
are averse to my addressing the audience, when they must be conscious that, from my speak- 
ing, a scene of villainy will be revealed, in which, I fear, they may find themselves but too 



1788.] The Annals of the Edinburgh Stage. 203 

deeply interested.' Here an apparently universal approbation followed; after which I 
resumed my former address to the audience in general, ' but I should deem myself worthy 
of general censure, were I not at all times, and even at this present moment, equal to meet 
and to confute any accusation that can be adduced against me, either regarding my conduct 
as an actor or as a man ! ' Here several gentlemen exclaimed, ' I'm sure of it ! ' ' I'll answer 
for you ! ' Silence being restored, I stated that six weeks ago Mr Bland, senior, offered Mr 
Woods the part of Jaffier, Mr Bland being authorised by me to say that, with the permission 
of the manager, if more agreeable to Mr Woods, I would undertake the part of Pierre. The 
reply delivered to me by Mr Bland was, ' Mr Fennell never would have offered me the part 
of Jaffier had he not thought he could have made a better part of Pierre.' Here Mr Woods 
appeared upon the stage and said, ' I should not thus, uncalled for, have obtruded myself 
upon the audience, had it not been to set that gentleman right in one particular ; and I can 
assure the Public, upon my honour, that the part of Jaffier was never offered to me officially, 
but mentioned casually by Mr Bland in the course of common conversation ! ' 

" The Manager was called for and appeared. 

" Manager. ' I must confess I cast the parts originally according to the best of my 
judgment; but this day se'nnight, I offered, officially, the part of Jaffier to Mr Woods ! ' 

" Woods ' You did so, sir ! ' 

" Manager ' Telling him, at the same time, -that Mr Fennell had always declared a 
preference in favour of Pierre ; to which Mr Woods replied that he would rather perform 
Pierre ! 

" Woods ' Mr Jackson certainly offered me the part of Jaffier ; but, as I then had 
studied Pierre, I did not think a week sufficient time to recover it ! ' 

" Manager ' What Mr Fennell alluded to by a scene of villany, I imagine to be this 
letter ' 

" Upon which I advanced, and having asked and obtained permission of the audience, 
was preparing to read it when a person from the Pit called out, 'Then read the words.' 
This cruel attack on my veracity was felt too sensibly for concealment. I advanced to 
that part of the Pit from whence the voice issued, and demanded, ' Who dares imagine I 
would not ? ' The approbation of almost the whole audience was testified, on this reply, 
by the most loud and lengthened applause ; during which somebody near me said something 
about duty to the Public ; to which I answered, ' I know, and will always practise my duty 
to the Public, but will not suffer myself to be insulted by any individual,' after which I read 
the letter, and then said . . . Here the applause was such as convinced me that I was 
attempting the part of Jaffier with the approbation of the Public, however discontented some 
few individuals might appear." 

On the following clays Fennell and Jackson both received numerous 
anonymous letters, and on the I2th, Fennell was called for before the 
play began, when he advanced and said : 

" ' With the greatest respect for this audience, I now advance, to be informed why I am 
called before you.' Some person exclaimed ' For an apology,' together with the loudest 
applause. However, as the hissing still continued, I replied, ' An apology for what ? ' . . . 
A person near me called out, ' Account for the scene of villainy ! ' to which I replied, ' Is 
it the author of it that calls upon me ? ' The tumult having subsided, I advanced, and said, 



204 The Annals of the Edinburgh Stage. [1788. 

' Have I any accuser ? ' No ONE APPEARED. Observing which, after a short pause, I added, 
' As it seems to be the prevailing opinion of this audience that I have committed no offence, 
I cannot think of making any apology.' 

" On the Monday following, when I had hoped every disquiet had been concluded, I 
was surprised that a more formidable party had assembled, consisting chiefly of the younger 
branches of the law. Ill-founded reports had been circulated ; my conduct had been mis- 
represented ; and combinations had been formed, determined to carry by force what they 
had before failed in by justice. 

" Upon my coming forward to speak the prologue to the Italian Lovers, I was received 
by the hisses and cat calls of their stationed parties in the Pit ; while I was supported, if not 
by an equal number there, by almost every individual in the boxes and other parts of 
the house. In this cruel situation I remained for more than half-an-hour, . . . when 
the dispute becoming more violent, several blows were received on either side. Upon which 
many gentlemen leaped from the Boxes into the Pit, which was quickly restored to some 
degree of tranquility. ... I was then called upon to repeat what I had said on Satur- 
day, which I did. After which, Sir John Dalrymple stood forward, and thus addressed me : 
' Mr Fennell, I am your friend, and sit among those that are your friends ; the expression 
" villainy," which you made use of on Wednesday last, was a rash one, but excusable in one 
whose mind was hurt, and who was conscious of being a gentleman. However, I give you 
my advice, to make some slight concessions to that part of the audience who have taken 
offence, who will overlook what is past, and the play will be suffered to go on.' A gentleman 
begged that I would answer one question, ' Mr Fennell, when you made use of the term 
" a scene of villainy," it was addressed to the author of the anonymous letter, and his abettors, 
and to them only, and not to the audience in general, was it not ? ' To which I replied un- 
doubtedly, upon which many of the opposite party exclaimed, ' Enough, Mr Fennell ; Huzza, 
Mr Fennell ; ' and a general applause ensued." 

So much for Fennell's statement, the main facts stated in which are 
fully borne out by Jackson, as well as by contemporary evidence. The 
little pamphlet is dated from Walker's Hotel, July 24th 1788. The 
information to follow is furnished by a summons taken out by Fennell 
against one of his detractors for wanton, illegal, and unwarrantable com- 
bination and conspiracy, "whereby the pursuer was driven from his em- 
ployment in the Theatre ; " the damages demanded being ,15,000. 

On July 1 5th Jackson received the following letter : 

" SIR, We are of opinion that Mr Fennell's late deportment to the public, and your 
conduct as manager with regard to that matter, require a very ample apology from both, testi- 
fying your deep regret for having failed in the respect due to them ; and if Mr Fennell fails 
to make such an apology, you ought immediately to dismiss him. And we take this method 
of intimating to you that, if this opinion is not complied with, either by making the apology 
suggested on Wednesday evening, or dismissing Mr Fennell, that neither we nor our families 
will henceforth frequent your theatre, or shew you any countenance as manager, except that, 
from our high regard for Mrs Siddons, we shall postpone executing our resolution till her en- 
gagement expires." 



1788.] The Annals of the Edinburgh Stage. 205 

This letter was signed by Robert Dundas, solicitor-general, and one 
hundred and sixty-four gentlemen of the legal profession ! 

Upon receipt of this letter Fennell, of course, withdrew, published his 
" Statement of Facts," and then commenced the action mentioned above. 
Summonses were sent to, John Wilde, advocate ; John Clerk, advocate ; 
James Gibson, W.S. ; James Campbell, W.S. ; Thomas Cunningham, 
advocate ; William Dallas, W.S. ; David Cathcart, advocate ; William 
Anderson, W.S. ; John Hagart, advocate ; James Young, W.S. ; William 
Inglis, writer; George Robertson and Alex. Cunningham, writers. 

Genest * rightly terms the persecution of Fennell "a vile conspiracy." 
He continues, " Fennell, not considering himself degraded from his original 
situation in Society, had frequented the balls and danced as usual a 
friend, who was at Edinburgh at the time, told me that this gave offence 
to several gentlemen but if this were the real cause of their enmity to 
him, they ought to have made the M.C. represent to him the supposed im- 
propriety of his behaviour ; and not have attacked him at the theatre." 

On July 25th, Signora Peres, chief dancer to the Duchess of Parma, 
appeared. 

July 28th, benefit of Mrs Siddons. As You Like It. Rosalind = 
Mrs Siddons, first time here. 

Upon the conclusion of her engagement Mrs Siddons was presented, 
by the gentlemen of Parliament House, with a piece of plate weighing 144 
ounces, made by Mr Robertson of Parliament Close. It bore the follow- 
ing inscription : " To MRS SIDDONS, as an acknowledgement of Respect 
for eminent Virtues, and of gratitude for pleasure received from unrivalled 
talents. Edinburgh, 1788." 

August ist was her last night, after which she went to Glasgow along 
with the company. 

Mr Woods seems to have remained, as he advertises that " he gives 
lessons in reading English." 

During August the following advertisement appeared : " Jones and 
Parker invite subscriptions to build the Amphitheatre in Leith Walk, 
where they have had a temporary building." 

The appeal was made successfully, and an amphitheatre or circus was 
built, which in its time saw many strange scenes. 

* History of English Stage, vol. vi. p. 506. 




CHAPTER XIII. 

THE NEW PATENT. 

N the 2Qth of September 1788, the royal patent for the Theatre 
expired, and it is interesting at this stage to look back upon 
the series of events which led to the original application for 
the patent, and the effect it produced during the term of its 
existence. Previous to 1767 the Theatre was unlicensed, and plays were 
acted under cover of an exceedingly thin evasion of the law, namely that 
of announcing concerts with the play given gratis between the parts. This 
was far from satisfactory ; and the anomaly of a company of proprietors 
composed of the dignitaries of the law evading the laws they were paid 
by government to uphold and enforce, was so absurdly apparent as to 
necessitate a complete change. The " gentlemen " proprietors, now as 
anxious to get rid of the whole concern as ever they had been to become 
mixed up in it, in their hurry to cleanse themselves of the " pitch " that 
they thought was soiling their fingers, made over the patent right away 
to the highest bidder. This action of theirs benefited but one person 
besides themselves, namely Ross, the new patentee. That it did benefit 
him requires little pointing out. In the first place, for a few hundred 
pounds he acquired an absolute monopoly of keeping open a theatre in 
Edinburgh for the next twenty-one years. This, in an active capacity 
however, he was unable to do ; so he let the patent out at so much a 
year, along with a building which he had raised out of the pockets of 
others, by the magic of his financial aptitude. Even when his monopoly 
had but three years to run, he was able to get an annuity settled on him 
for life through the potent influence of the patent. 

On the public's side, it is very questionable if the patent was beneficial. 
Looking at the uneventful records of much of its term, the unquestionably 



1 788-9.] The Annals of the Edinburgh Stage. 207 

bad companies of many seasons, and the wretched patronage often given, 
it is reasonable to suppose that had there been free trade a higher standard 
of excellence might have been attained. When the first patent was about 
to expire, Jackson applied for a new one in his own name, and in that 
application set himself forth as sole proprietor. The twenty-five gentlemen 
shareholders took a different view of the case, and declared they were 
proprietors along with Mr Jackson ; and, evidently forgetting the lesson 
the "gentlemen " proprietors of the Canongate House had received 
twenty-one years previously, applied in their own names for the patent. 
Jackson at once became alarmed ; for had they carried their point they 
would in all probability have transferred the patent to a new playhouse. 
In that case Jackson would have found himself as it were stranded high 
and dry, with a theatre belonging chiefly to him, but unable to turn it to 
account. The position the shareholders assumed was that of " trustees " 
for the public, and although it is obvious that they did so only with the 
object of gaining public support, yet, on the other hand, it was clearly un- 
desirable that a man of Jackson's calibre should hold a monopoly for 
so long a term as twenty-one years. It was proposed to give the patent 
for a shorter term, but this Jackson wisely refused with indignation. 
Eventually, however, matters were settled by the intervention of several 
gentlemen, who prevailed upon the Duke of Hamilton and Henry Dundas, 
Esq., to become joint patentees as trustees for the public. It may be 
mentioned that Jackson denies the latter qualification, and says they were 
trustees for the proprietors, a statement which is not borne out by fact. 
Jackson further alleges that he, as proprietor, asked the Duke and Mr 
Dundas to become his trustees of the patent, and that they consented in 
writing. 

Accordingly, the new patent was procured as above, and it was 
allowed in the mean time to lend its royal sanction for the playing of stage 
plays in favour of Jackson's building. 

The first season under the new patent does not seem to have opened till 
January 2ist, 1789, when Holman from Covent Garden appeared as 
Hamlet, the Ghost by Williamson. Holman must have been a valuable 
addition to the company ; he appears to have been engaged in Fennell's 
place. 

A Mrs Belsill was advertised to appear, but shortly after there appeared 
a paragraph stating that she had died in Glasgow of a " putrid fever." 
This must have been Mrs Belfille, who appears to have acted only once 



208 The Annals of the Edinburgh Stage. [1789. 

in London. * King made his first appearance in Edinburgh on March 
28th, in his great part of Lord Ogleby in the Clandestine Marriage. 
During his stay he played Touchstone, Copper Captain, Puff, Sir Peter 
Teazle, Young Philpot, &c. 

On April 29th, " God Save the King" was sung in honour of the 
king's recovery. 

At Woods' benefit, on May 4th, the tragedy of Vimonda, which had 
been brought out at the Haymarket, September 1787, was played for the 
first time here. It was by Macdonald, son of a Leith gardener, who had 
been educated for the ministry, and after being admitted into holy orders 
had resigned. He died in great poverty in London in i788.t 

The season closed on May i6th. 

Throughout this winter (1788-9) the private theatricals at Marion- 
ville well-known through Chambers' graphic description of the tragic 
cause of their stoppage, \ were in full swing. The Scots Magazine 
says : " On Friday, March 27th, the Tragedy of Douglas was performed 
at Mr Macrae's private theatre at Marionville. This theatre, though 
small, is extremely neat. The scenes are prettily painted. In the front 
of the stage is a piece of drapery, on the top of which is a scroll with the 
words, The abstract and brief chronicle of the times ; and in the centre of 
the scroll is a bust of Shakspere. The seats below and gallery above, it 
is supposed, will contain about 1 50 persons. The dramatis persona were, 
Douglas = Mr Lemaistre ; Glenalvon = Captain M'Ewan ; Lord Randolph 
= Captain Hunter; Old Norval = Mr Macrae ; Anna = Mrs Carruthers ; 
Lady Randolph = Mrs Macrae. A prologue suited to the occasion, written 
by Mr Lemaistre, was spoken by that gentleman. After the play Mrs 
Macrae delivered an excellent epilogue written by herself. It contained 
much point, and was delivered with such vis comica, as showed that Mrs 
Macrae's powers are not confined to tragedy." 

Another piece played during the season at Marionville was Venice 
Preserved. Belvidera = Mrs Macrae; Jaffier=Mr Macrae; Priuli = 
Captain Hunter ; Renault = Captain Wellwood ; Pierre = Captain 
M'Ewan. 

The summer season (1789) at the Theatre Royal opened on July 
1 4th with Mrs Jordan as Peggy in the Country Girl. 



* Genest, vol. vi. p. 439. J Traditions of Edinburgh, 

t* The Dramatic Writers of Scotland, by R. Inglis. 



1 790.] The Annals of the Edinburgh Stage. 209 

On the 24th Fennell seems to have played Othello and addressed 
the audience, and on August 4th he took a benefit. The Theatre 
was then closed till October i3th, when it re-opened for the Race week, 
and Mrs Taylor from the Haymarket and Miss Fontenelle from Covent 
Garden appeared. The Theatre was again closed early in November. 

The winter season (1789-90) opened on December 26th with The 
Confederacy. Jackson, apprehensive that the new Circus which had been 
built in Leith Walk would hurt his business, had engaged a very strong 
company. King, Pope, Wilson, Woods, Moss, Williamson, Mrs Esten, 
Mrs Barresford, Mrs Jackson, and Miss Fontenelle, were the leading 
members, and it would have been difficult to have had a better selected 
company out of London. Yet the season did not pay. Of course the 
Circus must have been largely to blame for this, but one can scarcely 
believe it to have been the sole cause. 

December 3ist, Tragedy of Mary Queen of Scots, by Hon. John 
St John. Duke of Norfolk = Woods ; Sir William Cecil = Archer ; Queen 
Elizabeth = Mrs W. Wells ; Mary Queen of Scots = Mrs Barresford. 

Mrs Esten made her first appearance, as Juliet, on January i9th, 
Pope playing Romeo ; Williamson, Friar Lawrence ; Moss, Peter ; 
Woods, Mercutio. 

Mrs Esten proved a great success, and speedily grew into great 
favour with the Edinburgh audience. 

March I3th, Much Ado About Nothing. Benedick = King; 
Claudio = Woods ; Don John = Hallion ; Dogberry = Moss ; Beatrice = 
Mrs Esten ; Hero = Mrs Woods. 

From March i9th to 28th, the company played in Glasgow, but on 
the 2 Qth they re-opened in Edinburgh with The Way to Keep Him. Sir 
Bashful = King ; Sir Brilliant = Lamash ; Lovemore = Woods ; Mrs Love- 
more = Mrs Barresford ; Widow Bellmour = Mrs Esten, in which character 
she will introduce a song, and accompany herself on the Forte-Piano. 
This is the first mention of a pianoforte being played in the Edinburgh 
Theatre, though it is not improbable that it was not the first time that 
it had been so used, since it was so far back as May i6th 1767 that 
Charles Dibdin had played " anew instrument called Pianoforte" at 
Covent Garden for the first time in public in England. The winter season 
terminated on May I9th, and the Theatre re-opened for the summer on 
May 26th by desire of the Dean and Faculty of Advocates, The 
English Merchant being played. June ist, The Dramatist, never acted 

o 



2 TO The Annals of the Edinburgh Stage. [1790-1. 

here. Vapid = Wilson ; Neville = Williamson ; Floriville = Lamash ; Lord 
Scratch = Bell ; Marianne = Mrs W. Wells ; Willoughby = Woodroffe ; 
Louisa = Mrs Barresford. 

June 3rd, The Dramatist, 3rd time ; at the end of the play the much 
admired song of " Poor Jack " (Dibdin) by Mr Woodroffe. 

The house was closed for a week, and then re-opened on June 26th 
with King, who had been up in London, and Miss Farren. Much Ado 
was played, Benedick = King ; Dogberry = Wilson ; Beatrice = Miss 
Farren, her first appearance here. The season closed on July 28th. 

The Scots Magazine for September 1 790 contains the following : 

" On the 1 4th September, at London, [died] suddenly, Mr David Ross, the tragedian, 
Master of the Revels for Scotland, and original patentee of the Theatre at Edinburgh, and the 
last of the old set of players so much admired. The father of Mr Ross was formerly a W.S. at 
Edinburgh, but settled in London in 1722 as a Solicitor of Appeals, in which profession he 
lived with considerable credit. 

" David was born in the year 1728 ; but at the early age of thirteen he unfortunately lost 
his father's affections by some indiscretions at Westminster School, which he was so unhappy 
as never to regain ; and though in his letters the old gentleman attributes the cause of his 
anger to his son's heedlessness and inattention, yet so far did he carry his resentment, as to 
be capable of sporting with his son's misfortunes in the hour of quitting the world, as will 
appear from the following injunction in his will : ' And also that the said Elizabeth Ross* 
shall be obliged to pay or cause to be paid to her said brother, David Ross, the sum of one 
shilling upon the first day of every month of May, that being his birthday, thereby to put 
him in mind of his misfortune he had to be born.' The late Mr Ross came upon the Covent 
Garden stage about the year 1753,! and, having the advantage of a good person and a good 
education, raised him at least to the second rank in tragedy and genteel comedy. Pretty 

much about this period it was that Lord Sp threw his eyes on him as a proper person 

to accomplish an act of benevolence and humanity, that will ever reflect the highest credit 
on his Lordship's heart. The celebrated Fanny Murray had been debauched by his father ; 
to atone for such a fault, he considered an act of justice ; he therefore proposed her as a wife 
to Mr Ross, with a settlement of ^200 a-year. Ross's dissipations demanded such an addi- 
tion to his fortune, and as the lady retained nothing of her former situation but her charms, 
the contract was signed and the marriage celebrated. 

" Mr Ross afterwards purchased the Edinburgh Patent, at which place he was obliged to 
reside in the course of his profession ; and here it was suggested to him that, by the laws of 
Scotland, a person could not will his estate by mere words of exclusion without an express 
conveyance of inheritance at the same time ; which last circumstance had been omitted by 
his father ; accordingly he brought his action of reduction against his sister, which, after 
being argued before Lord Kennet, Ordinary, December 1769, he gave the interlocutor in his 
favour. His sister and her husband then applied for representation, in which they were a second 
time worsted ; they ultimately brought it before the House of Lords, where the legality and 

* Married Hugh Ross of Shandwick and Kerse. 
f This is quite wrong. See below. 




fin 



v 



( /jtvr.' 



i>y (/trfae'frf^rtM.*4faff? 



1 790- T.] The Annals of the Edinburgh Stage. 211 

justice of Mr Ross's title was so ably pleaded by the Lord Advocate and the Solicitor- 
General, that their Lordships gave a decree in his favour, by which he recovered near ^6,000. 

" He now disposed of the Edinburgh Theatre to Mr Foote, and renewed his engage- 
ments at Covent Garden. He uninterruptedly enjoyed this situation until about twelve years 
ago, when, being left out of the managerial arrangements, he never recovered it. For some 
time after this period he was consigned to severe distress. Improvident, like the generality 
of his brethren, he had made no provision for the future ; and, in this situation, a small 
annuity from a mortgage on the Edinburgh Theatre served rather to tantalise than to 
relieve his wants. He was one day surprised by an enclosure of a ;6o note ; the envelope 
containing only a mention that it came from an old schoolfellow, and a direction to a banker 
where he was to receive the same sum annually. This, which he afterwards found his most 
certain provision, was continued for many years, and the donor was still unknown. The 
mystery was. at length discovered, through an inadvertence of the banker's clerk, and Ross, 
with infinite gratitude, found his benefactor in the person of Admiral Barrington. The acci- 
dent of breaking his leg, about two years ago, decided his theatrical fate, and he lived prin- 
cipally upon the bounty of his great naval friend. 

" As an actor Ross had claims to great praise in tragic characters of the mixed passions, 
as well as lovers in genteel comedy ; but from indolence, or the love of pleasure, he was not 
always equal to himself. 

" Churchill said of him, 

' Ross (a misfortune which we often meet) 
Was fast asleep at dear Statira's feet.' 

" As a companion he may be considered as the last eleve of Quin, from whom he seemed 
to glean his relish for the table." 

The account given above is interesting, but far from correct as to 
dates. Ross's first appearance seems to have been in Dublin, May 8th 
1749, as Clerimont in the Miser. He was in Drury Lane from 1751-2 
to 1756-7, after which he went to Covent Garden, and remained there till 
the spring of 1767, when he came to Edinburgh. His connection with 
the Edinburgh Theatre has already been traced. He returned to Covent 
Garden in 1770-1 as stated in the above narrative, but only to continue for 
two seasons, not twelve. He acted again at Covent Garden in 1 777-8. The 
remainder of the above sketch of his life may very possibly be correct. 

Jackson's next season (1790-1) opened on December 4th, with Henry 
IV. Sir John Falstaff= Ryder, from Covent Garden, first appearance for 
seven years. December 9th, Padlock. Leonora = Miss R. Ryder, from 
Covent Garden, first appearance here and fourth on any stage. The 
Theatre was closed from December 24th to January 2Oth, when it re- 
opened with As You Like It. Touchstone = Ryder ; Adam = Williamson ; 
Orlando = by a Gentleman (Mr Toms); Jacques = Woods ; Rosalind = 
Kennedy, from Covent Garden. 

Mr Eraser, vocalist, made his first appearance on January 29th, and 



212 The Annals of the Edinburgh Stage. 

on February 7th there was produced for the first time here the German 
Hotel, from Covent Garden. Dorville = Woods ; Count Kolberg = William- 
son ; Baron Thork = Guion ; William = Lamash ; Count Werling = 
Kennedy; Adelaide = Mrs Barresford ; Mrs Dorville = Mrs Kennedy. 

February 23rd, Grand Serious Pantomime, Death of Captain Cook. 
Captain Cook = Williamson. The scenery seems to have been unusually 
good. A similar entertainment, on the same subject, was brought out at 
the Circus. 

March I2th, Merry Wives of Windsor, by desire of the Earl of Mor- 
ton, Grand Master Mason. On March igth, Mrs Esten appeared for the 
first time this season, her last appearance being on April 4th, when she 
played Douglas (first time in the part). The last night of the season, May 
1 9th, was set apart as a benefit for the Edinburgh Dispensary. 

The summer season opened on June 2oth with the Grecian Daughter. 
July gth, Conscious Lovers. Young Bevil = Bew, first appearance here; 
his second appearance was as Flutter in the Belle s Stratagem, on July 
1 8th. July 29th, last night, Richard III. Title role by a young gentleman. 

And here ends the first period of Jackson's reign as manager in Edin- 
burgh. 

When Jackson took out sequestration is doubtful. A careful perusal 
of his work * (sections x. and xi.) leads to the belief that it must have been 
in July 1 790 ; but, if so, how did he carry on the concern through another 
season ? Again he says (p. 198), " In the spring of 1 791 the clouds of war- 
fare began to collect. They went off in evaporation, with respect to poli- 
tical matters, but some of the grosser particles fell upon me." He refers 
to the non-arrival of the Fleet, which had been expected, and would have 
brought much money into the treasury. But (p. 192) he speaks of the "short 
period of my retirement from July 2ist to August 2ist," which must have 
been in 1790, for he says the company was managed by King during that 
time. King was in Scotland in 1790, but not in 1791. That is, assuming 
" retirement " to signify a sojourn in the neighbourhood of Holyrood House. 
One thing, however, is clear, he did take out sequestration, and his 
estate was put into the hands of trustees if not sooner certainly 
during the summer of 1791. He hoped to pull through with the 
assistance of Mrs Billington, whom he endeavoured to engage (for the 
summer of 1791); but that lady disappointed his hopes, and Jackson 

* History of Scottish Stage. 



I79 1 -] The Annals of the Edinburgh Stage. 1\$ 

had to succumb to the inevitable. The paragraphs quoted below * seem 
to point to the conclusion of 1790 being the date of Jackson's sequestra- 
tion, in which case he had only been managing the concern during the 
season 1 790- 1 for his own trust estate. 

" But the person who at that time possessed the power of controlling my fortune would 
not allow me another trial. The Theatre was advertised to be let to the highest bidder ; and 
a clause was inserted in the articles of roup, that previous security should be lodged by the 
parties proposing to bid ; a clause professedly intended to prevent any offer from me. 

" In this situation, it was judged advisable for me to seek for some additional strength. 
Two competitors started for the lease : Mrs Esten and Mr Stephen Kemble. My wish was 
to have been connected with the former ; but Mrs Bennett, f not coming down, and some mis- 
take happening with those who conducted the business on her part, I was thereby thrown 
into a treaty with Mr Kemble." 

That treaty led to very important results. If Jackson is to be believed, 
Kemble behaved shamefully. Lee Lewes, who gives a very lengthy 
account of the whole transaction, says, on the other hand, that Jackson was 
entirely to blame for all the misunderstanding that took place. 

Lee Lewes gives his account as follows : j 

" At the period when his creditors advertised the Theatres of Edinburgh and Glasgow to 
be let by public auction, Mr Stephen Kemble and Mrs Esten were the two candidates (Nov- 
ember and 1791). Jackson supplicates Kemble to take the Theatre for one year, to prevent 
Mrs Esten becoming the lessee, whose influence he dreaded, fearing, if she once got the 
theatres into her possession, they would never revert to him again ; but it is natural to ask, 
whence those fears should arise, after telling his creditors that the scheme had ruined him, or 
why then make choice of Mr Kemble instead of Mrs Esten ? But most truly thus it was 
he tells Kemble to take it at any rent, and says, ' I shall have it in my power, I hope, to 
settle with my creditors before the next year, so as to prevent the two theatres ever being let 
by auction again ; and as long as I may have any concern in them, you shall be my partner, 
as I prefer you and your connections to Mrs Esten ; and further, I will find you security for 
one half of the rent and become your partner in the concern.' Kemble had no objections, 
missives were made out and signed, and Kemble took the Theatre at ^1350. The dispute 
now arose. Jackson produced his security, which Kemble objected to as not being sufficient. 
Jackson insisted on him taking it, so the difficulty was laid before the Dean of the Faculty of 
Advocates as arbitrator. That distinguished individual, however, did not give his decreet-final 
until within a few days of the close of the season (1791-2), during which time Jackson, who 
had constantly troubled the Dean of Faculty with letters and interviews, found out he could not 
get rid of Kemble by fair means, so made a secret bargain for the ensuing season with Mrs 
Esten, to let her the Theatre at ^200 less rent ! " 

* History of Scottish Stage, p. 200. % Memoirs, vol. iii. p. 85. 

t Mrs Esten's mother. 



214 The Annals of the Edinburgh Stage. [ I 79 I - 

Lee Lewes and Jackson's accounts are substantially the same ; but 
differ in regard to motive. That Jackson was a martyr is scarcely to be 
credited, and there is every reason to suppose that Kemble was not above 
taking an advantage if he could get it. 

It will be well now to glance at Jackson's money affairs, the state of 
which led to the Theatre being let. On page 178 of his " History of the 
Scottish Stage," he enters upon a long explanation of the reasons why 
the Theatre did not pay under his management. The chief item was 
his scheme of working the Glasgow, Dundee, and Aberdeen Theatres 
in conjunction with that of Edinburgh. It might have paid very well 
in time ; but without capital, was ruinous. The Glasgow house he had 
built himself, chiefly out of his Edinburgh profits ; and the Aberdeen 
Theatre he seems to have gone about in the same manner. " This 
necessary and laudable endeavour," says Jackson,* " led me into great 
and numerous expenses ; which, however, were not run into hastily, but 
upon very mature deliberation, and under the strongest assurance of a 
pecuniary support to no inconsiderable amount. In that I was disappointed; 
and from that disappointment the deficiency in my finances arose." 

He then gives the following tables of income and expenditure : 

The sum total of the nightly receipts of the year 1789 was ^5180 5 o 
The current expenses, 4454 i 5 

Profit, 726 3 7 

Nightly receipts of 1790, ;5 2 75 8 6 

Expenses, - ... 5297 i n 



Loss, 21 13 5 

" In the above annual statements there are no salaries put down for myself or Mrs 
Jackson in order to swell up the sum ; no allowance for keeping up the wardrobe ; for the 
expense of the company's journeys ; for the loss of the summer vacations, for want of a 
circular yearly plan, which has cost me so much in endeavouring to obviate by building at 
Aberdeen." 

My weekly expenses to performers this winter, 1790, were ;io 3 o 
For rents, estimated at ^600 a year, music, servants, 

lights, printing, advertisments, and incidents, 60 5 o 

160 8 o 



Nightly expenses, at 3 nights a week, - ^54 2 

Do. do. 4 do. 40 2 

* "History of Scottish Stage," p. 182. 



1791-2.] The Annals of the Edinburgh Stage. 215 

Cash paid for different properties, houses, lands, and appendages- 
Ground east of Edinburgh Theatre, - ^550 o o 
Dr Drysdale's house, to procure the servitude upon the 

ground, the whole purchase ^500, paid 200 o o 

Roofing, repairs, and necessary alterations to the Theatre, 500 o o 

Annuities in consequence of purchase of the Theatre, 2700 o o 

To proprietors, arrears of interest, 500 o o 

Painting of the theatres and scenery, 800 o o 

Machinery, canvas, timber, furniture, wardrobe, &c., 2000 o o 

Money lost by advances to performers, - 500 o o 

Fees and expenses of patent, 300 o o 

Shares of Theatre purchased, 340 o o 

Property on Leith Walk, - 105 o o 

The Glasgow property, more than - 3000 o o 

Paid for property, buildings, and arrears at Aberdeen, - 500 o o 



As Kemble would not accept Jackson's security for half the rent, the 
latter gentleman had to play, not second fiddle, but no riddle at all 
throughout the season. Kemble entirely monopolised the Theatre, and 
Jackson was even refused admittance to his own building. 

The first night of the season, under Kemble's management, was on 
January iQth, 1792, when the Beggars Opera was played, with Bowden, 
the tenor, from Covent Garden, as Captain Macheath, it being his first 
appearance in Edinburgh. The rest of the cast was as follows : 
Peachum = Bell ; Mat o' the Mint = Hill ; Crookfingered Jack = Moreton ; 
Drawer = Charteris, jun. ; Filch = Holland ; Lucy = Mrs Hall ; Mrs 
Peachum = Mrs Charteris; Jenny Diver = Miss Grist; Mrs Coaxer 
= Mrs Woods; Sukey Tawdry = Mrs Whitmore ; Mrs Slammekin = 
Mrs Mountfort ; Polly = Mrs S. Kemble "her first appearance for 
five years." Nearly all the above, it will be noticed, were new to 
the Edinburgh stage, and had been brought by Kemble, chiefly from 
Newcastle. 

The Courant says, " On Thursday night the Theatrical season com- 
menced here. . . . Mrs Kemble in the part of Polly was received with 
that warmth of approbation which the natural and impressive style of her 
acting, the neatness and elegance of her figure, and the genuine simplicity 
of her demeanour so justly entitle her to. Mrs Hall possesses a pleasing 
voice and an expressive countenance." Regarding Bowden, it says, " To 
speak of this gentleman as a singer, no encomium can be too high ;" the 



2i6 The Annals of the Edinburgh Stage. [1791-2. 

remarks about him as an actor, however, are not so flattering. The same 
notice mentions that the House was lighted with wax, a practice which, 
up to that period, had only been indulged in on benefit nights. 

Bowden took his benefit on February ist, although his "last night of 
performing" had been advertised for January 28th. S. Kemble made his 
first appearance for the season on February 2nd. On the nth, Colman's 
jumble of Tragedy, Comedy, and Opera, called The Surrender of Calais, 
was produced here. It had been produced at the Hay market during the 
previous summer. The Edinburgh cast was as follows : Eustace de St 
Pierre = Kemble ; The King = Harriot ; La Gloire = Baker ; Count 
Ribemont (so it was spelt in the advertisements) = Woods ; Madelon = 
Mrs Stewart ; and Julia = Mrs Kemble (her original part). 

February 25th, was produced for the first time in Edinburgh O'Keeffe's 
Comedy of Wild Oats. Rover = Woods; Harry Thunder = Lamash ; 
John Dory = Kemble; Lady Amaranth = Miss Ross, being her second 
appearance in Scotland. Two days afterwards (27th) The Merry Wives 
of Windsor was produced, with Lee Lewes his " first appearance for five 
years"- as Falstaff. March 3rd, O'Keeffe's Farce, Modern Antiques, 
for the first time here ; and on the 8th, Next Door Neighbours, Mrs Inch- 
bald's Comedy, in which Kemble played his original part of Manly, while 
Lee Lewes took that of Bluntly. Mrs Lee Lewes made her first bow to a 
Scottish audience on March I2th as Mrs Oakly in The Jealous Wife, 
Woods playing Oakly. 

Another of Mrs Inchbald's Comedies, The Married Man, was played 
for the first time here on March 1 7th. Sir John Classick = Woods ; Lord 
Lovemore = Lamash ; Tradewell Classick = Kemble, being his original 
part when the piece was produced at the Haymarket in 1789. 

Holcroft's fine comedy, Road to Ruin, which had been produced at 
Covent Garden on February i8th, 1792 (the year under consideration), 
was brought out in Edinburgh on March 24th pretty smart work for 
those days. Harry Dornton = Woods ; Old Dornton = Bell ; Milford = 
Marriot ; Sulky = Sparks ; Silky = Baker ; Goldfinch = Lee Lewes ; Sophia 
= Miss Ross ; Widow Warren = Mrs Lee Lewes. In London, during its 
first season, it ran thirty-eight nights, and in Edinburgh, although brought 
out so late, eleven times. 

The Waterman was played the same evening (March 24th), with 
Meadows as Tom Tug his second appearance here. 

On April 7th, Richard Cceur de Lion, an Historical Romance, from 



1792.] The Annals of the Edinburgh Stage. 217 

Drury Lane, was produced with new scenery by Mr Phillips. The part 
of Julie was played by Miss Wallack, who, with her father and 
mother, had previously been performing at the Circus in Leith 
Street. There can be small doubt that her father was William 
Wallack, father also of the well-known melodramatic actor and tragedian, 
James Wallack. William, who married an equestrian performer of the 
name of Mary Johannat, was a member of the famous Philip Astley's 
Circus Company both in London and Dublin, and in 1798 they were with 
T. C. Cross at the Royal Circus.* On April 2ist, in the musical comedy 
A Day in Turkey, Mr and Mrs Wallack both appeared at the Royal. 

The Theatre was closed from May 2nd to i2th ; on the i9th, Lee 
Lewes took his benefit, when he gave some comic sketches with wax 
figures, and played in Road to Ruin. 

The Fugitive, which had been produced by the Drury Lane Company 
at the Haymarket, no further back than April 2Oth, was played for Woods' 
benefit here on May 23rd. Manly, jun. = Woods; Admiral Cleveland = 
Kemble ; Old Manly = Lee Lewes; Julia = Mrs Kemble. 

The last night of the season was on June 9th, when for the manager's 
benefit Notoriety, from Covent Garden, was played for the first time here. 

Mrs Kemble sang a Gaelic song, and Mr Kemble addressed the 
" Town." 

Later in the same month Lee Lewes gave his "Comic Mirror" at 
the Royal, and the summer season opened on July 2nd, with John Kemble 
as Hamlet. Ghost = Woods ; Polonius = Lee Lewes ; Queen = Mrs 
Woods; Ophelia = Miss Ross. 

July loth, Douglas. Young Norval = John Kemble. 

July nth, Coriolanus "never acted here." Coriolanus = John 
Kemble. 

On the 1 6th Mrs Siddons again appeared. The play was Venice 
Preserved. Jaffier = Woods ; Pierre = S. Kemble. 

July 24th, Othello. Othello = S. Kemble; Desdemona= Mrs Sid- 
dons, first appearance here in that part. 

The summer season closed on August ist. 

So closed Kemble's first " Royal " season, which had certainly been 
characterised by spirited management. He produced a large number of 
new plays, as has been shown ; and the company, although far from per- 

* Henry Wallack was another son, and Mrs Alfred Wigan a grand daughter. 



2i8 The Annals of the Edinburgh Stage. [ I 79 2 -3- 

feet, was decidedly respectable. When he found out that Jackson had 
let the Royal to Mrs Esten and Mrs Bennett for the following season, 
Kemble issued an address as follows : 

"Mr Kemble begs leave most respectfully to inform the public that he hopes to have 
the honour of soliciting their countenance as a manager of a Theatre in this city during the 
ensuing winter. He feels himself at present not at liberty to enter into particulars ; but when 
he can do so, he humbly hopes that the opinion of the public will not be different from that 
of the right honourable gentlemen who have already examined into his dispute with Mr 
Jackson, and who have declared ' That Mr Kemble, in the whole of the business, has con- 
ducted himself liberally, and has shown the strongest desire to have the business concluded 
on fair and equitable terms.' " 

It may be mentioned that the Dean of Faculty's decision, mentioned 
above, was given on July i8th. Although too long to be inserted, the sub- 
stance of it was that Kemble was to pay Jackson half the profits out of 
the Theatre so long as he rented it from Jackson's creditors. In exchange 
for this, Kemble was to be half proprietor with Jackson as well as sole 
manager, for which office he was to get a salary, the amount of which to be 
appointed by the Dean of Faculty. 

But, as already shown, the Theatre was let to Mrs Esten for the 
next season, so Kemble immediately busied himself to get another 
building. The question now came to be who held the patent ? It will be 
remembered that that important document was made out in the joint 
names of the Duke of Hamilton and Henry Dundas, so a contest im- 
mediately arose between Kemble and Mrs Esten as to which was to enjoy 
its privileges. Mrs Esten and her mother tried very hard to obtain the 
sanction of Mr Dundas to her case ; but that gentleman at first declined to 
have anything to say in the matter. The Duke of Hamilton, however, 
pronounced in favour of the lady, and, eventually, Dundas nominated the 
Lord Advocate, the Dean of Faculty, and the Lord Provost to act for 
him in deciding in the matter. These gentlemen at once fixed their 
choice upon Kemble. 

In October Kemble advertised as follows : *" Mr Kemble has now 
the honour of informing the public that he has entered into an agreement 
with Mr Jones for the Circus, which he is determined to fit up as a 
Theatre, in a style of the utmost elegance," &c. At the foot he gives a list 
of the company ,t which was certainly very strong. 

* Courant, Oct. 27th. t See Appendix. 



'79 2 -3-] The Annals of the Edinburgh Stage. 219 

Mrs Esten got the start of him in opening. She herself was not on 
the spot, but Mrs Bennett acted for her, with Mr Williamson as manager. 

On January i2th the Royal commenced its season with Percy, Earl 
of Northumberland. In addition to re-decoration, a new drop scene had 
been painted. The subject was the centre front of the College, "exactly 
as it will be when completed," with the Castle (east view), and, in the 
centre, the Genius of Scotland seated on a rock, receiving the Muse with 
open arms. 

On January 2ist, Beggars Opera. Captain Macheath = Bowden ; 
Lucy = Miss Fontenelle ; Polly = Mrs Warrell. 

On the same evening Kemble opened at the " New Theatre " with 
The Rivals. Sir Anthony Absolute = Lee Lewes ; Captain Absolute = 
Woods ; Faulkland = Archer ; Sir Lucius = Swindall ; David = Bell ; Acres 
= Fox, from Drury Lane ; Mrs Malaprop = Mrs Walcot, " first appearance 
for ten years ;" Lydia Languish = Mrs Edwin. 

The scenery for the New Theatre was painted by Nasmyth ; and 
the amount drawn on the opening night was ^182. 

January 23rd, The Revenge. Zanga = Siddons, jun., his first appear- 
ance here ; Carlos = C. Kemble, his first appearance here. The receipts 
this evening were ,140. 

A contemporary print, speaking of the new Theatre, said Had Dr 
Johnson lived to see the Circus opened as a theatre, he would have had 
to alter his lines spoken by Garrick at the opening of Drury Lane in 
1747- 

" But who the coming changes can presage, 
And mark the future periods of the stage. 
Perhaps where Lear has rav'd and Hamlet died 
On flying cars new sorcerers may ride." 

Although Kemble had commenced the campaign with such spirit, 
he was not allowed to carry it on very long. Mrs Esten had entered a 
bill of interdict and suspension on the iQth. Kemble also presented a 
bill of suspension, praying for a prohibition against being troubled by the 
respondents. Upon the first hearing the cases had to be continued, as 
the Duke of Hamilton's letter authorising Mrs Esten to use the patent 
could not be produced. On the 6th February, however, interdict was 
pronounced, in terms of the Statute loth of Geo. II., against Stephen 
Kemble, and the new Theatre was shut up, to the great joy of Mrs Bennett 



22O The Annals of the Edinburgh Stage. 

and her company, says Lee Lewes, who continues, that the " Royal com- 
pany had been playing to empty benches. " 

The Merry Wives of Windsor was advertised for the evening of 
February 6th at the New Theatre, with Lee Lewes as Falstaff; but was 
probably never performed. A benefit for Mr Jones had also been under- 
lined for the i ith. 

Of course Kemble appealed, and proposed that till the appeal could 
be heard he should open the Theatre and lodge the proceeds with the 
Court, for it to do with as it thought right after decision ; but this was 
objected to. 

With a large company on his hands, in addition to the expense already 
incurred for altering the building, Kemble was truly in a plight to be pitied. 
He was not without expedients, however, and on March 2nd we read as 
follows* : " Mr Kemble acquaints the public that by a decision of 
the Court of Session he is interdicted from exhibiting Plays and Farces. 
The New Theatre will open to-morrow with an Entertainment called 
ESPERANCE, being a concert of vocal and instrumental music, including 
imitations by Mr Swindall." 

During the same month a Ridotto was held with success, and on 
April 5th a " Fete Champetre," at which refreshments were gratis, the 
tickets costing IDS. 6d. 

On the loth April, a repetition of the last, being for Mr Kemble's 
benefit, when ^160 was in the house. 

All sorts of other devices were tried, and with such success that 
Kemble managed to keep his head above water. 

On February 9th, at the " Royal," the Haunted Tower was given 
for the first time here, and on the 25th an immense crowd congregated to 
witness the first appearance in Edinburgh of the famous Mrs Billington, 
who played on that occasion Rosetta in Love in a Village. It had been 
intended that the Theatre was to have opened with Mrs Billington, and her 
engagement was made accordingly, but the great vocalist altered her 
mind, and went to Ireland prior to, instead of after, her visit to 
Scotland. Mr Bowden had been engaged to support her, and from 
the opening of the house till Mrs Billington's arrival, had scarcely 
ever appeared, He was to receive ^10 per night and a benefit, 
but as his services for opera were only wanted on three occasions, 

* Courant. 



1792-3-] The Annals of the Edinburgh Stage. 221 

during three weeks' time, Bowden became dissatisfied, and commenced a 
process before the Sheriff. Of course, when Mrs Billington did arrive, 
his help was dispensed with, Meadows being employed instead. This 
aggravated Bowden very much, as will be seen from the following hand- 
bill which he got printed and distributed through the town : 

"TO THE PUBLIC. 

" When Mrs Billington's engagement was first announced, Mr Bowden was announced 
at the same time. Hence the public were certainly led to expect that she was to be sup- 
ported by that capital singer. Instead of which an attempt has been made to support her by 
Mr Meadows, who may be a very worthy man, but certainly is in a very unhappy predica- 
ment as a performer, it being perfectly obvious on Monday last that he could neither sing 
nor say. In this situation, it is highly proper the Pit should exercise their undoubted right 
of interfering ; and, this night they should call for Mr Williamson the manager, and demand 
the reasons why the Public is so shamefully insulted, and why Mr Bowden is not suffered to 
appear, who is still in Edinburgh, and ready to renew his engagements on the same terms that 
were originally offered. 

"EDINBURGH, 2*]th February 1793." 

Bowden very likely thought he would get up another Fennell dis- 
turbance, but was disappointed, for Meadows continued to support Mrs 
Billington with applause. 

Bowden's case came before the Sheriff on December nth, and the 
petitioner was awarded his full salary of ^180, and $ of expenses. 

In the mean time, the Royal company having been reinforced by 
several of Kemble's late company, went on performing. 

On April 6th, Tale of the Castle ; or, Who is she like ? Never yet 
performed. Duly licensed at the Lord Chamberlain's office. Characters 
by Messrs Whitlock, Williamson, Lamash, Scriven, Egan, Charteris, 
Chalmers ; Miss Fontenelle, Mrs Munro, Mrs Jackson, Mrs Rowson, 
Miss Harley, and Mrs Bland. 

April 1 5th, Wilson's Benefit; for that night only, never acted 
here, The Man of the World, from the original MS. in Wilson's pos- 
session. 

Sir Pertinax Macsycophant, a Scots Gentleman = Wilson ; Lord 
Lumbercourt = Nunns ; Sidney = Williamson ; Melville = Whitlock ; 
Councillor Plausible = Lamash ; Serjeant Eitherside = Baker ; John = 
Scriven; Tomlins = Warrell ; Egerton = Chalmers ; Constantia= Miss 
Hopkins; Betty Hint = Miss Fontenelle; Lady Macsycophant = Mrs 



222 The Annals of the Edinburgh Stage. [_ 1 793- 

Charteris ; Nanny = Mrs Bland; Lady Rodolpha Lumbercourt = Mrs 
Nunns. 

Although " for that night only," it was repeated twice. 

April 2;th, Columbus, historical play from Covent Garden; and 
May 1 8th, How to Grow Rich ; both for the first time here. 

The last night of the season was on May 22nd. The house re- 
opened for the summer on June 22nd, when Mrs Esten made her first 
appearance since she had been lessee, playing in The Conscious Lovers 
and The Sultan. Two days after (24th) Palmer made his first appear- 
ance here, and on July 3rd Lewes, from Covent Garden, appeared 
as Vapid in The Dramatist; he also played Mercutio, Benedick, Orlando, 
&c., to Mrs Esten's lead. The season closed on July 2oth with The 
Orphan. 

The next season commenced a new era in the management of the 
Royal, and will therefore be treated of in a separate chapter. 




CHAPTER XIV. 

STEPHEN KEMBLE'S MANAGEMENT. 

[CCORDING to Lee Lewes, whose statement is probably correct, 
Mrs Esten gave up the lease of the Royal in favour of Kemble, 
who on his part agreed to pay Jackson's creditors ^1000 per 
annum, besides 200 a year to Mrs Esten for letting him get 
possession. 

The new manager advertised on January i ith, 1794 : " Mr Kemble 
does himself the honour of informing the public that the Theatre Royal 
will open in a few days, and that the exercise of the patent is for his sole 
emolument." 

January i8th was the opening night, and Hamlet was played, with 
John Kemble in the title role; Ghost = Woods; Polonius=Lee 
Lewes; Queen = Mrs Walcot ; Ophelia = Mrs Kemble; Rosencrantz 
= Fox ; Horatio = Siddons ; Marcellus = Whitmore ; Laertes = C. 
Kemble ; First Gravedigger= Nunns ; Player-King = Bell ; Player-Queen 
= Mrs Woods. 

January 22nd, for the first time in Edinburgh, The Mountaineers, 
by G. Colman, jun. John Kemble in his original part of Octavian ; Roque 
= S. Kemble ; and Sadi = C. Kemble. 

January 29th, "being the anniversary of King Charles the First's 
martyrdom, the Theatre will be closed." 

February 5th, Sheridan's Scheming Lieutenant, or St Patrick's Day, 
for the first time nearly twenty years after its first production in London. 
On the 8th General Reid's song, " The Garb of Old Gaul," was sung by 
Bell and Hallion, with full chorus, and on the 22nd John Palmer made his 
first appearance here, playing his original part of Joseph Surface in School 
for Scandal. During his visit he also played Shylock, and Puff in The 
Critic. 



224 The Annals of the Edinburgh Stage. [i 793-4. 

Mr Wewitzer was advertised to appear as Shadrach Boaz, the Jew, in 
The Young Quaker, on March 6th, but did not turn up till the loth, when 
he played Mons. Champignone in Smollett's The Reprisal, or The Tars of 
Old England. March nth, the Provoked Husband. Lord Townly = 
Palmer ; John Moody = Wewitzer. The company was now very strong, 
for with Palmer, Wewitzer, Lee Lewes, Woods, Mrs Kemble, &c., any 
play could be well acted, and it is questionable if any theatre out of Lon- 
don could boast of so efficient a corps. 

Palmer took his benefit on April 2nd, when Douglas was played, with 
Palmer jun. as Young Norval, his " first appearance on this stage," his 
father playing Glenalvon. Rosina was the after piece, with Miss J. Palmer 
her first appearance on this stage in the title role. A revival of The 
Royal Martyr, or Life and Death of Charles /., on April 7th, is memor- 
able, as having indirectly been the cause of Sir Walter Scott's first 
recorded connection with the Edinburgh Theatre. During the pro- 
gress of the play a good deal of hissing was indulged in by a party of 
Irish students in the pit their sympathies evidently being on the side of 
Democracy and in favour of the French Revolution, then at its height. 
Immediately some of the loyal portion of the audience ordered " God save 
the King" to be played by the band, and the obnoxious democrats, who 
sat covered during the performance, came in for a good deal of knocking 
about. The same sort of scene was enacted at the next representation of 
the piece, and on the Saturday following both parties, the democrats and 
loyalists, met, as if by mutual consent, in large numbers and evidently pre- 
pared to settle the mattter conclusively. " God save the King " was 
called for and played, and the audience ordered to stand uncovered, and the 
democrats refusing to do this, a desperate affray ensued. Stout cudgels, 
brought on purpose, were freely used, and broken heads and bones became 
plentiful on all sides. Among the Tories Walter Scott, then a young man 
newly called to the bar, greatly distinguished himself by his prowess, and in 
after years never tired of recounting details of the fight. He used to tell in 
particular, and with great glee, of a solicitor's Highland apprentice, who, on 
hearing some one express a hope that there would be no blows, exclaimed, 
" Plows, by Got," and fell on the foes to monarchy with desperate earnest- 
ness. Thirty years after, Sir Walter Scott was the means of securing this 
gentleman (whom Scott always referred to as " Plows, by Got " ) an im- 
portant situation in the Exchequer. 

Scott wrote, after the affair, to a friend : " You will be glad that the 



1 794-] The Annals of the Edinburgh Stage. 225 

affair of Saturday passed over without any worse consequences to the 
Loyalists than that five, including your friend and humble servant Colonel 
Grogg, have been bound over to keep the peace and obliged to give bail 
for their good behaviour, which, you may believe, was easily found. The 
said Colonel had no less than three broken heads laid to his charge by as 
many of the Democrats." 

On April i4th the Provost offered ^50 reward for the apprehension 
of the ringleaders, at the same time cautioning the public that peace 
officers were in nightly attendance at the Theatre to apprehend any one 
who caused a riot. " Plows, by Got," and his companions had, how- 
ever, settled the matter for ever, and the officers were never needed. 

On the 2;th, A Fete Champetre was given in the Theatre, when the 
pillars were hung with evergreens and sham flowers. Five hundred van- 
gated lamps were hung round the building, and the front of the stage con- 
verted into a grand triumphal arch. Lionel and Clarissa was acted 
during the evening. 

On May 3rd, a new serio-comic pantomime, written in honour of 
Thomson the poet, was produced. It was called Thomsons Birthday, or 
The Triumph of Reason. 

On the following night but one, the Theatre was closed till May 2ist, 
when Mrs Kemble had a benefit. The play was to have been Lear, with 
Kemble as the old king, and Mrs Kemble as Cordelia, in which part she 
was advertised to sing, " Oh Nanny, wilt thou gang wi' me," and " 'Twas 
within a mile " ! The programme was altered, however, to The Conscious 
Lovers, with Palmer jun. as Young Bevil. 

Mrs Jackson had a benefit on May 26th, and on June I4th the season 
closed with Kemble's benefit, when The Jew was played for the first time 
here (it had been produced in London, for the first time, only eighteen 
days previously), with the following cast : Charles Ratcliffe = Woods ; 
Frederick = Evatt, from Covent Garden, his first appearance in Scotland ; 
Sheva, the Jew, = Wewitzer ; Eliza = Mrs Kemble. 

The summer season opened on July 5th, when Mr Kemble announced 
that he was proud that it should fall to his lot to introduce Mr Incledon 
and Miss Poole to an Edinburgh audience. Love in a Village was played, 
with Young Meadows = Incledon, his first appearance in Scotland ; Haw- 
thorn = Hallion ; Hodge = Wewitzer ; Justice Woodcock = Wilson ; 
Rosetta=Miss Poole, her first appearance in Edinburgh; Madge = Mrs 
Jackson. 



226 The Annals of the Edinburgh Stage. 

Incledon only played for a few nights, and on Wednesday the 
Hamlet was given, with the chief part in the hands of an amateur ; so un- 
important, evidently, was the performance considered, that it had not been 
advertised. The young gentleman was no other than Henry Erskine 
Johnston, who afterwards gained great celebrity, and at his first appearance 
seems to have made an extraordinary impression, a fact which the manager 
did not allow to be forgotten. In the Courant of the following day 
appears the following : " Mr Kemble does himself the honour of inform- 
ing the nobility and public at large that the YOUNG GENTLEMAN who 
performed Hamlet with so much credit to himself and satisfaction to the 
public, has kindly offered to assist the Theatre to-morrow evening, by 
which means many ladies and gentlemen who were disappointed of seeing 
the wonderful talents of this self-taught actor this northern luminary of 
the stage may be gratified; Therefore to-morrow, Friday, June nth, 
will be acted Hamlet" Hamlet the Young Gentleman ; Ghost = Woods ; 
Ophelia = Miss Poole. 

Johnston's early theatrical career was of a decidedly romantic turn. 
When only seventeen years of age he appeared on the stage, for which 
he had received no training, except when as a boy he took part in amateur 
theatricals. He had no sooner appeared, however, than he was hailed 
on all sides as the Scottish Roscius, and feted in an extravagant manner. 
He only played a few nights in Edinburgh and then went to Dublin, not 
to London,* as has been often asserted. In Dublin he acted twelve nights, 
seven of which were performances of Douglas^ a part in which Johnston 
appears to have been very fine. Why he was not secured by the Edinburgh 
manager as a regular member of the company it is difficult to explain ; but 
the probability is decidedly in favour of Kemble not wishing to pay John- 
ston as much as the latter would undoubtedly want. 

In the Thespian Dictionary it is stated that Johnston acted Harlequin 
as well as Hamlet on his first appearance ; there is, however, no proof of this 
to be found, and it is certain that he did not act Harlequin on his second 
appearance. 

William Kelly, the famous singer and composer, appeared on July 
1 4th as Lionel in Lionel and Clarissa, being his first appearance in Scot- 



* His first appearance in London was agth October 1797. 

t Thespian Dictionary. The account given of Johnston in Stage Reminiscences by an Old Stager, is 
absurdly wrong from beginning to end. 



J 794-5-] The Annals of the Edinburgh Stage. 227 

land. Clarissa by Mrs Crouch, likewise her first appearance here ; for 
her benefit, on July 2ist, Mrs Crouch produced the Haunted Tower. 

On the 23rd the " young gentleman " had a benefit, Douglas being the 
piece performed, with an occasional prologue " written by a gentleman of 
this city,'' and spoken by Mr Woods. The young gentleman (Johnston) 
of course acted Young Norval, and created a profound sensation. Pre- 
vious to this time the part had been dressed in the trews and Scottish 
jacket, but when Johnston stepped on to the stage in full Highland 
costume in kilt, breast-plate, shield, claymore, and bonnet, the whole 
house rose and gave him a reception such as had seldom been heard 
within the walls of the building. It must be remembered, in charity, that 
reform in stage dressing had not at that time been thought of. The 
venerable author was present, and at the conclusion pronounced Johnston 
to be the beau-ideal of his conception. Catherine and Petruchio was 
given as an afterpiece, with Petruchio by Johnston. 

Johnston played again on the 25th for the benefit of Wewitzer, the play 
being Oroonoko, and the season closed with a benefit to Kelly on the 26th. 

Upon the whole, Kemble had contrived a very successful season 
one that compared only too favourably with those that succeeded. 

The writer who under the name of Timothy Plain,* during the last 
years of the century made himself famous as the best of the many self- 
appointed dramatic critics of the day, in speaking from memory of Kemble's 
company in 1 795, says they were a strange lot, and except Woods and Rock, 
there was not a name worth mentioning, the female part of the house being 
confined to Mrs Kemble and the Honourable Mrs Twiselton ; as a matter 
of fact, neither Rock nor Mrs Twiselton appeared at all during 1795. 

The opening play (January 26th) was Merchant of Venice, Kemble 
playing Shylock, and Woods, Bassanio ; while, of course, Portia was in the 
hands of Mrs Kemble. Blanchard from Covent Garden made his first 
appearance here as Launcelot, and Barnet, tenor, from the same house, as 
Lorenzo. 

On the 28th The Mountaineers was played, with Siddons, who had 
come from Liverpool, as Octavian. 

Johnston was engaged for six nights, and made his first appearance 
on February i6th, when his name was inserted in the bills for the first time 
in Edinburgh. 

* Said to have been Stewart Thriepland, advocate. 



228 The Annals of the Edinburgh Stage. [1795-6 

On February 23rd, Mr Stordy, from the Theatre Royal, Dublin, 
made his first appearance in Scotland. Johnston played Tancred in 
Tancred and Sigismunda for the first time on March i4th, and George 
Barnwell (for his own benefit) on April ist. 

Miss Barnet's benefit only drew ^15, so, as the charges were ^40, 
Kemble allowed her another night. 

On May i4th Mrs Siddons appeared. On the 27th she made her 
first appearance in the part of Palmyra (Mahomet) in Edinburgh ; two 
nights later, Isabella in Measure for Measure, and on the 3Oth Hermione 
in The Distressed Mother, for the first time on the Edinburgh stage. 
Vast crowds again flocked to the playhouse to hear the incomparable 
actress, and, for the convenience of his Leith patrons, Kemble ran an 
omnibus to that seaport after the play was over, at the fare of i s. per head. 

The performance on May 3Oth closed the season. 

A summer season opened on July i5th, 1795, with John Kemble as 
Richard III. On the 28th the house closed. 

On January 23rd, 1796, the winter season opened with The Fair 
Penitent. Calista by the Honourable Mrs Twiselton (engaged for 
six nights only), her first appearance in Scotland. Sciolto = Woods ; 
Horatio = Grant ; Lothario = Egan ; Rossano = M'Kenzie, from Bath, his 
first appearance in Scotland ; Lucilla= Mrs Grant, late Miss Jones. 

Grant had appeared during the preceding season for the first time on 
any stage. Kemble evidently endeavoured to make him as great a suc- 
cess as Johnstone, and for that purpose pushed him into good parts, and 
as the company was far from strong, he very likely appeared to some 
advantage. Miss Jones, whom he had married, made her first appearance 
on any stage as Jessica on the opening night of the preceding season ; 
she was most likely a daughter of Jones of the Circus. 

Several plays new to Edinburgh were produced during the season. 
These included Reynolds' Speculation (February i3th), Rock appearing as 
Alderman Arable, Zorinski (February 22nd), Man of Ten Thousand 
(February 2Oth), and Mysteries of the Castle. 

An epilogue was written by Captain Topham for a performance of 
The Way to Get Married on February i5th. On February 29th, Aickin 
from Covent Garden, and manager of the Theatre Royal, Liverpool, 
appeared as Beverley in The Gamester, and on March 2ist took his 
benefit, when John Palmer was announced to appear ; but having been 
assaulted and his leg badly wounded, was unable to do so. 

"I 



1 796-7-] The Annals of the Edinburgh Stage. 229 

A benefit was given on March 3oth towards defraying the loss 
incurred by selling meal to the poor at a reduced price, on which occasion 
Douglas was played, with Johnston who gave his services gratis as 
Young NorvaL Johnston played other six nights, acting on April 6th 
the part of Zaphna in Mahomet for the first time. 

The season closed on May 4th, to reopen for the summer on the 3Oth 
of the same month with Hamlet, for the benefit of the Charity Work- 
house. Hamlet, by Johnston, who gave his services free. 

So soon as June 3rd this actor again played for a charity a free 
benefit being given towards a fund to be established for the relief of infirm 
and decayed actors. Still another charity benefit was given on the 7th, 
for the widow and children of Benson, who had died shortly before. 

The house was closed from June i7th until July 2nd, when Miss Wallis 
from Covent Garden opened as Juliet to Siddons' Romeo ; the only other 
appearance of consequence being that of Incledon, who played for a few 
nights prior to the closing, on July 22nd. 

During the autumn quite a number of amateur performances were 
given in the Theatre. Grant seems to have had something to do with 
most of these ; the only thing worth recording being the production 
of a Scots Pastoral called Jamie and Bess, the characters by "natives of 
Edinburgh." 

On January i6th, 1797, the ever popular Douglas was put forward 
to open the winter campaign, Miss Gough, from Dublin, appearing 
as Lady Randolph, being her first appearance in Scotland ; Miss Kemble, 
daughter of the manager, also making her debut in Edinburgh in the part 
of Anna. 

Between the play and the farce, Mr Ryley, from Liverpool, gave 
his popular entertainment, New Brooms and Lovers Quarrels. 

The company got together this year by Kemble was undeniably bad. 
This fact was very freely commented upon by " Timothy Plain " in a 
series of letters he addressed to the editor of the Scots Chronicle. In the 
first of these, he says : 

" Till lately, Edinburgh was stamped, by all ranks in the three kingdoms, even by actors 
themselves, as a critical, judicious, audience. It was not in London, nor anywhere else, viewed 
as a country Theatre. When any performer had met with a decent portion of applause in 
Edinburgh, go where he would thereafter, it was posted up in capitals, ' The part of Romeo 

by Mr from Edinburgh,' in the same way as they are announced when they have played 

in London or Dublin." 

"... I admit we have performers of some merit here. Mr Woods, as an actor, and as 



230 The Annals of the Edinburgh Stage. [1796-7. 

a man, needs no panegyric from me. The manager himself, keep him in a certain line, may 
be agreeable. Mr Rock is very admissible as a low comedian, and Mr Scriven might pass, 
were it not for a certain pertness in his manner, which must always disgust. Mrs Kemble is 
a good actress in many characters. Miss Gough is a good figure, and her abilities far above 
mediocrity; although she will never go down as an object to draw a house of herself , which 
Mr Kemble seems to suppose." 

Woods and Rock, he says in another place, received each 2 per 
week, which were the largest salaries in the company, the remainder of 
which, he continues, was composed of your Egans, Barnets, Siddonses, 
Bews, and " such fellows as could roam no where " but at the Theatre 
Royal, Edinburgh ! 

On February 3rd, Timothy Plain objects to ghosts being let down 
through squeaking trap doors, preferring, he says, to see them walk off 
and on. On the following day, Kemble advertises a reward of 425. to 
find out the person who got under the stage and cut the ropes of the traps, 
at the same time affirming it had been done by some discarded servants, 
who had been in the habit, for some time back, of frequenting the gallery 
and hissing. This and a note appended to the cast given for the Rivals 
on the same evening was very probably intended as sarcasm aimed at 
Timothy Plain : " Mr Kemble, with the utmost deference, recommends 
the consideration of the cast of the above comedy to the public. He flatters 
himself that no company in Great Britain can perform it to more advan- 
tage," not bad for Mr Kemble. The cast was as follows : Sir Anthony 
Absolute = Kemble ; Falkland = Siddons ; Acres = Scriven ; David = Rock ; 
Captain Absolute = Woods ; Julia = Miss Gough; Mrs Malaprop=Mrs 
Walcot ; Lucy = Mrs Bland; Lydia=Mrs Kemble (first time of playing 
the character). 

Timothy Plain, in afterwards criticising this production, very naturally 
remarks that if he had not been told to expect so much, he would have 
perhaps been better pleased ; as it was, the performance was fairly good 
all round, and the play ran several nights. 

On February 1 5th the play of Tamerlane was revived here, with the 
addition to its name of " The Great" Kemble played Bajazet ; Woods, 
Tamerlane ; and Miss Gough, Alpasia. 

An interesting performance was a benefit given on March ist of this 
year, for the " widow and five infant children of the late Mr Burns." 
This undoubtedly refers to the family of the great poet, for in addition 
to The Rivals, and the musical farce of My Grandmother, a recital 



1 797-8-] The Annals of the Edinburgh Stage. 231 

was given, between the pieces, of "The Cottar's Saturday Night" by 
Miss Gough. 

March i3th, Mrs Kemble's benefit. Cure for the Heartache, first 
time here, and the Shipwreck (Farce), first time also. Wood put on 
Alonzo, by J. Home, for his benefit on the 27th ; and Kemble, on April 
loth, played for his own benefit Wives as they were and Maids as they are, 
being its first time of playing here. 

The regular season closed on April 29th, but the house re-opened on 
June 6th for the summer, with Miss Wallis from Co vent Garden, who 
continued on till about the 1 7th, when the Theatre was again closed till 
July 5th, when Bold Stroke for a Wife was played, with John Bannister 
jun. as Colonel Feignwell, his first appearance in Scotland. 

Other parts played by Bannister were, Young Sadboy in Young 
Quaker, Bob Acres, Scrub in Beaux Stratagem, Touchstone, &c. The 
last night of the summer season was August 5th. 

The opening of the following season was heralded in very glow- 
ing terms by the management in their advertisements, and a list of 
the company appeared at full length in the papers. Four of the 
new members were announced as from Drury Lane, regarding which 
Timothy Plain caustically remarks, that an actor must have something else 
to recommend him than merely coming either from Drury Lane or the 
Theatre at Calcutta. 

Lee Lewes, Woods, Rock, Scriven, Miss Gough and Mrs Kemble 
were all good artists, but their forte lay chiefly in Comedy ; while for 
Tragedy only Miss Gough and Woods could be called even respectable. 

The first night was on January 8th, 1 798, when Way to get Married 
was given, with Captain Faulkner = Campbell, from Drury Lane, his first 
appearance here; Caustic = Denman, also from the "Lane," and first 
appearance ; Toby Allspice = Scriven ; M 'Query = Rock ; Clementina = 
Miss Biggs; and The Waterman', Tom Tug = Cooke, from Drury Lane, 
his first appearance here. 

On January nth a benefit was given for the widows and children of 
soldiers and sailors who fell in the British fleet when the gallant Viscount 
Duncan obtained so decisive a victory over the Dutch on October iith. 
The Brothers was played, and between the play and farce " Hearts of 
Oak " was sung by Messrs Cooke, Denman, Scriven, Bland, Decamp, 
Mrs Bramwell, Mrs Bew, Mrs Bland and Miss Biggs. 

A performance of Douglas on January I3th gave Timothy Plain a 



232 The Annals of the Edinburgh Stage. [1797-8. 

chance of making some remarks, which, so far as they set forth the 
qualities of the principal members of the company, are quoted below. 

" The part of Douglas was filled by Mr Campbell, who is one of those that are said to be 
from the Theatre Royal, Drury Lane. I have witnessed many attempts to make something 
of this character ; but, Mr Siddons excepted, I have never met with anything on the stage 
that tortured both my eyes and ears so much as Mr Campbell's Young Norval . . .his 
conception of the character is erroneous in many places . . . Old Norval=Mr Denman. 
In the hands of even a decent performer this part must always be interesting, and of much 
consequence in the piece. On Saturday it passed over almost as much unnoticed as the 
officer who announces that the banquet waits. 

" So much for two of our new performers ' from the Theatre Royal, Drury Lane ' ! ! ! I 
have known scene shifters come from that Theatre . . . Miss Kemble's appearance put 
me in mind of a good fat, well-dressed cook. . . . The Prompter spoke the part of 
Baptista in the Farce." 

On the 2Oth, School for Scandal, in which Lee Lewes, it seems, 
really shone out as Sir Peter Teazle, and Woods gave an admirable 
account of Joseph. Mrs Kemble, who had been unwell for some time, 
reappeared for the first time during the season, playing Lady Teazle. 

The after-piece was Rosina, with Mrs Hindmarsh, from Covent 
Garden, in the title role, her first appearance here. 

An unpleasant occurrence took place during the progress of the 
comedy on this evening, which is worth recording as showing a state of 
manners among military men, unusual even at that date in its barbarism 
and, happily, extinct now. Some persons dressed as officers, who were 
behind the scenes, were constantly obtruding themselves upon the stage, 
to such a degree as to cause clamour and disturbance from the house. At 
the beginning of the fifth act one of the officers came forward to the front 
of the stage, whence he would not move, although freely pelted with 
oranges, &c. ; a proceeding which this resolute son of Mars resented by 
throwing back the missiles, and with a candle socket which he plucked 
from a bracket over his head, he inflicted a severe cut upon a lady's breast. 

At last several gentlemen sprang from the pit to the stage, and suc- 
ceeded in driving the half-drunken officers away. This, however, did not 
end the matter, for the audience called for the manager, until he appeared in 
company with another gentleman. The latter acting as spokesman, assured 
the audience, on the part of the manager, that no such thing should 
happen in future. Timothy Plain, from whom the above account is taken, 
is extremely bitter in his remarks upon such an outrage being permitted 
by Kemble, who, undoubtedly, was to blame. 



1 797-8-] The Annals of the Edinburgh Stage. 233 

On the 3ist January, Lee Lewes acted Falstaff in the Merry Wives ; 
and on February 5th the comedy of Cheap Living was produced for the 
first time here. Two evenings after, by desire of the Right Honourable 
the Countess of Balcarres, the new MS. comedy of the Heir at Law was 
played for the first time in Edinburgh. Curiously, in the list of characters 
as advertised, Dr Pangloss is omitted ; the others were allotted as 
follows: Daniel Dowlas = Rock; Stedfast = Woods ; Dick Dowlas = 
Melvin ; Zekiel Homespun = Scriven ; Cecily (printed Cecilia in the 
announcement) = Mrs Kemble. Although not announced, Pangloss was 
taken by Lee Lewes, who seems to have made much of the part. 

On February 2ist a " new musical entertainment," entitled St Kilda 
in Edinburgh, or News from Camper down, was given for the first time in 
Edinburgh. It was said to be from the pen of a young clergyman, and is 
described by Timothy Plain as a piece " replete with the grossest in- 
decency." 

Lee Lewes, for his benefit, spoke a parody on the i6th Ode of the 
2nd Book of Horace, and recited a whimsical story in Pindaric verse 
respecting " Benjamine Bolus, the Newcastle apothecary." 

The famous play, The Castle Spectre, which in London had enjoyed 
a tremendous run when first produced,* was brought out here on March 
1 2th, with new scenery by Nasmyth.t The parts were distributed as 
follows : Osmond = Woods ; Reginald = Denman ; Percy = Campbell ; 
Father Philip = Rock ; Motley = Scriven ; Kenrick = Bew ; Saib = Allen ; 
Hassan = Melvin ; Angela (with the epilogue) = Mrs Kemble; Alice = 
Miss Biggs ; Evelina = Miss Gough. 

Regarding this performance, the Courant said : " The Castle Spectre, 
the most splendid drama ever brought forward in Scotland. The house, 
at an early hour, overflowed. The dresses costly and elegant ; the 
scenery, by Naismith \sic\, sublime and beautiful ; and the performance in 
general excellent. Mr Woods, Miss Gough, Mr Rock, Mr Melvin, and 
Mrs Kemble never appeared to greater advantage." . . . The remainder 
of the notice being devoted to praising the manager's liberality in pro- 
ducing the play, leads one to suspect that Kemble had something to do 
with its composition, or at least its insertion, and it is more edifying to 
read Timothy Plain's outspoken utterances regarding the production. He 
says the scenery was really beautiful, the dresses only passable, and the 

* Forty-seven times in London, twelve times in Edinburgh. 



234 The Annals of the Edinburgh Stage. [1798-9, 

appropriate "decorations" mentioned by the management he supposes to 
have been the tar links used for torches, the smoke from which nearly 
suffocated the audience ! 

Elliston, from Covent Garden, made his first appearance here on 
April 2nd, when he appeared as Sheva in The Jew. On the 4th he 
appeared as Dr Pangloss in the Heir at Law, a performance which Plain 
records as much inferior to Lee Lewes'. During his engagement (origin- 
ally announced to be for only five nights, but afterwards extended), 
Elliston played Sir Edward Mortimer in The Iron Chest, first time 
here, Young Norval, Octavian in the Mountaineers, Hamlet, &c. 

The season closed on April 3Oth, after which the company went to 
Glasgow, and opened there on May 5th, whence they returned and 
reopened in Edinburgh for the summer season on July 2nd, when 
Thomas Knight, from Covent Garden, was announced to make his first 
appearance before an Edinburgh audience, playing Sir Harry Beagle in 
The Jealous Wife to the Mrs Oakly of Mrs Mattocks, also from 
Covent Garden. In the after piece, The Farm House, Mrs Knight 
appeared as Aura. After the Knights' and Mattocks' engagement 
was over, the Theatre closed for a few nights, and then reopened on 
July 23rd, with Romeo and Juliet. Romeo = Pope; Mercutio = Woods ; 
Juliet = Mrs Pope. 

On July 3ist was held the annual competition of pipers, and the 
season closed with Inkle and Yarico, on August 4th. 

The next winter season opened on January T9th 1799, with the new 
play of TJie Stranger, which, according to the advertisements, was 
acted from a MS. copy sent direct to Kemble from Drury Lane. 
As the "Stranger" Mr H. Siddons made his reappearance, Bew took 
the part of Baron Steinfort, Scriven of Peter, and Mrs Kemble of Mrs 
Haller. 

The almost total absence of anything of interest this season, and 
the really wretched company Kemble had got together, must have 
made playgoers of the time think that theatricals had reached their 
lowest ebb. A pretty elaborate production of the dramatic romance of 
Blue Beard, with scenery by Nasmyth, was produced during the season, 
and ran some twenty-five nights. John Kemble played a few nights, 
commencing March i6th, and the season closed early in May to reopen 
for the summer on July 8th, when Mrs Siddons and Incledon appeared in 
succession. 



799-] 



The Annals of the Edinburgh Stage. 



235 



Mrs Atkins' first appearance in Scotland is worth noting, on August 
3rd, as Polly in The Beggars Opera to Incledon's Macheath. 

The season came to an end on August 1 7th 1 799. 

On the 2nd of May 1799, the Courant contained the following 
advertisement : 

"SANS SOUCI." 

The inhabitants of Edinburgh and its vicinity are respectfully informed that this evening, 
Thursday, May 2nd, at the Assembly Rooms, George Street, New Town, will be performed a 
new and popular entertainment called 

A TOUR TO THE LAND'S END. 
ARRANGEMENT OF THE RECITATIONS AND SONGS. 

PART i. 

Part of Wiltshire, of Dorsetshire, and of South Devonshire. 

Recitation, . . The Nation. Song, . . Laughing prohibited. 
Temple of Fame. 
Dialects. 
Strawberries. 
The Rencounter. 
Nancy. 



Song, 

Recit., 

Song, 

Recit., 

Song, 

Recit, 



Song, 
Recit., 
Song, 
Curiosity and the Makers. 

PART 2. 
Cornwall. 

Recit., .... Falmouth. Song, 
Song, . . . Yo, Heave Ho. Recit., 
Recit., .... Wigs. Song, 

Song, . . The Wig Gallery. Recit, . . 
Recit, . . The Drowning Sailor. Song, 
Song, . . Magnanimity. Recit., 

Recit., . . John and Providence. Song, 

PART 3. 

North Devon and Somersetshire. 
Nelson and Warren. Song, 

Two Beggars. 
The Barrel Organ. 
Compassion. 
True Courage. 

Recit, The Country Man's Description 
of London. 



Recit., Plymouth Dock and Nautical 
Anecdotes. 

The Anchorsmiths. 
. Country Parties. 
. The Tea Table. 



Advice. 

. Travellers' Wit. 

The Cornish Miners. 

Flattery. 

Lady's Diary. 

Tactics. 

Beauty's Banners. 



Song, 

Recit, 

Song, 

Recit, 

Song, 



. The Jew Pedlar. 
Singers. 

Cupid turned Musicmaster. 
News from Dorsetshire. 
The Christening. 
. Recapitulation. 
Finale. 



Recit, 
Song, 
Recit, 
Song, 
Recit, 
Song, 

%* The whole is written, composed, and will be spoken, sung, and accompanied on an 
organised instrument, which has the properties of a band, 

By Mr DIBDIN. 

Admittance 35. Doors open at 7, and performance to begin at 8. 
Tickets to be had at Messrs Muir, Wood, & Co., musical instrument makers to his Majesty, 
No. 1 6 George Street ; Mr John Muir's, merchant, front of the Exchange ; Messrs Urbani & 



236 The Annals of the Edinburgh Stage. \_ 1 799- 

Listen's, Princes Street, of whom may be had the songs in all Mr Dibdin's Entertainments 
of SANS Souci ; The Popular Novel of Hannah Hewit The Younger Brother A Complete 
History of the Stage, a periodical work, and every other article in Mr Dibdin's catalogue. 

^ Mr Dibdin respectfully announces that his stay at Edinburgh will be very short, 
his tour to the different parts of the Kingdom being so completely arranged as to employ 
his whole time till his opening of his Sans Souci in Leicester Place, under the auspices of the 
Lord Chamberlain, on the 5th October next. The entertainments will be perfectly distinct 
and different every night. 

This seems to have been the first appearance in Scotland of England's 
one national song writer, who had crossed the border on the previous 
Sunday, and reached Edinburgh on Tuesday evening ; having travelled 
by way of Langholm, Hawick, and Selkirk, and taken a sketch, "accord- 
ing to custom," of the city when it came in view. In his " Observations 
on a Tour in England and Scotland " fiSoi), he says : 

" As I entered this city by the road from Selkirk I had an opportunity of seeing it from 
one extremity to the other, which was literally a climax both as to effect and situation ; for 
having been precipitated to the bottom of the Gallon Hill, we gradually ascended in winding 
directions from among the throng of streets (where loaves, stockings, pitchers, hats, cabbages, 
and numbers of other incongruous particulars were painted against the houses to denote the 
occupations of their inhabitants, who live up stairs into one street and down stairs into another, 
burrowing like so many rabbits in a warren), to first the South Bridge ; thence we passed 
to the North Bridge, and at length arrived at a lodging which had been taken for me in 
George Street." 

In the description of the commerce and buildings of the city which 
follows, there is, strange to say, no mention of the Theatre. The only 
reference to anything having to do with any of the arts, is a mention of 
Scots music, as " their own beautifully simple and sweetly plaintive melo- 
dies," which, it seems, were in danger of being superseded by an affecta- 
tion of Italian taste. " Rizzio improved Scotch music ; modern Italians 
mutilate and destroy it." 

The " Tour to the Land's End " had been produced in London the 
previous year, and consisted of material collected during a trip to the 
Southern Counties of England. As will be seen from the advertisement, 
it contained a number of well-known songs, such as "Yo, heave ho!" 
"The Anchorsmiths," and " Nancy," and, like all Dibdin's numerous table 
entertainments, consisted of a number of songs, and recitations in a narra- 
tive setting, plentifully seasoned with puns, epigrams, and anecdotes. Of 
his manner of entertaining, O'Keeffe, who saw him in 1792, says, "His 
manner of coming on the stage was in the most happy style. He ran on 
in a sprightly manner, and with nearly a laughing face, like a friend who 



i799' I 8oo.] The Annals of the Edinburgh Stage. 237 

enters heartily to impart some good news. Nor did he disappoint his 
audience ; he sang and accompanied himself on an instrument, which was 
a concert in itself he was, in fact, himself his own band. A few lines of 
speaking happily introduced his admirable songs, full of wit and character, 
and his peculiar mode of singing them surpassed all I had ever heard." 

On Saturday 4th May, The Sphinx was advertised, on Monday 6th, 
Will o the Wisp, and on Tuesday 7th, Castles in the Air and King and 
Queen. He left next day for Glasgow, but returned to repeat The Sphinx 
on the 1 6th, and Will o the Wisp on the i8th. This latter performance, 
which was announced as the ''last night," was given at the Old Assembly 
Rooms, King's Arms Tavern, High Street, because, so the advertisement 
ran, he had been advised by constant frequenters of Sans Souci that he 
would be heard there to more advantage. On the 23rd he concluded by 
advertising his thanks to the inhabitants for his reception in Edinburgh. 

Kemble's last season in Edinburgh opened on January 25th 1800, Mr 
Quick being engaged as a special attraction for twelve nights. Previous 
to the opening, and in order to announce that event, Mr Kemble issued 
an address, in which, after making various promises, he continues that he 
trusts his endeavours will " ensure to him a continuance of that honourable 
patronage which he has always hitherto received from the Edinburgh 
audience, and which it will be the pride of his life to acknowledge ; it will 
comfort him in his banishment. Mr KEMBLE thinks his successors will be 
fortunate if they are more successful than he has been. Of this he is at 
least certain, they cannot more anxiously desire to obtain the approbation 
of the public." 

This announcement seems to have stirred up the zealous wrath of an 
individual who signs himself " Crito," and who wrote and published a 
letter addressed to Mr Kemble. He uses as his text the paragraph 
quoted above, and has left an epistle of a nature which, if addressed to a 
theatrical manager now-a-days, would undoubtedly be discussed in a court 
of law. 

" You found," Crito says, " the people of Scotland no less generous than intelligent. You 
found an audience capable of supporting and rewarding the most splendid efforts of dramatic 
genius. You found a green-room occupied by the most able of the profession, under the 
management of Mrs Esten. The struggle betwixt you and that lady only excited the public 
attention in a higher degree than formerly to the Drama, and made an entertainment popular, 
which was before almost exclusively confined to the upper classes. You found a public dis- 
posed to pity you for misfortunes they imagined to be real. Trusting to your professions, 
they relinquished their national character of circumspection and, with a noble generosity, 



238 The Annals of the Edinburgh Stage. [1800. 

stood forward to assist you with their credit and protection. The lovers of the drama, dis- 
gusted with the troubled management of Jackson, and the unsteady exertions of Mrs Esten, 
hailed in the brother of Mrs Siddons theatrical brilliancy. These were your prospects ; these 
were the expectations of the public when you assumed the management. It required even 
ingenuity to fail, and you have succeeded in doing so." 

Then, in return for all the Edinburgh public had done for him, "Crito" 
says that he discharged all the old hands in order to make way for the 
" scum of strolling parties"; some who had been discharged to wit, Mrs 
Charteris for example were driven to great straits in order to earn a 
living, and had they been retained in their places on the Theatre, 
many among the public, who had discontinued their attendance, would 
have still frequented their accustomed places. 

Even Rock, "Crito" says, the last good actor left, was suffered to depart, 
and was not brought back until the audience issued an imperative demand 
for his re-institution. " Crito's " pamphlet is dated two days prior to the 
opening of the Theatre, which, as already stated, was on January 25th, 
with Quick as Sir Benjamin Dove in the Brothers. Quick had retired 
from the London stage two years previous to this with a fortune, it was 
said, of ; 1 0,000 ; so that this visit to Edinburgh must have been a part of 
a provincial tour with which he was, as it were, tapering off his stage con- 
nection. A critic, who in the pages of the MontJily Mirror signs himself 
''A Lounger," speaks of him as an "excellent comedian," and says he 
" hopes he is still to be considered as a London performer." The same 
critic mentions about Henry Siddons that, " the improvement, which was 
last year so manifest, has not ceased to advance. By dint of application, 
he has vanquished to an unexpected degree the natural imperfections under 
which he laboured." Macready (the elder), or M'Cready as " A Lounger " 
spells his name, was leading actor, a fact which, of itself, goes far to justify 
the remarks made by " Crito " as to the wretched acting capabilities of 
Kemble's company ; but what was worse even than the small number of 
even decent actors, was the slovenly and unsuitable way in which pieces 
were cast for production. 

That most excellent critic, "Timothy Plain," continued his strictures 
on the performances this season. He says : 

" Our present theatrical season was announced in a style of such humility and despond- 
ency, as made me for some time waver whether I should continue my strictures or not. . . . 
Who dees not pity Romeo when that word banishment is pronounced against him ? But, on 
the other hand, there is, with all his whining meanness, an arrogant pretension to merit, which 
together with a recollection of the manager's parsimonious conduct as caterer for the public 



iSoo.] The Annals of the Edinburgh Stage. 239 

taste, his illegitimate bantlings and incongrous medleys, banished the idea of com passion, and 
made me resolve still to continue my correspondence. At the same time, as ' mercy should 
always season justice,' I shall probably be rather sparing of my remarks during the last cam- 
paign of this Theatrical Potentate. I hope he will acquire 

' Philosophy's sweet milk to comfort him withal.' 

And he has in the mean time got some good Caledonian cash, which, I am persuaded, will be 
no bad substitute with him." 

" Plain " proceeds after this to criticise the various members of the 
company in straightforward enough terms, and it is worth noting that he 
speaks highly in praise of Macready's abilities in "genteel comedy," in 
addition to mentioning that he was possessed of " a handsome person, 
genteel deportment, an expressive countenance, and an ability to tread the 
stage with ease." 

During the spring Pizarro was produced, with considerable success. 
The scenery seems to have been poor, and the stage business, " Plain " 
says, " so miserably conducted that the scenes intended to have the highest 
effect in the solemn and pathetic, excited the risible faculties, of pit, boxes, 
and gallery." Mrs Kemble found in Cora a part eminently suited to her. 
To Siddons' lot fell Rolla, and " Plain" is particularly censorious in his re- 
marks on his performance. A very cleverly written letter in the Monthly 
Mirror, however, takes a somewhat different view of the matter, and says 
in particular that Siddons improved every night the play was acted. 

The season closed at the end of the first week of May. 

According to Charles Dibdin's " Tour," he returned to Scotland for 
a longer visit in 1800, and crossed the Forth (from Pettycur ?) to Leith 
on the 29th of June, after having made his usual sketch of the marvellous 
panorama of Edinburgh from the Fife coast. It is most probable that he 
gave his " Sans Souci " entertainments during this visit, but no advertise- 
ments of them are to be found in the Courant, so the matter must remain 
doubtful. Whether he performed or not, he had business at the Parlia 
ment House; "for the Lords of Session had just granted me an injunc- 
tion to prohibit three musicsellers at Edinburgh, one at Perth, and one at 
Glasgow, from pirating my songs, a circumstance which, as in other similar 
instances in London and other parts of England, has ended in expense 
without affording the smallest remedy." Again the " Tour " is silent as to 
the Theatres, but among other visits Dibdin and his family went to see 
the French prisoners, " who performed for us a grand ballet in capital 
style." Here follow some characteristic remarks on the character of the 



240 The Annals of the Edinburgh Stage. [1800. 

French, "our natural enemies," and the paragraph concludes : ''Willing 
to reward them for that servility, which after our departure was sure to 
turn into ridicule, we bought their baubles, saw their show, paid them 
handsomely, and came away." 

On July i4th a summer season opened, with John Kemble as an 
attraction. It was advertised as this actor's "last appearance in Edin- 
burgh," a statement which greatly excited the wrath of " Plain." Siddons, 
Swendall, Miss Biggs and Macready, had all left the company, reducing 
it materially in strength ; in fact, according to the Monthly Mirror critic, 
its positive incapacity was an insult to John Kemble and the Edinburgh 
public. On the 3Oth July, Pizarro was played, and at the conclusion Stephen 
Kemble came forward to give his farewell address to the public of Edin- 
burgh. After thanking the public for having generously supported him 
" on many trying occasions," he said, " though his followers might be more 
successful, they could not be more ambitious or anxious to please he might 
almost take it upon him to assert he had given satisfaction " At this point 
he was interrupted with considerable murmurs and some hissing ; but he 
continued " I once thought to have left Edinburgh without a single enemy 
behind me "-the hissing then increased, but he proceeded. " It is, how- 
ever, not wonderful that I am disappointed, for even our great Redeemer 
had his enemies ; and after his great example (at this phrase he clapped 
his hands on his great fat paunch) I will be meek and submissive " ! ! The 
row that ensued upon this was tremendous, and after again essaying to 
speak, Kemble had to retire in terror of peing pelted ! 

So ended the reign of Stephen Kemble in Edinburgh. 




CHAPTER XV. 
JACKSON AGAIN MANAGER. 

HE next season opened with a complete change in the manage- 
ment. John Jackson,* in company with Mr Aickin,t of Liver- 
pool, having assumed command, considerable expectations were 
raised as to the manner in which they would conduct the 
Theatre. An anonymous writer, under the name of " Candidus," de- 
scribes the opening of the Theatre as follows : J 

" We crowded to the house to mark the necessary alterations upon it ; but what did 
they amount to 1 The outside was whitened like a pie-shop, the inside loaded with unnecessary 
gilding ; permanent boxes were erected upon the stage. The stage was diminished by adding 
some few seats to the pit ; the scenery most deficient, broken crystals patched with tin 
plates. In short, everything showed that the manager alone was changed ; but what was 
still more glaring, the system of Fennellism, unsuccessfully attempted in 1788, was in 1800 
renewed, and has finally prevailed. On the first night of performing, Mr Grant (whom we 
were, notwithstanding, all glad to see on our stage again) was thrust into the part of Sir 
Philip Blandford, one of Mr Woods' characters." 

Jackson, it would seem, pleaded want of time to make more thorough 
repairs. After his first season, however, (during which it was commonly 
said he cleared ^3000), almost nothing more was done to the Theatre, 
while the company was if anything weakened instead of strengthened. 

The first season of the new management was really remarkable for 
nothing. Half of it elapsed before proper dresses were procured, and the 
orchestra seemed only to attend at their own pleasure. 

A benefit for the Canongate Workhouse brought the season to a 
close on May 6th, on which occasion Mrs Esten recited Collins' " Ode to 
the Passions." 

The house was again opened for the summer months on June 2;th 

* Chambers says Jackson became ostensible purchaser for j8o2O. 
t Brother of J. Aickin, formerly of Edinburgh. 
The Theatre, or Letters of Candidus, &c., 1802. 
Letters of Candidus. 



242 The Annals of the Edinburgh Stage. [1801-2. 

1 80 1 with School for Scandal, cast as follows : Sir Peter = Rock ; Joseph 
Surface = Woods ; Sir Benjamin Backbite = Williams, his first appear- 
ance in Scotland ; Moses = Smith, his first appearance in Scotland ; 
Charles Surface = Talbot, from Drury Lane, his first appearance here ; 
Mrs Candour = Mrs Francis, her first appearance here; Lady Teazle = 
Miss Biggs, from Drury Lane, also her first appearance here. 

On July 6th G. F. Cooke made his first appearance in Scotland, playing 
Shylock, and on the gth lago to Talbot's Othello, while on the I3th the parts 
were reversed. One of the other characters he acted was Sir Giles Over- 
reach, of which Sir Walter Scott has left a very interesting criticism.* 
" Kemble's Sir Giles Overreach," he says, " was not within a hundred 
miles of Cooke, whose terrible visage, and short, abrupt, and savage 
utterance gave a reality almost to that extraordinary scene in which he 
boasts of his own villainy to a nobleman of worth and honour, of whose 
alliance he is ambitious. Cooke contrived somehow to impress upon the 
audience the idea of such a monster of enormity as had learned to pique 
himself even upon his own atrocious character. But Kemble was too 
handsome, too plausible, and too smooth." 

The summer season closed on July 22nd. 

The Theatre was open from November 2ist to December 23rd 1801 ; 
but the regular winter season appears to have commenced on January 23rd 

1 802 with The Belle s Stratagem. Doricourt = Young ; Letitia Hardy = Miss 
Duncan. The Mr Young mentioned above was Charles Mayne Young, after- 
wards the famous tragedian. He played lead during this whole season.. 

Scott's friendliness to the members of the theatrical profession is well 
known, and Charles Young was the first actor he saw much of. As early as 

1803 he mentions him as a friend, and he continued so all through life. 

It is perhaps well to note here that Miss Smith, afterwards Mrs 
Bartley, was another favourite of Scott's. About 1809 his chief theatrical 
friends were John Philip Kemble and his sister, Mrs Siddons, both of whom 
he appears to have met often at Lord Abercorn's villa near Stanmore. 
Kemble's love of dramatic antiquities afforded a strong bond of 
fellowship, "and I have heard Scott say that the only man who ever 
seduced him into very deep potations in his middle life was Kemble." 
" He was frequently at Ashestiel, and the ' fat Scotch butler,' whom Mr 
Skene has described to us, by name John Macbeth, made sore complaints 

* P. 235 of Life. 



1802.] Tke Annals of the Edinburgh Stage. 243 

of the bad hours kept on such occasions in one of the most regular of 
households." Kemble was a bad rider, and Scott used to chuckle over 
the recollection of an excursion to the Vale of the Ettrick, near which 
river the party were pursued by a bull. " Come, King John," said Scott, 
"we mus' e'en take the water," and, accordingly, he and his daughter 
plunged into the stream. But King John, halting on the bank and sur- 
veying the river, which happened to be full and turbid, exclaimed in his 
usual solemn manner, 

"The flood is angry, Sheriff; 
Methinks I'll get me up into a tree." 

However, there were no trees handy, and had the dogs not diverted the 
attention of the bull, King John had like to have fared somewhat badly. 

On April igth Mr Woods took his farewell benefit, being his last 
appearance on the stage. He played Captain Faulkner in the Way to 
get Married, and afterwards took a formal farewell in an address from his 
own pen : 

" When here a public, that with truth presides, 
And still the actor's efforts stamps or guides, 
Exerts acknowledg'd right with generous sway, 
We hear with reverence or with zeal obey. 
From due regret, then, how can he refrain, 
Who quits the scene such liberal laws sustain ? 
Where the just critic and kind patron blend, 
Who called to judge is willing to commend. 
Such have you been to me ; for many a year 
My mind retraces, such you now appear, 
When my " young skill " near great Mandane try'd, 
The fear that chequer'd hope you bade subside. 
In arduous scenes, which matchless SIDDONS grac'd, 
My anxious efforts still your kindness traced. 
Sanction'd by you, the Drama, as I rang'd 
Thro' changful periods, ne'er your candour changed. 
Long on the spot thus honoured to appear, 
And from the accustom'd scene departure near, 
While these respected vows I hail this night, 
By taste distinguished, and with beauty bright, 
While this kind act brings all the past to view, 
Deign to accept a grateful, last adieu. 
Whate'er to me of life be henceforth known, 
Reflections oft will point to favour shown ; 
And while it boasts, by you bestow'd, essay 
To tell how priz'd but words can ne'er convey 



244 The Annals of the Edinburgh Stage. [1802. 

Yet if the faithful page of time might show 
Recorded truths that made this bosom glow, 
If transiently o'er such my voice hath past, 
They here will speak while life and memory last." 

It was perhaps a pity that Woods did not get some one to write an 
address for him ; however, the above no doubt served his purpose, and it 
is gratifying to find that he had an overflowing house. " Never," says a 
contemporary critic,* "was an actor so enthusiastically welcomed on his 
appearance, and few actors have ever quitted the stage with more 
universal regret. The plaudits of the audience when he finally retired 
were quite unprecedented." The sentimental part of Captain Faulkner 
was well suited to the trying scene he had to go through. He was sup- 
ported by Young as Tangent, Rock as Toby Allspice, Grant as Caustic, 
and Miss Duncan as Julia. While delivering his address Woods was 
frequently interrupted by his feelings, which got the better of him. 

Woods' career was almost entirely confined to Edinburgh, Accord- 
ing to the only authority to be found, t he made his first appearance on any 
stage at the Haymarket as Mahomet in 1771.^ At the close of the same 
year, he joined the Edinburgh Company, with which he was connected 
without a break until the present season. From all accounts, he must have 
been both a capable and a useful actor, while his character was without a 
blemish, and he was reputed to be of gentlemanly manners and address. 
He had been an intimate friend of Ferguson, the poet, whom he used to 
take into the Theatre, and place in a particular seat, before the doors were 
opened for the public. Ferguson, it is said, applauded in a peculiar 
manner, his method being to bring his fist down like a hammer on the 
top of the rail in front of the dress circle. For a few years before his 
retiring, Woods had, to a large extent, lost the full quality of his voice ; 
his somewhat timid nature, too, was fully taken advantage of by managers 
(Jackson in particular) to thrust younger men into his parts, so that he 
latterly had not been so prominent a member of the company. 

Although Jackson had failed in his attempt to thrust Fennell into 
Woods' place, he very easily managed in 1801-2 to give Grant all the 
cream of the leading parts, and it was no uncommon thing to see Woods 
sitting in the gallery, watching Grant blustering through such parts as 
Joseph Surface.^ Woods was not so popular in 1802 as he had been in 
1788. Many of his friends were dead, or had given up going to the 

* Candidus. t Letters of Candidus 1802. : See ante, p. 158. Letters of Candidus. 



1 802-3.] The Annals of the Edinburgh Stage. 245 

Theatre, while a new generation had sprung up, which, taking him for 
what he was worth, not knowing or caring about what he had been, and 
finding in his style many flaws which had crept in with years, gave him 
little support. His benefits for some years past had been very poor, and 
it was said Jackson had reduced his pay. Upon the whole, the best thing 
he could do was to retire, and it is pleasing to find that this, his last, 
benefit brought so large a sum as ^212. 

Woods advertised that he would direct his entire attention to teaching 
elocution, and that he could take in a few boarders in his house at No. 14 
in the " Terrace." But this programme was altered by the stern decree of 
death, which fell upon him in the following December. 

He was buried in the Calton Bury ing-ground, where his grave is 
marked by a headstone. 

April i Qth seems to have been the last night of playing for the winter 
season, and the house remained closed until July 5th, when it opened with 
Love in a Village, Young Meadows being played by Kelly from Drury 
Lane, and Rosetta by Mrs Billington. 

On the 1 3th, H. Johnston appeared as Hamlet, and on the i5th, 
Dwyer, from Drury Lane, made his first appearance here, acting Belcour 
n the West Indian. 

During the season, which lasted until August 2nd, Mrs Powell* 
appeared in several parts. 

The season following (1802-3) did not commence until January I5th, 
when Much Ado was played. 

Young, in the leading parts, seems to have made great strides this 
season, and received very warm encouragement. Miss Duncan had also 
improved very much. Miss Walstein left during the season, and her parts 
were indifferently filled, first by a Miss Fitzgerald, and afterwards by Mrs 
Grant. Toms and Grant shared Woods' parts between them, and Turpin 
seems to have run Rock pretty closely in the low comedy line. 

Mrs Esten proved a great attraction during a short starring engage- 
ment ; her salary was ^50 per night, t 

A shop boy of the name of Robertson, the son of a mechanic, made 
a considerable sensation in the part of Douglas, and after closing the 
season, on May 3rd, the company went to Glasgow. 

Young left when the Edinburgh season closed, and went to Liver- 

* Afterwards Mrs Renaud. t Monthly Mirror. 



246 The Annals of the Edinburgh Stage. 

pool,* and a Mr Willoughby, who was well known at the time in Scottish 
itinerant companies, joined in his stead. 

The results of the benefits at the conclusion of the winter season 
(1802-3) in Edinburgh were as follows: Rock ^145, Mattocks .52, 
Crumpton ^"40, Grant .89, Hallion ,78, Young -[ 39, Mr and Mrs Lee .29, 
Mr and Mrs Turpin ^102, Mr Bell ^78, Miss Duncan ^185, Toms ^86. t 

On loth May 1803, Charles Dibdin wrote from Drogheda to "Mr 
Muir, near the Royal Exchange, Edinburgh," \ as follows : 

DEAR SIR, Not having heard from you at Dublin, whence I wrote to you a week 
ago, I now send you the copy of a large posting bill and advertisement. I would wish both 
to contain the same words. Please to insert the place of performance. I hope it will be the 
Theatre, and that you have been able to procure it upon reasonable terms. You will not 
forget to take me a lodging. 

Sans Souci. 

Mr Dibdin respectfully announces to the inhabitants of Edinburgh and the vicinity of 
that metropolis that he means to perform his various entertainments of Sans Souci at 
on Monday, Tuesday, Wednesday, and Thursday, the 23rd, 24th, 25th, and 26th of May, 
1803. The performances will be Most Votes, The Frisk, The Cakehouse and Christmas 
Gambols, and Tom Wilkins, in all which will be introduced considerable variety and a great 
number of new songs. Further particulars will be given in the handbills. 

Yours, 

My dear Sir, 

Drogheda, Very sincerely, 

May loth 1803. C. DIBDIN. 

All our compliments. 

About this time the matter of Dibdin's pension was mooted, and in his 
" Public Undeceived " (1807) he, after narrating his unfavourable reception 
in Ireland, where the rebellion had not quite subsided in the people's minds, 
and he was considered by the disaffected as a spy of Government, says he 
returned by way of Portpatrick to Edinburgh, and not finding an expected 
letter there, " wrote instantly to contradict my different engagements and 
came post to London." 

From the advertisements in the Courant, however, it would appear 
that Dibdin fulfilled his Edinburgh engagements before travelling south. 
Mr Muir had succeeded in securing the Theatre for the days named, and 
the order of the performances was : Monday 23d, Most Votes (first pro- 
duced in 1802); Tuesday 24th, The Cakehouse (1800) and Christmas 
Gambols (1795); Wednesday, The Frisk (1801); and Thursday, Tom 

* He was very successful there. He had two benefits ; the first brought him .162, and the second .290. 
t Monthly Mirror. J In the collection of E. Rimbault Dibdin of Liverpool. 



1803-4-] The Annals of the Edinburgh Stage. 247 

Wilkins (1799). Tickets were to be had of Mr D. Cunningham's 
Lodgings, 22 Princes Street (where it is probable Dibdin lodged), and 
the prices of admission were 45., 35., 2s., and is. This last was a 
departure, rendered necessary by the use of the Theatre, from Dibdin's 
usual practice of making one charge for any part of the hall. The 
advertisement of the last performance states that on this evening "Mr 
Dibdin will take leave of Edinburgh." He was now nearly sixty years of 
age, and probably did not visit the city again, although he lived until 1814. 
No contemporary criticism of Dibdin's performances in Edinburgh is to 
be found, but his repeated visits suggest the inference that they were well 
patronised. It is satisfactory to be able to record in the Annals of the 
Edinburgh Theatre, that it has been the scene of performances by this 
remarkable man of genius, who, as a national lyric writer, is surpassed 
only in the English tongue by Burns, and as a melodist, stands in the 
front rank of English composers. 

On July 9th, the summer season opened with John Bull, for the first 
time in Edinburgh, the part of Job Thornberry being played by Bannister, 
jun., from Drury Lane. The house only remained open until the 25th, 
after which it remained closed till the opening for the winter season, on 
December loth. The loss of Young was severely felt this season, although 
Willoughby and Faulkner divided his business, the latter taking mostly 
the tragic lead. He seems to have been a sensible actor, who might have 
done for second parts, but was quite unfitted for the principal. Willoughby 
appeared better by contrast in the second parts, and had a fine sonorous 
voice. Hollingsworth filled Rock's place pretty successfully in low comedy, 
but was nowhere in Irish parts ; while among the ladies of the company, 
Miss Duncan was perhaps the only one of real merit. * The usual benefits 
were given, and the following sums drawn : Miss Duncant ^208, Rock 
(who joined late in the season) ^206, and Turpin ^195. 

On February 6th, an actor from New York, named Chalmers, 
appeared as Macbeth, and continued during the season playing leading 
business, chiefly in comedy. During the same month, the play of The 
Soldier s Daughter was brought out, and ran successfully for twelve nights. 

The season closed on May 2nd with Chalmers' benefit, and then the 
company went to Glasgow. 

In the Courant of June 28th, 1804, there appears the following 
announcement : 

Miss Biggs had also gone to Liverpool. t She stayed at 5 Shakspere Square. 



248 The Annals of the Edinburgh Stage, [1804-5. 

" The public are most respectfully informed that the young gentleman who has for some 
time past performed in the Theatres of Dublin, Cork, and Belfast, with such success as to 
acquire the appellation of the " Young Roscius," and who has been received with an equal 
degree of estimation in Glasgow, is engaged to perform for a few nights only, and will make 
his first appearance on this evening, Thursday, June 28th, when will be performed the tragedy 
of Douglas? 

What the merits of this youthful histrion really were, there is no 
necessity to inquire into here. The Courant dismissed the subject in six 
lines; but in other quarters the performances of the "Young Roscius" 
called forth a large amount of controversy. Some of the attacks made 
upon him were as unfair as others were absurdly laudatory. In reply to 
the former description, Jackson published a pamphlet entitled " Strictures 
upon the Merits of Young Roscius (1804)," in which he certainly sets up 
a sensible although partial defence of his extraordinary protege. 

Master Betty for such was the name of the "Young Roscius,"- 
played a large round of parts during his engagement. On July i4th, 
Munden, from Covent Garden, made his appearance, and played on 
alternate evenings with Betty. 

The season, after a prosperous run, closed some time in the beginning 
of August, 

On December 5th, 1804, the winter season opened with The West 
Indian. Belcour= Dwyer, from Drury Lane; Stockwell = Eyre, from 
Bath. During February, Mrs Young, from Drury Lane, appeared, her 
engagement extending over several weeks, and on March i2th or i3th,* 
The Honeymoon was played for the first time in Edinburgh, the following 
being the cast : Duke = Eyre ; Rolando = Evatt ; Count Montalbin = 
Flowerdew ; Doctor Lampedo = Berry ; Jaquez = Turpin ; Balthazor = 
Hollinsgworth ; Zamora (with song) = Mrs Turpin ; Volante = Mrs Evatt ; 
Juliana = Mrs Young. 

The Honeymoon was performed some half dozen times during the re- 
mainder of the season. On March 3Oth Mrs Eyre, from Bath, made her 
first appearance here, playing the Widow Cheerly, in the Soldier s Daughter, 
and the season finished on April 22nd, after which the company journeyed 
to Glasgow to open the New Theatre Royal there on the 24th, with The 
Honeymoon, and an address specially written for the occasion. 

During the summer (1805) Mrs Siddons played some six evenings, 

I have been unable to find out which, owing to the wording of the advertisement. It was certainly one 
or the other. 



1805 6.] Tke Annals of t lie Edinburgh Stage. 249 

commencing on June 2Qth with The Stranger, in which she appeared in 
her fine impersonation of Mrs Haller. After these performances the 
Theatre appears to have been closed until July 2;th, on which date Miss 
Duncan commenced a starring engagement. During July and August the 
Misses Adam, dancers, four in number, proved popular, and on August 
8th the eldest of the four appeared as Sophia in The Road to Ruin. 

Immediately afterwards, H. Johnston* appeared, and continued until 
the close of the season on August 24th, on which evening he took his benefit, 
playing the Duke in The Honeymoon, to Juliana by Mrs Eyre, her first 
appearance in that character. The proceeds of his benefit were over 200. 

The winter season did not open until January i8th 1806, when School 

for Friends was performed. On March ist, The Hunter of the Alps was 

produced, with the following cast : Felix = Dwyer ; Juan = Knox ; Florio 

= Miss E. Jones ; Jeronymo= Berry ; Baptista= Hollingsworth ; Rosalvi 

= Toms ; Genevieve = Miss Jones ; Helena = Mrs Mason. 

The season seems to have been very dreary. The Monthly Mirror 
of May (1806) says : 

" The experience of this and the two or three last seasons ought to convince Mr John 
Jackson that the tide of popularity, though never in his favour, has irretrievably turned 
against him. It would be ' kicking against the pricks ' to attempt a renewed management. 
This season has been peculiarly unfortunate to the receipts of the house, and yet, singular as 
it may appear, not one of the performers altogether failed in his benefit, though the Courts of 
Law were up and thousands, of course, out of town ; and though, by some gross mismanage- 
ment, the performers were obliged to act every night for the last fortnight of the season and 
thus risk a total failure (the benefits followed each other nightly). This disposition in the 
audiences of Edinburgh to patronize individual merit requires no encomium ; it is honourable 
to themselves, to the performers, and highly creditable to the liberality and taste of their 
country. 

" It may be proper to remark, that the Edinburgh Theatre is usually open on Mondays, 
Wednesdays, Thursdays, and Saturdays. The strength of each night may thus be estimated : 
if the aggregate be sixteen, then Saturday may be equal to six and a-half, Wednesday four and 
a-half, Monday three, Thursday two. In the subjoined list of benefits those falling on a 
Saturday are marked thus f 

Turpin, John Bull, jC I 5 

t Dwyer, Suspicious Husband, 144 

M'Gregor, boxkeeper, Soldier's Daughter, 155 o o 

Mr and Mrs Evatt, Cymbeline, 100 n o 

t Toms, Mountaineers, 115 o o 

Berry, Secrets Worth Knowing, 100 9 o 

f Mr and Mrs Mason, Provoked Husband, 79 o o 

* Johnston resided at 9 St James Square. 



250 The Annals of the Edinburgh Stage. [1806-7. 



MacGibbon, Clandestine Marriage, ^5 790 

Flowerdew, Battle of Hexham, 55 o o 

Jones and Shaw, Fashionable Lover, 80 o o 

Mrs Orger, Heir at Law, 78 o o 

Mrs Orger's benefit was on the last night of the season, May 7th, 
and a few evenings after Misses Walton and Knox risked a benefit, and 
got a boy of the name of Wilson, termed the " Caledonian Roscius," to 
appear as Rolla. " Though," says the Monthly Mirror, " it blew one of 
the most dreadful storms of snow, sleet, &c., seen at this season for many 
years, the house amounted to ^60. The price paid the manager is ^42, 
extra expenses about $ more, but on the benefit nights, when it is un- 
usual to perform, the expense of the house is only ^30." 

Several infant prodigies had appeared in Edinburgh during the sea- 
son ; the mania for such sickly performances being at its height, although 
it very soon afterwards cooled down. It is worth noting, too, that Stephen 
Kemble made two or three appearances during March ; but nothing else 
of moment was done. 

The company, after performing in Glasgow for some time, returned on 
July i5th (1806), and opened with Miss Smith, from Covent Garden, as 
Mrs Oakly in the Jealous Wife, as the particular attraction. Several of 
the winter company had left, and altogether the performances must have 
been poor affairs. The salaries paid by Jackson and Rock, were quite in- 
sufficient to secure good actors or, if they did manage to get hold of one 
for a while, to keep him. Miss Smith took her benefit on July 3ist, in 
the character of Edgar in the play of that name. 

Mr Hill and Miss Atkins, from Covent Garden, followed on August 
2nd, for the race week, opening as Young Meadows and Rosetta in Love in 
a Village ; their last appearance being as Don Carlos and Clara in The 
Duenna on August i6th. 

The winter season opened so early as November iQth (1806) with 
the Soldier s Daughter, and a complete list of the company engaged was 
advertised in the Courant, with the information added, that it was the best 
company " out of London." 

The first item of interest to be found was the production on December 
1 5th of Valentine and Orson, when Mrs Nicol appeared as Cicely. This is 
the first mention of this lady's name in connection with the Edinburgh 
Theatre, which she adorned for many years. 

The company soon after that went to Glasgow, and the Theatre in 



1806-7.] The Annals of the Edinburgh Stage. 251 

Edinburgh remained closed until Saturday 24th January, when it was re- 
opened with the Belle s Stratagem. Doricourt = Dwyer ; Sir George 
Touchwood = Toms ; Flutter = Evatt ; Mountebank = Berry ; Hardy = 
Rock; Mrs Racket = Mrs Johnson; Lady Francis Touchwood = Mrs 
Orger ; Letitia Hardy = Mrs Young. 

On the 29th, Douglas. Lord Randolph = Evatt ; Glenalvon = 
Meggett ; Douglas = Toms ; Old Norval = Archer ; Lady Randolph = Mrs 
Johnson. 

On February 12th, Macbeth. Macbeth = Meggett ; Macduff= Toms; 
Banquo = Evatt ; Lady Macbeth = Mrs Johnson. 

On April 2nd, Hamlet. Hamlet = Meggett ; King = Shaw ; Polonius 
= Johnson; Horatio = Evatt ; Ghost = Toms; Gravedigger = Rock; 
Queen = Mrs Johnson ; Ophelia = Mrs Young. 

The season closed on April 29th, when Mr and Mrs Archer took a 
benefit, with Speed the Plough. 

Mr Cooke and Miss Smith were specially engaged for a few nights 
in July (1807), commencing on the 24th, when Cooke appeared as Richard 
III. ; with the Waterman as an afterpiece. Tom Tug = Trueman, from 
Drury Lane, his first appearance here. On July 25th, Merchant of Venice. 
Shylock = Cooke ; Portia = Miss Smith. July 2/th, Othello. Iago = 
Cooke; Desdemona= Miss Smith. Miss Smith also recited Collins' 
" Ode to the Passions." 

August 8th was Miss Smith's last night and benefit, for which occa- 
sion Sir Walter Scott had written some verses for her to deliver. Owing to 
some mistake, they reached her too late for the purpose. In the letter 
accompanying them Scott states that they had been written on the morn- 
ing of the day on which they had been despatched, and that the idea was, 
in his estimation, better than the execution. Whether this is the case or 
not, the verses certainly add another proof of their author's kindly feeling 
towards the actors, for he expressly states the hope, in his letter, that 
something from his pen might, perhaps, " add a little salt to the bill." For 
Miss Smith,* it may be added, he entertained a sincere friendship. 

" When the lone pilgrim views afar 
The shrine that is his guiding star, 
With awe his footsteps print the road 
Which the loved saint of yore has trod 

* Afterwards Mrs Hartley. See page 242. 



252 The Annals of the Edinburgh Stage, [1807. 

As near he draws, and yet more near, 

His dim eye sparkles with a tear ; 

The Gothic fane's unwonted show, 

The choral hymn, the taper's glow, 

Oppress the soul while they delight, 

And chasten rapture with a fight. 

No longer dare he think his toil 

Can merit aught his patron's smile. 

Too light appears the distant way, 

The chilly eve, the sultry day ; 

All these endured no favour claim, 

But, murmuring forth the sainted name, 

He lays his little offering down, 

And only deprecates a frown. 

We, too, who ply the Thespian art, 

Oft feel such bodings of the heart ; 

And when our utmost powers are strained, 

Dare hardly hope your favour gained. 

She, who from sister climes has sought 

The ancient land where Wallace fought ! 

Land long renowned for arms and arts, 

And conquering eyes and dauntless hearts ! 

She, as the flutterings here avow, 

Feels all the pilgrim's terrors now ; 

Yet sure on Caledonian plain, 

The stranger never sued in vain, 

'Tis yours, the hospitable task, 

To give the applause, she dare not ask ; 

And they who bid the pilgrim speed, 

The pilgrim's blessing be their meed ! " 

On August i Qth 1807, Mr Bellamy and Mrs Mountain, from Drury 
Lane, were advertised to open a six nights' engagement, but the lady 
being ill her appearance was postponed until August 2 Qth, when she 
played Clara in The Duenna. On September 3rd she played Polly in 
the Beggars Opera, on which occasion Mr Mountain was leader of the band. 

On November 24th, what may be termed an autumn season was 
commenced with the Way to get Married. On the 28th, Young, 
described as from the Theatre Royal, Hay market his first appearance 
here for four years was advertised to play Hamlet. However, he had 
got snowed-up on the road, and did not appear till several nights after. 
On December 3rd he played the Stranger, on the i2th Benedick, with 
Mrs Young as Beatrice. 



i8o8.] The Annals of the Edinburgh Stage. 253 

The Theatre closed on the 2ist, and the company went to Glasgow, 
returning again and reopening on January 23rd, with The Merchant of 
Venice, the following being the cast : Shylock = Cooke, from Covent 
Garden ; Antonio = Archer ; Bassano = Mansel ; Gratiano = Watt ; Lorenzo 
= Trueman ; Launcelot = Berry ; Portia = Mrs Young ; Nerissa = Mrs W. 
Penson. On February 1 3th, Othello. Othello = Young ; Iago = Cooke; 
Desdemona = Mrs Young. For his benefit Cooke played Joseph Surface in 
School for Scandal on February 2Oth, with Rock as Sir Peter, Young as 
Charles Surface, and Mrs Young as Lady Teazle. On the 28th Cooke 
played for the benefit of the Charity Workhouse, and on the 29th his 
engagement ended. 

On March 3rd, Mrs Siddons commenced an engagement of six nights, 
which was advertised as her " farewell performances in Scotland." Her 
first appearance was as Mrs Haller in The Stranger, while, on March 
1 4th, as Mrs Beverley in The Gamester, she bade farewell to her Edin- 
burgh friends.* The last night of the season was set apart for the bene- 
fit of Mr and Mrs Vining. 

The Theatre only remained closed until May 3Oth, when it re-opened 
with The Busybody and Ella Rosenberg, the latter for the first time in 
Edinburgh, the following being the cast: Elector = Archer ; Rosenberg 
= Mansel ; Flutterman = Berry ; Colonel Mountfort = Vining ; Storm 
= Evatt ; Ella = Mrs Young. This drama became very popular, and 
was a stock piece for years. On June 25th, Mrs Mountain appeared 
as Adela, in The Haunted Tower. Her engagement ended on July 
nth,t and on the i6th, Bannister appeared as Echo in the World, 
acting with great success apparently until August ist. On August 8th 
Elliston, of Drury Lane, made his appearance as Rolla in Pizarro, and 
Young Wilding in The Liar. August i ith, Macbeth. Macbeth = Elliston ; 
Lady Macbeth = Mrs Powell, her first appearance this season. August 2oth, 
The Rivals. Faulkland = Elliston ; Julia = Mrs Powell. August 22nd, The 
Honeymoon, for benefit of Mr Elliston, who played the part of the Duke. 

On August 24th, the first appearance in Edinburgh has to be re- 
corded of Mrs Henry Siddons, an actress who, as a woman, was re- 
spected throughout her life by the first families in Edinburgh. As an artiste, 
in her particular line, she was acknowledged to have had few equals and 

* This was not her final appearance in Edinburgh. 

t She went to Corri's Rooms, and there gave a single-handed entertainment. 



254 The Annals of the Edinburgh Stage. [1808-9. 

no superiors ; and as a manageress, was one of the prime movers in raising 
the Edinburgh stage to the high moral and artistic tone for which it 
became famous. 

It is to be regretted that no record can be found of the part 
she first appeared in before the Edinburgh public. On August 
25th, however, she played Belvidera in Venice Preserved, to the 
Jaffier of her husband, his first appearance this season, and Pierre by 
Cooke, who must have returned to Edinburgh to fill another engagement. 
Mrs Powell still remained in the company, which with so many reinforce- 
ments must have been very strong. 

On August 29th, Richard III. Glo'ster = Cooke ; Richmond = H. 
Siddons ; Queen = Mrs Powell. September 6th, last night of the season, 
Hamlet. Hamlet = H. Siddons; Ophelia = Mrs H. Siddons. 

An Italian opera company appeared on the evenings of November 
1 2th, 1 4th, 1 6th, and igth, 1808. Among the artistes engaged were Madame 
Catalani, Signers Siboni, Miarteni, and Spagniolette, and Madame 
Miarteni. Mr Corri presided at the piano. The prices during this engage- 
ment were boxes, IDS. 6d. ; pit, 6s. ; first gallery, 55. ; second gallery, 35. 

The dramatic season for 1808-9 began on November 26th with 
Morton's Cure for the Heartache. December 26th, Plot and Counter 
Plot, from the Haymarket, first time here. On December 29th an 
advertisement appeared in the newspapers intimating " That candidates 
for the management of the Theatre Royal, Edinburgh, are requested to 
send their proposals in writing without delay to Mr Home, Signet Office, 
Solicitor to the Assignees of the Patent." The "grand allegorical panto- 
mime " of Cinderella was brought out on January i ith ; and on April ;th 
another piece of the same kind, with the title of Red Roy. 

On May i/th, Incledon appeared as Captain Macheath, and on the 
1 8th as Tom Tug. May 3ist, Mrs Siddons again appeared, acting on 
that evening the part of Lady Randolph to Putman's Douglas. 

July 3rd, Cooke made his appearance as Glo'ster in Richard III ' ; and 
on the 1 9th played Cato, being the first time it had been played here for a 
great many years. After a visit from Fawcett, the comedian, commencing 
July 29th, the Theatre closed on August i2th, and remained so closed for 
nearly three years. 



1809 to 1851. 




CHAPTER XVI. 

THE SIDDONS REIGN. 

HE Theatre had now been standing for forty years, during which 
time, if we leave out of account occasional bright gleams of 
better things, its history must assuredly be regarded as stale, 
flat, and unprofitable. 

The great influence that Garrick had exercised upon the stage an 
influence felt even so far north as Edinburgh had ceased with his 
death ; Sheridan, although so great an author, left the social, moral, 
and intellectual status of the profession lower than he had found it; 
Mrs Siddons was no more than a great actress ; but not by any 
means a vital part of the theatrical organisations of her day. John 
Kemble alone served as a backbone to the whole concern, strengthen- 
ing it and giving tone to its reputation during part of the forty years under 
consideration. In a few years a new light was to burst upon the dramatic 
firmament, with a glory which was not only dazzling in its brilliancy, but 
whose influence has permeated through all the ups and downs, revolutions 
and counter-revolutions, even to this present time. In 1809, however, 
Kean was but a strolling player, and the Drama sadly lacked intelligent 
and powerful backing to bring it again into that repute with the public, in 
which position alone it could prosper in a healthy manner. Whether that 
support came from within or without really mattered little. In England, 
it came from within, in the person of Edmund Kean ; in Scotland, from 
without, and Walter Scott was the person who aroused it from lethargy 
and stagnation. This was not done by any particular word or deed on 
his part ; nor did he, least of all men, know the important change he was 
steadily working in this direction. Scott was above all things a great 
leader, and in setting the example of regularly patronising the theatre, he 
was inevitably followed by the most intelligent of his time. 

K 



258 The Annals of the Edinburgh Stage. [1809-10. 

Scott, however, did even more than this, for it was through his taking 
an intelligent and catholic interest in the drama, and by setting other men 
of standing, intelligence, and education to do the same, that in time and 
by natural means it was cleansed and purged of much of the dross and 
impurity which had hitherto defiled our local theatrical system. 

A complete change of management was necessary in the first place. 
The sleepy and self-important type which had been inaugurated by Ross 
was effete ; what was wanted in its place was energy combined with intelli- 
gence, and, thanks partly to Scott, both qualities were found in the persons 
of Henry Siddons, his wife, and brother-in-law. Scott's intimacy with, and 
friendship towards, both Mrs Siddons and her brother, John Kemble, is 
well known ; so it can easily be imagined with what pleasure he viewed 
and promoted the arrangements which were being made to secure the 
Edinburgh Theatre for the son of the great actress, with whom he had 
contracted a considerable friendship in earlier years. It may be mentioned 
that during this year Scott purchased a share in the theatre, and was 
made one of the acting trustees for the general body of proprietors. So 
far as can be ascertained, Siddons was not without a rival in his applica- 
tion for the Patent. 

The following letter * contains some information which is now pub- 
lished for the first time : 

" To Henry Bunbury, Esq., "January ist 1809. 

" Bury St Edmunds. 

" I received the post, and as far as I have eaten my way into it, pronounce it delicious. 
. . . I have given up all thoughts of the Edinburgh Theatre. The first condition 
staggered me, to give up Drury entirely ! Edinburgh is a delightful spot but London has 
a few charms. Here I know every inch of ground, and barring gout, have a firm footing. 
To sink a large sum on a five years' lease, subject to the control of a committee in the 
management of the Theatre, were conditions I could not stomach, and I gave it up as cheer- 
fully as I gave into it in the first instance, when no such impediments presented themselves. 
Those who are well off and wish to be better frequently bother themselves in their calcula- 
tions, so I shall stick to No. i, and remain in the old shop. 

(Signed) JOHN BANNISTER." 

When Siddons got the Patent, he turned his back upon the old 
building and transferred the royal sanction to the Circus in Leith Walk. 
This was the cause of much dispute with the proprietors in Shakspere 
Square, who endeavoured, at first by persuasion and afterwards by force, 
to secure Siddons as their tenant. 

* In the collection of J. Mansfield Mackenzie, Esq., W.S. 



i8o9-io.] The Annals of the Edinburgh Stage. 259 

Both, however, proved unavailing at the time, * and the New 
Theatre Royal, Leith Walk, was opened under His Majesty's Patent on 
Tuesday, November i4th 1809, with the Comedy of the Honeymoon; 
the Duke and Juliana by Mr and Mrs Siddons, Fortune s Frolics being 
played as an after piece. The house had been newly decorated, and in 
readiness for some time. The following accounts of it are taken from the 
Monthly Mirror. First, in the November number it says, " the New 
Theatre Royal, Edinburgh, is finished. It is in the Gothic style." And 
then, some months afterwards, the following appears : 

" A house which was formerly the Circus, and subsequently Concert rooms, has been fitted 
up with tolerable neatness, although somewhat in the gingerbread-work style, and the access 
to which is excessively bad, for you must make the complete circle of the house, and ascend 
one or two flights of steps before you arrive at the box lobby. The interior, however, is 
executed with considerable taste, is well lighted, the scenery and machinery very good, and 
the music, which was formerly execrable, very much improved." 

In the advertisement announcing the opening of the house, precise 
directions are given regarding the order for coaches drawing up. " It is 
further requested," the intimation concludes, " that no carriage will come 
by St James Square, that road being reserved for chairs." The columns 
of the Courant contain the following account of the opening : 

" On Tuesday night the new Theatre opened under the management of Mr Siddons. 
The house, in a few minutes after opening, overflowed in every part. Public expectation had 
been greatly raised by the reported elegance and accommodation of the Theatre, and it was 
almost taken for granted that the union of Mr Nasmyth's talents in design, and Mr Williams' f 
in execution, could scarcely fail of producing a happy and successful effect. The Theatre is 
indeed very beautiful and extremely commodious, yet we are compelled to admit that the 
Gothic effect of the ornaments excites rather a sombre than a cheerful impression, and that 
this effect was aided last night by a deficiency of light everywhere except on the stage, and 
particularly in the back part of the boxes. The accommodation of the house in other 
respects seems complete. The stage is lighted in a novel and perfectly effective manner, and 
the scenery is equal in beauty and design and execution to any we have witnessed. 

" Before the play, an overture, arranged for the occasion, was performed, and we noticed 
in it a hautboy touched by the hand of a master." 

Mr and Mrs H. Siddons' performance is then criticised at length, 
and it continues 

" They both experienced the welcome they deserve, and we have little doubt that the flat- 
tering nature of this, their first reception in a new capacity, and in a strange land, will lead them 

* Regarding this subject much interesting matter will be found in Murray's Address, 1815, p. 270. 
t Mechanist and painter, from London. 



260 The Annals of the Edinburgh Stage. [1809-10. 

to feel that they have made their adoption where their patrons are equally able to appreciate 
merit and reward it. Mr Siddons' Duke was chastely, naturally, and feelingly pourtrayed. 
He could not perhaps have chosen his debut more happily. Mrs Siddons' Juliana, in the 
passages where tenderness is required, could scarcely be rivalled ; there the naivete and the 
indescribably fascinating charm of her manner made their full impression." 

It was natural that, having made a successful opening, Siddons should 
desire to keep things going briskly during the season. The engagement 
of his mother and uncle soon suggested itself, and he thought it would 
be an excellent idea to have them perform together. The attraction 
would undoubtedly have proved enormous ; so he wrote them both for 
terms, mentioning a date, but not informing them of his project that 
was to be a pleasant surprise for them when they met in Edinburgh. 
In course of post he received his replies. Mrs Siddons stated that she 
would be content with " half the receipts and a free benefit ; " while 
Kemble said that if he got a " free benefit in addition to half the house," 
he would be glad to appear ! They were both engaged, but not for the 
same date. The first production of importance this season was The 
Foundling of the Forest* on Wednesday, November 29th, when the 
part of Bertrand was taken by Terry, his first appearance here. It 
was this individual who, with one or two other intimate friends, shared 
Scott's great secret of the authorship of the Waverley Novels, and who 
became so intimately associated with the production of the dramas from 
these immortal works. Terry, who came from Liverpool to fulfil this 
engagement, was spoken of in the Courant of December 4th as follows: 

" Mr Terry's figure, though not cast in the mould of heroes, is well formed and graceful ; 
his countenance is powerfully expressive, and his voice, though not melodious, is strong, full, 
and clear. With these natural endowments, he appears to combine a perfect knowledge of 
the stage, great energy and propriety of action and deportment, a vigorous judgment, and 
an active mind." 

The remainder of the cast was as follows : Count de Valmont = 
Siddons ; Florian = Kent ; Baron Longueville = Thomson ; Gaspard = 
Kelly ; Sanguine = W. Murray ; Lenoir = Mason ; Geraldine = Miss 
Vining ; Rosabella = Mrs W. Penson ; Monica = Mrs Nicol; The Un- 
known Female = Mrs H. Siddons. 

The first appearance of Mr W. Murray, on November 2Oth, as Count 
Cassel in Lovers Vows, must not be passed over. His connection with 

* Was produced under the care of William Murray. The play is heavy in the extreme, but was 
acted five nights in succession, and afterwards for other five. 



1809-10.] The Annals of the Edinburgh Stage. 261 

the Edinburgh stage was probably of more importance to it than that of 
any other man who ever lived. 

On December i2th, A Winter s Tale was produced, with scenery by 
Nasmyth. Siddons played Leonatus ; Terry, Antigonus ; Mrs Young, 
Hermione ; and Mrs H. Siddons, Paulina. 

On the 2Oth, Adelgitha, a drama originally produced at Drury Lane 
in 1807, was played in Edinburgh for the first time, and on the 28th, Mary 
Queen of Scots was brought forward. 

Murray's name is first mentioned as stage manager on January 8th 
1810, when The Tempest was produced under his direction. Terry was 
the Prospero ; Stephano= Kelly ; Ferdinand = Putman ; and Miranda = 
Mrs Vining. 

Stephen Kemble, in passing through the town, played three nights, 
commencing January 23rd how he was received has not been recorded. 

We now come to the production of Joanna Baillie's Family Legend 
(on January 29th 1810), in which Scott took so warm an interest, and we 
cannot do better than quote at length from two letters of his to the 
authoress. The first is dated October 27th 1809 

" On receiving your long kind letter yesterday, I sought out Siddons, who was equally 
surprised and delighted at your liberal arrangement about the Lady of the Rock. I will put 
all the names to rights, and retain enough of locality and personality to please the antiquary, 
without the least risk of bringing the Clan Gillian about your ears. I went through the 
Theatre, which is the most complete little thing of the kind I ever saw, elegantly fitted up, 
and large enough for every purpose. I trust with you, that in this as in other cases our Scotch 
poverty may be a counterbalance to our Scotch pride, and that we shall not need in any time a 
larger or more expensive building. Siddons himself observes, that even for the purposes of 
show (so paramount now-a-days) a moderate stage is better fitted than a large one, because 
the machinery is pliable and manageable in proportion to its size. With regard to the equip- 
ment of the Family Legend, I have been much diverted by a discovery I have made. I had 
occasion to visit our Lord Provost (by profession a stocking weaver), and was surprised to 
find the worthy magistrate filled with a newborn zeal for the Drama. He spoke of Mr 
Siddons' merits with enthusiasm, and of Miss Baillie's powers almost with tears of rapture. 
Being a curious investigator of cause and effect, I never rested until I found out that 
this Theatre rage which had seized his lordship of a sudden was owing to a large order for 
hose, pantaloons, and plaids, for equipping the rival clans of Campbell and Maclean, and 
which Siddons was sensible enough to send to the warehouse of our excellent provost.* 

The next letter speaks of the production : 

" To Miss Joanna Baillie, Hampstead. January 3oth, 1810. 

" My Dear Miss Baillie, You have only to imagine all that you could wish to give 

* William Coulter. 



262 The Annals of the Edinburgh Stage. [1810. 

success to a play, and your conceptions will still fall short of the complete and decided 
triumph of the Family Legend. The house was crowded to a most extravagant degree ; many 
people had come from your native capital of the West : everything that pretended to distinc- 
tion, whether from rank or literature, was in the boxes, and in the pit such an aggregate mass 
of humanity as I have seldom if ever witnessed in the same space. It was quite obvious from 
the beginning, that the cause was to be very fairly tried before the public, and that if anything 
went wrong no effort, even of your numerous and zealous friends, could have had much influ- 
ence in guiding or restraining the general feeling. Some good-natured persons had been kind 
enough to propagate reports of a strong opposition, which, though I considered them as 
totally groundless, did not by any means lessen the extreme anxiety with which I waited the 
rise of the curtain. But in a short time I saw there was no ground whatever for apprehen- 
sion, and yet I sat the whole time shaking for fear a scene shifter, or a carpenter, or some of 
the subaltern actors should make some blunder. The scene on the rock struck the utmost 
possible effect into the audience, and you heard nothing but sobs on all sides. The banquet 
scene was equally impressive, and so was the combat. Siddons announced the play for the 
rest of the week, which was received not only with a thunder of applause, but with cheering 
and throwing up of hats and handkerchiefs. Mrs Siddons supported her part incomparably, 
Siddons himself played Lorn very well indeed, and moved and looked with great spirit. A 
Mr Terry, who promises to be a fine performer, went through the part of the Old Earl with 
great taste and effect." 

The remainder of the letter is too long for insertion ; however, Scott, 
after praising the acting of the minor parts, takes Miss Baillie to task for 
being two democratic in giving the underlings fine sentiments and speeches. 
The piece ran for fourteen consecutive evenings. The Prologue was from 
Scott's prolific pen, and spoken by Terry ; the Epilogue by Henry 
Mackenzie, spoken by Mrs H. Siddons. Soon afterwards a play entitled, 
The Friend of the Family, from the pen of the manager, was produced 
with considerable success. " Dramaticus," writing in the Monthly Mirror, 
speaks very highly of this piece, and says it was received with much greater 
testimonies of approbation than was the Family Legend. Scott makes the 
following remarks on it in a letter (March i8th 1810) to Miss Baillie : 

" Siddons' play was truly flat, but not unprofitable ; he contrived to get it well propped 
in the acting though it was such a thing as if you or I had written it would have been 
damned seventy-fold yet it went through with applause." 

It was produced on the 24th February 1810, the new Prologue 
spoken by Putman, Epilogue by Mrs Young, and played eight nights ; 
and again on the 1 7th March, when it was put on instead of King John, 
which had been withdrawn owing to Mrs Siddons' sudden illness. 

* Scott evidently did not see the first production of this, but a performance of it on March 1 7th, when it 
was put on instead of King John, Mrs Siddons being ill and not able to play. 



1810.] The Annals of the Edinburgh Stage. 263 

That lady, the great, the incomparable Mrs Siddons, who, twenty-six 
years previously, had caused such extraordinary excitement in Edinburgh by 
her performances, again visited Edinburgh this season. On the evening of 
Wednesday, March I4th r8io, she opened as Lady Macbeth; afterwards 
playing in the Mourning Bride (March I5th), and repeating Macbeth on 
the 1 6th. Scott must have been present at one of these three per- 
formances, for in a letter to Miss Baillie, already quoted in part 
above, he remarked on Mrs Siddons 1 appearance, that he was "quite 
shocked to see her, for the last two years have made a dreadful inroad both 
in voice and person." This is so far qualified by the addition that " she 
has, however, a very bad cold." That was quite true, and in consequence 
she did not re-appear till March 24th. Sir Walter's strain of criticism was 
not shared by any of the contemporary critics, who, one and all, were en- 
thusiastic in her praises and the wonderful preservation of her pristine 
vigour. Speaking of this visit, Chambers, in one of his interesting but 
unreliable works,* speaks of her " still appearing in the eyes of our fathers 
the female Milton of the stage, as she had done twenty-six years before in 
the eyes of their fathers." 

Her benefit and last appearance was on Tuesday, loth April, when 
she appeared as Belvidera in Venice Preserved. Soon after that the 
famous and unhappy Mrs Jordan appeared for a few nights ; her final 
performance being on June 2Oth, when she gave her inimitable rendering 
of the part of Lady Teazle. She did not again visit Edinburgh. Up to 
this time John, or " Irish," Johnstone as he was familiarly called, had never 
appeared here. Seeing that he had maintained a monopoly of Irish parts for 
twenty-seven years in London, and was exceedingly popular all over England, 
and, of course, in Ireland, it seems astonishing that none of our managers 
had ever got him " up North." Siddons was enterprising enough to do 
this, and Johnstone made his first bow to a Scotch audience on June 3Oth, 
in the West Indian. He finished his engagement on Saturday, July 2ist, 
and came through from Glasgow for one night to act with the celebrated 
John Emery, on July 28th in the Review, he playing Looney, and Emery 
John " Lump," both their original parts. The Theatre closed on 
Angust 6th. 

Still abiding in the New Theatre, although the bills are merely headed 
"Theatre Royal," Siddons opened his second season on November i;th 

* Written in 1859. 



264 The Annals of the Edinburgh Stage. [1810-11 

with the Clandestine Marriage ; the house being ''entirely repainted and 
decorated." A new drop scene, by J. F. Williams, representing St 
Bernard's Well, was added to the theatre. 

On November 22nd Terry played the part of Falstaffin Henry IV. 
for the first time ; and on December i5th, the great tenor Braham made 
his first bow to an Edinburgh audience, appearing in the Siege of Belgrade. 

It is curious to note that even at this time the management found it 
necessary to print an announcement on the playbills, that no gentlemen 
would be admitted behind the scenes. Perhaps this was a special pre- 
caution taken to save any obstruction to the elaborate scenery, &c. which 
was prepared for the production of Sir Walter Scott's Lady of the Lake 
on January i5th 1811. The scenery was announced as being prepared 
from views taken on the spot,* and the play as having never been played 
on any stage. This is quite true as regards this particular version, which 
was written for Edinburgh by Edmund John Eyre, at the request of 
H. Siddons.t Eyre's play is long and heavy in the extreme, with Scott's 
language and peculiar metre sliced up into an extraordinary kind of blank 
verse, and in no respect compares favourably with Tom Dibdin's version, 
which was very soon after this played in Edinburgh instead of Eyre's. 

Scott, in writing to his friend Miss Baillie, speaks of this production : 

" Meanwhile The Lady of the Lake is likely to come to preferment in an unexpected 
manner, for two persons of no less eminence than Messrs Martin and Reynolds, play-carpen- 
ters in ordinary to Covent Garden, are employed in scrubbing, careening, and cutting her 
down into one of those new-fashioned sloops called a melodrama, and my friend Mr H. 
Siddons is at work on the same job here." 

A special overture was written by J. Jones, and the piece was 
produced under the direction of W. Murray; but although no expense had 
been spared, and a long time was spent on getting it up, the Lady of the 
Lake was only played about six times throughout the season. The cast 
was as follows : Fitzjames = Siddons ; John of Brent (with song, "A Fig 
for the Vicar ") = Turpin ; James, Earl of Douglas = Archer ; Allan Bane 
= Shaw; Malcolm Graeme = Thomson ; Lady Ellen Douglas = Mrs H. 
Siddons; Roderick Dhu = Terry ; Red Murdoch = W. Murray; Brian = 
Halliwell ; Lady Margaret = Mrs M'Namara; Blanche of Devon = Mrs 
Young. 

On February 2nd Bannister appeared as Colonel Feignwell in A 

* By J. F. Williams. t See preface of edition printed in London, 1811. 



iSii.] The Annals of the Edinburgh Stage. 265 

Bold Stroke for a Wife, and played several of his best parts on the suc- 
ceeding evenings, taking his benefit on the i8th, two nights after which 
the melodrama of Tekeli was brought out ; and on March 6th Terry 
played Polonius to Siddons' Hamlet. Bannister reappeared on March 
i ith, when he " opened his Budget of an Actor's Ways and Means," an 
entertainment written expressly for him by Messrs Colman, Dibdin, &c. 

On March iSth Siddons brought out another version of the Lady of 
the Lake, by the elder Morton, under the title of The Knight of Snow- 
doim. The music, which was by Bishop, included the famous " Tramp " 
Chorus ; but the piece never became popular. The cast was much the 
same as in Eyre's version, the only changes of importance being that Mrs 
Young took Mrs Siddons' place as Lady Douglas, and Shaw, Murray's 
part of the Red Murdoch. 

Terry took his benefit, and played Falstaff in the Merry Wives, for 
the first time, on March 23rd ; a benefit was given to the theatre band on 
April 4th ; and on the 6th Dowton from Drury Lane appeared, playing 
Sir Anthony Absolute to Miss Morton's Lydia. 

The well-known hautboy player Fraser had a benefit on May 4th, when 
he played on " that delightful instrument," the patent double flageolet; and 
the theatre closed on May 8th, to reopen for the summer or after-season 
on June 22nd, when W. J. Johnstone appeared; followed on July 8th 
by Miss Duncan from Drury Lane, and on July 22nd by John Kemble. 
The last night, August 7th, was set apart as a benefit for persons 
confined for small debts in the city. This was the last performance that 
Siddons gave in the new Theatre Royal ; before again opening, he had 
removed to Shakespere Square,* where the first performance for the fol- 
lowing season was announced for November i6th 1811, and the playbills 
issued. Mrs Berry not having arrived, however, the opening was post- 
poned until the following Monday, the i8th, when the Clandestine Mar- 
riage was played, with Terry as Lord Ogleby and Miss Norton as Fanny. 

On December 28th Mr Pope appeared, and two nights after the 
Caravan ; or, the Driver and his Dog Carlo, announced as the most suc- 
cessful piece ever known, was produced, and ran five nights. In this 
piece a sheet of real water was advertised, along with a real cascade, and 
yet it did not draw ! Theatrical enterprise was not rewarded then as it 
came to be in a few years. 

* Murray's Address, 1815, p. 270. 



266 The Annals of the Edinburgh Stage. [1812. 

Mrs Siddons again appeared this year, announcing her performances 
as of a farewell nature. On February 22nd she played Lady Macbeth; 
March gth, Mary Queen of Scots ; Hermione and Mrs Beverley on the 
loth and nth, for the ''last time on any stage;" and took her benefit 
on the 1 3th, as Queen Katherine in Henry VIII. , when she spoke a 
farewell address. 

The famous comedian, Munden, came for a few nights, commencing 
March iSth, and on April 4th the great Charles Mathews, who related 
his first impressions to his wife in a letter from which the following is an 
extract : * 

" Edinburgh turned out as delightful as Glasgow was horrible. Beautiful weather, 
good society had the good luck to see the superfine patterns of the Scotch ; and the 
warmest reception I ever met with, because I have considered an Edinburgh audience so 
difficult to please. Harry f says I am the greatest card he ever had. Hundreds turned away 
at my benefit. I reckon Edinburgh an annuity to me for the future." 

After being closed for ten days, the Theatre reopened on May i6th, 
when the celebrated Miss Smith, Scott's particular favourite, appeared, 
along with Jones from the Hay market. The Theatre was again closed 
from June 27th to July 27th, when it opened with John Kemble as 
Hamlet, to close finally for the season on August roth. 

The Clandestine Marriage was announced for the opening of the 
following season on November i4th, but Terry being ill the Honeymoon 
was played instead. An interesting account of this performance is given 
in the columns of the Theatrical Inquisitor, from which the following is 
an extract : 

" Rolando was performed by Mr Jones in a very respectable manner ; but I am sorry I 
must repeat, that one great fault in the performance of this gentleman, is the want of proper 
animation. He might easily attain this, however, by perseverance, a greater degree of con- 
fidence on his part, and more encouragement on the part of his audience." 

" Mr W. Murray as Jaquez afforded great amusement." 

" Juliana was performed by Miss Phillips, being her first appearance in this city. Every 
indulgence ought to be shown to those who make a first appearance before an audience ; but 
I am inclined to suppose she is by no means an eminent actress." 

The Honeymoon was followed by the farce Trial by Jury, and two 
nights later Mr Grant made his first appearance for seven years, playing 
Sir Pertinax in the Man of the World. 

Terry reappeared on the 23rd, and on the following evening he 
played the part of Shylock for the first time. 

* Memoirs, vol. ii. p. 213. f Henry Siddons. 



1812-13.] The Annals of the Edinburgh Stage. 267 

Catalani, the great vocalist, sang on several evenings during Decem- 
ber, and towards the end of the month appeared at four concerts in the 
Assembly Rooms under Corn's management. 

Caledonia, or The Thistle and the Rose, a three-act historical play, 
with Scots music, was played for the first time on any stage on December 
23rd, with the following cast: Highland Baron = Archer ; Lord Archi- 
bald = Terry; Rosa = Mrs W. Penson ; Matilda = Mrs H. Siddons. 
English Party : Lord de Warrenne = Jones ; De Clifford = Mann. 
Mountain Warriors : Unknown Soldier = Siddons ; Graeme = M'Namara ; 
Colin = Russell ; Dundore= Duff ; etc. Whatever its merits may have 
been, it only ran for five nights. 

A Pantomime called the White Cat, was mounted on the 26th 
January, with M'Namara as Pantaloon, Parker as Harlequin, Duff as 
Clown, and Miss Stamford as Columbine. John Kemble commenced a 
seven weeks' engagement on February 2nd, playing Wolsey in Henry 
VI II., for the first time in Edinburgh on the 4th, and Old Norval on the 
1 2th, to his nephew's Douglas. 

Another national tragedy called the Heiress of Strathearn, was 
brought out on March 24th, for the first time on any stage ; but like most 
productions during this period, did not draw. 

Theatrical matters were not in a healthy state by any means, and 
poor Siddons must have had many a hard fight to keep things going, far 
more to maintain the high standard of excellence which he had set himself, 
and which he managed somehow to sustain creditably. The Theatre, too, 
was small, and at the prices, 45. for boxes, 35. for pit, and 2s. and is. 
for the galleries, could not hold ^200. The Glasgow Theatre was con- 
siderably larger, " yet in spite of all this," says a writer in the Theatrical 
Inquisitor, " and the high literary and dramatic character which Edinburgh 
has so long held, it is very doubtful whether a larger theatre would prove 
an advantage." The same writer states that the smallness of the house was 
only felt when some great performer appears for a few nights, or some very 
attractive new piece is produced. 

The season ended on May 5th, and the Theatre remained closed until 
July 1 7th, when Sinclair and Mrs Bishop, the vocalists, made their appear- 
ance in the Duenna. Two nights later Miss Booth appeared as Juliet, and 
on August 2nd, for her benefit, she played the part of Douglas. Matthews 
appeared on August i4th, and the summer season closed on the first of 
the following month. 



268 The Annals of the Edinburgh Stage. [1813-14. 

The proceedings of the following season (1813-14) are of very little 
interest. After the opening on November 2Oth, there fall to be recorded 
Miss L. Kelly's (Drury Lane) first appearance on November 22nd ; Mr 
Betty's performance of Douglas on the 24th ; the production of the Royal 
Oak, by the author of the Foundling of the Forest, music by M. Kelly, on 
December ist; Mrs C. Kemble's appearance on January ist (1814); a 
melo-dramatic spectacle entitled, Aladdin, with scenery by Nasmyth and 
Whitmore, of Covent Garden which actually ran for twenty-four 
nights on January iQth; and C. Kemble's first appearance for fifteen 
years, on January 24th. 

Another melo-dramatic spectacle, the famous The Miller and his Men, 
with music by Bishop, was brought out on February 2 ist, but was only 
played five times, and after visits from John Kemble and Mathews, the 
season closed on May 27th. 

Some interesting opinions were given in the March number of the 
Theatrical Inquisitor, regarding the members of the company this season. 
Mrs W. Penson, it says, acted a chattering lady's maid to perfection, 
although, in consequence of her having a large family, she did not 
appear very often. She was a great favourite with the frequenters of 
the gallery, who adored her acting. Mrs Nicol was the only one in 
the company capable of acting stiff aged matrons ; Mr Russell, who had 
made great strides in his profession, out-Mathewed Mathews in many 
of that comedian's parts, while his imitations were given with more spirit. 
Mason was splendid in farce, or where facial grimaces could be used; 
Madame Catalan! on one occasion was unable to contain her laughter while 
playing with him. Murray had improved greatly since coming to Scot- 
land, and his taste in getting up spectacles, &c., was excellent. Siddons 
was sensible in his acting, but his looks and voice were greatly against 
him. Jones was a handsome young man, good in genteel comedy, and 
Trueman was only decent as a singer. 

Such was, most likely, a pretty fair estimate of the qualities of these 
performers, who constituted the best talent then on the Edinburgh 
stage. 

About this time (April 1814) a report was current in theatrical circles 
that, on account of ill-health, Siddons contemplated retiring altogether from 
management, and perhaps from the stage. As to a successor, various 
names were mentioned ; C. Kemble and John Kemble, however, were 
generally looked upon as the likely ones. It is quite possible that some 



1814-15-] The Annals of the Edinburgh Stage. 269 

such transfer of the Patent and the Theatre may have been thought of ; 
but it came to nothing, and Siddons remained in harness to the end and 
then, as if it had only awaited such an event, bad fortune rolled away like 
thunder clouds after a storm, and the warm glow of success shone steadily 
on the Edinburgh Theatre for many, many years. 

In the mean time, the after season commenced with Hamlet, on July 
25th, Young playing the principal part ; Laertes = Lacy, his first appear- 
ance here ; Polonius = Chippendale, his first appearance here. This was 
the father of the well-known comedian who died January 3rd 1888 
(born 1801). Chippendale junior came to Edinburgh with his father and 
joined the High School ; after which, probably through the influence of 
Sir Walter Scott, he was placed with the Ballantynes to learn printing, and 
boasted in after life that he had had the "copy " of some of the novels 
through his hands. 

Another interesting first appearance was that of Miss Stephens on 
August 1 1 th as Polly in the Beggars Opera. 

On the 27th a concert of sacred music was given in the Theatre, at 
which Miss Stephens sang and Mr Mather presided at the pianoforte. 
The season closed on September 2nd. 

About this time the Drury Lane management made Mrs H. Siddons 
an offer to play Juliet to Kean's Romeo ; * she, however, declined, and 
remained with her husband, who opened the next season (1814-15) with 
Pizarro on November 8th, himself playing Rolla. On December 3rd 
Siddons' play of Friend of the Family was reproduced under the new 
name of Policy ; or, T/ius Runs the World Away ; it was only played 
twice, however. On the I3th a benefit was given for the subscription 
for raising a national monument to the memory of " Mr" R. Burns, the 
poet ; and on the 26th a pantomime was brought out, with Edwards as 
clown. A piece by a "gentleman of this city," called Lawyers and their 
Clients, first saw the light of the stage on January 4th, and ran for eight 
nights ; the only good part seems to have been that of a conceited fop, 
played by Murray. t 

The Comedy of Errors, for the " first time for 30 years," on February 
1 8th, with Murray and Russell as the two Dromios ; played several times. 

On March ist Mrs H. Siddons had her benefit, when the Wild Indian 
Girl was played, with Henry Siddons as Captain Downright ; it proved 

* Theatrical Inquisitor. t Ibid. 



270 The Annals of the Edinburgh Stage. [1814-15. 

his last appearance on any stage save that of the world, which he quitted 
in a very few weeks afterwards. An engagement by John Kemble fol- 
lowed on March 2nd, and Fawcett appeared as Dr Pangloss, Job Thorn- 
berry, in John Bull, and. others of his original parts during the month ; on 
the 29th of which Russell, the low comedian, played Richard III. for his 
own benefit, and seems to have made a most ridiculous exhibition of 
himself. 

Poor Siddons died on the 1 2th of April, * leaving his affairs in a 
somewhat unhappy state, regarding which the following statement was 
soon afterwards published by Murray : 

" Called on to assist my sister, Mrs Henry Siddons, in the management of the Theatre 
Royal of this city, rendered vacant by the unfortunate death of Mr Siddons, I feel myself 
compelled to make an appeal to the public of this metropolis, on the part of my late brother's 
family, before I proceed to the discharge of those duties, for the successful issue of which I 
trust to the candour and liberality of the Edinburgh audience. 

" When Mr Siddons first entered upon the management, the expenses of converting 
Corn's Rooms into a theatre cost him between four and five thousand pounds. In that 
theatre he only remained two years, when circumstances rendered it necessary for him to 
conclude a bargain for the old theatre in Shakspere Square, by which he became bound to 
pay two thousand guineas yearly, for twenty-one years, as the vrlue of the property. This 
obligation commenced, not at the time he took possession, but from the date of the patent. 
Thus had Mr Siddons to pay 6000 guineas for the old theatre during the time he was paying 
a rent of ^800 per annum for Corn's Rooms, which he was bound to retain for three years. 
He had also to pay ^1500 for restoring the old theatre, and ^500 for reconverting Corri's 
Rooms into a concert room. 

" Thus the burdens which Mr Siddons incurred stand as follows : 

Converting Corri's Rooms into a Theatre . . . ^4,000 

Rent of Corri's Rooms for 3 years .... 2,400 

Six years' rent for old Theatre .... 12,600 

Repairs ....... I ,S 

Reconverting Corri's Rooms . . . . . 500 



,21,000 

" In the attempt to discharge which Mr Siddons sacrificed all his private property as 
well as money left him by his father; and he had to borrow ^1000, and one year's rent was 
allowed to stand over until the expiry of the patent. 

" From this it appears that the management will begin in November next with a debt of 
^"3100. The taxes of the theatre are nearly ^200 ; the expenses of performers, carpenters, 
coals, candles, tradesmen's bills, &c., about ^i 60 per week in addition to the rent; so that, 
allowing the theatre to be open thirty weeks in the year (the general length of the season), 
there is thus established a weekly expenditure of ^230. . . . 

* For short Biography, see Appendix. 



1814-15-] lh e -Annals of the Edinburgh Stage. 271 

" The difficulty of my task still remains, and it is with extreme anxiety that I request 
the public of Edinburgh to permit the addition of one shilling on the price of the boxes 
. . . which is the amount charged in Liverpool, Manchester, &c. . . ." 

The Theatre was closed for several nights after the death of Siddons, 
and then reopened under Murray's management. There is no doubt that 
the new manager had cause to look gloomily on the future ; for, as things 
then stood, ultimate success was very doubtful. Had Siddons lived, 
it is questionable if he could have long retained the Theatre ; his manage- 
ment, although excellent, was not characterised by the shrewdness that 
Murray always showed, and the long spell of good fortune that was at this 
moment on the eve of commencement might never have dawned for 
Siddons as it did for Murray. 

The success of the Theatre seemed to date from Siddons' death, which 
event directly gave it the first impetus. When Murray published the 
above statement, the Edinburgh public awoke to the facts that they had just 
lost an excellent manager, one who had willingly sacrificed health, fortune, 
and even life, to make the Theatre a success, and that the reward they 
had given him for labouring so well for their entertainment had been only 
neglect and indifference. Siddons' successor had now spoken in words 
that were unmistakable he and his sister would continue the good work 
that Siddons had commenced ; but, there was a condition, they must be 
better supported, and in the mean time a small tax would be put upon the 
box frequenters, to compensate for their neglect in the past, and to pay up 
arrears that had been incurred. 

That the sympathy felt for Mrs Siddons was genuine as well as wide- 
spread was sufficiently testified by the benefit given her on May ist, the 
day that had been originally fixed for Siddons' own benefit. The house 
was literally packed, and the receipts amounted to ,420 the largest 
sum the Theatre ever held. Times a Tell-Tale, by Siddons, was acted, 
and the first blink of approaching sunshine seemed to smile upon the 
Theatre. 

The season closed on May 2Oth, and Murray most liberally set 
apart that night as a benefit to Moss, the comedian, who had been in his 
day so long connected with the Edinburgh Theatre, but who was by this 
time a confirmed invalid in the City Hospital.* 

On this occasion Murray delivered the first of the many similar 

* Theatrical Inquisitor. 



272 The Annals of the Edinburgh Stage. [1815. 

addresses with which his name is always associated, and which, from first 
to last, are models of style. On this occasion, after thanking the audience 
for their support, he alluded to the report which was current, that the 
management intended to produce plays in a less expensive and complete 
manner than formerly, so as to save money in order to clear off the debts 
on the concern. To this, he replied " Let our exertions be made, then 
let them be judged. It is true this concern labours under many heavy 
difficulties ; but what hope have we of surmounting these difficulties, but by 
endeavouring in every way to meet the wishes of the public?" a reply which 
was greeted with loud applause. 

The after season opened on July 22nd, when Mr J. Johnstone com- 
menced an engagement of six nights in his celebrated character of Major 
O'Flaherty. The rise of one shilling on the admission to the boxes also 
took place on that evening, without any opposition. 

On August 4th Miss O'Neill made her first appearance on the Edin- 
burgh boards, playing Belvidera in Venice Preserved. Pierre = Putman, 
his second appearance here, and Jaffier = Abbott. 

On the following evening she played Mrs Haller in The Stranger, 
and most of her other famous impersonations followed. In all that she 
did she excited the very highest degree of interest and applause, and 
firmly established her name as a great actress. The theatrical mania 
seems during her engagement to have reached a height never experienced 
before, save when Mrs Siddons appeared in 1784. Not only was the 
Theatre nightly crowded to excess, but the doors were besieged throughout 
the best part of the night by servants, waiting for the earliest opportunity 
of obtaining tickets and places in the boxes. 

Sinclair the tenor appeared on the 2ist, but played on that and the 
following nights to thin houses ; and the short season closed on the 3Oth, 
when Murray, in a few words, thanked the audience both for himself and 
Mr Sinclair, who wanted, he said, "to express his grateful acknowledg- 
ments for the honour they had that night conferred upon him, an honour 
rendered doubly dear by proceeding from his native city." This was 
possibly a sarcastic allusion to the bad audiences he had had. During the 
interval between this and the opening of the winter season (1815-16), 
considerable alterations were made in the interior of the theatre ; the roof 
was raised, and the upper row of boxes enlarged and rendered more 
commodious. 

. The opening night (November iSth) was eagerly looked forward to, 



1815-16.] The Annals of the Edinburgh Stage. 273 

for the great Mrs Siddons was announced to appear for a few evenings 
for the benefit of her grandchildren. After her previous retirement, it 
was a venturous undertaking to appear again in public ; but she acquitted 
herself splendidly, showing scarcely any falling off in her powers, and, con- 
sidering her advanced time of life, the manner in which she sustained 
the most exacting characters, proved her genius to be undimmed. Her 
figure, it was said, was considerably improved since her retirement, being 
less enbonpoint than on her previous appearances, and the energy of her 
mind seemed unimpaired. 

Her first appearance was as Lady Macbeth ; Macbeth being played 
by Terry, who, by the permission of the proprietors of Covent Garden, 
was allowed to support Mrs Siddons. Fleance by Miss J. Nicol. 

Mrs Siddons' second appearance (November 2Oth) was in Douglas, 
in which Jones, who had been re-engaged, appeared as Young Norval, and 
Terry as the Stranger.* On the following evening (November 2ist) 
Henry VIII. Wolsey = Terry; Henry VIII. = Eyre; Cromwell = 
Murray; and Katherine= Mrs Siddons. Macbeth on the 22nd; Henry 
VIII. repeated on the 23rd; King John on the 25th, with Lady Con- 
stance = Mrs Siddons; Douglas on the 27th; Earl of Warwick on the 
28th and 2Qth ; and The Gamester on the 3Oth, being for the benefit of 
Mrs Siddons, and "last appearance on the stage." 

On January 6th Mrs H. Siddons made her first appearance for the sea- 
son, playing Viola in Twelfth Night, a performance which was characterised 
by a contemporary critict as " a sweet piece of acting." Her strong likeness 
to her brother (who played Sebastian) enhanced the effect of the performance. 
This was Mrs H. Siddons' first appearance since the death of her husband, 
and it is reported that her emotion was very great at first ; but the enthusi- 
asm of the audience knew no bounds, and by hurrying on with her part she 
managed to stifle her feelings. On January 8th she played Juliet to Putman's 
Romeo ; on the 2Qth a melodrama called the Magpie and the Maid was 
given for the first time in Edinburgh, and it was played twenty-three times 
during the season. On March i6th John Kemble appeared, and played 
until April 6th, on which night he took his benefit, playing King Lear. 

Charles Mathews records \ that coming to Edinburgh this spring he 
caught cold, and had to lie up several days, during which the Theatre 
was closed. Be this as it may, the playbills announcing his appearance 

* So it is named in the bills. t Theatrical Inquisitor. J Memoirs, vol. ii., p. 389. 

S 



274 The Annals of the Edinburgh Stage. [1816. 

on April 8th are still extant ; it is quite possible, however, that he did not 
appear. Mathews further records that his worst house amounted to ,103, 
and on April i8th he had ^120. The weather at the time was terribly 
stormy and cold, and many of the company had to knock off work. 

Incledon appeared on the 22nd April, and on the next evening he was 
announced as appearing for the "last time in this Theatre." As a matter 
of fact he again appeared on the same stage on May 3rd, in a miscellaneous 
performance called the Minstrels, when he took his final leave of the 
audience, it being his last appearance in Edinburgh. 

Eyre died during this season, and his widow had a well attended 
benefit on April 24th. On May I5th Mr and Mrs Berry were given a 
benefit, chiefly out of charity, so as to give Berry another trial. He 
had been a good actor, but had been dismissed for drinking, and for 
some time had led a strolling life ; he had, however, promised to reform, 
and Murray gave him another chance. 

Jones had a miserable house for his benefit, so Murray set apart the 
last night of the season (June 5th) for him, when he appears to have had 
better luck. 

The summer season opened on July 6th, with Mrs C. Kemble in the 
Company ; Miss Stephens joined on July 22nd, and Sinclair on the 2Qth ; 
Miss O'Neill played from August 5th to the 23rd, after which the Theatre 
was again closed. Her performances were as popular as before, but on 
this occasion provoked a good deal of comparison with those of Mrs 
Siddons. In the part of Mrs Beverley, she was said, by one critic,* 
not to compare with the older lady. Abbott supported her during the 
engagement. 

The Theatre remained closed until October ;th, when it reopened 
with Kean as Richard III. He at once electrified the playgoers of Edin- 
burgh, as he had done those of London, with his vivid action and extra- 
ordinary originality. Notwithstanding his great success, however, his 
novel method of acting called forth a good deal of adverse criticism. 

Coleridge, it is well known, said that " seeing Kean act was like 
reading Shakspere by flashes of lightning." A remark not at all unlike this 
in spirit, was made by a critic who styled himself "Mr Pitt," t namely, 
that " Mr Kean's acting in general pleases less than it astonishes." 

Kean's other characters were as follows : October 8th, Shylock to 

* Theatrical Inquisitor. \ Thespian Critique, 1816. 



1816-17.] The Annals of the Edinburgh Stage. 275 

Mrs H. Siddons' Portia; October 9th, Sir Giles Overreach ; October loth, 
Othello, Iago = Trueman; October I2th, benefit and last night, Hamlet. 

The following winter season (1816-17) opened with a performance of 
The Iron Chest on November 23rd. Sir Edward Mortimer by Meggett, 
from Haymarket, " his first appearance here for nine years." Rawbold 
by Mr Richardson, from English Opera House, his first appearance here. 

December 3rd, The Portfolio, drama in three acts, for the first time 
here, and on the i6th, Hamlet ; Hamlet by a gentleman, his first appear- 
ance on any stage. On this occasion Polonius was played by Mason ; 
Horatio = Alexander ; Claudius = Trueman ; Osric = Murray ; First 
G raved igger = Russell ; Ghost = Finn; and Ophelia = Mrs H. Siddons. 

Mr C. Kemble appeared on December 28th, and with the exception 
of the production, on January ist 1817, of TJte Broken Sword, a melo- 
drama which ran twenty-four nights ; and the pantomime, on February 
4th, of Harlequin Whittington, in which Swan played Harlequin ; Duff, 
Pantaloon ; and Edwards, Clown ; nothing worth noting occurred until 
February 25th, when, on the nineteenth night of the pantomime, was pro- 
duced the "celebrated play, in three acts, written by D. Terry, Esq., and 
still performing at the Theatre Royal, Covent Garden, interspersed with 
music," called Guy Mannering. The medley overture by Bishop, so 
widely known to the present day, was played ; the scenery, entirely new, 
was painted by Pyett. 

This was the first of the Waverley Dramas performed at the Theatre 
Royal, Edinburgh, and it does not say much for Murray that he was 
so long in bringing it out after its production in London. * The cast in 
Edinburgh was as follows: Colonel Mannering = Meggett ; Henry Ber- 
tram = Jones; Dominie Sampson = Russell; Dandie Dinmont= Finn; Dirk 
Hatterick = Murray ; Gilbert Glossin = Chippendale ; Bailie Mucklethrift 
= Mason ; Farmer Harrow = Edwards ; Farmer Flail = Richardson ; 
Sergeant M 'Craw = Martin ; Jock Jabos=Duff; Gabriel = Anderson ; 
Sebastian = Crook ; Franco = Master Edwards ; Lucy = Mrs Cummins ; 
Julia = Miss Dyke ; Flora = Mrs Meggett ; Mrs M'Candlish = Mrs Nicol ; 
Gipsy Girl = Miss Stanfield ; Meg Merrilees= Mrs H. Siddons. 

This was undoubtedly a weak cast, so little wonder the piece only 
ran some twelve nights during its first season. Its popularity, however, 
was greatly increased by the important alterations that were made in the 

* March I2th, 1816. 



276 The Annals of the Edinburgh Stage. [1816-17. 

cast soon after its first production. The part of the Dominie, in Mackay's 
hands, became a great creation ; while Alexander, and afterwards Denham, 
made much of Dandie ; Benson, the vocalist, was a vast improvement on 
Jones as Henry Bertram, and Mrs Renaud as Meg Merrilees was com- 
pletely successful. 1 

Before continuing the account of the performances at the Theatre, it 
will be well to refer at length to a very interesting picture of the state of 
the Theatre and its company, which is given in the first number of the 
Scotsman newspaper, published on Saturday, January 25th, 1817. ^ 

" It will hardly be expected of us that we should enter seriously into the question, 
whether dramatic representation be favourable to the interests of morality. . . . For 
ourselves we consider the drama to be pretty much like its prototype, the busy world, having 
its advantages and disadvantages nearly balanced. . . . Compared with London, which 
contains more than a million of inhabitants, Edinburgh, which does not contain a tittle of 
that population, cannot present us with so much variety, nor long detain mature talent of the 
highest order. Ours is not the best market : and therefore we ought not to look for the best 
wares or the most extensive assortment. Yet, for a provincial theatre, and when the degree 
of encouragement is considered, that of Edinburgh is extremely well supported, and great 
exertions are made in its favour. The manager is spirited, and anxious enough to please 
children, at least, and those who are in danger of preferring the circus. But, in truth, the 
blame, in this respect, if there be blame, is more than shared by the public. Mr Murray, 
like all others who mean to live by their business, must bring to the market what customers 
are disposed to purchase. And his articles are certainly got up for sale with great care, 
presenting much to gratify the eye and astound the ear. Expense in the mechanical depart- 
ment is certainly not spared ; and is generally directed by taste to the production of effect. 
In superintending melo-dramatic and pantomimic performances Mr Murray is in his element, 
and really displays some genius. . . . After all there is something puerile in all this ; 
and we could wish that our manager would somewhat oftener endeavour to instruct as well 
as amuse, and in these cases try to rest his claim to encouragement on the merits of the play 
and the performers, rather than on the merits of the painter and mechanics." 

It goes on to speak of the Company 

" . . . We never knew a performer who possessed so completely as Mrs Henry 
Siddons, all the qualities which disarm censure. The most important of these, perhaps, are 
distinguished chasteness and purity of manners, attitude and feelings. Everything that is 
harsh, or obtrusive, or soliciting, is wanting. Everything that is winning, and sweetly and 
inoffensively natural, is present. The light graces are all her own ; and, in serious comedy, 
she possesses so much naivete and truth, that we forget the actress entirely. . . . 

" Mrs Macnamara treads the stage with considerable dignity. Mrs Cummins is a 
respectable singer. Miss Dyke is a good dancer, and a pretty girl ; but, like Mrs Orger, 
Miss Cook, and other fine women, she evinces too little spirit. Mrs Nicol is extremely 

* (Price, lod.) 



1816-17.] The Annals of the Edinburgh Stage. 277 

amusing in her aged department, just in most of her conceptions, and quite perfect in the 
acting of many of her parts. We must admit that Mr Meggett possesses a fine manly 
exterior, a full toned sonorous voice, and distinct articulation. Neither is confidence 
wanting ; but what nature has done for him, is thrown away by the visible art with which he 
strives, most servilely and disgustingly, to imitate Kemble. The stare, shrug, stride, and 
measured movement which offend in the original, become something more than offensive in 
the imitator. In the line of genteel comedy Mr Jones is a respectable and useful performer, 
one who often pleases, rarely offends, and never disgusts. Mr Murray should never 
appear in characters requiring a display of pathos or emotion, if he feel any regard for the 
comfort of his auditory. Mr Russell has most of the requisites of a good comic actor ; his 
imitations, especially of Incledon, are admirable, and we do not hesitate to say, that in 
respect of taste, mind, and ability, he is superior to Mathews. Mr Finn exaggerates. Mr 
Mason, in quaint old men, is very entertaining and original. Mr Chippendale's monotony 
of manner is apt to make us forget that he is useful and respectable. Mr Alexander 
is rather a rising performer." 

On March i3th John Kemble gave the first of twelve performances 
which were announced as his farewell appearances on the Edinburgh 
stage, prior to his final retirement. On the i3th he played Cato ; on the 
1 5th, Penruddock, in The Wheel of Fortune ; I7th, Macbeth; i8th, Wolsey, 
in Henry VIII. ; I9th, Coriolanus ; 2Oth, Richard III. ; 22nd, Coriolanus 
repeated; 24th, Brutus, in Julius C&sar; 25th, Hamlet; 26th, Brutus, in 
Julius Ccesar repeated ; 27th, Coriolanus again; 29th, for the benefit of 
Kemble, and last night of his ever performing on this stage Macbeth ; 
Rosse = Murray ; Macduff = Jones ; Lennox = Alexander. 

Scott was present on the 22nd and saw the performance of Coriolanus, 
as will be seen by the following letter : 

" 23rd March 1817.* John Kemble is here to take leave, acting over all his great 
characters, and with all the spirit of his best years. He played Coriolanus last night fully as 
well as ever I saw him, and you know what a complete model he is of the Roman. He has 
made a great reformation in his habits ; given up wine, which he used to swallow by pailfuls 
and renewed his youth like the eagles. He seems to me always to play best those characters 
in which there is a predominating tinge of some overmastering passion, or acquired habit of 
acting or speaking, colouring the whole man. The patrician pride of Coriolanus, the stoicism 
of Brutus and Cato, the rapid and hurried vehemence of Hotspur, mark the class of characters 
I mean. But he fails where a ready and pliable yielding to the events and passions of life 
makes what may be termed a more natural personage. Accordingly, I think his Macbeth, 
Lear, and especially his Richard, inferior in spirit and truth. Yet we lose in him a most 
excellent critic, an accomplished scholar, and one who graced our forlorn drama with what 
little it has left of good sense and gentlemanlike feeling. And so exit he." 



* P. 345, Life of Scott. 



278 The Annals of the Edinburgh Stage. [1816-17. 

In a publication called " The Sale-Room, " which came out at this 
time, is a long and exceedingly ably written criticism of Kemble's acting, 
which is here reprinted almost in full : 

" As a gentleman and a scholar, the present stage possesses nothing like Mr Kemble ; 
. . . there are a polish and grace spread over Mr Kemble, which equally distinguish him 
in private and professional life. In the latter we find no artist approaching him in that large 
variety of characters, where elegance and dignity are essential pre- requisites. Where, again, 
rapid transitions of passion, hurrying through the lights and shadows of the soul, are to be 
expressed without any necessary reference to figure or deportment, Mr Kemble has been 
excelled by more performers than one ; but, in all characters where loftiness of sentiment is 
expected to be combined with splendour of form and majesty of demeanour, where passion 
towers and blazes rather than withers and consumes, no actor upon record is to be regarded 
as his equal." 

Speaking of his Cardinal Wolsey 

" The eye is first caught by the grandeur of his fine figure, venerable in the gorgeous 
vestments of priestly splendour ; and the lofty scorn which alternately rides in the command- 
ing aspect, or scowls from the lurking eye. The whole form and deportment of the being 
before the spectator inspires him irresistibly with the association of past times, when monkish 
austerity silenced the voice of joy in the palaces of monarchs. . . . His deportment 
during the trial of the Queen was eminently striking and impressive. Studiedly calm, 
dignified, and submissive, he heard her piercing reproaches in respectful silence, wondering 
apparently that even the peevishness of grief could stir up the sufferer against him, but bearing, 
nevertheless, in proud resignation, the obloquy he had not deserved. The chief interest of 
the play is in the third act, the last in which he appears. It opens with the angry agitation 
of his mind, at the distant apprehension of the king's marriage with Anne Bullen. The 
power of his conceptions, the distinctness of the shades into which he broke the general tone 
of his feelings, and the harmonious refinement of his elocution, were here equally conspicuous : 

" It shall be to the Duchess of Alen9on, 
The French King's sister; he shall marry her," &c. 

These disjointed words of vexation and ire were delivered with singular precision and 
effect. The tone of the overbearing politician was maintained throughout ; the difficulties 
interposed to his plans by the passions, even of his sovereign, being evidently stated rather 
to animate his energy than as rousing his apprehension. This fine and just colouring, in 
which the skill of the actor powerfully illuminated the genius of the poet, served as an admir- 
able preparative for the succeeding emotions of doubt, terror, and despondency, by which he 
was shortly after overwhelmed. The soliloquy after the departure of Henry in anger, was 
given with a degree of felicity which we find it difficult to describe ; and it embraced what we 
believe to be an entire novelty in the delivery, yet a novelty so palpably just, that one wonders 
it could be ever overlooked. In the midst of his alarm and terror, when he is hunting through 
every avenue of his brain for light and hope, a thought strikes him 

" I know 'twill stir him strongly; yet I know 
A way, if it take right, in spite of fortune, 
Will bring me off again What's this To the pope," &c. 



1816-17.] The Annals of the Edinburgh Stage. 279 

The lines in italics were delivered with a resumption of exultation in the midst of despair, 
so striking, as to indicate at once the pride of successful artifice, anticipated triumph over 
his enemies, and recovered ascendancy with his king. The sudden overthrow of these bright 
images, by the discovery that the remaining paper put into his hands by Henry was his own 
letter to the Pope, was delineated with equal strength and felicity." 

The character fixed upon, with happy propriety, for his closing scene, 
was Macbeth, in which he took his final leave of Scotland, as noted above. 
He had laboured under a severe cold for a few days before, but on this 
memorable night the physical annoyance yielded to the energy of his 
mind. "He was," he said in the green room, immediately before the 
curtain rose, "determined to leave behind him the most perfect specimen 
of his art which he had ever shewn ; " and his success was complete. At 
the termination the applause was vehement and prolonged ; it ceased, 
was resumed, rose again, was reiterated, and again was hushed. In a 
few minutes the curtain rose, and Mr Kemble came forward to deliver his 
farewell address, written for him by his friend Walter Scott. 

On March 3ist the second day after Kemble had made his last Lis- 
ton the famous low comedian made his first appearance in Edinburgh, his first 
part being that of Jacob Gawky in the Chapter of Accidents. His success 
in Edinburgh was unqualified, the public flocking to see him, and the press 
being hearty in their praise. On April 2nd he played Dominie Sampson in 
Guy Mannering, and closed his engagement on April 5th. On the 7th, 
Kean once more appeared. He played for a week, and was freely criticised 
and compared to Kemble, whose acting was then so fresh in the minds of 
the playgoers. The following notice is from the same pen that wrote the 
long criticism on Kemble quoted above. 

The article commences by comparing Kemble and Kean, and says : 

" It is impossible to describe or conceive, two men more widely different, or rather more 
positively contrasted ; and yet, in the performance of many of the same characters, before the 
same audiences, each has been hailed with nearly equal applause. While Mr Kemble was 
distinguished by a face and form of the most perfect and heroic grandeur, and by a deport- 
ment in harmonious unison with everything chivalrous and princely, Mr Kean has no personal 
requisite whatever, save an eye of matchless expression. His figure is minute, and would be 
almost insignificant but for the o'er-informing mind, which invigorates and expands it. His 
deportment when the spectator chances to be sufficiently unmoved to examine it, is found to 
be ungraceful and angular ; and his voice is both limited in extent, and hoarse and husky in 
tone. Against such drawbacks it is clear that a mighty genius alone could oppose itself with 
success ; and we have the less scruple in stating them thus unceremoniously, because Mr 
Kean's triumph over all material obstacles is known to be complete. 

" The moment that Mr Kean takes possession of the stage, the spectator feels that he 



280 The Annals of the Edinburgh Stage. [1816-17. 

has to do with no common person. He feels, in the first place, that he sees something which 
is altogether new and original. A being is placed before him, apparently quite unconscious 
that an audience is watching his looks, and conducting himself exactly as he would do, if he 
were either alone or holding actual intercourse with the persons on the stage along with him. 
In entering upon his part, you see nothing professional or prescriptive. Because Richard 
turns out a murderer and a villain, his representative does not approach as if he were desirous 
that every spectator should start up and exclaim, ' There's blood upon thy face ! ' Mr Kean 
knows that nature recognises no such mummery, but that although the constant workings of 
the mind do in time impress their index upon the countenance, yet even the most decided 
characters preserve in their general bearing the ordinary aspect of human life. This sobriety 
is one of the great sources of Mr Kean's success. There is another distinction peculiar to Mr 
Kean, which we shall state, and this is the imposing air of truth which he imparts to his 
soliloquies. It may be said of most actors, in this particular, that they are never less alone 
than when most alone. His absorption is so profound, as not only to exclude the idea that 
he is aware of the presence of others, but even, if that were possible, to exclude the idea of 
himself. 

" The prevailing characteristic of Mr Kean's acting is energy. 

" He seldom, like Kemble, raises the spectator into lofty sympathy, or that sort of admira- 
tion which makes him glow with a similar feeling of superiority to that which he admires : 
his power rather displays itself in withering and subduing all within the reach of his agency. 
The softer passions are much less under his dominion. Every other Richard which we have 
witnessed in this scene (with Anne) produces either ridicule or disgust. Cooke was sarcastic 
and coarse ; Kemble was cold and artificial ; Kean alone so husbands and directs his art that 
his success appears (with Anne) not only probable but natural, and the spectators dare hardly 
censure that frailty with which he is forced to acknowledge a reluctant sympathy. But it is 
chiefly in the heroic scenes, and most of all in the glory of his death, that Kean stands pre- 
eminent. It is here that he bears down everything like doubt or opposition. The fire and 
rapidity of his action his instantaneous transition from passion to passion, the ' thousand 
hearts that swell within his bosom ' draw shouts of enthusiasm from the audience." 

Kean's pronunciation was bad where " R's " were concerned he used 
to say, 

" Most potent, gurr-ave, and urr-reverend Signors." 

Murray took his benefit on April 1 5th, and played Tony, in She Stoops 
to Conquer, for the first time, and the season came to a close on May 7th. 

It should be recorded here that Moss, the low comedian, once such a 
favourite in Edinburgh, died, after a very protracted illness, on January 
nth 1817. 

The summer season, 1817, opened on July i4thwith the Rivals. Sir 
Anthony Absolute = Mason ; Sir Lucius = Trueman ; Captain Absolute = 
Jones ; David = Chippendale ; Fag = Alexander ; Mrs Malaprop = Mrs 
Nicol ; Lydia Languish = Mrs M'Namara ; Lucy = Miss Stanfield ; Maid 
= Miss Nicol ; Julia = Mrs H. Siddons ; after which Valentine and Orson ; 



1817-18.] The Annals of the Edinburgh Stage. 281 

Orson, the wild man = Grimaldi, his first appearance in this city. On the 
1 5th Grimaldi played Dame Cicely Suet, and afterwards Clown, and sang 
Tippety Witchit. Grimaldi's son appeared along with his father on the 
i6th, and on the igth Grimaldi took his benefit. On July 2ist, J. John- 
stone commenced an engagement, and on the 23rd was joined by Emery, 
who, on the 25th, played his original part of Dandie Dinmont in Guy 
Mannering. On August 5th Miss Stephens and Mr Sinclair appeared, 
and the season came to a close on the i6th. The shortness of the 
summer season this year had been caused by Murray taking his company 
through to act in Glasgow, where they seem to have done very well, so 
well in fact, that they did not return to Edinburgh before January loth 
1818, on which evening, at seven o'clock, The Way to Keep Him was 
produced. On the i2th Charles Mathews commenced a very successful 
engagement. In his letters home to his wife he gives the following 
recital of what happened during his visit. The Actor of all Work, 
produced on January i5th, was a great success; he "acted it as a 
Scotchman." 

" Murray acted the manager, and when I said, 'I'm told you-a set up a show i' this toon,' 
the screech was immense. 

"January ipth. This will be a most successful trip. They are flocking to the box 
office this morning to obtain places for almost every night of the Actor of all Work. They 
have quite confirmed my opinion of them, that they are the only real Theatrical audience in 
the three kingdoms. Every line of stuffy is literally a roar here, and mnny points that were 
unnoticed at the Haymarket are here caught up with avidity. I am in high feather, and the 
attentions of Murray and Mrs Henry Siddons, the comforts of the Theatre, my dressing-room, 
altogether make this the only Theatre out of London where I like my profession. I was 
placed in a most awkward situation in the Courts of Law on Saturday. Erskine, while 
pleading, glanced his eye towards me, stopped, laughed, and shook his fist at me. This 
drew the eyes of about 200 people upon me. I blushed up to the eyes. When he sat down 
I observed he wrote a note with a pencil to the judge, Lord Gillies. He craned his neck 
directly to look at me, and when we came out of court, Erskine said, ' What the devil brings 
you here, mon, you spoilt my speech, I canna afford to be taken off. Did you observe 
Lord Gillies look at you ? I wrote him a caird, and told him to be on his guard, as I was, 
or we should both be upon the stage before supper time.' " 

Matthews took his benefit on the 26th, and on February 4th the 
melodrama of The Falls of Clyde* was produced, but it only ran four nights. 
On the 1 2th Douglas was played, the Lady Randolph being Mrs Renaud, 
late Mrs Powell, her first appearance here for ten years. This was a most 

* From Drury Lane. 



282 The Annals of the Edinburgh Stage. [1817-18. 

valuable addition to the company, for, in heavy parts, she was probably at 
the time without an equal on the British stage. 

February i6th, The Appeal, a new tragedy, "never acted." Ethel- 
stane = Putman ; Hildebrand = Dobbs ; Helgent = Yates, his first appear- 
ance on this stage, and fifth on any stage; Reginald = Jones ; Oswald = 
Anderson; Ariette = Mrs H. Siddons ; Isabel = Mrs Renaud. Prologue 
spoken by Murray, and epilogue by Mrs H. Siddons. It ran four nights. 
Some very interesting information is to be had from the playbills of this 
season, regarding Yates' early connection with the stage. On February 
2ist, Merchant of Venice ; Shylock = Yates, his first appearance in that 
character. 

February 26th, Alexander's benefit. Othello was played. Othello 
= Alexander (he did not appear again during the season) ; Desdemona = 
Mrs H. Siddons; Iago = Yates. 

March I3th, Richard III. Richard = Yates, his first appearance 
in that character. 

Kean opened for eight nights on March i6th, and on the iQth he 
played Richard II., " never acted here." * Richard II. = Kean ; Boling- 
broke = Yates. 

After having been closed from March 24th, the Theatre reopened 
on the 3ist with Richard III., Yates assuming the title role for the second 
time on any stage. 

April 6th, As You Like it. Jacques = Yates, first time on any 
stage. 

Kean revisited Edinburgh, appearing again on April 7th, and on the 
following evening he played Romeo for the first time here, with Paul and 
Virginia, Paul by Kean, being " his first appearance in an afterpiece in 
this Theatre." 

April 9th, besides playing Sir Giles in New Way to Pay Old Debts, 
Kean made his first appearance here in comedy, acting Abel Drugger in 
The Tobacconist. 

Mrs Renaud took her benefit on April nth, on which occasion she 
impersonated Hamlet, a part she had before played both in London and 
Dublin. 

Yates played in Richard III. and The Actor of all Work for his 
benefit on April 2oth, and the season terminated on May 22nd. 

* Playbill. 



i8i8.] 77/6' Annals of the Edinburgh Stage. 283 

This season does not seem to have been nearly so successful as the 
previous one, evidence of which, if its shortness was not sufficient proof, is 
given in the following article, which appeared in the Scotsman of Saturday, 
March ;th, 1818 : 

" We have hitherto been rather indolent in the Theatrical department; but, in truth, the 
drama with us has not of late presented many claims to attention. The Theatre, besides, 
does not seem to be a very fashionable amusement in Edinburgh. Why this should be, we 
do not see very clearly ; for although our dramatic corps is not very strong, it is, after all, 
considered the best out of London. 

" The house itself is infinitely more easy, and light, and comfortable, than the great 
Theatres of London. In the Edinburgh Theatre we sit comparatively in a drawing-room ; 
we feel that we make part of a company. Without any other attractions then, one would 
infer that the Theatre should be tolerably well frequented. But there remains one thing still 
to be taken notice of, which, if the people of Edinburgh were as intellectual as they are fond 
of being thought, would be much more effective than all the rest put together, we mean the 
delight which every cultivated mind receives from having it in its power to join with others 
in a common feeling of fear, dislike, respect, esteem, or admiration. 

" To see a large assembly moved with one common sentiment, and one which warms 
and expands our own bosoms, is a pleasure of the very highest character. It is one, too, 
which, we think, might be enjoyed almost any night that the Theatre is open. 

" But Edinburgh audiences, if we mistake not, are exceedingly chary of committing 
themselves, that is, of relying on the justness of their own feelings, or the accuracy of their 
own judgments. . . . We remember only one instance in which an Edinburgh audience 
yielded, or. rather was surprised into an expression of momentary feeling. This was on the 
occasion of Mrs Siddons taking her first farewell of the Edinburgh Theatre. The play was 
Henry VIII., the characters well cast and ably supported. It was shortly after the Prince 
Regent had quarreled with the Whigs, and the moment that Mr Henry Siddons, who imper- 
sonated Wolsey, delivered the words 

' Oh, how wretched 
Is that poor man that hangs on princes' favours ! ' 

the whole audience seemed electrified. The feeling and expression was strong and simul- 
taneous ; and, as the house was crowded in every part, the effect was truly sublime." 

During the summer season, which extended from July 6th to October 
loth, Booth, from Covent Garden, made his first bow to an Edinburgh 
audience (July 6th to i8th). Miss O'Neill again appeared, with Mrs 
Abbott supporting her (July 2Oth to August ist); and Miss Brunton 
made her first appearance in Edinburgh on August 22nd, acting Letitia 
Hardy in the Belle s Stratagem. 

While Miss O'Neill was here, Fazio, a Covent Garden tragedy, 
was produced. Yates played Buskin in Killing no Murder on August 
22nd, gave imitations after Mathews' style, and sang the Mail Coach. 



284 The Annals of the Edinburgh Stage. [1818-19. 

This is decidedly curious, as being the first time he had attempted this 
style of performance, for which afterwards he became so famous. On 
September ;th Yates played Dominie Sampson for the first time. 

Between October loth and December 3rd, on the latter of which 
dates the Theatre reopened for the winter season, very considerable 
alterations and improvements had been introduced. The playbill for the 
opening night announced that 

" The Theatre Royal having undergone considerable alterations, and the whole of the 
interior being entirely repainted, and illuminated with gas, on the principle adopted in the 
London Theatres, it will re-open on Thursday, December 3rd, when will be presented 

She Stoops to Conquer. 

Hardcastle = Chippendale ; Hastings = Alexander ; Tony = Murray ; Diggory = Duff; Mrs 
Hardcastle = Mrs Nicol ; Miss Melville = Miss Dyke ; Maid = Miss Nicol ; Miss Hard- 
castle = Mrs H. Siddons. 

" Doors open at 6. An Officer of Police will constantly attend the Theatre, and Ladies 
and Gentlemen may wait, at the conclusion of the performance, in their boxes, until the 
attendants inform them of the arrival of their carriages." 

The latter is a provision which might with advantage be adopted in 
these times at our Theatres. 

The Scotsman of December 5th says : 

" The house is not only clean and neat, but it is painted in a light brilliant style, and 
the effect of the gas lights is truly brilliant superb magnifique ! as a Frenchman would 
say. But we do not mean to weaken curiosity by a description. On Thursday, December 
3rd, a Committee of Directors inspected the alterations of the Theatre, on which occasion 
the whole building was splendidly illuminated with gas. The preparations for relighting the 
Theatre in the old method, should any deficiency of gas be experienced, were particularly, 
investigated, and, with the other improvements, received the warm approbation of the 
visitants. An experiment was tried in the Theatre a few evenings since, to see how speedily 
the old body of light could be brought into action, in case of necessity, when it was found, 
that from the immense extent of pipe within the walls of the Theatre, and the property of 
gas to ascend, the centre chandelier continued to burn for nearly ten minutes after the main 
pipe was turned off, and by its gradual decay, gave full opportunity for the re-illumination of 
the stage with oil." 

Yates came on December 4th to fulfil his engagement ; he had 
been acting at Covent Garden, and had to return there again. 

On the same evening J. Farren, from the Theatre Royal, Brighton, 
made his first appearance here, and fifth on any stage. December 5th, 
Terry commenced a brief engagement, playing Sir Peter Teazle ; on the 
1 1 th he played his original part of Mr Green in the Haymarket piece, 
The Green Man, and took his benefit on the 



1818-19.] The Annals of the Edinburgh Stage. 285 

On December 2ist an important addition was made to the company 
in the person of Hamerton, from Covent Garden. On this occasion he 
appeared as Young Norval in Douglas. Upon the same evening was 
brought out Colman's MS. play of A' Y Z. * 

Hamerton made his second appearance on the 23rd, playing Othello. 

On the 26th the great Mackay, then an almost unknown comedian 
from the Theatres of Glasgow and Aberdeen, joined the company, an 
addition that was to prove more fruitful of results than any other made by 
Murray during his long term of management. 

The play on the 26th was The Jealous Wife, in which Hamerton 
played Mr Oakly; Chippendale, Major Oakly; Murray, Charles; Mackay, 
Mr Russell; Miss Nicol, Toilet; and Mrs H. Siddons, Mrs Oakly (her 
second appearance in the part). 

Mackay's second appearance was as Lubin in Wandering Boys 
(December 3Oth). On January 6th (1819) Yates played Sir John Falstaff 
in the Merry Wives of Windsor, for the first time. On the 9th She 
Woud, and She Woud Not. Hypolito=Mrs H. Siddons, her first 
appearance in the part. Yates took his benefit on January 2ist, when 
he " respectfully informs his friends and the public that he will be ' at 
Home.' ' He then left, and resumed his work at Covent Garden. 

A revival of the Tempest was given on February 4th ; it seems to 
have been well staged, and ran six nights. 

The next piece produced marks so important an era in our dramatic 
annals, that it will be best to commence a new chapter with an account 
of it. 

* It had been suppressed for some time by the Lord Chamberlain. 




CHAPTER XVI I. 
ROB ROY. 

[E have now to chronicle the production of the most memorable 
and important piece ever put upon the Theatre Royal boards, 
namely, Rob Roy* Its popularity was immediate, and has 
continued, without abatement, to the present day. In that 
respect it stands without a rival on the Scottish Stage. It has further 
claims however for unique honours in our Theatrical Annals, for it gave 
to us the actor Mackay, as the Bailie, an impersonation standing out in 
extraordinary prominence, both as a creation and for its association with 
the " Great Unknown." The production of Rod Roy came at a time 
when the managerial coffers were empty, seasons bad, and few indications 
of improvement. It filled the house for forty-one consecutive nights, 
and was repeated many times every season, during Murray's period of 
management. It was often and appropriately called the " Managerial 
sheet anchor," and since Murray's time, managers seem invariably, when 
in doubt, to have played Rob Roy ; it has in fact remained a trump card 
ever since its original production. 

"This present evening, Monday, February i5th, will be performed for the first time at 
this Theatre, the celebrated musical Drama in Three Acts, as performed at the Theatre Royal, 
Covent Garden, with unbounded applause, f called, 

ROB ROY MACGREGOR ; 

OR, AULD LANGSYNE. 
The new scenery by Messrs Pyett, Grieve, and William Grieve." 

The cast was as follows : Sir Frederick Vernon = Anderson ; Rash- 
leigh Osbaldiston = Alexander ; Francis Osbaldiston = Benson ; Mr Owen 

* This was not the first adaptation of the novel played in Edinburgh, however. See under " The Circus." 
f" Pocock's version produced originally at Covent Garden, March I2th 1818. Rob Roy=Mr Macready ; 

Bailie Nicol Jarvie Mr Listen ; Francis = Mr Sinclair ; Dougal=Mr Tokely ; Diana=Miss Stephens ; Helen 

=Mrs Egerton. 




twntr.:- I/a J.JCef 



riACKAYAS THE EAILIE 



1818-19.] The Annals of the Edinburgh Stage. 287 

= Chippendale ; Captain Thornton = W. Murray; Rob Roy Macgregor 
Campbell = Hamerton ; Major Galbraith Dobbs ; MacStewart = Shaw ; 
Bailie Nicol Jarvie= Mackay ; Jobson = J. Farren ; Saunders Wylie = 
M'Grigor; Andrew = Sandy ; Sergeant = Collyer ; Allan = Martin ; Diana 
Vernon= Miss M' Alpine, from Covent Garden, her first appearance here; 
Martha = Miss Nicol; Mattie=Miss Stanfield ; Hostess = Mrs Shaw; 
Jean M < Alpine=Mrs Nicol; Helen MacGregor= Mrs Renaud. The 
part of Dougal is omitted in the bill for the first night, but is in that of the 
second and subsequent ones ; it was played by Duff. 

The house was crowded and the piece received with thunders of 
applause. Scott's entrance to his box was the signal for the first burst of 
enthusiasm ; in fact, his appearance in the Theatre always procured a similar 
recognition. It is related by Lockhart, in his Life, that on this occasion 
he was so anxious, that he left his box during the performance to remind 
Murray that Mattie must have a mantle along with her lanthorn. The 
first criticism quoted is from the Courant of February i8th : 

"THEATRE. 

" A play founded on the popular novel of Rob Roy was performed here on Monday night 
to a crowded audience, and very favourably received. It is merely the novel compressed into 
three acts, with the greater part of the dialogue borrowed from the same fertile source, and is 
another among the many instances of the shifts to which our dramatic caterers are put to, that 
they may provide variety for the public taste, and is also a proof of the dearth of dramatic 
talent in an age remarkable for literary men fitted to excel in all its various departments. It 
is but justice to the manager to say that he has got it up in a superior manner, both as 
to dresses and scenery ; indeed, we do not remember to have seen finer scenes than the view of 
Glasgow Bridge, the Clachan of Aberfoyle, and the Lake by moonlight. As a sufficient recom- 
mendation of its excellence we may only remark, that the music is a selection from our national 
airs, and to do Mr Benson justice, he sang his songs in a masterly manner ; there is, however, 
a lameness in his acting which he ought to avoid. Miss M'Alpine sung also very sweetly. 
The part of Rob Roy was performed tolerably well by Mr Hamerton. He is in general too loud 
and declamatory, and should keep in mind that even in the very whirlwind of passion he ought 
to beget a temperance that may give it smoothness. Helen was done in Mrs Renaud's best 
manner. Mr Mackay, already a favourite with the Edinburgh audience, has fully confirmed 
their regard by his very excellent performance of Bailie Nicol Jarvie. The success of the 
piece depends much on the acting of this character, combining warmth of feeling with the 
utmost self-importance and vanity. Mr Mackay entered fully into the conception of the 
author, and displayed the greatest judgment in its delineation ; in our opinion, from his 
possessing a knowledge of the Scotch dialect, he is superior to Listen, that celebrated per- 
former making the character speak neither Scotch nor English, but a compound of both. 
The richness of our native dialect in such hands, joined to chaste and excellent acting, is a 
treat we have seldom witnessed. The other performers supported their parts very well, and 
we never saw Duff to so much advantage as in Dougal. 



288 The Annals of the Edinburgh Stage. [1818-19. 

" The dresses are perfectly agreeable to the costumes of the period, but while the manager 
is so particular as to arm the Highlanders with long Spanish guns, he ought also to have given 
the tartan rather than grey stockings." 

Taking into consideration not only the success the piece gained, but 
its undoubted merits as a drama, it must be confessed that the above 
criticism was not happy in its general tone of depreciation. The Scotsman 
critic, however, with the true instinct of a practised hand, did not hesitate 
to estimate Rob Roy at its proper worth. Although too long to quote in 
full, the following extracts sufficiently carry the "ring" of the notice to 
prove this : * 

" He who is at once a man and a Scotsman must be delighted with Rob Roy. Why 
should we not be proud of our national genius, humour, music, kindness, and fidelity?- why not 
be national 1 ! We found ourselves pre-eminently so on Monday evening. Our recollection of the 
novel of Rob Roy, and the almost universal genius of the author, with the perfect conviction that 
he is a Scotsman, and was then present in the Theatre, gave sufficient interest to this musical 
drama at its commencement ; and the manner in which the different parts were cast and 
supported not only preserved it to the last, but made it grow upon us, so as to become 
absolutely intoxicating the gratification was so complete as to leave us nothing to wish 
for except, on reflection, that the author whose prose tales can thus be so easily worked up 
into an interesting drama, should write expressly for the stage. 

" Mr Mackay was no longer, what we had been previously under the necessity of con- 
sidering him, a tolerably clever actor ; he was Bailie Nicol Jarvie himself in propria persona" 

" The Jail scene is altogether excellent, except always the musical finale, which was mal 
apropos, absurd and ridiculous." 

After devoting much space to criticising Mackay's performance and 
making a proposition that the music and songs should all be given be- 
tween the acts, instead of interfering with the progress of the piece, the 
notice goes on to say that 

" Of Duff's Dougal, there was truth, energy, and keeping united in his performance ; 
Mr Hamerton never appeared at this Theatre with so much advantage ; Mr Alexander 
looked and performed the villain, Rashleigh, in a very creditable manner ; and as Mrs 
Renaud both seemed and acted all that we could wish for or almost imagine in Helen, there 
is no wonder that this drama gave more than satisfaction." 

The effect of the production on the public, not only the play-going 
section, but hundreds who had never before been within the walls of a 
theatre, was marvellous. Night after night crowds went to follow the 
fortunes of the outlawed Highland chief, or to laugh over the pawky 
humour of Bailie Nicol Jarvie. After the twenty-fourth performance the 

* February 20th. 



1818-19.] The Annals of the Edinburgh Stage. 289 

Scotsman noted that " the house is more crowded than during the first 
night," and, as already recorded, it ran forty-one consecutive nights besides 
odd evenings before the close of the season. 

Writing to his friend Terry, on the i8th of April, Scott says : 

" Murray has netted upwards of ^"3000 on Rob Roy ; to be sure the man who played 
the Bailie made a piece of acting equal to whatever has been seen in the profession. 
For my own part, I was actually electrified by the truth, spirit, and humour which he threw 
into the part. It was the living Nicol Jarvie ; conceited, pragmatical, cautious, generous, 
proud of his connection with Rob Roy, frightened for him at the same time, and yet ex- 
tremely desirous to interfere with him as an adviser. The tone in which he seemed to give 
him up for a lost man after having provoked him into some burst of Highland violence, ' Ah ! 
Rab, Rab ! ' was quite inimitable. I do assure you I never saw a thing better played." 

The following is also from Scott's pen. It is an extract from a letter to 
Miss Joanna Baillie, and although written two years later than the former 
extract, is best inserted here : 

". . . . A Scots performer, named Mackay, is going up to London to play Bailie Nicol 
Jarvie for a single night at Covent Garden, and I beg you of all dear loves to go and see him ; 
for taking him in that single character, I am not sure I ever saw anything in my life possess- 
ing so much truth and comic effect at the same time. ... In short, I never saw a part 
better sustained, ; I pray you to collect a party of Scotch friends to see it. I doubt 
whether the exhibition will prove as satisfactory to those who do not know the original from 
whom the resemblance is taken. I observe the English demand, as is natural, broad carica- 
ture in the depicting of national peculiarities." 

Regarding the following letter, which reached Mackay in the hand- 
writing of one of the Ballantynes, but which was from the "Great Un- 
known," no comments are necessary : 

" To Mr Charles Mackay, Theatre Royal, Edinburgh. 
(Private.) 

" FRIEND MACKAY, My lawful occasions having brought me from my residence at 
Gandercleuch to this great city, it was my lot to fall into company with certain friends, who 
impetrated from me a consent to behold the stage-play, which hath been framed forth of an 
history entitled Rob (seupotius Robert) Roy ; which history, although it existeth not in mine 
erudite work, entitled Tales of my Landlord, hath nathless a near relation in style and 
structure to these pleasant narrations. Wherefore, having surmounted those arguments 
whilk were founded upon the unseemliness of a personage in my place and profession ap- 
pearing in an open stage play-house, and having buttoned the terminations of my cravat into 
my bosom, in order to preserve mine incognito, and, indeed, an outer coat over mine usual 
garments, so that the hue thereof might not betray my calling, I did place myself (much 
elbowed by those who little knew whom they did incommode) in that place of the Theatre 
called the two shilling gallery, and beheld the show with great delectation, even from the 
rising of the curtain to the fall thereof. 

" Chiefly, my facetious friend, was I enamoured of the very lively representation of Bailie 

T 



290 The Annals of the Edinburgh Stage. [1818-19 

Nicol Jarvie, in so much that I became desirous to communicate to thee my great admiration 
thereof, nothing doubting that it will give thee satisfaction to be apprised of the same. Yet, 
further, in case thou should'st be of that numerous class of persons who set less store by good 
words than good deeds, and understanding that there is assigned unto each stage-player a 
special night, called a benefit (it will do thee no harm to know that the phrase cometh from 
two Latin words, bene and fatio), on which their friends and patrons show forth their bene- 
volence. I now send thee mine in the form of a five ell web (hoc jocose, to express a note for 
^5), as a meet present for the Bailie, himself a weaver, and the son of a worthy deacon of 
that craft. The which propine I send thee in token that it is my purpose, business, and 
health permitting, to occupy the central place of the pit on the night of the said beneficiary 
or benefit. 

" Friend Mackay ! From one whose profession it is to teach others, thou must excuse the 
freedom of a caution. I trust that thou wilt remember that, as excellence in thine art cannot 
be attained without much labour, so neither can it be extended, or even maintained, without 
constant and unremitted exertion ; and, farther, that the decorum of a performer's private 
character (and it gladdeth me to hear that thine is respectable) addeth not a little to the 
value of his public exertions. 

" Finally, in respect there is nothing perfect in this world at least, I have never received 
a wholly faultless version from the very best of my pupils I pray thee not to let Rob Roy 
twirl thee around in the ecstacy of thy joy, in regard it oversteps the limit of nature, which 
otherwise thou so sedulously preservest in thine admirable national portraiture of Bailie 
Nicol Jarvie. I remain, thy sincere friend and wellwisher, 

" JEDEDIAH CLEISHBOTHAM." 

Rob Roy infused new life into the theatrical economy of Edin- 
burgh, and one of the first, and as it proved, best results of its success was 
the establishment of the Edinburgh Theatrical Fund ; an institution which 
did much good work while it lasted, but finally dwindled away with the 
necessity for its existence, as our Theatre gradually ceased to be local in 
its character. The first intimation of this scheme is found reported in the 
Courant as follows : 

" Theatre Royal, 

"Edinburgh, February 26th 1819. 

" At a meeting of the company of the Theatre Royal, Edinburgh, held this day at eleven 
o'clock in the green room of the said Theatre, Mr Chippendale in the chair, it was, upon the 
motion of Mr Jones, unanimously resolved that the establishment of a fund for the relief am 
support of decayed performers, was an institution every way advantageous and honourable to 
the profession." 

A committee consisting of Messrs Chippendale, Jones, Hamerton, 
and W. Murray was accordingly chosen by ballot to take the matter up. 

This was followed by another general meeting on April 2nd, which 
approved of the rules proposed by the committee for the government 
of the Fund, and the scheme was formally established, under the patron- 



1818-19.] The Annals of the Edinburgh Stage. 291 

age of His Royal Highness the Duke of York ; their Graces the Dukes 
of Gordon, Argyle, Queensberry, and Huntly ; the Right Honourable the 
Earls of Buchan, Moray, Wemyss and March, Glasgow, Hopetoun, and 
Fife; Lords Gray and Belhaven; the Lord President, the Lord Advocate, 
and the Lord Provost ; Sir W. Forbes of Pitsligo, Bart., Sir John Hope 
of Pinkie, Sir John Hay of Hayston, Sir Michael Shaw Stewart, Walter 
Scott, Esq., and William Erskine, Esq. The directors for the ensuing 
year were Messrs Chippendale, Hamerton, Jones, Mackay, and W. 
Murray. 

Murray set apart the evening of June 5th, when Rob Roy was played, 
as a benefit for the Fund, and so this scheme, which in a few years was to 
become historically connected with one of the most memorable events in 
the literary records of the present century, was fairly launched into being. 

Commencing April 2nd, Edmund Kean appeared for a few nights, but 
his reception was not so enthusiastic as on previous visits. This seems to 
have been owing to the reports which had been circulated regarding his 
recent conduct in connection with the production of Miss Porter's 
tragedy of Switzerland at Drury Lane. Kean had undoubtedly con- 
tributed his powerful aid to damn this piece on its first representation, by 
not acting his part ; and the subsequent withdrawal of Bucke's tragedy of 
The Italians from rehearsal, on account of the fear the author entertained 
that Kean would attempt to ruin his piece in the same manner, had raised 
quite a clamour in London, which found a very respectable echo in the 
northern metropolis. His magnificent acting, however, carried all opposi- 
tion before it, and the press, after casually noticing the scandal, joined 
unanimously in writing his praises. It is worthy of note that Calcraft, an 
actor who, for several years after this, was connected in a leading way 
with the Edinburgh stage, made his first appearance during Kean's engage- 
ment (April 7th, lago to Kean's Othello). 

Calcraft had been an army officer, but being out of employment in 
that line, took to the stage. He came to Edinburgh from Newcastle, and 
after taking the lead several years here, he went to Dublin, where, in 1824, 
he became manager. He remained in that capacity until 1851, when, after 
experiencing several bad seasons, he had to retire. He then became private 
secretary (he had resumed his patronymic, Cole, by this time) to Charles 
Kean, and in 1859 wrote that gentleman's life. He died in February 1870. 

Miss Fanny Kelly made her first bow to an Edinburgh audience on 
the 26th April as Peggy in the Country Girl, and Louisa in the Deserter 



292 The Annals of the Edinburgh Stage. [1819. 

of Naples. Mackay's benefit came on at the end of the winter season 
proper, and it was generally supposed he would appear as the Bailie. It 
seems, however, that there existed a rule in the Theatre that pieces pro- 
duced for the first time during the same season should never be played on 
benefit nights. So he made up his bill with Guy Mannering and The 
Wanderer. This did not satisfy the public, and a sort of row got up in 
the Theatre. Murray was called for, and stated that the programme was 
Mackay's arranging, which statement being endorsed by the bdntficiare, 
the house became quiet. The Scotsman, in reviewing the whole matter, 
rather blames Murray for not paying enough consideration to the public, 
"who," it says, "have often refrained from blaming, out of consideration 
for Mrs Henry Siddons and her family." 

On May i2th Mrs Renaud appeared for the first time in the part of 
Meg Merrilees, being for her own benefit. 

Murray had his benefit on May i7th, when Mason came through 
from Glasgow to act Sir Andrew Aguecheek in Twelfth Night, Murray 
playing Sebastian and his sister Viola. In June one of the infant 
phenomena of the age, Miss Clara Fisher, appeared in such parts as Shy- 
lock, etc. Mrs Cummins, Mr Knight, Miss Stephens, Mr Smith (Drury 
Lane), Mr Farren,* Mr Abbott (Covent Garden), and Miss O'Neill, all 
appeared during the summer. Mr Macready also visited the town, but 
was not cordially received. During September Mr Henry Erskine John- 
stone appeared for a few evenings. 

The last engagement for the combined winter and summer seasons 
was that of Charles Mathews, whose success cannot be better related than 
in his own words. 

" To Mrs Mathews. f 

" Edinburgh, October 2oth 1819. 

" I am going on famously here. I gave my ' Trip ' on Wednesday. It would have 
done your heart good to hear the roars at the ' Scotch Woman ; ' the success of which I 
rather doubted here. It is the greatest hit I ever made anywhere in that part. Bless their 
good-natured hearts ! It was repeated on Thursday and last night (Friday). I netted the 
last night about ;i8o. At the worlds, 'he was a vary good-natured body,' which I hit 
happily, they gave me a thundering round of applause which swelled into a hurrah, and the 
cheering at the close was delicious. To-morrow, my benefit; all the boxes taken the 
' Trip ' again ; my week will give me ^300. 

* This was the second of that name, and father to the present Mr Farren. His visit here was after his 
first season at Covent Garden, where he had made his debut on the preceding September loth, as Sir Peter 
Teazle. 

t Life of Charles Mathews, vol. iii., p. 95. 



1819-20.] The Annals of the Edinburgh Stage. 293 

" A curious circumstance : I received a letter from a Methodist preacher here, last week, 
to say he was a pastor of a congregation who could not afford to purchase a Bible, and 
requesting me to make a present of one ; and I have done so ! I made a condition that the 
following inscription should be upon it : 'The Gift of Charles Mathews, Comedian.' It is 
finished, and will be announced to the elect next Sunday ! * 

" CHARLES MATHEWS." 

The above letter, although interesting, is not accurate. It is dated 
the 2Oth, speaks of Friday as " yesterday," and specifies the date of his 
benefit as "to-morrow," i.e. Sunday. As a matter of fact his benefit 
was on the i8th, and closed the long season. Mr Murray took occasion, 
as usual, on the "last night," to make a few remarks, and said it was the 
longest season ever recorded in Edinburgh, and that its success had been 
unprecedented. 

The following season was opened on November 2 7th with the Belle s 
Stratagem. Sir George Touchwood = Calcraft ; Doricourt = Jones ; Hardy 
= Mackay ; Flutter = W. Murray ; Lady Touchwood = Mrs W. Murray ; t 
Letitia Hardy = Mrs H. Siddons. 

Calcraft was retained this year as lead along with Cooper, from the 
Theatres Royal, Liverpool and Manchester, who joined on November 
29th, when he played Hamlet, the other parts being cast as follows : 
Polonius = Loveday, from Liverpool and Manchester, first appearance 
here ; Laertes = Calcraft ; Horatio = W. Murray ; Ghost = Alexander ; 
Gravedigger = Mackay. November 3Oth, The Will. Albina= Miss Rock, 
from Theatre Royal, Dublin, " her first appearance here for ten years." On 
December ist Huckel, from the English Opera House, took the part of 
Henry Bertram in Guy Mannering, that of Lucy Bertram being filled by 
a Mrs Garrick from Liverpool. 

On December nth Rob Roy was played with an altered cast, Huckel 
being the Francis, Cooper the Rob Roy, Mrs Garrick the Diana Vernon, 
and Loveday the Mr Owen. 

The pantomime brought out this year was Harlequin Gulliver, which 
was produced December 2;th, and ran thirty-three nights; on January 
25th, the Comedy of Errors was produced on a very complete scale, 
Cooper and Jones played the Antipholus', and Loveday and Murray the 
Dromios. 

King George III. having been gathered to his fathers, the Theatre 
was closed by order of the Lord Chamberlain from February ist to i;th. 

* The preacher (Thomas Weston) had known Mathews' father, who had been a strict Methodist, 
t Late Miss Dyke. 



294 The Annals of the Edinburgh Stage. [1819-20 

On the 1 9th, Mrs H. Siddons recited a monody in memory of his late 
Majesty. 

The facts about the production of the Heart of Midlothian in this 
Theatre on February 23rd 1820, require rather careful investigation. So 
early as December 1819, Tom Dibdin's adaptation of the novel was under- 
lined for production at the Royal, while a piece of the same name was 
actually being played in the " Pantheon." Whether the minor Theatre 
actually did play Dibdin's version or not cannot be said ; but it is quite 
certain that the version produced at the Royal was not Dibdin's, although 
it had been advertised as specially licensed for that Theatre. Dibdin, 
in his " Reminiscences," t states his account of the affair very clearly, as 
follows : 

"The drama of the Heart of Midlothian > which had been acted at Covent Garden, was 
produced at the Theatre Royal, Edinburgh, and the Surrey Theatre. My Heart of Midlothian 
was acted at the minor Theatre, when its attraction, for many nights, was almost beyond 
precedent. Mrs H. Siddons having occasion to visit town, came to the Surrey to see our 
piece ; and having solicited a copy properly marked for representation, produced it at the 
Theatre Royal on her return to Edinburgh, as Dibdin's Heart of Midlothian ; and notwith- 
standing its prior and frequent repetition at the Caledonian Circus, and the recent perform- 
ance of the regular Covent Garden one at the Royal, our minor paraphrase rode triumphantly 
through the remainder of the Edinburgh season." 

This seems to be substantially correct ; as a matter of fact, however, 
the first version produced at the Royal ran for twenty-eight consecutive 
nights, while the second production only got the length of some eight nights 
in all. Regarding the first of these it may be mentioned that the scenery, 
which chiefly consisted of views of Edinburgh and its vicinity, was specially 
painted by Mr Nasmyth. The cast was as follows : John, Duke of 
Argyle = Jones ; Staunton = Calcraft ; John Dumbie = Mackay ; David 
Deans = Loveday ; Bartoline Saddletree = Duff; Reuben = J. Farren ; Mr 
Sharpitlaw = Welsh ; Sergeant of the Guard = Aikin; James Ratcliffe = 
Alexander ; Tyburn Tarn = Gray ; Black Frank = W. Murray ; Queen of 
England = Mrs Renaud ; Lady Suffolk = Mrs Mackay; Jeanie Deans = 
Mrs H. Siddons ; Effie Deans = Mrs W. Murray ; Mrs Glass = Mrs Nicol ; 
Betty = Miss Nicol; Margery Murdockson = Miss Penman, her first 
appearance here ; Madge Wildfire = Miss Rock. 

Although not so great a success, the Heart of Midlothian came very 
near being as popular as Rob Roy. The length of the run was great, 

* See chapter on "The Circus." t Vol. ii., p. 165. 



1820-21.] The Annals of the Edinburgh Stage. 295 

besides which it continued as a stock piece as long as resident companies 
existed. 

The Dumbiedykes of Mackay and the Ratcliffe of Alexander seem 
to have been very fine impersonations ; and the Scotsman critic speaks of 
Mrs H. Siddons' Jeanie as something quite above the ordinary line of acting. 
On the appearance of Scott in the lower boxes, loud hurrahs rang through 
the Theatre, and directly afterwards, when Lord Erskine was recognised 
in the second row, his lordship was greeted with a similar welcome. 

On March 27th, Listen commenced a five nights engagement, and on 
the 2 gth played Dominie Sampson, a performance which, the Scotsman 
said, he made much more of than could have been expected from any one 
not a native of Scotland. 

After a long absence Cooper reappeared on April 8th, on the occasion 
of Mrs H. Siddons' benefit ; on the i3th Prior, from the Pantheon, made 
his first appearance at this Theatre, playing Rob Roy; and on the igth 
Murray produced for his own benefit, More Plots than One, for the first 
time here. Duff had Rob Roy staged for his benefit on May 26th, and 
after the play sang an entirely new song written expressly for the occasion, 
called the " Dougal Creature's Visit to Edinburgh." 

On June 3rd, a benefit was given on behalf of the Edinburgh 
Theatrical Fund, when Much Ado and Heart of Midlothian (compressed 
into three acts) were performed, and the season came to a conclusion on 
June loth, with a benefit * to H. E. Johnston, who had been acting for a 
few evenings. 

The summer season scarcely produced any event worthy of note. 
Young came on July 3rd (opening night) ; Kean on the I7th, and on the 
2 Qth took his farewell benefit before going to America ; Miss Stephens 
and Mr Horn followed (August 2ist), while the season came to a close on 
September 2nd. 

The following winter season (1820-1) opened on November i5th with 
She Stoops to Conquer, in which Terry played Hardcastle, being his first 
appearance for two years. He had joined the company, and took leading 
parts for a good portion of the season. On the opening night Lee, from 
Aberdeen, made his first appearance here, playing Sir Charles Marlow, 
while Miss Rock took the part of Miss Hardcastle. On November 2;th, 

* From a letter in the Scotsman we learn that the charges for benefit nights at this time were as follows : 
Thursdays and Fridays, 35 ; Monday, 40 ; Tuesday, 45 ; and Saturdays, ^52. 



296 The Annals of the Edinburgh Stage. [1820-1. 

Halloween ; or, The Vampire and the Water- Kelpie, a melancholy melo- 
drama from the English Opera House, was brought out with some success; 
while the production on December 5th of William Wallace, with Terry 
in the title role, lasted out a dozen nights. 

The production of the fourth of the series of Waverley dramas The 
Antiquary ; or, The Heir of Glen Allan also proved a great success. 
It was the joint work of Terry and Pocock, with some additions from the 
novel ; the music was by Bishop, the scenery by Grieves and Roberts, and 
it was first played here on December 2oth. The cast was as follows : 
Earl of Glenallan = Anderson ; Sir Arthur Wardour = Roberts ; Jonathan 
Oldbuck = W. Murray ; Maclntyre = Jones ; Lovel = Calcraft ; Caxon = 
Duff; Francis M 'Craw = Bell ; Saunders Mucklebackit = Denham ; Edie 
Ochiltree= Mackay ; Miss Wardour = Miss Rock ; Miss Maria Maclntyre 
= Miss M. Nicol; Miss Grizelda Oldbuck = Mrs Nicol ; Jenny = Miss 
Nicol ; Elspeth = Mrs Renaud. 

It ran consecutively for twenty-two nights, and again some twelve 
times during the continuance of the season. 

On February 28th Rob Roy was played, with Calcraft as the bold 
chieftain, Miss Rock as Diana, Weekes (who had joined on the i2th) as 
Major Galbraith, and Murray as Captain Thornton. On March loth 
Rob Roy was announced to be played for the ninetieth time since its 
production in the Royal. 

Some time during this season Alexander was appointed manager of the 
Carlisle Theatre ; an appointment which could not have interfered with his 
duties in Edinburgh, as the Carlisle Theatre seems only to have been open 
during the summer months, when, of course, he could easily absent himself. 
On the strength of his new appointment Alexander wrote to Murray asking 
for a rise of IDS. a week, his salary being at the time 2, IDS. Murray did 
not accede to this request, and some ill feeling and a great deal of misunder- 
standing seems to have arisen between the two. It resulted at length in 
an open altercation upon the stage, and Murray refused to allow Alex- 
ander his annual benefit. The latter, however, engaged the Pantheon 
Theatre, and had his "night" there instead, and afterwards left the east 
to commence his long career of management in the west management 
which, it may safely be said, did almost as much for the drama there as 
Murray did for it here. 

Several melo-dramas which were produced this season enjoyed long 
runs, and the season came to a close on June nth (1821) to reopen on 



1 82 1 -2.] The Annals of the Edinburgh Stage. 297 

the 3<Dth of July for the summer months. Not much, however, falls to be 
recorded between the latter date and September 1 5th, when the summer 
season closed. Miss Dance, from Covent Garden, made her first appear- 
ance in Edinburgh on the opening night, playing Juliet to Calcraft's 
Romeo, and several English operas were well put on the stage, with Miss 
Wilson, Mr Horn, Mr Isaacs, and Mr Huckel. On August 25th, the 
<4 National Opera" of David Rizzio, from Drury Lane, was produced, and 
on the 3ist, a magnificent spectacle of the coronation was introduced into 
the second part of King Henry IV. This ran to the closing on Septem- 
ber 1 5th, and was again put on when the Theatre opened for the winter 
season on October 22nd, when it held the boards until November 7th, 
after which the house closed until the 1 7th. On that evening Monsieur 
Tonson, which Genest describes as a poor farce, was played for the first 
time in Edinburgh, and during the season was included some forty 
times in the bills. The scenery was by David Roberts ; Calcraft played 
Monsieur Morblieu ; Murray, Nap ; and Miss Nicol, Adolphine. 

A new comic pantomine was produced on January 2ist, under the 
direction of William Barrymore ; and on March 4th, Calcraft being ill, 
Terry acted Rob Roy. 

The Legend of Montrose, or the Children of the Mist, arranged for the 
stage by John Pocock, was produced on March I3th 1822. The music 
was chiefly selected from the ancient melodies of Scotland ; the scenery 
was painted by David Roberts, the views of Inverary Castle and Loch 
Lochy being copied by permission from original sketches by Alexander 
Nasmyth. The cast was as follows : James Graham, Earl of Montrose 
= C. Mason ; the Earl of Menteith = Huckel ; Angus M'Aulay = Roberts ; 
Allan M 'Aulay = Calcraft ; Captain Dugald Dalgetty = Mackay ; Marquis 
of Argyle = Denham ; Sir Duncan Campbell = Faulkner ; Ranald = Terry ; 
Annot Lyle= Miss Rock ; Erorcht= Mrs Renaud. This, the fifth of the 
series, was not so successful as its predecessors, as its first run only ex- 
tended to eleven nights. 

On April ist, Charles Kemble paid his first visit for many years, and 
on the 20th Anderson took his farewell benefit. 

Calcraft, for his benefit on May ist, produced another Waverley 
drama from his own pen. This was The Bride of Lammermoor. It was 
licensed " expressly for this Theatre," and, although only played once at 
this time, afterwards became exceedingly popular. Calcraft himself played 
Edgar, while the other parts were cast as follows : Sir William Ashton = 



298 The Annals, of the Edinburgh Stage, [1821-2. 

Faulkner; Colonel Ashton = C. Mason; Frank Hayston = Jones ; Craig- 
engelt = Murray ; Caleb Balderston = Mackay ; Randolph = Roberts ; 
Norman = Duff; Lockhart = Denham ; Lucy Ashton = Mrs H. Siddons ; 
Lady Ashton = Mrs Faulkner; Mysie=Mrs Nicol ; Alice Gray = Mrs 
Renaud. 

Another version of Guy Mannering, called the Witch of Duncleuch, 
was produced on May 25th, when Mr and Mrs Hartley, who were starring 
here at the time, played the parts of Dirk Hatterick and Meg Merilees. 

The season closed on June 8th. 




" 

THEATRE-ROYAL, EDINBURGH. 



BY COMMAND 



OF 



HIS MAJESTY. 

This present Evening, TUESDAY, August 2?. 18*2, 
Will be performed the National Opera of 

ROB ROY MACGREGOR, 

OR 

AUJLD LANGSYNE. 

WITH THE ORIGINAL MOSIC, AND APPROPRIATE SCENERY, MACHINERY, DRESSES . .ND DECORATtONS 

Sir Frederick Vernon by Mr MUNRO, 

Rashkigh Osbaldiston by Mr DENHAM Francis Osbaldiston by Aft HUCKEL. 

Captain Tliornton by Mr MURRAY Major Galbraith by Mr WEEKES, 

Rob Roy Macgregor Cauipbell by Mr CALCRAFT, 

Bailie Nicol Jarvie by Mr MACKA Y, 

Mr Owen by Mr ROBERTS -MacStewar't by Mr LEE Dougal by Mr DUFF. 
Willie by Master HILLYARD Andrew by Mr AIKIN Lancie by Mr STANLEY, 

Sergeant liy Mr HILI/YARD Saunders Wylie by Mr POWER, 

JtLL* >0m by Ajessrs Broaohurst, Sanditanda, Robertson, Hewson, C micron, Plover, Merrytk, Glegg, Norman, ftr. At 
Travellers by Messrs Field, Lylesford, Brodie, Dunetable, Ecc!e, Fotbcringhatn, Gesaner, Kerry, Larder, Slot-mount, Ac. 

Lennox Troopers by Messrs Grant, Heath, Thornton, Reid, Chuhulm, Robb, r.nd Rutherford, 
English Soldiers by Messrs Lawson, Loriraer, I'.einard, Charteris, Belsbam, Orrock, Blenheim, Burgess, Lenaox, Crotx. Ac 

Helen Macgregor by Mrs REN A I'D, 

Martha by Miss J. NICOL Mattie by Miss NICOLHostess by Mrs MACKAY Jean M'Alpine by Mrs NICOL. 
Diana Vernou, for this Night only, by Mrs H. SIDDONS. 

THE SCENERY WILL BE EXHIBITED IN THE FOLLOWING SUCCESSION: 



ACT THE FIRST. 
1. INTERIOR OF VILLAGE INN. 

LIBRARY IN OSBALDISTON HALL. 

3. ROOM IN BAILIE NICOL JARVIfi's. 

4. THF. OLD BRIDGE OF GLASGOW. 
6. HALL IN GLASGOW TOLBOOTH. 

6. CELL IN THE TOLBOOTH OF GLASGOW. 



ACT THE SECOND. 

1. THE COLLEGE GARDENS OF GLASGOW, 

AND VIEW OF THE SPIHE OF ST MUNGO. 

2. LIBRARY IN OSBALUISTON HALL. 

3. INTERIOR OF JEAN M'ALFINE's CHANCE HOUSE. 

4. THE CLACHAN OF ABERFOYLE, 

AND DISTANT. VIEW OF THE HIGHLAND LOCH. 



ACT THE THIRD. 

1. THE PASS OF LOCHARD. I 3. INTERIOR OF JEAN M'ALPINE % CHANGE HOUSE. 

2. ROMANTIC QLCN IN THE HIOHI-AMns. 4. VIEW OP LOCHLOMOHU, MOONLIGHT. 

Vo Free Admission can be granted on the present Occasion, Henirn ami Subscriber* to the Thetlre neoptn). 

The Pit and Gallery Doors wilt this Evening Open at Six o'clock The Box Door will Caen at half put Six nrecisHji ; anl tbt Vmr 

appointed for the Commencement of the Performances is Eight o'clock It tt therefore maM eirtiuitly <! mpcctAiDjr rr^imiid. 

that Ladies and Gentlemen will be early in their Attendance. 
The Transfer Office will not be Opened this Evening, as, the moment that the Pit and Galleries are filled, Pbranls trill br Isoaaj, ao- 

JifyinR the same, and should any Lady or Gentleman taking a Ticket fer the Pit b* too late in securing ArfroitiwH*. ftwir MOM; 

will be returned on Production of the Ticket To-Murrow Morning, at the Box-Ufbe. 
No Monty Will be tlcen at the Box Entrance until the Tickets I.uvd for Ibis Eroiuup arc rcceired. 
All Caniagei will cet down with the Horses' Heads towards Wuerloo Place, and take up in the Optxwite Dirrclioa. 

To-Morrow the Tragedy of OTHELLO the Character oi OthMo ny Mr KFAN. 

It being hi Last Appearance hue but Three ihi* Seaaon. 

VIVAT REX. 




CHAPTER XVIII. 
THE KING'S VISIT. 

HE summer season of 1822 was destined to become memorable 
in the Annals of the Edinburgh Stage. It opened on July ist 
with Mrs Bunn, late Miss Somerville, as the chief attraction. 

On the following evening was produced Tom Dibdin's 
version of Kenilworth ; or, the Merry Days of Old England, with the 
following cast : Earl of Leicester = Calcraft ; Richard Varney = Monro ; 
Tressilian = Denham ; Foster = Mackay ; Mike Lambourne = Jones ; 
Giles Gosling = Weekes ; Wayland= Duff; Master Lawrence Goldthread 
= Huckel ; Queen Elizabeth = Mrs Bunn ; Amy = Mrs H. Siddons ; Janet 
Foster = Miss Nicol ; Nicolas Blount = Murray. 

This adaptation does not seem to have taken well, and only ran six 
nights ; but it was occasionally played afterwards. On July 3ist Miss M. 
Tree made her first appearance in Edinburgh, on which occasion she 
sustained the part of Diana Vernon in Rob Roy. 

About this time enormous crowds of people flocked into the town to 
view the preparations that were in progress for the reception of King 
George IV., who was expected to land in Scotland some time in August. 
The Theatre of course benefited by this, as hundreds of country people, 
to whom a Theatre Royal was a luxury but seldom enjoyed, were in 
the city. On the i4th August the Royal George yacht, with the King 
on board, arrived in Leith Roads, where, as is well known, the first man to 
go on deck was Sir Walter Scott. " What," said the King, when he 
heard who his visitor was, " Sir Walter Scott ? the man in Scotland I 
most wish to see." After the performance in the Theatre that evening, 
the audience rose and sang " God Save the King," amid the wildest 
enthusiasm. 

With the notable events that followed the King's landing on the follow- 



3OO The Annals of the Edinburgh Stage. [1822. 

ing day we have nothing to do here ; until the Royal visit to the Theatre 
on Tuesday, August 27th. 

The event was really an important one, apart from its dramatic 
interest, for through it the Scottish people were brought into nearer contact 
with their Sovereign than the officialism that surrounded all his previous 
appearances had permitted. It was a gracious and politic action on the 
part of the King to command the play of Rob Roy on this occasion. It was 
a compliment to Sir Walter Scott, to the Scottish nation, and offended 
but one individual Edmund Kean. Kean was playing a starring engage- 
ment at the time, and fully expected that the King would command a play 
that he could appear in ; such perhaps as Macbeth. George IV., however, 
never mentioned Kean's name, and so that individual felt much chagrined, 
and in his cups was probably the only man in Edinburgh who expressed 
disloyal sentiments. He eventually, however, put a good face on the 
matter by boasting that he " had a King for his enemy ! " 

After the performances were finished on the night of the 26th, pre- 
parations were set on foot to have all in readiness for the proper reception 
of the King. A handsome portico was erected over the Royal entrance ; 
under this was laid a platform covered with crimson cloth ; this led to a pair 
of folding doors which opened into the old box office, now transformed into 
a handsome apartment, brilliant with lamps, which were reflected in immense 
pier glasses. This entrance hall had such an effect on one of the yeomen 
of the guard, who was in attendance, as to cause him to exclaim as he 
entered, " Come, this beats Lunnon yet." The remainder of the appoint- 
ments were of the most gorgeous description, and, it is worthy of note, 
called forth an expression of unqualified approval from His Majesty. 

At the Royal door all was order and ceremony ; not so at the pit and 
gallery entrance. There the crowd began to collect about noon, and. by 
two o'clock was dense. As the doors did not open until six, this would 
have been bad enough, but the clerk of the weather, anxious to make him- 
self remembered, turned on the taps and let the rain fall in a steady down- 
pour. Every one became saturated, while the steam ascending hovered 
over the crowd like a cloud. The worst part of all was to come, for when 
the doors were opened those who had waited longest to get in were lifted 
from their feet and carried about without being able to move a muscle to 
help themselves. The whole crowd became a great moving, whirling 
mass, ungovernable as the waves of the ocean. People who had come 
last were, in most cases, the first to get inside, and many who had 



1 82 2.] The Annals of the Edinburgh Stage. 301 

waited longest found themselves shot out into the tail of the crowd in almost 
no time. Very soon after six o'clock a board was displayed announcing 
that the house was filled ; but still the crowd thronged round the door, and 
several individuals, led by the example of a stout athletic Gael, contrived to 
mount on to the heads of the crowd and get in through the upper section 
of the door. 

Inside the house the crush was intense, while matters were made in- 
finitely worse by the cloud of steam that ascended from the saturated gar- 
ments of those present. Good humour, however, prevailed, and Scotch 
songs were sung in chorus to pass the time away until the arrival, about 
7.30, of the box occupants, by which time the atmosphere had become 
comparatively clear. In the boxes was assembled nearly every person 
of distinction and rank in the town at the time. At ten minutes past 
eight the King arrived, and was received at the door by the Lord Chamber- 
lain and Mr Murray, each bearing silver candlesticks. When the King 
entered his box, the reception was enthusiastic in the extreme ; and when 
the cheering had subsided, the curtain rose, and " God Save the King " 
was sung by the whole corps dramatique, the audience standing and joining 
in the chorus. The actors on entering in their respective characters bowed 
to the King, and the play went on to the evident enjoyment of His 
Majesty, who laughed heartily at several of the incidents. In particular 
he seemed to enjoy Owen's precipitate retreat under the bed clothes, and 
the encounter with the " het poker," while at the Bailie's remark, " Nane 
o' your Lunnon tricks here," he is reported to have laughed outright. The 
performance passed off with great spirit, and at the conclusion " God Save 
the King " was called for and sung con amore. Amid a scene of wild 
enthusiasm the King retired, and before leaving the building complimented 
Mr Murray and thanked him for the treat he had received ; mentioning 
that he was much pleased at seeing his old favourite Mrs H. Siddons 
again,* 

The cast of Rob Roy on this memorable occasion was as follows : 
Sir Frederick Vernon = Munro ; Rashleigh Osbaldistane = Denham ; 
Francis Osbaldistane = Huckel ; Captain Thornton = Murray ; Major 
Galbraith = Weekes ; Rob Roy = Calcraft ; Bailie Nicol Jarvie = Mackay ; 
Owen = Roberts ; M acste wart = Lee ; Dougal = Duff; Andrew Fairservice 

* For most of the above particulars see a contemporary account of His Majesty's visit printed in book 
form. 



3O2 The Annals of the Edinburgh Stage. [1822-3. 

= Aikin; Helen Macgregor= Mrs Renaud ; Martha = Miss J. Nicol; 
Mattie=Miss Nicol; Hostess = Mrs Mackay ; Jean M'Alpine=Mrs 
Nicol ; and Diana Vernon= Mrs H. Siddons (for this night only). 

The business done during the autumn was enormous, and the house 
remained open until November 2nd. 

The winter season opened on November i6th with a performance of 
She Stoops to Conquer and the farce Is he alive ? The Theatre had been 
newly painted (pink and white) and decorated ; the curtain, formerly blue, 
was replaced by a new one of crimson, and a new drop scene was also 
added. The company was not so strong as that of the previous winter. 
Terry had left, and Bland succeeded Huckel in the vocal depart- 
ment ; Calcraft assumed undivided lead. Plays requiring more than one 
good tragic actor could not be got up, and apparently Calcraft either mis- 
doubted his own chance of success in tragedy, or else the management 
saw good reason for constantly bringing on melo-drama and eschewing 
more exacting pieces. Till after the New Year national dramas almost 
solely occupied the bills. All this was the subject of pretty free criticism 
in the pages of a little daily publication called the Edinburgh Dramatic 
Review, which had been started a few months previously. This paper 
complained of the inferior nature of the company and the class of plays 
produced, and hinted that the fault lay with the management paying in- 
sufficient salaries to the performers. It also threatened to publish a list of 
salaries paid by the Theatre. All this was much more than Murray 
could calmly bear, so he wrote to Mr Huie, the printer of the publication, 
to say that he considered such a " procedure an improper interference 
with the private concerns of the establishment," and in consequence with- 
drew the privilege he had till then accorded the paper of free admission to 
the Theatre. 

This was answered by the editor of the Dramatic Review ; he re- 
ferred Murray to the London Magazine, where there was a precedent 
in the current issue for publishing actors' salaries. Murray had said to 
do so would be " insulting to the performers," to which the editor re- 
taliated by saying, that if that was the case the salaries must be miser- 
ably inadequate. Murray instead of replying returned the letter to Mr 
Huie, and declined all correspondence with the editor. Such a chal- 
lenge to battle the latter gentleman accepted con amore, and for many 
months stuck as many thorns in the manager's side as he could cram 
into three octavo sheets of small type daily. The first one and it was 



1822-3.] The Annals of the Edinburgh Stage. 303 

sharp was the threatened list of salaries. It must certainly have proved 
"insulting to the performers" and exceedingly annoying to the manage- 
ment, for it clearly showed that either the company was unfit for such a 
Theatre, or else Murray was not paying them a fair remuneration for their 
services. The latter in many cases was undoubtedly the correct conclu- 
sion to arrive at. Mason was shamefully underpaid at 2 a week, the 
same was true of Denham and Boddie at 305. each, Mrs Nicol at 2, Miss 
J. Nicol at 153. ; and when we consider how indispensable Mackay was 
in all Scotch plays, it cannot be said that ,4 a week was liberal remunera- 
tion for his own and wife's services ! Calcraft had three guineas a week, 
perhaps enough for him, but not by any means an adequate salary for a 
first leading man. The other salaries were given as follows : Jones, 
four guineas ; Weekes, three guineas ; Faulkner, 2, 125. 6d. ; Duff, two 
guineas; Lee, 305.; Bland, 2; Hillyard, 255.; Aikin, 2 is. ; Power, 
155. ; Mrs Renaud, three guineas; Mrs Eyre, 2 ; Miss Nicol, 255. ; 
Miss Eyre, 155. ; Miss Halford, 2 ; and Miss M. Nicol, 305 ; or in all 
scarcely ,45 per week. This list of salaries was soon followed up by the 
publication of an estimate of the average receipts and the expenditure of 
the Theatre. The table, most elaborately worked out, showed in an 
average season of thirty-five weeks a total income, at 60 for the average 
nightly draw of ,12,600 ; expenses, .6,930 ; leaving a clear profit of 
.5,670. In the expenses was set down a sum of ,2,200 for rent, but this 
was a mistake ; Mrs Siddons was in reality paying the purchase money of 
the property by instalments, and had at that date about ,28,000 paid up. 
Murray had no resource left but to reply to the statement. Had he re- 
mained silent, the public must have concluded, not that he would not, but 
that he could not do so. His reply was addressed to the editor of the 
Weekly Journal, but instead of giving the lie direct to the Dramatic Review, 
or making out a correct income and expenditure account, he went somewhat 
out of his way to quote the statement he himself made in 1815,* and said 
that, after paying off the debt of ,3,100 then standing, Mrs Siddons had 
only made a clear profit of ,900, besides drawing a weekly salary of 12 \ 
Murray's best and most dignified course would have been simply to 
deny the correctness of the Dramatic Review s statement. But the 
method he adopted cannot have satisfied the town, and only laid him 
more open to attack an advantage which his antagonist was not slow to 

* See page 270. 



304 The Annals of the Edinburgh Stage. [1822-3. 

make full use of. Murray did not deny that ,60 was a fair average 
nightly drawing, nor that the estimate of expenditure was underrated. He 
merely stated that during seven years the gross profit had amounted to only 
,4,000, altogether ignoring the fact which the Dramatic Review had over- 
looked that the item of ,2,000 was not paid away for rent, but invested, 
and should rightly have been considered as profit. One portion of his 1815 
speech he also ignored. It was where he estimated the expenditure of the 
Theatre at .160 a week. That for seven weeks would amount to i 120. 
Now, Mr Murray in his reply allows that he drew .4069 during the 
run of Rod Roy in 1819 seven weeks in all; deduct expenses for that 
period, as above, and we have ,2949 profit. He also mentions ,1500 
as the amount drawn during the engagement of Miss Stephens for two 
weeks. The profit at the same rate would be ,1,120, or total profit in 
nine weeks ,4,129 more than he said was made during the whole seven 
years. Of course these calculations are based upon the supposition, which 
Murray did not deny, that ,60 was a fair nightly average during the 
season. The Dramatic Review estimated the expenditure at considerably 
more than ,160 per week, and, of course, very large sums were spent 
occasionally during each season on new productions, spectacles, panto- 
mimes, &c. Murray offered to show his books to the editor of the 
Weekly Journal, or to any three gentlemen the assignees of the patent 
might be pleased to appoint ; notwithstanding which, and allowing a good 
deal on both sides, it seems pretty clear either that Murray was telling the 
truth, but not the whole truth, or else that his system of management was 
very extravagant in all save salaries. One interesting fact was brought 
to light by this controversy, namely, that Murray's salary was ,4 per 
week, with an allowance of ,100 per year " for any additional fatigue my 
duties of manager may cast upon me ! " The only other result worth not- 
ing was the publication of " An Address to the Public," by John William 
Calcraft, in which the author stoutly maintains the excellence of his own 
acting in opposition to the pretty freely expressed views of the Dramatic 
Review, and takes up the cudgels in defence of the management. As al- 
ready stated, the boards of the Theatre were almost exclusively occupied 
during the first two months of the season by melo-dramas and national 
plays. On December I3th, however, Douglas was acted, with Glenalvon 
by " A Gentleman," who, on his second appearance, proved to be a Mr 
Butler. On January 6th, Vandenhoff, " the best actor out of London," as 
he was then generally reckoned, appeared as Coriolanus, so that with this 



1822-3.] The Annals of the Edinburgh Stage. 305 

addition the company could no longer be called weak. As a matter 
of fact, excellent plays were put on ; and, according to the notices, even 
in the hyper-critical Dramatic Review, were well played. Vandenhoff, 
who was born in 1 790, * had been, for some years previous to his 
Edinburgh engagement, playing in Liverpool, where he was a pro- 
digious favourite. The playgoers of that town would, in fact, allow 
no rival to supplant him in their estimation. After leaving Edinburgh, 
Vandenhoff went to London, where, for many years, both at Covent 
Garden and Drury Lane, he maintained his position as a first rate 
actor of great attainments, although scarcely to be reckoned as a 
genius, t 

Tom and Jerry dramatised, was produced on December 26th 1822. 
More than a year before it had been an enormous success in London, and 
in Edinburgh the public never seemed to tire of it. \ It contained, in 
fact, what in all successful pieces of its class is "the element of success, 
namely, no plot, smart action and dialogue, with no more wit than an 
average audience could understand, and a certain suggestion of naughti- 
ness that is specially dear to the heart of occasional playgoers. Murray 
was evidently well versed in catering for this variable quantity in his 
audiences, for he advertised that all the objectionable pieces had been 
suppressed, thereby plainly implying the nature of the play. 

On January i6th 1823, the company was still further strengthened 
by the addition of Pritchard, from the York circuit, an actor who occupied 
the position of lead in Edinburgh for many years after ; and on the 6th 
of February the management played another of those trump cards of 
which, thanks to the genius of Sir Walter Scott, they held such a hand, 
and knew so well when and how to play. This time it was George Heriot. 
A contemporary print congratulates " the theatrical public of Edinburgh 
on another ray of splendour having been added to the great national 
sun of attraction which, from time to time, has beamed forth from the pen 
of the immortal unknown." 

This version of the play was " licensed for representation by the 
Right Hon. the Lord Chamberlain," but the adapter's name was not 
published ; whoever he was, he made an excellent job of it, and the play, 
after being performed eighteen times during the season, became a stock 

* He died in 1861. t See Old Drury Lane, Stirling, vol. ii., p. 167. 

It was played some thirty-six times at the Theatre Royal, and oftener at the minor Theatre. 

U 



306 The Annals of the Edinburgh Stage. [1822-3. 

favourite, and was highly approved of by Sir Walter Scott. Murray* 
was a great success in the title role, and Mason, it is said, made a remark- 
able hit as Trapbois. The remainder of the cast was as follows : James I. 
= Denham ; Buckingham = Gordon ; Nigel = Pritchard ; Lord Dalgarno 
= Calcraft ; Richie Moniplies = Mackay ; Jacob, "Duke" of Alsatia, = 
Weekes ; Hempseed = Ebsworth ; Lady Hermione= Mrs Eyre ; Mistress 
Margaret Ramsay = Mrs H. Siddons ; Martha Trapbois = Mrs Renaud; 
Mrs Suddlechop = Mrs Nicol. 

On March 8th Young, the tragedian, commenced a short engage- 
ment, his first play being Merchant of Venice. Shylock = Young ; 
Portia = Mrs H. Siddons, one of her best parts ; and on the 24th of the 
same month Listen opened in She Stoops to Conquer, playing Tony 
Lumpkin ; Miss Halford appearing as Miss Hardcastle, in consequence 
of Mrs H. Siddons being indisposed. During his engagement Listen 
gave a performance of Dominie Sampson (April 2nd), which aroused much 
interest in the minds of playgoers. Listen, it is well known, was the 
original Dominie, and with London audiences was every bit as popular 
as Mackay could boast of being in Edinburgh. We have the supreme 
authority of the " Great Unknown," however, for pronouncing in favour of 
Mackay being the better exponent of such characters ; at the same time 
it should be recollected, Mackay's interpretations were better adapted for 
Scotsmen as a Londoner could not appreciate his peculiar dryness of 
humour. 

On April I2th another "Waverley" drama first saw the light. 
Peveril of the Peak was termed in the bills " a melo-dramatic play in 
three acts, originally produced at the Surrey Theatre in London, and now, 
with several alterations and additions from the novel, licensed for representa- 
tion at this Theatre by the Right Hon. the Lord Chamberlain." The 
"vocal and melo-dramatic music" was composed by James Dewar and 
Ware of the Theatre Royal, Covent Garden. The cast was as follows : 
Charles 1 1. = Denham; Buckingham = Pritchard ; Sir Geoffrey Peveril = 
Mackay ; Topham = Mason ; Lance Outram = Murray ; Mathew Chamber- 
lain = Weekes ; Christian = Calcraft ; Bertram = Duff; Countess of Derby 
= Mrs Renaud; Lady Peveril = Mrs Eyre; Deborah Debbitch = Miss 
Nicol; Dame Ellesmere = Mrs Nicol. 

* On February 2$th Murray was suddenly taken ill, and Vandenhoff acted his part successfully at a few 
hours' notice. 



1823-4-] The Annals of the Edinburgh Stage. 307 

Yet two more of the Waverley series were to appear before the 
season closed. The first was, Battle of Dothwell Bridge, licensed expressly 
for this Theatre, and performed on May 3rd for the benefit of Calcraft, 
who, in all probability, was himself the adapter. It was not reproduced 
during the season, but in after years attained considerable popularity. 
The other was Ivan/toe on May igth, for the benefit of Miss Halford, the 
version being that played at Covent Garden, and it was only performed on 
this occasion. 

The summer season included a visit from Miss M. Tree and Madam 
Vestris. What was termed an "after" season was given to allow Miss 
Paton and Horn to appear in a round of English operas. On October 
iith, between the play and farce, Murray addressed the audience; 
thanking them for their support during the fourteen years which the 
management had just completed, and, on its part, promising great things 
in the future. 

The winter season 1823-4 opened on the evening of Saturday, Nov- 
ember ist, with the comedy of the Poor Gentleman, and a new melo- 
dramatic romance, TJie Father and the Son. Considerable improvements 
had been made in the auditorium during the recess. A new gas-lustre 
hud been put in, which, according to a contemporary print, greatly subdued 
the glare of the gas. Every alternate seat in the pit had a back added to 
it ; and a new drop curtain from the brush of Roberts was displayed. 
The first month's performances included a revival of George Heriot, while 
three new members of the company were introduced, namely, Wynn 
no great acquisition apparently Brough a capital bass vocalist and 
Lynch who ably filled the Irish parts, left vacant by the departure 01 
Weekes. 

On the 24th November a new version of Ivan/we was produced. It 
was a compilation by Murray, made up of detached scenes and speeches 
from the Covent Garden adaptation of that name, from Rebecca, or the 
Jews Daiighter, produced at the Surrey, and from Calcraft's Ivanhoe. 
It was announced as being licensed for " this Theatre ; " the music was by 
Bishop, arranged by Dewar, and the scenery was by Pyett and David 
Roberts of Drury Lane, and Hillyard and Bonar of Edinburgh. It 
proved a hit, and ran for seventeen nights in succession. Normans: 
Prince John of Anjou = Smith; Sir Lucas = Faulkner ; Sir Brian de 
Bois Guilbert = Calcraft ; Sir Reginald Front de Bceuf = Denham ; Sir 
Maurice de Bracey = Wynn ; The Prior Aymer= Stanley ; Herald = Hill- 



3o8 The Annals of the Edinburgh Stage. [1823-4. 

yard. Saxons: Cedric = Lynch ; I vanhoe = Pritchard ; Wamba = Murray ; 
Oswald = Duff; Page = Miss Murray ; Rowena= Miss Halford ; Ulrica = 
Mrs Renaud ; Elgitha= Miss J. Nicol. The Merry Men of Sherwood 
Forest : Robin Hood = Bing ; Little John Brough ; Scarlet = R. Power ; 
Friar Tuck = Mackay. Jews: Isaac = Mason ; Rebecca = Mrs H. Siddons. 

On December lyth J. Russell, formerly low comedian in the 
Edinburgh company, commenced a short engagement ; but, instead of 
appearing in parts suitable to his particular line, he committed the gross 
mistake of acting in a round of tragic characters, such as Sir Giles, in 
New Way to Pay Old Debts (December i7th), Richard III. (December 
1 8th), and Shylock (December igth). He seems to have been no better 
fitted for such parts than he was on the occasion of his benefit in 1815. * 

Vandenhoff made his first appearance for the season on December 
22nd, playing Damon in Damon and Pythias, and continued during the 
greater portion of the season playing lead. 

A melo-dramatic spectacle, entitled The Cataract of the Ganges, was 
produced on February iQth, in which it is worth noting that a company of 
equestrians, under the direction of a Mr Cooke, was engaged. On March 
1 3th Young opened a twelve nights' engagement, by playing Benedick in 
Much Ado About Nothing. 

A version of the Pirate, licensed for this Theatre, was brought out on 
Monday, March 2Qth, but was only played a very few times. Excepting 
the engagement of Charles Kemble (April i2th) and of Mrs Davison (late 
Miss Duncan) (April 26th), nothing occurred worth recording till May 
22nd, when, on the occasion of Calcraft's benefit, was produced a new 
Historical and National Drama, licensed expressly for this Theatre, en- 
titled Waverley, adapted from the novel. The music of the play by 
J. Dewar. Prince Charles Stuart = Jones ; Baron of Bradwardine = 
Mackay ; Fergus M'lvor = Calcraft ; Edward Waverley = Pritchard ; Evan 
Maccombich = Denham ; Bailie Macwheeble= Mason ; Davie Gellatiy = 
Miss Nicol; Laird of Balmawhapple = Murray ; Flora M'lvor = Mrs H. 
Siddons ; Rose Bradwardine= Miss Halford ; Mrs Flockhart= Mrs Nicol; 
with the song of" The Wolf," in character, by Mr Brough. The piece does 
not seem to have taken, and was only acted once again during the season. 
On June 5th (the last night) Murray took his benefit, when, in addition to 
a concert given by the members of the Edinburgh Professional Society of 

* See p. 270. 



1824-5-] The Annals of the Edinburgh Stage. 309 

Musicians, was produced Planches adaptation of St Ronaris Well, with 
the following cast: Francis Bulmer= Denham ; Sir Bingo Binks = 
Stanley; Mr Francis Tyrrel = Pritchard ; John Mowbray = Calcraft ; 
Captain Jekyll = Jones ; Peregrine Touchwood = Murray ; Winterblossom 
= Mason ; Captain O'Turk= Lynch ; Lady Penelope Penfeather= Mrs 
Eyre; Lady Binks = Miss Eyre; Clara Mowbray = Mrs H. Siddons ; 
Elspeth = Miss Murray; Meg Dodds, of St Ronan's Aulton, by Mac- 
kay, who, "for this night only, has kindly consented to attempt the 
character. At the end of the play Mr Mackay will, in the character of 
Meg Dodds, deliver an address written expressly for this occasion." It 
may be mentioned here that he pretty frequently repeated this character in 
one scene as an interlude. 

After two extra benefits, * given during the interval between the 
winter and summer season, the latter opened on June 2ist, with the 
Barber of Seville, in which Miss Paton appeared as Rosina, supported by 
Bing as Fiorella, Mackay as Dr Bartolo, Mason as Basil, and Murray as 
Figaro. English opera continued in the programmes till July 4th, on 
the evening of which day Wallack was announced to make his first ap- 
pearance in this city,t the play being Pizarro, in which he played Rolla. 
English opera again occupied the bills from July i2th, when Horn and 
Miss Stephens appeared, and on August 2nd and 3rd Mrs Bunn acted 
Isabella in the play of the same name, and Elizabeth in Kenilworth. 
Sinclair followed in a round of tenor parts, and was joined by Miss M. 
Tree on August 6th. This concluded the list of attractions for the season, 
which closed on August 2ist. 

The season 1824-5 was opened on i3th November with a perform- 
ance of She Stoops to Conquer, under the patronage of the stewards and 
directors of the Edinburgh Musical Festival, and five nights later there 
was given the first of three benefits in aid of the sufferers from the " late 
calamitous fire" in Parliament Square. The first novelty was the 
re-appearance of the child actress, Miss Clara Fisher, now thirteen 
years old, in such parts as Richard III. and Young Norval. On 
22nd December a remarkable singer, of the name of Thorne, made his 
first appearance in Edinburgh. This gentleman is described by living 
witnesses of his performances as possessing a robust tenor voice of 

* One on June I2th was for Mrs Cummins, who had incurred great expense in coming North to attend 
on he i- husband (the Theatre Prompter) during his last illness, 
t It is questionable if this is correct. Sec p. 217. 



310 The Annals of the Edinburgh Stage. [1824-5. 

great range. The latter quality must have stood him in good stead, 
for besides filling all the principal tenor roles, he was in the habit of 
taking the counter-tenor parts in glees, and not unfrequently he sang 
such songs as "The Wolf" and "What is Title?" which, to prevent 
any misunderstanding arising as to whether they were transposed to 
suit a tenor vocalist, are specially mentioned in the playbills as " bass 
songs ! " It is most likely, however, that Thorne was a bass, and that he 
used falsetto to a great extent. The following extract from " Dramatic 
Life as I found it," by N. M. Ludlow, St Louis, 1880 (page 558), corro- 
borates this view of the case : 

" Mr James Thorne was born in England about the year 1800, and made his first appear- 
ance at Drury Lane in 1819, as Florian in The Devil's Bridge. He came to America in the 
summer of 1830, and made his first appearance at the Park Theatre, New York, on the 8th 
of November 1830, as Count Belino in The DeviVs Bridge. He was announced as from the 
English Opera House. Mr Thome's selection for his first appearance was a most unfortunate 
one, and gave but little promise of the merit he afterwards displayed. The part was un- 
suited to his voice, which was a fine baritone, or, I should say, basso, of great power and 
smoothness, and well adapted to the range of many characters in which he subsequently gave 
great pleasure : in Figaro, Baron Pompolino, Caliban, Gabriel in Guy Mannering, and other 
similar parts. He last appeared in New York in 1834. He was with me at Louisville 
in 1831, afterwards in St Louis in 1838-9 and 1842. He was a manager at one time 
with J. R. Scott, and performed in Cincinnati and other Western theatres. He died at sea, 
when on his voyage from New Orleans to England, in the summer of 1843, aged about 43 
years." 

Vandenhoff joined the company on 27th December, and played 
throughout the season a large selection of parts in standard tragedies. 
Two nights after his appearance (29th December), Der Freischiitz was 
presented for the first time to an Edinburgh audience. It was splendidly 
produced, under the direction of Mr Hawes "of the king's chapel," and 
had a run of some twenty-one nights. Thorne was the Rudolph, and gave 
a fine performance ; Pritchard spoke the part of Caspar ; but the most in- 
teresting item in the cast was the appearance of Miss Noel as Agnes. 
This was her first introduction to Edinburgh audiences, with whom she 
remained a sterling favourite for many years. Among her keenest 
admirers was Professor Wilson, who, in the Nodes Ambrosiance, of im- 
mortal fame, more than once speaks with enthusiasm of her abilities. The 
following passage is sufficient to quote : 

"North. It is many years, James, since I have been so much pleased with any one's 
singing as with Miss Noel's. She is a sweet, gentle, modest creature, and her pipe has both 
power and pathos. 



1824-5-] The Annals of the Edinburgh Stage. 311 

"Shepherd. She is just ane o' the verra best singers I ever heard in a' my life; 
and the proof o't is, that, although an English lassie, she can sing sweetly a Scottish sang. 
That tries the heart at ance, you see, Mr North; and unless the singer be innocent 
and amiable, and fu' o' natural sensibility, such as a faither wad like in his ain dochter, 
she needna try ane o' our lyrics. Here's Miss Noel's health, and a' that's gude to her!" 
(June 1826.) 

The simple, natural manner of her rendering of Scottish songs noticed 
by the "Shepherd," was the result of careful tuition and coaching, from 
Mackay for the Doric, and Dewar for the vocalisation. 

On January 2ist, Rob Roy was given, with Pritchard in the title role, 
for the first time on any stage ; Calcraft being away, the part in common 
with many others termed " second lead," devolved upon Pritchard in 
natural course. On the same evening Miss Noel made her first appear- 
ance in Edinburgh as Diana Vernon. Several interesting Shaksperian 
revivals took place this spring, including Winter s Tale, Coriolanus, 
King Henry V., and The Tempest. In the last named Vandenhoff played 
Prospero and Miss Noel, Ariel, her first appearance in the part ; Thorne 
played Caliban. On March I2th, Othello, with Young's lago to Vanden- 
hoff 's Moor. Young followed this up with a number of Shaksperian parts, 
until he was succeeded by Liston as the "star" attraction on March 28th. 
On May 23rd commenced a series of Waverley Drama productions, the first 
being The Rose of Ettrick Vale. The Stranger = Pritchard ; Old Adam 
of Teviot = Murray ; Albert = Mortimer ; Guy o' th' Gap = Lynch ; Glen- 
brae = Thorne; Wandering Steenie= Denham ; Brand o' th' Brae = 
Stanley; Black Wylie=Rae; Fergus = Harrold ; Laurette, the Rose of 
Ettrick Vale = Mrs H. Siddons ; Jessy = Miss Noel; Amy = Miss Dyer. 
The next was on the 28th, when, for Murray's benefit, and very probably 
from his own pen, was produced Redgauntlet, for the " first time in any 
theatre." This was an excellent play, and kept the stage ; besides which 
it afforded Mackay, in Peter Peebles, what was, by many good judges, pro- 
nounced to be that actor's best part. Prince Charles Edward = Denham ; 
Sir Richard Glendall = Harrold ; Mr Maxwell = Lee ; General Campbell = 
Lynch; Redgauntlet = Pritchard ; Daisey Latimer = Thorne ; Justice 
Foxley = Mason ; Joshua Geddes = Murray ; Peter Peebles = Mackay ; 
Crackenthorpe = Anderson ; Cristal Nixon = Rae ; Mr Nicholas = Miller ; 
Mabel = Miss J. Nicol ; Lilias=Miss Noel. The Recluse followed for 
Denham's benefit, but turned out a failure. The Talisman, produced 
June 22nd, ran sixteen nights, but did not long remain a favourite. Mackay 



312 The Annals of the Edinburgh Stage. [1825. 

had no part in it. The cast was as follows : Richard I. = Pritchard ; 
Philip, King of France = Lynch ; Leopold, Archduke of Austria = Harrold ; 
Conrade=Rae; Giles, Amoury Grandmaster = Denham ; Sir Thomas de 
Vaux = Mason ; Sir Henry Neville = Lee; Sir Kenneth of Scotland = 
Murray; Jonas Sch wanker = Miller ; His Spruch Sprecher = Anderson ; 
Long Allen = Aikin; Tomalin Blacklees = Power ; Adonbec El Hakim 
= Jones; Berengaria, Queen of England = Miss Mason; Edith of 
Plantagenet = Mrs H. Siddons ; Calista = Miss Dyer. On July 4th, while 
the Talisman was still running, Mary Stuart was produced as an after 
piece, and ran for six nights. The season closed on the 9th. Mary Stuart 
continued a favourite as long as there were stock companies to play it, 
and almost every Scottish comedian has played Sandy Macfarlane in his 
time. In 1831, the celebrated Miss Foote produced it with remarkable 
success at the London Olympic. Lacy, in his acting edition of the piece, 
states Murray was the author. The original cast in Edinburgh was as 
follows : Lord Lyndsay = Lynch ; Lord Ruthven = Harrold ; Sir Robert 
Melville = Lee ; George Douglas = Pritchard ; Roland = Murray ; Sandy 
Macfarlane = Mackay ; Jasper Dryfesdale= Denham ; Mary Stuart = Mrs 
H. Siddons ; Margaret Douglas = Mrs Renaud ; Catherine Seyton = Miss 
Dyer; The Lady Fleming = Miss Johnson; Mattie = Miss J. Nicol ; 
Maggie = Miss Rae ; Jenny = Miss Murray. 

The summer season opened with the appearance of Miss Ellen Tree 
and her sister Miss Annie Tree in the Wonder and the Barber of Seville, 
on July 1 8th. On the 8th of August a Mr Sapio appeared as Henry 
Bertram, singing " Oft in the Stilly Night," which in the bills is described 
as a "Scotch melody by Moore." Both the Talisman and Mary Stuart 
were revived, and Der Freischiitz, the opera, was played on the same 
evening, with Der Fry shot, a burlesque. Benson Hill, speaking of this 
piece, called it " that clever Travestie ; it showed us Murray and Thorne 
to great advantage, especially in their ' Nid Noddin' ' quadrille. This 
season closed on August 1 3th ; but a short after season, for the purpose 
of introducing the celebrated Miss Foote * to the Edinburgh audience, 
was opened on October 3rd. During this lady's engagement a number 
of sterling comedies were produced, and on the I7th Miss Stephens, 
supported by Mr Thorne, succeeded for a few evenings. 

The winter season opened on November i2th 1825, the Theatre 

* Became Countess of Harrington. 



1825-6.] The Annals of the Edinburgh Stage. 313 

being advertised as entirely repainted and decorated by Messrs Nicholson 
& Hay. It must be allowed that among Murray's many good points 
as a manager, his attention to the comfort of the audience was prominent ; 
and, although according to modern notions his Theatre might not have 
seemed very luxuriously appointed ; for a provincial theatre at that time, 
there is little doubt it took a first place. The opening piece was Barber 
of Seville, and on the Monday,* Benson Hill, a paid-off artillery officer, 
made his debut in The Rivals. He was apparently an actor of moderate 
merit, his particular line being light comedy, juvenile parts, and also 
French and Irish characters. He was a bachelor, and perhaps on that 
account had more of the element of discontent in his nature than was 
good for him ; he wrote one or two books, and always speaks as if he con- 
sidered he had been kept back in his adopted profession. Although his 
performances on the stage in Edinburgh were of minor importance, some 
of his remarks on the Theatre are very interesting, and will be quoted at 
length as occasion serves. On page 62 of his book entitled " Playing 
About," he says : 

" I now presented myself to Mr William Murray, my professional commandant. ' A man 
having authority ' must be excused if, with strangers, he is somewhat dignified. We arranged 
for my opening in Sir Lucius. I took my sister to the Theatre, a plain little house. Its 
manager was Zabone in ' Abon Hassan ' ; a rich piece of humour. The audience, too, 
amused us. Every evening before the performances commence there, the air of our National 
Anthem is played, and received with the customary marks of respect The gods, knowing 
this, as soon as the musicians enter the orchestra, call out ' Feddlers ! God Save the King ! ' 
When it begins, they shout to their fellow spectators, ' Stand oop ! ' and at its close, ' Sit 
doun ! ' Then laugh over and applaud their own monotonous ' wit,' though to the actors they 
are rather coldly attentive." 

After speaking in a sadly ungallant manner of some of the lady mem- 
bers of the company, Hill continues : 

" One of the Company piqued himself on having been the original representative of 
several among Sir Walter's heroes. Nature had partly fitted him for two. He had Rob Roy's 
arms, and Balfour's eyes. For this puritan he wore Cceur-de-lion chain armour, and sported 
silver mounted pistols in Macduff." 

The first production of importance this season was Paul Try, Novem- 
ber 2 1 st. Murray, as the hero, was said by many good judges to have been 
quite equal to Listen, the original exponent of the part, and the cast other- 

* Murray's seasous generally commenced on Saturdays. 



314 The Annals of the Edinburgh Stage. [1825-6. 

wise was unquestionably good ; it took so well that it ran that season 
twenty-eight times, and was played constantly afterwards during the whole 
time of Murray's managership. Benson Hill mentions it as follows : 

" Paul Pry came out. Murray was more like the mercurial Marplot, than Poole's hero, 
who is curious in sheer idleness ; yet the Edinburgh comedian was extremely ludicrous in his 
Cockney ' 'opes ' expressed to Colonel ' 'Ardy.' I told him Listen's umbrella gag, as a droll 
way of giving out ; the piece made a hit." 

The cast was as follows: Colonel Hardy = Mackay ; Frank Hardy 
= Benson Hill; Mr Witherton = Denham ; Somers (alias Willis) = Har- 
rold ; Mr Stanley = Lynch ; Harry Stanley = Pritchard ; Mr Paul Pry = 
Murray; Doubledot = Villars ; Simon = Rae ; Eliza Hardy = Mrs Brude- 
nell ; Marian = Miss Mason ; Phoebe = Miss Noel. 

On the 28th November, Macready, after an absence of some years, 
again made his appearance before an Edinburgh audience, playing during 
his engagement in a round of well-known tragedies. On the 3Oth he pro- 
duced William Tell, being its first performance here, and on December 
joth he played Rob Roy. * The following is from Benson Hill's " Playing 
About " : 

" Mr Macready was rehearsing Cardinal Wolsey ; a Mr Harold had to personate the 
Duke of Norfolk, who has a speech beginning, 

' Then that in all you writ to Rome, or else 
To Foreign Princes," 
which this poor boy followed up by saying, 

' Ego and Rex meus 
Was still inscribed.' 

" I called him aside and said, ' Though in your part nothing may be written as and but 
the Pussy, as children say, yet speak the Latin word, as in et cetera, you know.' 

" He promised to remember this, but, at night, to the erudite Macready's disgust, 
uttered, 

' Ego and et Rex meus ! ' " 

In another place he relates : 

" While Darby (Mackay) and myself were on the stage, some drunkards, in the boxes, 
threw oranges I imagined at me, for my companion was an established favourite. I, how- 
ever, bowed, and continued to face the pelters. Their next aim was unmistakably at Mackay, 
He stood firm as a milestone, and thanked the gentlemen, in tones of ginger-grating scorn. 
We had heard a brief, abrupt exclamation, behind the scenes ; we now saw, and the offenders 
felt its cause. Thump ! Whack ! By the blood of the Murrays, our zealous little manager 
had rushed up to the disgraced part of his Theatre, and vigorously flooring these unprovoked 

* His original part at Co vent Garden, 1818. 



1825-6.] Tke Annals of the Edinburgh Stage. 315 

ruffians, had them carried off to durance vile. The decent portion of the audience applauded 
him and us ; we finished our scene ; when we came off Mr Murray clamoured at me, ' My 
dear sir, that you, who have driven the French before you, sword in hand, with Charge 
bayonets, should live thus to be insulted by shop boys.' Though truly grateful, I undeceived 
him as to the duties required of an artillery officer." 

A visit of Mathews, commencing December i2th, is notable from 
the fact of the famous comedian's son, Charles James, accompanying him. 
Mathews junr. was at that time a promising young architect, and had 
gained a wide reputation in the best society for being an excellent com- 
panion. His only connection with the stage at this time was in writing 
verses for his father's entertainments. The following letter from his pen, 
although not quite bearing on the present subject, is interesting enough 
not to require an apology for insertion : 

" Charles J. Mathews to Mrs Mathews. 

" Pontblyddyn, January 2oth 1826. 

" MY DEAREST MA, All things must have an end, and, therefore, at last my routings, 
and tearings, and hurryings, and flurryings have come to a stop, and here I am once more 
quietly seated in my Ferme Orne'e. My father, being rather of a sedentary nature, contrived 
to send you a line or two from Abbotsford, but I found it impracticable. It wasn't that I was 
so completely occupied all the time, but I felt on the contrary a luxurious sort of do-nothing- 
ness about me from the moment I entered the gates. It was a quiet sort of enjoyment, far 
more delightful than any active pleasure, and I felt that I could do nothing but do nothing. 
I tried to write a bit of the entertainment, but I could make nothing of it. I began a sketch, 
but gave it up before I had half completed it. I tried to read, but could not fix my atten- 
tion. In short, I was fixed by some enchantment within the walls of the library, without the 
power of stirring from it. It is one of the most beautiful things of the kind I ever saw. It 
is in imitation of those fine old oak chambers that Sir Walter is so fond of describing in his 
works, with a bold groined ceiling, also of oak, very much enriched with carved pendants 
and bosses, studded with ornaments and grotesque figures selected from the Abbeys of 
Roslyn and Melrose. The bookcases are in the same character and material, and I fancy- 
contain a pretty tolerable library. On the south side of the room is a very elegant oriel win- 
dow, called oriel, of course, on account of its situation, breaking the room into one of those 
spacious and fanciful recesses that give such character to the architecture of the times. In 
one corner of the room I found several translations in French and Italian of the Waverley 
Novels, with his name to them. Next to this room, and separated by double doors, is the 
small study to which no one is allowed access but by his own desire. He took me into it, 
being an architect, to show me his comforts, and there I saw a mysterious sable black ebony 
bureau ! doubtless, containing the steam-engine, loom, water-wheels, or whatever machinery 
it may be with which he manufactures the patent novels. I took particular notice of every- 
thing in the room, and, if he had left me there, should certainly have read all his notes. On 
the table and about the floor lay several volumes of the- Moniteur and other French journeaux 
and pamphlets with which he is assisting himself in his ' Life of Bonaparte,' at least, as I con- 
jectured, for he did not himself say anything about it. On the rug lay two thick, sturdy 



o 



16 The Annals of the Edinburgh Stage. [1825-6. 



MS. quartos, with blotting paper peeping out of each ; and I certainly would have given a 
shilling to have opened them only for one moment, but I did not attempt it, as I thought 
Sir Walter might think it rude, and I knew he was not a man to receive money for it, so I 
reluctantly abandoned the notion. Divided from the study by a corridor is the hall, or 
armoury, which is his particular hobby, and done under his own immediate direction, which 
is all I need say to convince you of its being quite perfect. All the rooms in the house, 
dining-room, drawing-room, &c., &c., are equally perfect in their peculiar styles. In short, 
all is enchantment where he is, and the whole house is a ' Romance by the author of 
" Waverley." ' 

" I have a good deal of commonplace discourse, which I must keep till Saturday, as it 
won't come in with eclat by the side of Abbotsford. Ever, my dearest ma, your affectionate 
son, C. J. MATHEWS." 

Notwithstanding the length of the preceding letter, it would be an 
unwarrantable omission not to quote some passages from the correspond- 
ence of the elder Mathews bearing upon his son's introduction to the 
" Man of Men," as the former styles the " Great Unknown." Under 
date December 23rd 1825, he writes to Mrs Mathews : * 

" On Tuesday we met the Man of Men the Great Well-Known at James Ballan- 
tyne's. Charles was all hopes, all fears. Ballantyne, with great kindness, placed him next Sir 
Walter at dinner. He soon cheered him with his affability ; and his good humour brought 
out our son. Sir Walter was very much struck with the ' Roman Sermon,' lauded it highly, 
and Charles's song was repeatedly cheered by him with ' Vary clever ; oh, exceedingly good ; 
excellent, indeed ! ' When I went into the drawing-room, Ballantyne took me with great 
mystery into the library, and said, ' Your son has made a great impression on Sir Walter.' 
. . . This ended in an invitation to Abbotsford, and a request that I would bring Charles 
with me ; and in his brief way said, ' He's a very nice lad that, and exceedingly clever.' " 

January 2nd 1826, "first night of Vandenhoff," when there was 
played Macbeth ; which play was followed by productions of As You Like 
It, Coriolanus, Twelfth Night, and many other standard plays. On Feb- 
ruary 2 7th the farce of Cramond Brig, or the Gudeman of Ballangeich, 
was produced, in which both Mackay, as Jock Howieson, and Denham, as 
King James, made a great hit.t The piece has continued a favourite to 
the present day. The remaining parts were cast as follows : Birkie of 
that Ilk = Harrold ; Tarn Maxwell = Collier ; Grime = Rae ; Boston = 
Anderson ; Musgrave = Power ; Captain of the Royal Guard = Lee ; one 
of the Royal Pages = Miller ; Tibbie Howieson = Mrs Nicol ; Marion 
Howieson = Miss Noel. The songs introduced were: " Saw ye Johnny 
comin' ? " " The Soldier Laddie," " And ye shall walk in silk attire ; " and 
the duet, " We'll meet beside the dusky glen." 

* Vol. iii., Memoirs, p. 311. t Played 27 times the first season. 



1825-6.] The Annals of the Edinburgh* Stage. 317 

On March 4th, Young commenced a short engagement, during which 
\\vre produced Much Ado About Nothing, Hamlet, Julius Casar, King 
Lear, Othello, Henry VIIL, and Cymbeline, Vandenhoff playing second 
lead to Young. 



* " Sunday, March iQth, was a somewhat memorable era in Dun Edin's theatric annals. 
Charles Young (whose engagement had just concluded), Charles Kemble (who was just going 
to begin), and William Charles Macready (passing through on his way to Glasgow), were all 
in the town at once for about an hour, though not together. On Monday, at the Theatre, I 
met ' Mr Charles.' His panniers had not arrived, and his was not a size fit to be easily 
suited. Properties every one was offering. I tendered my best cloak for Felix or Charles 
II., and was graciously thanked. 

" The gentleman who was our merry monarch, Rochester, got out of the text, and said, 

" ' We have detected, my liege, a young maid ; beautiful as a virgin, and amiable as a 
dragon ! ' 

" He afterwards asserted, 

" ' That sire's page, father ! had a wild father for his fellow's father.' " 

The date of C. Kemble's opening was March 2oth, and on April 5th 
he appeared (for the first time) as Rob Roy. 

It was repeated on the loth, and on May 22nd Murray " ' hopes he 
don't intrude ' in respectfully announcing his benefit, when he will do him- 
self the pleasure of once more 'dropping in ' as ' Paul Pry.' The Gentle 
Shepherd was played on the same occasion as an after piece, Thorne tak- 
ing the part of Patie, and Miss Noel, Peggie. 

The following extract is from Benson Hill's " Playing About," (p. 
89):- 

" About this time, having nought else to do, I took her f to the Theatre, expecting no- 
thing special. We had not sat there long ere a box in the dress circle was entered by a fat, 
bare-' necked,' downy-chinned, rouged, elderly dame, in velvet and ermine, accompanied 
by a powdered gentleman. I instantly remembered Mrs Coutts. Her friend, I believe, was 
one of the Lords Beauclerk. There was a general buzz and stare for a few seconds ; the 
audience then turned their backs to the lady, their attention to the stage, to wait till the first 
piece should be over ere they intended staring again. Just as it terminated another party 
quietly glided into a box near that filled by the actress millionaire and her titled companion. 
One pleasing female was with the three male comers. In a minute the cry ran round, 
" Ech, yon's Sir Wa'ter, wi' Lockhart and his wife ; and wha's the wee bit bodie wi' the 
pawkie e'en ? Wow, but it's Tarn Moore, just Scott, Scott ! Moore, Moore ! ' with shouts, 
cheers, bravo, and applause. 

" How happy looked the dear daughter and great son-in-law, to sit, as comparative no- 

* Benson Hill's " Playing About," p. 104. t His sister. 



318 The Annals of the Edinburgh Stage. [1826. 

bodies, beside their chief. But he would not rise to appropriate these tributes. One could 
see that he urged Moore to do so ; he, though modestly reluctant, at last yielded, and 
bowed, hand on heart, with graceful animation. The cry for Scott was then redoubled. 
He gathered himself up, and with a benevolent bend, acknowledged this deserved welcome. 
The orchestra played alternate Scotch and Irish melodies. When the feddlers came to 
' Here's to her,' one man in the pit faced the boxes and sung 

' With golden key wealth thought 

To pass, but 'twouldn't do ; 
But wit a diamond brought, 

And cut his bright way through.' 

Then followed a drama, founded on the Abbot. The future Duchess seemed much to 
relish the acting of her congenial protege, Mrs Renaud ; Sir Walter looked charmed with the 
snatches of ' auld sang ' by his ' Ain Baillyee.' I did not see the least token of recognition 
between the Scott and Mellon parties." 

The above is as graphic a sketch of the inside of our Theatre in 
Scott's time as could well be imagined, and affords us a charming picture 
of the manner in which the great novelist used to " drop in." 

Wooodstock, or the Cavalier ; A Tale of the Year 1651, dramatised 
by R. Pocock, was produced on June 1 7th ; it was only performed for 
seven evenings, and not again revived. The cast was as follows : Charles 
II. = Denham; Villiers Duke of Buckingham = Collier ; The Lord Wil- 
ton = Anderson ; Sir Henry Lee = Mackay ; Colonel Albert Lee = Benson 
Hill; Roger Wildrake = Jones ; Oliver Cromwell = Pritchard ; Genera 
Harrison = Lee ; Bleetson = Rae ; Colonel Everard = Murray ; Pearson = 
Wilton ; Trusty Tomkins = Mason ; Corporal Humgudgeon = J. Stanley ; 
Cromwell's Daughter = Miss Mason; Phoebe Mayflower = Miss Dyer; 
Mistress Alice Lee = Mrs H. Siddons. Prologue spoken by Mr Pritchard. 
Epilogue by Mrs H. Siddons. A visit, early in June, of Terry was 
preceded by a short engagement of Master Burke, an infant phenomenon 
of seven years, who played the violin, sang " Scots wha hae," and acted 
Dr O'Toole in the Irish Tutor, all in one night. 

A visit for a few nights of Miss Povey and Charles Bland, both ap- 
pearing for the first time, completed the list of novelties for the season, 
which, after running 220 nights, closed on August 5th. 

During the summer season (1826) Montague Stanley joined the 
company. According to his " Memoirs," by the late Rev. D. T. K. 
Drummond, Stanley was born at Dundee, January 5th 1809, but was im- 
mediately afterwards taken to the United States and Canada, where he 
remained till 1819. In 1824, he went on the stage under the name of 
" Manby " at York. When he joined Murray he had resumed his own 



1826-7.] The Annals of the Edinburgh Stage. 319 

name. The " Memoirs" say he came to Edinburgh in 1828, but there 
is no doubt that the real date was 1826. Montague Stanley joined as one 
of the walking gentlemen ; Vandenhoff being the leading man ; Pritchard, 
second lead ; Jones, light comedian ; and Harrold, heavy man. Stanley 
was always called " Montague " Stanley to distinguish him from Stanley, 
the low comedian in the company, and John Stanley, dancer and utility 
man. Montague Stanley was a very handsome young man, well suited 
for the parts he played, and was useful as well as a singer, his name 
often appearing as taking part in glees, part songs, duets, &c. f besides his 
being cast for vocal parts such as Don Ferdinand in The Duenna, &c. 

The principal productions of the season (1826-7) which opened on 
November i4th, were No, a farce by Murray, which became very popular ; 
February loth 1827, Comedy of Errors, with a great deal of music intro- 
duced, the chief attraction being Murray and Mackay's rendering of the two 
Dromios ; and on June 25th 1827, Gilderoy. The last was a national melo- 
drama from the pen of the manager, but bears some resemblance to a play 
of the same name by William Barrymore, produced at the Coburg Theatre, 
London. The similarity, however, does not extend beyond the names 
of Gilderoy and Walter Logan, two of the characters, and a resemblance 
of ideas running through both pieces. Neither author could call the other 
a direct plagiarist. In Murray's version the parts of Walter Logan and 
Jock Muir were clearly written to suit Denham and Mackay respectively. 
The piece was cast as follows : General Baillie = Taylor ; Captain Monk- 
ton = Montague Stanley ; Sergeant Musqueton = Rae ; Corporal Match- 
lock =Aikin; Bolt, the Gaoler = Wilton ; Carbine = Anderson ; Havoc = 
Miller; Bandalier = John Stanley ; Walter Logan = Denham ; Jock Muir 
= Mackay ; Allan of Duncarty = Harrold ; Mr M'Tavish = Mason ; Gil- 
deroy = Pritchard ; Lilias Logan = Miss Mason; Mrs M'Tavish = Mrs 
Nicol; Janet = Miss M. Murray. It is worth noting that Anderson 
mentioned here, who had been some time a member of the company, and 
who only played very small parts, became in after years the well-known 
tragedian, James Anderson. Quite a number of stars appeared during 
the season, chiefly worthy of note being the first visit paid to this Theatre 
by T. P. Cooke, the great " sailor" actor. This extraordinary character 
and undoubted genius fairly took the town by storm. In the Noctes 
he is spoken of as follows : 

" Shepherd. Tell me, Sir, did you gang to see Mr Tay Pay Cooke in The Pilot 1 Did 
ye ever see the like o' yon ? 



320 The Annals of the Edinburgh Stage. [1826-7. 

" North, The best sailor, out of all sight and hearing, that ever trod the stage. 

" Shepherd. Do ye ca' yon treddin' the stage ? Yon's no treddin'. When he first 
loupit out o' the boat on the dry laun', tryin' to steady himsel' on his harpoon, he garred me 
fin' the very furm 'aneath me in the pit shooin up and down, as if the earth were lowsen'd 
frae her moorin's. I grew amaist sea sick. 

North. Nothing overdone no bad bye-play, blabbing of the landlubber not too much 
pulling up of the trousers no ostentatious display of pig-tail one chuck of tobacco into his 
cheek, without any perceptible chaw, sufficient to show that next to grog the quid is dear 
no puling, no whining, when on some strong occasion he pumps his eye, but merely a slight 
choking of that full, deep, rich, mellow voice, symphonious, James, in all its keys with the 
ocean's, whether piping in the shrouds or blowing great guns ; running up, James, by way ot 
pastime, the whole gamut ; and, then, so much heart and soul, James, in minute particulars, 
justifying the most passionate exhibition when comes crisis or catastrophe 

" Shepherd. What for no do you no mention the hornpipe ? I wad gie fifty pounds to 
be able to dance yon way. Faith, I wad astonish them at the kirns. Haw, haw, haw ! The 
way he twists the knees o' him, and rins on his heels, and doun to the floor wi' a wide spread- 
eagle amaist to his very doup ; up again like mad, and awa' aff until some ither nawtical 
muvement o' the hornpipe, bafflin' a' comprehension as to its meanin' ; and then a' the while 
siccan a face ! I wish I kent him, he maun be a fine fallow. 

..." North. But all his experience of a sea life and all his genius would have been 
vain had he not possessed within his own heart the virtues of the British tar. That gives a 
truth, a glow of colouring to his picture of Long Tom, just, my dear James, as if you were to 
act the principal part in that little piece of mine, The Ettrick Shepherd. 

On the evening of February 23rd 1827, the dinner in aid of the 
Edinburgh Theatrical Fund was held in the Assembly Room, and the 
event became for ever memorable from the fact of Sir Walter Scott 
choosing it as the occasion for clearing up the mystery of the " Great 
Unknown," by avowing himself the sole author of the " Waverley " 
novels. 

Lord Meadowbank was in the chair, and proposed the health, not of 
the " Great Unknown," but of Sir Walter Scott, the author of the 
Waverley novels. Scott rose to reply, and then distinctly owned to hav- 
ing written every word of them, saying in conclusion, " I beg leave to 
propose the health of my friend, Bailie Nicol Jarvie. And I am sure 
that when the author of 'Waverley' and 'Rob Roy' drinks to Nicol 
Jarvie, it will be received with the just applause to which that gentle- 
man has always been accustomed ; nay, that you will take care that 
on the present occasion it shall be pro-di-gi-ous ! " Mr George Croal, 
one of the very few yet living who was present on this memorable 
occasion, says that there was no question about the prodigiousness both 
in quantity and quality. The enthusiasm simply knew no bounds ; 



1826-7.] The Annals of the Edinburgh Stage. 321 

but as the first thunderclap of mingled cheering, clapping, and knocking 
of glasses subsided, the voice of the Bailie (Mackay) was heard say- 
ing, " My conscience ! my worthy faither the deacon could never have 
believed that his son would hae sic a compliment paid him by the Great 
Unknown!" To which Scott added the correction, "The small known 
now, Mr Bailie." 

Only one disagreeable fact in connection with this interesting occasion 
has to be recorded. It is that Sir Walter Scott, the " King of Scottish 
Society," as Mathews once termed him, he who, above all other men, was 
for all time, this great reader of human hearts, set down in his diary, 
when chronicling the dinner, the following piece of snobbishness : "They 
all behaved themselves perfectly. . . . The performers performed very 
like gentlemen, especially Will Murray." 

Scott's great fondness for the Theatre, and friendship for many of 
the actors of that time, is well known. Terry, John Kemble, Young, and 
Siddons were all intimate friends of his ; but still the impression left on 
one after reading Lockhart's life, cannot be quite free from the suspicion 
that, during his later years at least, Scott rather depreciated and looked 
clown upon the theatrical profession. Even in his letters to Terry a slight 
difference in tone cannot but be noted. It is true that Scott befriended 
Terry about this time in a most substantial manner ; he would probably 
have done so again had occasion required such a proof of friendship. 
Scott was essentially a man of perfect honour, and he would certainly 
think it writ down in his duty to do to his friends as he himself would be 
done by. But this did not prevent his holding an opinion of actors as 
individuals different to what he had held twenty years previously. It is 
perhaps vain to try to find out now what the reason of this was. The 
Bohemian nature of the actor's life, which suited him so well in 1809 or 
1810, may have become irksome in 1827; but it is difficult to believe 
that adulation, freely bestowed, had caused Scott to treat with patronising 
airs such men as Terry or Murray. The question, however, besides 
being unpleasant to discuss, is foreign to the purpose of the present 
subject. 

Another entry in Scott's diary is more pleasantly interesting. 

" March 2nd. Funny thing at the Theatre last night. Among the discourse in High Life 
Below Stairs, one of the ladies asks who wrote Shakspere. One says Ben Jonson ; another, 
1 Finis ; ' ' no,' said Will Murray, ' it is Sir Walter Scott, he confessed it at a public meeting 
the other day ! ' " 

X 



322 The Annals of the Edinburgh Stage. [1827-8. 

The season closed on July i4th, and on the i6th the Theatre opened 
for one night, when the management most courteously gave a benefit to 
Ryder of the Caledonian Theatre. 

The "summer" season of 1827 lasted only from October 8th to 3Oth, 
nineteen nights in all, and on the loth of the following month the winter 
season of 1827-8 opened with The Barber of Seville as principal piece. 
The first new play of the season was The Sergeant's Wife, a play which 
was first produced at the English Opera House and' then at Covent 
Garden. In London the Keeleys, O'Smith, and Miss F. Kelly had 
made a great hit in it, and in Edinburgh it was tolerably successful. 
Thirty Years of a Gambler s Life, from the Adelphi, London, produced 
here on November 23rd, also proved a favourite ; and the management 
scored another success with Signor De Begnis' Italian Opera Company, 
which opened with the // Barbiere on December i3th. Miss Fanny 
Ayton was prima donna ; Signor Torri, primo tenore ; Signor De Begnis, 
besides being director, was primo buffo ; Yaniewicz, a local musician of 
great celebrity, conducted the orchestra ; Pindar, the conductor for the 
Theatre, made himself useful by playing viola ; and Signor Gabussi 
presided at the pianoforte. 

Italian Opera was a distinct novelty, and naturally "drew." It was 
not, however, the first time an Italian Opera Company had visited the 
city, as some of the papers asserted. 

During the engagement, besides // Barbiere, there were performed 
// Tiirco in Italia, II Fanatico per la Musica, and La Gazza Ladra, a 
selection that would scarcely attract audiences now-a-days. 

On January I4th, the pantomime of Harlequin and Mother Goose was 
produced. This was, no doubt, Tom Dibdin's, although as usual in those 
days no acknowledgment was made either on the playbill or in fees to 
the author for the use of the piece. Mother Goose was Dibdin's best 
pantomime, and when produced at Covent Garden in 1805-6, ran some 
ninety odd consecutive nights. Here also it was very successful, and was 
given twenty-two times. Squire Bugle, afterwards clown, was played 
by Taylor, a clown who was said to rival Grimaldi. He became a 
great favourite in Edinburgh. It may be mentioned as illustrative of 
the manner in which our grandfathers liked to take their amusement, that 
on the opening night of the pantomime it was preceded by Dr Young's 
tragedy, The Revenge, in five acts. 

On February 2nd, Young commenced a twelve nights' engage- 



1828-9.] The Annals of the Edinburgh Stage. 323 

ment, playing lago to Vande:ihofFs Othello; Mrs Renaud, Emilia; Mrs 
H. Siddons, Desdemona. 

Every Man in his Humour, by Ben Jonson, was revived this season 
(February 2oth), and was so successful as to call for two repetitions. 

On Monday, April 2 ist, a drama in three acts, called Charles Edward; 
or, The Last of the Stuarts, was produced. It was described in the bills 
as translated from the French, and adapted to the British stage, by a 
son of the celebrated Flora Macdonald. Charles Edward Stuart = 
Pritchard ; Sir Alexander Macdonald = Denham ; General Campbell = 
Mason; Captain Darlton = Montague Stanley; Lieutenant Standard = 
Murray; O'Niel= Harrold ; Roderick Mackenzie = Anderson ; Malcolm 
Mackay = Mackay ; Lady Macdonald = Mrs Stanley ; Flora Macdonald = 
Miss Noel. 

This play was quite successful, being played several times during its 
first season, and it remained for years a stock piece. 

The Battle of Bothwell Brig, another of the Waverley dramas, written 
by Charles Fairley, and first brought out at Covent Garden, was played 
on June I2th, but seems to have been a failure. Denham, being ill at 
the time, had no part. A number of " stars " appeared during the season, 
which, after running 230 nights, closed on August i6th 1828. 

A summer season opened on the 25th of the same month with a 
decided novelty, in the shape of a French Company, "from Paris and the 
Theatre Royal, English Opera House, London." The company included 
M. Cloup, M. Alfred, M. Pelissie", M. Bertech6, M. Preval, M. Gamard, 
Mile. St Ange, Madame Beaupre", &c. They played, among other 
pieces : Les Freres a L Epreuve, Lours et le Pacha, La Femme a Deux 
Mart's, Une Visite a Bedlam, Le Ddpit Amourcux, &c. 

The Theatre again reopened on October 6th, with Miss Foote, who 
was engaged for twelve nights, and on the 2Oth, Mr Kean junior, "from 
the Theatre Royal, Drury Lane," made his first appearance in this city, 
playing Sir Edward Mortimer in The Iron Chest. Upon the closing 
night (October 25th) Murray stated in his customary address that the 
season had been a very bad one. 

On November 4th 1828, the Theatre reopened for the winter season 
with Know Your Own Mind, while additional eclat was lent to the 
occasion by Mrs Siddons speaking an address in verse from the pen of 
Sir Walter Scott.* 

* See Appendix. 



324 The Annals of the Edinburgh Stage. [1828-29. 

At the commencement of the season there was little change in the 
company, but several alterations of importance were made later on. 
Pritchard did all the principal leading business till the after season, when 
a Mr Barton, from Dublin and Manchester, joined as tragedian. Williams 
joined to fill Mason's parts, while Larkin (tenor) and Hart (bass) replaced 
Thorne and Ebsworth. * M'Gregor, a comedian, also joined. A number of 
new plays were brought out. The first was on November 7th, The Bottle 
Imp ; the following evening The Tzvo Friends was given ; and on the i oth 
November, was produced the Two Drovers, specially licensed for this 
Theatre. This version differs from that written by Mr Goff for the Surrey 
Theatre, London, and is probably Murray's. The part of Robin was quite 
an out-of-the-way one for Montague Stanley to assume, he being an 
Englishman. It was played one night only, and was not revived again until 
1834 (September 25th), when John Mason took the part of Henry Wake- 
field, Peddie that of Robin, and Mackay resigned the part of Hughie to 
Miller. On this occasion the cast was as follows : Henry Wakefield = 
Stanley ; Robin, a Highland drover = Montague Stanley ; Hughie Morri- 
son = Mackay ; Squire Ireby = Campbell ; Fleecebumkin = Taylor ; Ralph 
Nesbet = Ebsworth ; Sandy = Aikin ; Thomas = John Stanley ; Donald = 
Power; Jock = Jackson ; Janet of Tomahourick = Mrs Renaud ; Mrs 
Nesbet=Miss Anne Murray; Jenny Morrison = Miss Mary Murray; 
Martha M'Alpine= Miss Gray. In 1841, M'lan (the artist) made a 
great hit as Robin. November i8th, Planch^'s Green-Eyed Monster was 
first played here, with Murray, Thorne, Jones, Stanley, Mrs H. Siddons, Mrs 
T. Hill, and Miss Noel in the cast. The French company re-appeared for 
eight nights, commencing November igth; and on December 9th there 
was played, for the first time in any theatre, a new drama called Aloyse ; 
or, The Foresters Daughter, the " melo-dramatic music" by Pindar, and 
the vocal music by an amateur. It ran for eleven consecutive nights. 
The cast was as follows : Philip = Montague Stanley ; Montejo = Den- 
ham ; Martin Erete = Mathews (the stock "heavy" actor, not Charles 
Mathews) ; Julian = Collier ; Monsieur de Putzy = Murray ; Madam 
Gageot = Mrs Nicol ; Margaretta = Mrs Renaud; Aloyse = Mrs H.Sid- 
dons. Two nights after (December nth) the Mason of Buda, which ran 
six nights ; and on the 27th of the same month, a most interesting repro- 



* Ebsworth became precentor of St Stephen's Church, a situation he retained many years. He also 
sang largely at concerts. His daughter married the famous Sam. Cowell. 



1828-29.] The Annals of the Edinburgh Stage. 325 

duction of As You Like It was given. The costumes were entirely new, 
and taken from Planche" 's designs for Covent Garden. The cast, with the 
original authorities for the costumes employed by Planche", is annexed : 
Frederick = Taylor ; authority effigy of Francis II., Due de Bretagne, 
vide Montfaucon. Oliver = Denham ; from costumes of the period, vide 
Montfaucon, and a work on tournaments by Louis de Bruges. Orlando = 
Montague Stanley ; authority illuminations in a volume of epistles 
presented to Anne of Brittany. Le Beau = Campbell ; authority Mont- 
faucon. Charles = Power ; authority Villemin's Monumens Inediles. 
Touchstone = Mackay ; authority a print by Breughel and Froissart's 
Chronicles. The Duke, Jaques, and Amiens = Messrs Mathews, Prit- 
chard, and Thorne ; authorities Modus le Roy, Livre de Chasse, folio, 
Chambery, 1468. Adam = Mason ; authority Des Proprietez des choses, 
1482. Corin = Ebs worth, and William = Murray ; authorities woodcuts 
in the "Shepherd's Kalendar," printed by Pinson. Rosalind = Mrs H. 
Siddons. Celia= Miss Gray. Phcebe= Miss Anne Murray. Audrey = 
Mrs Nicol. An excellent cast, splendidly mounted at great expense, and 
yet played only one night ! 

There was no pantomime this year, but on December 29th was produced 
a melo-dramatic spectacle, The Fatal Rock, better known and afterwards 
popular &=> Jack Robinson and his Monkey. January ist 1829, in addition 
to Charles Edward and The Fatal Rock, a dramatic sketch called The First 
Foot was produced. The Noyades, a melo-drama suggested by an incident 
that occurred during the earlier periods of the French Revolution, the 
story borrowed from Sir Walter Scott's " Life of Napoleon," was given 
on January 24th ; and on the 6th of the following month, Planche's 
Charles XII. was played, but without the author's name on the bills. 
This production was one of the few transactions in which Murray does 
not appear in a favourable light. In volume i., " Recollections and Re- 
flections,"* by Planche, the author states that Murray wrote to him to in- 
quire upon what terms he would allow the piece to be produced. Planche 
named 10 a moderate sum which, however, Murray declined, on the 
ground that since the introduction of half-price in the provinces, the 
expenses attendant on the production of after pieces were barely covered 
by the receipts they brought in. " This was all very well, but Mr Murray 
had the dishonesty to obtain surreptitiously a MS. copy of the piece, and 

* Page 148. 



326 The Annals of the Edinburgh Stage. [1828-29. 

the effrontery in the face of the above excuse to produce the piece with- 
out my permission at whole price, leaving me to my remedy." Planche did 
not bring an action, but summoned a meeting of authors ; and the result was 
the bringing in and passing of the first " Dramatic Authors Act." The 
cast of Charles XII. in Edinburgh was excellent, Murray himself taking 
Liston's part of Adam Brock. The remainder of the cast was as follows : 
Charles XII. = Denham; General Duchert = Taylor ; Colonel Reichel 
= Collier; Gustavus de Mervelt= Montague Stanley; Triptolemus = 
Mason; Major Vanberg = Mathews ; Ulrica Miss Gray; Eudiga = 
Miss Noel. Charles XII. was played frequently during the remainder 
of the season. On June loth Mrs Renaud took her benefit, and 
apologised for having performed so seldom during the season. As 
a matter of fact, she was very old, and although still able to perform 
with much of her old force and spirit, she could not stand much ex- 
ertion. As Mrs Powell, in former years, she was well-known as a first- 
rate tragic actress, and it has been said she came very near the great 
Mrs Siddons in some of her parts. She seems to have appeared 
originally in London under the name of Mrs Farmer, the part she took 
being Alicia in Jane Shore. Some difference of opinion exists, however, 
as to the exact date of this, the "Thespian Dictionary " making it 1787, 
and Genest 1 788. She then went to Drury Lane, and played such parts 
as Anne Bullen, Virgilia, (Coriolanus), Lenora (Revenge), &c. On Sep- 
tember 1 2th 1789, she appeared at Drury Lane as Lady Anne to John 
Kemble's Richard III. She was announced on this occasion as Mrs 
Powell, late Mrs Farmer (Powell was prompter at Liverpool and after- 
wards at Drury Lane). In 1794-5 ^ er name is often found coupled with 
that of the great Mrs Siddons, and on May 2nd 1795, the latter lady ap- 
peared as Lady Randolph to Mrs Powell's Young Norval (for that night 
only, it being her benefit night). At this time she was unquestionably a 
good actress, and no doubt gained much valuable experience by acting with 
Mrs Siddons. On May 2 1 st 1814, she played the Queen to John Kemble's 
Hamlet, and was described in the bills as " Mrs Renaud, late Mrs Powell." 
She did not appear in London after July i5th 1816 ; between that date 
and February i2th 1818, when she joined the Edinburgh company, she 
seems to have performed in the provinces as a star. After coming to 
Edinburgh she took all the heavy lead parts, such as Lady Macbeth, 
Queen in Hamlet, &c., and no doubt (for she was, perhaps, the best 
provincial " heavy " actress then living) afforded the various tragic stars, 



1829-30.] The Annals of the Edinburgh Stage. 327 

such as Young and Kean, great help when they visited the town. Her ex- 
perience was very extensive, and, having acted with John Kemble and Mrs 
Siddons, she had been able to study the very best models ; besides which, 
as a few old playgoers still remember, her bearing was full of dignity, her 
voice clear and telling, and her elocution perfect. During her last 
season here many of her parts were taken by Mrs Stanley and Mrs Eyre. 
Mrs Renaud's actual last appearance was on September 3oth 1829, when 
she played the Queen to Kean's Hamlet. 

It exhibits a pleasing trait in Murray's character that her name was 
printed as a member of the company for 1829-30, and although she never 
acted, it was generally understood that she regularly received her salary to 
the time of her death, which seems to have happened about that time. The 
last recorded mention of her name was on June 4th 1830, when Mrs H. 
Siddons allowed her a benefit, at which, however, Mrs Renaud did not 
appear. 

A short but brilliant after-season commenced on Tuesday, September 
22nd. Barton made his first appearance as The Stranger, with Mrs 
W. West, who was now quite a celebrity in her profession, as Mrs Haller. 
On the 24th Edmund Kean opened a six nights engagement, and on 
October 3rd, after postponing her appearance for a couple of nights on 
account of indisposition, Madame Vestris gave her inimitable rendition 
of Lady Teazle, while on the 7th she introduced her sister, the well- 
known singer, Miss Bartolozzi, to an Edinburgh audience. This engage- 
ment was followed by that of Braham, who was supported by Miss 
Phillips, a singer of great merit. 

On November 3rd, 1829, commenced the last season under the patent 
granted to Henry Siddons. The first piece was The Honeymoon, in which 
Miss Jarman, now stamped with the Co vent Garden hall-mark, took the 
part of Juliana. Barton continued in the leading business, playing the 
Duke on this occasion. Hooper, * from the Theatres Royal, Bath and 
Liverpool, made his first appearance here playing Rolando, and Miss Pin- 
cott (afterwards the famous Mrs Frank Mathews) played Zamora. In the 
farce of The Weathercock, which followed, Mrs Evans (late Miss Glover, 
sister of Edmund Glover, and of the Haymarket Theatre) also made her 
first appearance. On the 6th November Miss Paton, the celebrated 
vocalist, appeared, and performed for five nights in a round of English 

* Afterwards well-known in London as "Gentleman " Hooper. 



328 The Annals of the Edinburgh Stage. [1829-30 

operas. A piece from Covent Garden, that gained some popularity here, 
called The Robbers Wife, was brought out on November I2th, and 
Macready and Miss Smithson afterwards paid a short visit. This lady 
proved in Edinburgh as great a failure as in Drury Lane some years 
before, the houses being almost empty. For all that, there is little doubt 
that the extraordinary success she achieved in Paris and on a minor scale 
at Covent Garden, was well deserved. Professor Wilson, writing in the 
Nodes, says : 

" Shepherd. Saw ye ever Miss Smithson ? 

" North. Yes in Jane Shore. She enacted that character finely and powerfully, is 
an actress not only of great talent, but of genius a very lovely woman and, like Miss Jar- 
man, altogether a lady in private life." 

The above probably summed up her characteristics completely. She 
was certainly very beautiful ; and, as is well-known, married Berlioz, the 
composer. 

The most interesting event of this year was the production, on 
December i7th, of Sir Walter Scott's play The House of Aspen; or, The 
Secret Avengers. It was written many years before this date, and the 
author then submitted the MS. to his friend John Kemble, who said it 
was unsuited for the stage, a verdict in which Scott, with his usual good 
temper, acquiesced. Accordingly it was laid upon the shelf; but in 1829 it 
was published in the annual entitled the Keepsake, for 1830. Elliston, who 
then had the Old Surrey Theatre, immediately had it brought out on his 
stage (Tuesday, i;th November 1829), in order, as he said on the bills, 
" to afford the admirers of the celebrated author an opportunity to test its 
fitness for stage representation." According to subsequent Surrey play- 
bills, it was received "by an overflowing house with the most unequivocal 
marks of the warmest approbation." The music for this production was 
by Blewitt, the scenery by Marshall, and the cast included Messrs Gough, 
Warwick, Osbaldiston, Dibden Pitt, Forrester, Lee, Webb, Buckingham, 
Yardley, Ashbury, Hicks, Almar, H. A. Bellamy, and Benson, and Miss 
Vincent, Mrs Egerton, and Miss Somerville. Of these, perhaps only Mrs 
Egerton could be considered fit for tragedy, Osbaldiston, Dibden Pitt, 
Warwick, and Almar, being only melo-dramatic actors. The playbills 
notwithstanding, the piece was not a success in London. Perhaps this was 
partly owing to the fact (mentioned in the playbills) that great alterations 
had been made in the play. No such alterations appear to have been made 
for the Edinburgh production, and it is not unlikely that Scott may have 



1829-30.] The Annals of the Edinburgh Stage. 329 

to some extent lent his countenance to it. No pains were spared to make 
the performance as complete as possible. The new scenery was by Hill- 
yard ; properties, dresses, etc., were all new, and the overture and vocal 
and instrumental music specially composed by "an Amateur."* The 
cast was as follows : The Duke of Bavaria = Hooper ; Rudiger, Baron of 
Aspen = Denham ; George of Aspen = Barton; Henry of Aspen = 
Montague Stanley ; Martin = Taylor ; Roderick = Pritchard ; William = 
Power; Hugo = Rae; Gertrude = Miss Phillips; Isabella = Miss Jarman. 
The Theatre was closed on the 1 6th to allow of rehearsals, a proceeding 
very uncommon in those days ; and according to a contemporary MS. note 
in a volume of playbills belonging to a gentleman in this city, the rehearsals 
lasted from 10 A.M. to 5 P.M., and began again at 8 P.M. The House of Aspen 
was performed eight nights in succession here, and was then withdrawn t 
for the production, on December 29th, of the "New Grand Comic Harle- 
quinade," entitled Twelfth Cake, the music by Pindar, and the scenery 
by Hillyard. W. E. Taylor| was Clown, and Montgomery, from Astley's, 
the Harlequin. Miss Fairbrother, who was an exceedingly beautiful 
woman, was Columbine. This proved a great success, and ran till the 
22nd January. 

Charles Mathews, who was fulfilling what proved to be his last engage- 
ment here, was present at the second of the Edinburgh Theatrical Fund 
dinners. 1 1 proved a very successful affair, some four hundred guests sitting 
down. The Lord President was in the chair, and the Dean of Faculty 
croupier. ^350 was collected on the spot, and Mathews made a very in- 
teresting speech, in which he said that had Sir Walter Scott been present he 
(Mathews) would have asked him the question why it was he did not give his 
mighty genius to the stage by writing plays. After an absence of two years 
Vandenhoff returned in February, and was joined in a few days by Young. 
February 26th, Julius C&sar. Julius Caesar = Denham ; Octavius Caesar 
= Montague Stanley ; Mark Antony = Pritchard ; Brutus = Young ; 
Cassius = Vandenhoff. March ist, Othello. Iago = Young; Othello = 
Vandenhoff; Cassio = Murray ; Roderigo = Hooper ; Desdemona = Miss 
Jarman. 

The great Wilson made his first appearance on any stage, as Henry 
Bertram in G^ty Mannering, on March i8th, at the Theatre Royal. Up 

* This was John Thomson, afterwards professor of music in Edinburgh, 
t It was played several times afterwards during the season. 
See page 322. 



330 The Annals of the Edinburgh Stage. [1829-30. 

to that time he had been nothing more than a local precentor, and accord- 
ing to the testimony of a gentleman still living, who remembers his whole 
career, " he acted like a precentor all his life ! " There were no announce- 
ments of his name in large type, the bills merely mentioning that it was a 
first appearance ; but his success, as is well-known, was as rapid as it was 
great ; even his native town contrary to proverbial rule hailing him 
with acclamation. 

MasanieUo was produced for the first time in Edinburgh * on March 
3Oth, Wilson playing in the title role, and Miss Jarman, the Dumb Girl of 
Portici ; but as none of the male characters were in the hands of singers, 
except those played by Wilson and Hart, it is difficult to imagine how the 
piece was given. Montague Stanley was Don Alphonso ; Rae, Gonzalo ; 
Stanley, Pietro ; Miss Phillips, Donna Elvira ; Miss Tunstall, Stella; and 
Miss Fairbrother, Annette. 

For some time previous to this, Mrs H. Siddons had been playing in a 
round of her best parts prior to taking her farewell benefit, which interest- 
ing event took place on the 29th March. The crowd, according to the 
Scotsman, both within and without, was beyond anything witnessed since 
the King had visited the Theatre. It says : 

" Esteem and regard were obvious in the manner of the audience. Regret too was felt, 
and no wonder ; for they must be young indeed who cannot speak of the gratification they 
have received from the public appearance of Mrs Siddons. No one ever succeeded so 
thoroughly in giving to the stage the air of the drawing-room in giving to consummate skill 
in dress, and address, in attitude, action, manner, the semblance of artlessness. She 
never strained beyond or fell below what was suitable at once to her characters and her own 
powers, an observation which cannot, we imagine, be applied to any other performer who 
has such a range in comedy, melo-drama, and tragedy." 

The play was the Provoked Husband, Mrs Siddons playing Lady 
Townly, while the address which she delivered was from the pen of her great 
patron, Sir Walter Scott.t Some idea of the crowded state of the house 
may be gathered from the fact that the members of the orchestra were obliged 
to give up their domain between pit and stage and mount the latter, where 
they discoursed sweet music. J This was not Mrs Siddons' last appear- 
ance, however, even for the season. Fearing that her brother's illness, 
which occurred soon afterwards, would detract from the success of the 

* So say the bills, but it had been produced at the Caledonian Theatre on July 3<Dth 1829. 

t See Appendix. 

J MS. note by Cameron, viola player, in vol. of playbills once belonging to himself. 



1829-30.] The Annals of the Edinburgh Stage. 331 

usual benefits, she came forward and in the most handsome manner lent 
her powerful aid to several of the casts. 

Listen paid his farewell professional visit during April, and on the 
1 9th of the same month Black Eyed Susan was played for the first time at 
this Theatre, T. P. Cooke sustaining his original part of William. The 
following is from the Nodes regarding this impersonation : 

" North. T. P. Cooke, the seaman, is to take his benefit one of these nights 
" Shepherd. Let's a' gang in a body, to show our pride and glory in the British navy, of 
which he is the best, the only ideal representative, that ever rolled with sea born motion 
across the stage. Nae caricaturist he but Jack himsel. He intensifies to the heart and the 
imagination the word TAR." 

In this production Montague Stanley played Captain Crosstree ; 
Larkin, Blue Peter ; Mrs Stanley, Black Eyed Susan. The Scotsman 
speaking of Cooke's William says, "it is without exception one of the most 
forcible pieces of acting of its kind we have ever seen." 

The story of how Fanny Kemble saved Covent Garden Theatre 
from wreck is too well known to require repetition here. Fresh from her 
triumphs in the Metropolis she came to Edinburgh, and astonished our 
playgoers with her wonderful genius. Her first appearance was on June 
1 4th in Romeo and Juliet, in which she gave her marvellously life-like im- 
personation of the principal part ; not, however, according to one critic,* 
without showing symptoms of fatigue from her recent voyage. The same 
authority says : " The family likeness is not to be mistaken. The eye in 
particular is that of a Kemble ; and the resemblance to the great Mrs 
Siddons was very striking." 

It seems that the Edinburgh audiences did not receive her enthusias- 
tically at first ; but on her benefit, being the last night of the season (June 
26th), they made ample amends. Murray was still indisposed, so Charles 
Kemble, who accompanied his daughter, made the customary speech on 
the conclusion of the season. 

The following interesting paragraph, referring to Kemble's acting, is 
from the journal of Sir Walter Scott : 

"June i;th 1830. Went last night to the Theatre, and saw Miss Fanny Kemble's 
Isabella, which was a most creditable performance. It has much of the genius of Mrs 
Siddons, her aunt. She wants her beautiful countenance, her fine form, and her matchless 
dignity of step and manner. On the other hand, Miss Kemble has very expressive, though 
not regular features, and, what is worth it all, great energy, mingled with and chastened by 
correct taste." 

* Scotsman. 




CHAPTER XIX. 

THE CIRCUS. 

EFORE following the fortunes of the " Royal" any further, it is 
necessary to go back so far as 1 790, in order to trace the history 
of the building which was then erected in Leith Walk at the head 
of Broughton Street, and was called in succession the " Circus," 
" Sadler's Wells," " Corn's Concert Room," the " Pantheon," the " Cale- 
donian," and, at the period we have now arrived at, was to be rechristened 
the " Adelphi." At one time of its existence it had even had the honour 
and dignity of being by " Royal letters patent," * but that red-letter day, 
as well as the time when it boldly contested in the courts of law the right 
to be designated the " Theatre Royal "t has already been treated of, and 
what has now to be set forth is the record of its more motley existence as 
a minor Theatre. 

A certain Messrs Jones and Parker, circus proprietors, who had 
tenanted a temporary wooden structure at the corner of Broughton Street 
for some time prior to 1788, advertised, in the August of that year, for 
subscriptions to build an amphitheatre upon the same spot. The appeal 
was entirely successful, and the first permanent structure raised upon the 
site of the present Theatre Royal, was duly completed. From a long printed 
correspondence which passed between William Black, shareholder, and 
James Spence, agent for the shareholders of the building, many years after 
this, | some valuable information is to be had regarding the putting up of 
this first structure. A sub-tack and assignation was granted by Jones and 
Parker, to the subscribers to the Circus or Amphitheatre. This deed was 
dated 2Oth and 2 1 st July 1 790, and was granted in favour of nine trustees, who 

* See page 258. 

t In 1793. See page 218. 

i It extended over several years, and will be noted in its proper place. 



1 790-3.] The Annals of tke Edinburgh Stage. 333 

were nominated trustees for the whole others concerned, any three of whom 
were declared to be a quorum, and any two of them conveners. Their names 
were, William Hamilton, Gilbert Innes, Alexander Ferguson, David 
Stewart, Francis Buchan, William Dallas, William Inglis, Daniel Hamil- 
ton, and William Anderson, and the amount subscribed was 2,200. The 
original shareholders had particular privileges, among which was free en- 
trance to the building ; a right, it may be mentioned, still enjoyed by their 
successors, the " renters," to this day. 

On January 25th 1790, the "Amphitheatre," or " Edinburgh Eques- 
trian Circus," was duly opened. The first announcement set forth, it will 
"continue every evening during the week with great variety of entertain- 
ments. Equestrian exercises by Messrs Parker, Sutton, King, and 
Ricketts. Clown, Mr Jenkinson, commonly called the 'great Devil,' first 
appearance in Edinburgh. New ballet by Mr Holland and Miss Brugier, 
from Sadler's Wells, London. Boxes, 35. ; Pit, 2s. ; Gallery, is." 

During the season riding lessons were advertised to be given in the 
Circus, "no gentleman being admitted during the ladies' hours of riding;" 
and young colts were broken in by Parker for the sum of 2, 125. 6d., and 
biting and throwing a horse upon its haunches, i, is." 

On December I3th 1 790, it was advertised in the Courant that constant 
fires had been kept in every part of the building for five weeks previously, 
" so that the most delicate constitution may not have the smallest appre- 
hension of cold or damp." It opened for the season on December 2Oth. 
It must have enjoyed a pretty fair measure of success, and the entertain- 
ments, which generally included a "pantomime," and even at times a 
burletta, seem to have been well got up. 

When it opened for the season 1791-2, a Mr and Mrs Wallack were 
members of the company, also Mr Dubois. The box office was kept by 
a Mr Alexander. The Wallacks, with the addition of Miss Wallack, 
remained the following season, and, as already noted, in April 1792 com- 
menced their connection with the dramatic stage at the Royal. 

On August ist 1792, when the Royal closed, the Circus was in full 
swing with Meadows the tenor, and the Wallacks back again, pantomimes 
and burlettas being the chief attractions, in addition to the equestrian 
performances. 

The particulars of the following season, 1793, have been fully 
chronicled already.* In November 1793, the Circus received its third 

* P. 218. 



334 The Annals of the Edinburgh Stage. [i 793- 1803. 

name, namely, " New Sadler's Wells," Jones still being the lessee or 
proprietor. A large company was advertised, including Dubois, Ducrow, 
Bologna, and Mrs Uucrow. The season opened on November 2nd, when 
were present the Duke and Duchess of Gordon, Duke of Manchester, 
Lord Grey, Sir John M'Pherson, and Mr Fordyce. 

Richer, from Sadler's Wells, on the tight-rope, proved a great attrac- 
tion. Boxes and Pit, 35. ; First Gallery, 2s. ; Second, is. 

November loth 1793, new comic burletta by T. Dibdin, All is not 
Gold that Glitters. 

In 1 795, the " New Theatre Circus" was opened by Jones on February 
2 1 st, and the performances of the same type as the former year con- 
tinued for some months. 

The following year (1796) the building was called "Jones' Royal 
Circus," and opened on January 26th ; and then in February 1797 it was 
advertised as the " Royal Circus," with a ballet dance, called the " Nosegay," 
by Mr D'Egville, Mr Bologna senr., Mr Bologna junr., and Miss Hall. 

In 1798 there were no performances advertised, although a steady 
business seems to have been done in horse sales. 

In 1799, equestrian performances were resumed ; Boxes, 35. ; Pit, 2s. ; 
Gallery, is. ; but after that we hear no more of the Circus until 1803, 
when, on January i4th, it was opened as " Corri's New Room," with a 
grand ball. The interior had been entirely rearranged, so as to make it suit- 
able for concerts, &c., and a medical report was published to the effect that 
the building was not damp. As the new name of the structure implied, Corri 
was the moving spirit in all this transformation. He was a wonderfully 
enterprising man, besides being an excellent musician, but from unexplained 
causes he never came successfully out of his many ventures. Before the 
opening of the new rooms Corri seems to have been in some sort of 
partnership with another resident musician of the name of Urbani, who 
now, however, started a violent opposition to Corri, by giving a series of 
subscription concerts in the Assembly Hall, along with card and dancing 
assemblies. He engaged Yaniewitz, from Liverpool, as his leader, Lolli 
as principal violoncello, and Miss Waters as vocalist ; and, in order to 
hurt Corri as much as possible, gave the first of his concerts on the same 
evening as the opening of the new rooms. Cqrri spared himself no trouble 
to make his venture popular, and probably the novelty of the thing may, 
for a while, have drawn a sufficient number of people about the place to 
make it pay him. This would especially be the case so long as Jackson's 



1803-12.] The Annals of t lie Edinburgh Stage. 335 

bad management procured such indifferent companies at the Theatre. In 
tlu- long run, however, Corri was a great loser by his speculation ; he 
himself, according to Chambers, used to say he was so unlucky, that were 
he "to turn baker, people would give up eating bread ! " It is not neces- 
sary to chronicle here the different entertainments given in the new rooms 
by the adventurous lessee, except when they were of a dramatic nature, 
the first of such a kind being on July 28th 1806, when Incledon and 
Bartley gave an entertainment called Hospitality ; or, the Harvest Home, 
assisted by Horn at the piano ; admission, 35. Jackson evidently con- 
sidered the giving of this performance an infringement of his patent, 
and advertised that, although he would not have recourse to legal measures 
on this occasion, he certainly would if Incledon or any one else should 
repeat the experiment. During the same season Messrs Elliot, Novello, 
and Evans gave concerts in the new rooms. 

Corri's subscription concerts continued year by year, along with his 
dancing and card assemblies. During January 1808 Master Gattie. 
appeared as solo violinist. On July 25th of the same year Mrs Mountain, 
after playing an engagement at the Theatre Royal, opened here with an 
entertainment called William and Emma, the whole of which was recited 
and sung by her. She gave several similar entertainments. The history 
of " Corri's Rooms " from the autumn of 1809 to the summer of 181 1 has 
already been given.* During that period it assumed the dignity of being 
the Theatre Royal. Siddons, however, being obliged to go back to 
Shakspere Square, the " New " Theatre was retransformed to its original 
state, and was again known as Corri's Rooms, and the concerts and card 
and dancing assemblies were taken up again in January 1812. 

Corri, however, cannot have been content with the success of these, 
or else he became ambitious to rule the mimic world of the stage. Whatever 
his motives may have been, he presented a memorial to the Lord Chamber- 
lain, in October 1812, praying for permission to perform operas and 
other musical pieces in Edinburgh. This memorial was backed up by a 
recommendation which stated, that Corri's application " appears extremely 
desirable and proper that the licence should be granted, as tending to 
improve the public amusements, and to introduce a better taste for music 
in the metropolis of Scotland," This document was signed by the follow- 
ing noblemen and gentlemen : Aberdeen, Home, Morton, Elibank, John 

* Page 258. 



336 The Annals of the Edinburgh Stage. [1812-17. 

Sinclair, Leven and Melville, James Hall, Hastings, W. Gifford, W. 
Arbuthnot, David Balfour, W.S., Alex. Munro senr., M.D., George 
Wood, Surgeon, Douglas and Clydesdale, Kinnoul, Gray, Moray, Kelly, 
Buccleugh and Queensberry, Rothes, Balcaras, Aboyne, Caithness, George 
Clerk, Richard Shannon. 

On December 8th 1812 a copy of the memorial and the recommen- 
dation were sent from the Lord Chamberlain's office to Henry Siddons, 
with a request for him to communicate any observations he chose to make 
on them. The nature of his observations may pretty well be inferred ; 
and on December 2ist it was intimated to him from head quarters, that 
Corn's application had been refused. 

Some time in 1813 Henry Johnstone made a similar application,* 
without any better success. 

The subscription concerts seem to have been discontinued in 1814, 
although the card and dancing assemblies still went on. In addition to 
these the building was used by the " Forum " debating club, to hold 
meetings in. The evening performances of the Edinburgh Musical 
Festival were given in Corn's Rooms in 1815, after which nothing of 
any moment occurred until 1817, when the Courant contains the follow- 
ing announcement : 

" GORKI'S NEW PANTHEON. 

" The nobility, gentry, and public of Edinburgh are respectfully acquainted the Pantheon 
will open on Wednesday next, February i2th 1817, under the management of Mr Bannister. 
An introductory address (written expressly for the occasion) will be delivered by Mr Amherst, 
after which specimens of equestrian performances by the whole company. A new French 
ballet, produced by Mr Simpson, from the Theatre Royal, Covent Garden. Horsemanship 
by Master Wilkinson (pupil of Mr Clough), Miss Bannister, and Mons. Hengler, with per- 
formances on the tight-rope. Clowns, Messrs Jenkins and Hayes. To conclude with a 
pantomime." 

Corri evidently designed to introduce in time performances of a 
more dramatic nature ; for in addition to the building being fitted with a 
regular circus ring, a stage was built. The interior of the house, which was 
described as being exceedingly elegant, was designed by William Burn, 
architect. During the first season the performances were limited to 
circus entertainments and ballets ; the charges for admission were 35., 2s., 
and is. In November 1817, Corri began to indulge in the forbidden 
burlettas and operas, for, among other pieces of the "minor theatre" 

* Report of Trial between Siddons and Ryder, 1825, p. 12. 



i8i8.] The Annals of the Edinburgh Stage. 337 

nature, the Forest of Bondy was produced with great success. Encouraged 
by this, he continued producing melo-dramas, &c., and on January i ;th 
1818, we find the following extremely interesting announcement : 

PANTHEON. 

FIRST NIGHT OF ROB ROY. 
This Evening, Saturday, January lyth 1818, will be presented 

Old and Young. 

The whole to conclude with an entire new spectacle founded on a popular novel, with new 
scenes, dresses, combats, &c., called 

ROB ROY. 

In the course of which will be introduced a ballet by all the principal dancers. Boxes, 35. ; 
Pit, as. ; Gallery, is. 

This production of the popular novel preceded Pocock's adaptation 
at Covent Garden by two months. According to an advertisement in the 
Perth Courier, Rob Roy was produced "for the first time in Scotland "at 
the Perth Theatre, on Monday, June 2 2nd i8i8,by Corbet Ryder's company, 
the cast being as follows : Rob Roy = Samuel Johnson ; the Bailie = 
Mackay ;* Dougal = Williams; Rashleigh = Denham (afterwards so popular 
in Edinburgh) ; Francis = W. Alexander ; Owen = Power ; Diana = Mrs 
Ryder ; Helen = Mrs Macnamara ; Martha = Miss Aitken, who was the 
daughter of Corbet Ryder's scene painter, and afterwards married William 
Macready, the tragedian. The version produced by Ryder on this 
occasion was probably Pocock's, but, curiously, although it had been a 
success in London when produced in the preceding March, Ryder did 
not think much of it, and consequently gave the part of " Rob " to John- 
son. Corbet's father, who took the money at the door on this occasion, 
it is said, became terribly excited, when he heard the applause within 
becoming greater and greater as the play proceeded ; he could not leave 
his post, and Corbet was nowhere to be found till nearly the conclusion of 
the play. When he did arrive, the paternal wrath descended upon him in 
full force, for the old man had no mind that any one save his son should 
gain so much applause. Corbet was ordered to take the part, which, on 
learning the sensation it had made, he was nothing loth to do. He after- 
wards played " Rob" many hundreds of times up and down the country, 
and had no fewer than three versions of the play that his company used 
to perform. 

Although the production at the Pantheon in January 1818 was not 

* The great Mackay. 
Y 



338 The Annals of the Edinburgh Stage. [1818-19. 

the Covent Garden (Pocock's) version, still it was an adaptation of the 
novel, and so proves not only that the Perth announcement was incorrect, 
but also that Rob Roy was produced as a play for the first time in Britain 
at Corn's Pantheon in Edinburgh. The Courant, speaking of it after the 
production, said : 

" The new piece founded on ' Rob Roy ' was performed here for the first time on 
Saturday. The piece comprehends the most striking features of the novel, and is very 
ingeniously contrived ; the scenery was particularly good. Mr Munro was very happy in his 
delineation of Rob Roy, Mr Lancaster as the Bailie, and Andrew Fairservice, spoken by Mr 
Bell in the Scotch dialect, were very amusing. The house was well attended ; Lady Menzies 
and several fashionables graced the boxes." 

It did not prove a hit, and was withdrawn after a few nights. 

It is not to be supposed that Murray of the Theatre Royal looked 
upon these performances at the Pantheon without doing something to 
prevent them ; and we find that Mrs Henry Siddons (the holder of the 
patent) presented a bill of suspension and interdict against Corri in the 
Court of Session. In the answers to the bill Corri admitted that the 
patent conferred upon the complainer an exclusive right to perform all 
entertainments of the stage, which had been licensed by the Lord 
Chamberlain ; but he stated that his performances were limited to such 
melo-dramas, &c., as were not licensed. Corri gained his case so far that 
the interdict was not granted, but Lord Hermand passed the bill for the 
trying of the question, and the case would most likely have gone against 
Corri ; but before it came to be heard he had become bankrupt, and the 
action was quashed in consequence. Such, at least, is the statement 
made in another bill of suspension and interdict which was brought some 
years afterwards by Mrs Siddons against Corbet Ryder, but it is question- 
able if it is strictly true, for although it is quite likely Corri may have been 
bankrupt, it is perfectly certain that the performance of melo-dramas, &c., 
continued at the Pantheon, and that Corri remained as manager or lessee. 

On January nth 1819, Rob Roy was played for the first time that 
season, Huckel, the tenor, taking the part of Francis ; and during ttu 
same month both rope dancing and ballets figure prominently in the bills 
Misses J. and M. Nicol appearing as principal dancers. January 2ist, 
Cherokee, with the celebrated dog Carlo, from the Surrey and Cobur^ 
Theatres. Captain Moreton = Montague ; Jack Rattlin = Reilly ; Tom 
Pipes = Huckel ; Bertha = Miss J. Nicol. On January 28th Reilly gav( 
a comic lecture in imitation of Mathews, 



1819-22.] The Annals of the Edinburgh Stage. 339 

February 2nd, second night of Heart of Midlothian. John Duke of 
Argyle = Dearlove ; David Deans = Jervis ; Reuben Butler = Lee ; George 
Suiunton = Fillingham ; Jack Ratcliffe = Munro ; Saddletree = Best ; 
Laird of Dumbiedykes = Bell ; Sharpitlaw = Reilly ; Queen Caroline = 
Miss J. Nicol ; Jeanie Deans = Mrs Dalton j Effie=Miss M. Nicol. 
This adaptation was by Montague and Jervis, and the scenery by Dear- 
love and Roberts. 

During March 1819 the "ring" of the Pantheon was occupied by 
John Swailes, a pedestrian; and in April the edifice was devoted to the 
purposes of an exhibition of " artificial animation " and a " mechanical 
and optical museum." The autumn season opened with Italian 
operas (October 25th and 26th) ; Miss Corri, Signers Begrez and 
Ambrogetti being in the company, and Corri presiding at the pianoforte. 
Bologna, from Covent Garden, appeared in November, and on December 
9th, Tom Dibdin's version of the Heart of Midlothian was brought out. 
John Duke of Argyle = Prior ; Staunton = Dickons ; David Deans = 
Proven ; Ruben Butler = Dearlove ; Laird of Dumbiedykes = Bell ; 
Queen Caroline = Miss Newcombe ; Jeanie Deans = Miss Goodwin ; 
Effie = Miss Davis; Madge Wildfire = Miss Ingleby; Margerie Mur- 
dochson = Mrs Davis. 

Horsemanship, burlettas, and ballets, were all given this season, and 
on January 2ist 1820, was advertised a fancy ball. Tickets 75., and to 
the gallery 33. " The music to be supplied by Mr Gow." 

On November 6th 1820, the building was opened under the manage- 
ment of Mr Barrymore, from Astley's Amphitheatre, but nothing of any 
moment was given, and the season closed on March 3rd 1821, with the 
musical burletta of Sir Peter Pry. 

The Pantheon opened for one night in May, when Alexander, late 
of the Royal, took his benefit.* 

November 5th 1821, Bride of Lammermoor, second time. Decem- 
ber 3rd, first night of Kenilworth, produced under the direction of Mr 
Mason. Earl of Leicester = C. Mason ; Earl of Sussex = Murray ; 
Blount = Mason ; Edmund Tressilian = Macnamara ; Wayland Smith = 
M'Gregor ; Elizabeth = Mrs Macnamara. 

On February nth 1822, Mathews, who appears to have had some 
dispute with Murray about terms, appeared at the Pantheon, giving his 

* See page 296. 



34O The Annals of the Edinburgh Stage. [1822-23. 

" at home" entertainment. The charges were raised to 55., 33., and is. 
6d. This, with the exception of some circus performances, closed the 
existence of the Pantheon. 

During the autumn the interior of the building was remodelled, and 
on January nth 1823, it was opened as the "CALEDONIAN THEATRE." 
Corri was dead, and the new lessee and manager was Henry Erskine 
Johnston, who delivered an address written by himself. The prices were 
43., 2S. 6d., and is., and the opening piece Gilderoy. Gilderoy= H. John- 
ston ; Bailie M'Naben = Forrester, from Theatre Royal, Glasgow; 
Cloutem = Stanley, from York ; Stephen Fetterall = Andrews, from Liver- 
pool ; Sergeant Shewer'em = Robertson, from Bristol ; Colonel Havock = 
Austin, from Theatre Royal, Glasgow; Charlie = Miss Cleaver, from 
Theatre Royal, Newcastle; Willie = Master Stanley, Theatre Royal, 
York; Johnnie Howie = Chippendale, from Carlisle; Clod = J. Stanley, 
from Theatre Royal, Edinburgh ; Clump = Simpson, from the same ; 
Walter Logan = Munro ; Jessy=Mrs Stanley, from Theatre Royal, 
York. The Chippendale mentioned above was the son of the actor ot 
that name formerly at the Royal. At the time of his death, some months 
ago (1888), much nonsense was printed in the newspapers about his having 
as a young man assisted in reading the proof sheets of " Waverley." The 
facts of the case are as follows : Born in 1801, he accompanied his father 
to Edinburgh in 1814, and was then (most likely) put to the High School 
to finish his education. How long he remained there is not known ; but 
he some time afterwards went to Ballantyne's to learn printing, and was 
possibly introduced to that famous establishment by Sir Walter Scott. That 
Young Chippendale had any hand in even setting up any of the Waverley 
novels ("Waverley" itself was published in 1814), is doubtful, and that he 
should have "read" them is utterly out of the question, such work being 
reserved for skilful and trusted hands, and not done by apprentices. His 
father left the Edinburgh company in 1819, and in the same year the son 
took to the stage, and for years led a roving life with strolling players up 
and down the country.* This was his first appearance in Edinburgh a 
town where fifty years after he was welcomed year after year as one of the 
precious remains of a generation of actors who could act. H. Johnston 
appended the following note to the foot of his first few playbills this 
season : " Mr Henry Johnston respectfully requests that his townsmen 

* See page 269. 



1823.] The Annals of the Edinburgh Stage. 341 

and well-wishers will kindly indulge him, by giving his handbills a place 
in their shop windows and at the bars of the hotels and taverns." 

Gtlderoy* ran for six evenings, and on January 25th, Tom and Jerry 
was produced. Scenery by Mr Ewbank, and drop scene by Mr Stanfield. 
Corinthian Tom = J. Mason; Jerry Hawthorn = H. Johnston; Logic = 
Stanley ; Billy Waters = Chippendale ; Princess Plumante = Mrs Chippen- 
dale. This piece ran some eighteen nights. February 2Oth, The Pirate 
Bryce Snailsfoot= H. Johnston; Derrick = Chippendale. This only ran 
three nights, and on the 24th, Giovanni in London was produced. Don 
Giovanni = Bing ; Porous = Chippendale. 

On the following evening (February 25th) a concert was given by the 
Edinburgh Professional Society of Musicians, in aid of the younger 
branches of the late Mr Natali Corn's family. It seems that Corri had 
died while on a professional tour in Germany in company with his daughters. 
Mrs Corri had to leave this country to bring them back, leaving her two 
sons in London all of which, as a note on the bills states, had caused great 
expense and distress. 

March ist, Tom and Jerry in Edinburgh. 

March igth, Peveril of the Peak, first time; after which, "first time 
on any stage," Burns' Jolly Beggars. 

April 7th, last night of season, when Bradbury, the clown, appeared 
in the pantomime of Mother Goose. 

Johnston was not sufficiently pleased with the result of his speculation 
to renew his lease for another season, so the Theatre was let to Ryder, the 
manager of the northern circuit of Scotland. 

He opened on June ;th 1823 with Rob Roy. Rob Roy = Ryder; 
Justice Inglewood = Fraser; Sir F. Vernon = Marshall; Rashleigh = 
Welsh ; Francis = Bing ; Morris = Montrose ; Owen = Collins ; Captain 
Thornton = Angus ; Major Galbraith = Mitchell ; MacStewart = Andrews ; 
Dougal = Lee ; Saunders Wylie = Taylor ; Bailie Nicol Jarvie = Williams ; 
Hamish and Robert = Miss Ryder and Miss M. Ryder; Diana Vernon = 
Mrs Ryder; Martha = Mrs Collins; Mattie=Mrs Mitchell; Hostess = 
Mrs Hillyard ; Helen = Mrs Angus. 

June 23rd, Quentin Durward, first time out of London. Scenery by 
Phillips. Duke of Orleans = Bing : Oliver Dain = Collins ; Hayraddin 
= Ryder ; Lord Crawford = Williams ; Quentin Durward = Butler ; 

* Barrymore's version probably, see p. 319. 



34 2 The Annals of the Edinburgh Stage. [1823-5. 

Sir Phillip = R. W. Power. July iQth, Waverley, "never before 
acted in Edinburgh." Prince Charles = Butler ; Fergus M'Ivor= Ryder ; 
Waverley = Marshall ; Bailie Macwheeble = Williams ; Rose Bradwardine 
= Miss Ryder; Flora M'Ivor=Mrs Angus. Notwithstanding Ryder's 
enterprise in producing new pieces, the season does not seem to have paid, 
and the Theatre was closed on July 2ist. 

The much vexed subject of encroachment upon the rights of the Royal 
Patent cropped up again this summer. Mrs Siddons warned Ryder that 
she would not permit any infringement of her rights ; to which he replied 
that he was ignorant as to what her rights were under the Patent, but was 
quite sure they could not be greater than were the exclusive rights of 
Drury Lane and Covent Garden ; and as there were several minor 
theatres in London, surely there could be one in Edinburgh. 

Ryder seems to have openly defied the Theatre Royal monopoly, and 
played during his first season many pieces which were distinctly stage plays 
in the full meaning of the term. That is, he did not confine himself to 
producing burlettas, pantomimes, operettas, &c., which were generally 
understood to be the peculiar property of minor theatres. 

After a lengthy correspondence, Mrs Siddons applied for an interdict, 
which after great delay was granted, de piano, on February 24th 1825.* 

While the lumbering and cumbersome process of the law was coming 
up to the defence of the Royal Patent and its imaginary exclusive rights, 
Ryder's skirmishing party had finished their season, as noted above, and 
retired scathless. The legal scarecrow raised by Mrs Siddons probably 
frightened any one from venturing upon a winter season. At any rate, the 
Caledonian was not opened during the winter of 1823-4. 

On May 2Oth 1824, Alexander ventured to re-open the Caledonian 
doors for a short season, in open defiance of the Patent restrictions. In 
the bills he is described as manager of the Caledonian Theatre, Glasgow, 
and the Dumfries and Carlisle Theatres. He brought with him an entirely 
new company, but produced during his stay little else than melo-dramas, 
&c. His season closed on August 3rd, 

Alexander's venture must have emboldened Ryder to risk another 
season, and we find him opening the Caledonian on January ist 1825, 
when, the bills state, the house was lighted with oil gas. Several new 
names appear in the company, including Mrs Pindar, from the English 

* See pamphlet " Report of the Trial," &c., 1825. 



1825-6.] The Annals of the Edinburgh Stage. 343 

Opera House ; Gunn, from the Theatre Royal, Aberdeen ; Collyer, from 
Theatre Royal, Bath, &c. 

On February i ith, the playbills contain an announcement of the inter- 
dict ; but no better commentary on the value of that dread sentence can 
be given than the fact that Ryder went on playing just the same in spite 
of it ! His system of revenge was far surer in its working ; it took the form 
of instituting half-price, a proceeding which had such a marked effect upon 
the audiences at the Royal, that Murray was obliged to follow the Cale- 
donian lead in this matter, a fact which Ryder announced on his bill for 
March ist, as a " Proud Triumph of the Caledonian in compelling the 
Theatre Royal to follow its example." 

March 3rd, T. Dibdin's melo-dramatic romance of The Pirate. 
March iQth, for the benefit of Mr Ryder, a new version of Kenilworth. 
March 2Qth, new version of Rob Roy. May 3rd, third version of Rob Roy. 
Francis by Mason of the Theatre Royal, Edinburgh, " his first appearance 
on this stage." The performance was under masonic patronage, and the 
cast was printed in the bills as follows : Rob Roy = Brother Ryder ; Bailie 
Nicol Jarvie= Brother Williams; Major Galbraith = Mr Weekes. The 
season ended on June 28th 1825, and the house re-opened on August 2Oth 
for an equestrian and dramatic season, which terminated on October ist.* 

The winter season, 1825-6, opened on December loth, with Rob Roy, 
being the 253rd representation that had been given of that piece by Ryder's 
company. Diana Vernon = Mrs Bass, from Theatre Royal, Dublin, her 
first appearance here ; Helen Macgregor= Mrs Younge, from Liverpool, 
her first appearance here; Bailie Nicol Jarvie = M'Gregor ; Francis = 
Melrose, from the Hay market, his first appearance. 

On December 24th, The Orphan Boy, "by a gentleman of this city." 
Baron Montaldi = Bass, from the Theatre Royal, Dublin, his first 
appearance. 

Ebsworth was a member of the company this season. He was author 
of many dramatic pieces, including Adelaide, Ups and Downs, The Two 
Prisoners of Lyons, The Rival Valets, Rosalie, and The Minstrel. 

March 6th, Rob Roy. Diana Vernon = Mrs Haydn Corri, first appear- 
ance here ; Rashleigh = Bass. Mr Haydn Corri presided at the pianoforte. 

March 22nd, for Ryder's benefit, Rob Roy. Rob Roy = Mrs Angel ; 

* The gross rental of the building, with dwelling-house, four shops and cellarage included, at this time 
was ,465. It was offered for sale at the upset price of ^6,000. 



344 The Annals of the Edinburgh Stage. [1826-7. 

Francis = Mrs H. Corri ; Bailie Nicol Jarvie = Mrs Robertson; Diana 
Vernon = Mr Melrose ; Helen = Ryder ; Martha = Ebsworth. 

On April 8th the season closed ; the prices during the season were, 
33., 2S., and is. 

On June iQth Mr Yates opened with an entertainment entitled, 
" Yates' Reminiscences," continuing until July ist, the prices being raised 
to 55., 33., and is. 

On December 2nd 1826, Ryder again opened the House with Rob 
Roy, in which several new performers made their appearance. These were 
as follows : Miss Goff, from the Surrey Theatre, as Robert ; Aitkin, from 
Theatre Royal, Brighton, as Rashleigh ; G. Taylor, from Belfast, as the 
Bailie ; Felton, from Theatre Royal, Bath, as Francis ; Mrs W. Clifford, 
from Covent Garden, as Helen ; and Mrs Boyle, from Glasgow, as Diana. 
Ebsworth was again in the company, and Miss Fairbrother, who was 
a beautiful dancer, and afterwards became a well-known member of 
the Theatre Royal company, was also at the Pantheon in 1826-7. Feb- 
ruary 3rd 1827, Luke the Labourer, "first time in Edinburgh." Luke = 
Aitken ; Clara = Miss Fairbrother ; Philip = Ebsworth. The season closed 
on April 4th 1827, and the summer season opened on June Qth, under 
Alexander " of the Caledonian Theatre, Glasgow, and the Theatres at 
Dumfries and Carlisle." The opening play was Graham, the title role 
being sustained by Diddear, from Theatre Royal, Manchester, his first 
appearance here. 

August 7th, entirely new version of Rob Roy, from Caledonian, 
Glasgow. 

August 26th, Oberon, first time in Edinburgh, music chiefly selected 
from Weber, adapted by Montague Corri for one of the Manchester 
theatres. Oberon = Miss M. Nicol ; Titania= Miss Abington ; Zephyr = 
Miss Fairbrother; Red Star = Miss C. Nicol; Puck = Miss E. Nicol. 

A new version of Waverley was produced on September 4th, and of 
Montrose on September 8th. 

There does not seem to have been any performance during the 
winter 1827-8 ; but on May i3th 1828, Alexander again opened the 
Caledonian, the play being Paul Jones. 

On July 4th, a new melo-drama, called The Writer s Clerk ; or, Life 
in Edinburgh, by "a gentleman of Edinburgh," and on the following 
evening, The Two Drovers, dramatised from the " Chronicles of the 
Canongate," for the first time in Edinburgh. Harry Wakefield = 



1829.] The Annals of the Edinburgh Stage. 345 

Hamilton ; Robin = Alexander. The season closed on September 

2Oth. 

Alexander opened for a short season on December 29th 1828, closing 
on January i;th 1829, the principal attraction being the performances of 
Wilson, a rope dancer. 

From April 23rd to May 23rd 1829, Alexander again opened the 
Caledonian, but the proprietors of the building being dissatisfied with the 
small number of nights he kept the house open, declined to renew his 
lease, so Alexander was compelled to bid adieu to Edinburgh, as it proved, 
for good. 

The new tenant was Charles Bass, who opened on June I3th 1829, 
with an original address. 

On June i5th, a new tragic drama, written expressly for the Cale 
donian, called The Death of Virginia ; or, The Last of the Decemviri 
Appius Claudius = Tyrer ; Spurius Oppius = Wallace ; Virginius = C. Bass; 
Virginia = Miss Julia Nicol. 

June 22nd, The Fair Maid of Perth, as performed by the same 
company in Perth and Dundee. 

Rob Roy was played for the first time under the new management on 
July 6th. Rob Roy = Bass; Bailie Nicol Jarvie= M'Gregor ; Diana 
Vernon = Mrs C. Bass. 

July 25th, "for the first time in this city," Black- Eyed Susan; or, All 
in the Downs. William = C. Bass; Jacob Twig= Ferrers; Captain Cross- 
tree = Bevan ; Blue Peter, with the ballad of "Black-Eyed Susan," = 
Martin; Black-Eyed Susan = Miss J. Nicol; Dolly May flower = Miss 
Poole. 

July 3Oth, for the first time in Edinburgh, the melo-dramatic spectacle 
of Masaniello. Alfonso = J. Mason ; Masaniello = Bass. This piece took 
immensely, and ran some fourteen or fifteen nights. 

The season closed on September 26th. 

During the first two weeks in December Signer Venafra brought 
down the Opera House dancers from London, along with an opera com 
pany. The venture proved a great failure, and a special benefit was in 
consequence given him on December I4th, under the patronage of the 
Duke of Hamilton. 

Bass opened for four nights on December 3Oth, the play being John 
Overy, in which the part of Bosk was taken by Lloyd, from the Theatre 
Royal, Exeter, his first appearance here. This gentleman, who yet lives 



346 The Annals of the Edinburgh Stage. [1829. 

as one of the honoured patriarchs of the profession, has recently given to 
the world some reminiscences of his theatrical career,* among which he 
notes his first appearance in Scotland as follows : 

" As the hackney-coach, with my luggage outside and myself inside, drove away from 
the door, I took a last look up at the house, and there, at the wide open window, were my 
kind parents waving farewell with their handkerchiefs to their prodigal son. I soon got to 
Fetter Lane ; and, in a few minutes afterwards, started from the White Horse in the spanking 
four-horse coach which, in those days before railways, was the favourite means of locomotion 
between London and Scotland. At that time of the year (November) it may be believed 
that the journey north was not an extra lively one ; and, therefore, I need not extract from 
my diary any details connected with it. Suffice it to say that on, I think, the third evening, 
w r e arrived safely in Edinburgh. I recollect our driving up Waterloo place, and passing what 
I made sure was the Theatre Royal, from the number of lamps around it ; and I found after- 
wards that I was correct in my conjecture. In a few minutes we drew up at the hotel where 
the coach stopped. It must have been the Black Bull in Leith Street, then kept by Piper. 
Here I put up for the night, and tired enough I was, soon went to bed, and very soon after 
to sleep. Next forenoon found me betimes at the Caledonian Theatre, where I introduced 
myself to my future manager, Mr Bass. I found him a nice jolly-looking fellow, and he 
received me very kindly. He told me that the season here was just about closing ; after 
which they went to Dundee for three months, and then came back to Edinburgh. I played 
a few parts here which were neither noticed by the press nor recognised by the public. In 
reference to this time, all that I find in my diary are one or two jottings such as, 'appeared 
got on very well.' And I thought so then. In later years I became not so confident of my 
own complete success. In point of fact, I may state that I never was thoroughly satisfied 
with my acting of any part in my life ; and, although complimented during my time in the 
most flattering manner by the press, and cheered by the audiences, I have gone home thinking 
to myself ' I'm certain I could have played that better.' " 

Other new members of Bass' company in the cast were as follows : 
John Overy = Edwards, from the Theatre Royal, Bath; and Mayfly = 
Sterling, from the Theatre Royal, Brighton. After the melo-drama, 
Lloyd sang a comic medley, then played the part of Gregory in the Two 
Gregories, and Sam Smoothface in the concluding farce of Law and Lions. 
The prices were 35., 2s. 6d., 2s., and is. 

The season, although announced for only four nights, extended to 
ten, during which time Lloyd played fifteen different parts, besides singing 
comic songs. 

After the Caledonian closed, on January Qth 1830, Bass took his 
company to Dundee, returning to Edinburgh and opening on March 8th 
1830. Bass had got together an excellent company, especially in the 

* They appeared in one of the Glasgow evening papers ; unfortunately Mr Lloyd has not as yet thought 
fit to publish them in a more permanent form. 



1830.] The Annals of the Edinburgh Stage. 347 

vocal line. The opening piece was The Freebooters, the following being 
the cast: Uberto= Reynoldson, from the Theatres Royal, Bath and 
York ; Giovanni = C. Bass ; Oggero = Curryer ; Giuseppe = E. Edmunds, 
from the Theatre Royal, York; Nicolo = Lewis ; Edoardo = G. Horn- 
castle, from the Theatres, Bath and York ; Gianni = Baker, from the 
Theatres Royal, Bristol and York; Ceechina= Miss Horncastle ; Isabella 
= Mrs Cummins, from the Theatres Royal, Hull and York. There were 
fifteen incidental pieces of music (many of them of considerable length) 
included in the piece, after the conclusion of which " God Save the King " 
was sung, and the performances closed with Black-Eyed Susan, for which 
the curtain rose at eleven o'clock. In this E. Edmunds played Blue 
Peter, and was encored three times for his rendering of the beautiful 
ballad of " Black-Eyed Susan," incidental to the part. 

Mr Edmunds, who made his first public appearance in Scotland 
on this particular evening, is an honoured citizen to the present 
day, and was recently (1887-8) elected by the Edinburgh professional 
musicians as the president of their newly formed " Edinburgh Society of 
Musicians." 

He was a pupil of T. Cooke of Drury Lane and of Liverati, 
and appeared in public in 1823 at the Drury Lane fund dinner, and 
again on November roth 1824 at the production of Der Freyschutz at 
Drury Lane Theatre. These performances, however, were only as a boy 
vocalist, his first proper appearance on the stage being at Manchester on 
August 25th 1829, on which date he played the part of Henry Bertram in 
Guy Mannering. He proved a valuable addition to Bass' company, and 
on Horncastle leaving, Edmunds at once stepped into the post of first 
tenor. The great Professor Wilson, in his Nodes Ambrosiana, has 
indeed rendered the name of Edmunds well-nigh immortal by the following 
mention : 

" May 3olh 1830. Shepherd. Bass is a speerited manager. 

" North. He is ; and there I heard a few weeks ago, one of the sweetest, strongest, and 
most scientific singers that now chants on the boards Edmunds. His Black-Eyed Susan 
is delicious. He is but a lad but promises to be a Braham." 

During this winter season Bass included an opera in almost every 
evening's programme, besides which several concerts were given, both of 
sacred and secular music. Le Nozze di Figaro, II Barbiere di Siviglia, 
Der Freischiitz, and the Witch of Derncleugh (musical drama) were par- 
ticular favourites, and were frequently played during April and May. 



348 The Annals of the Edinburgh Stage. [1830. 

On June 5th 1830, a drama, written by Sir Walter Scott, entitled 
Auchindrane ; or, the Ayrshire Tragedy. John Mure = C. Bass; Philip 
Mure = W. L. Rede; Gifford = Bevan ; Quentin Blane=Hield; Hilde- 
brand = Curryer; Abraham, Williams, and Jenkin = Messrs Haigh, Bishoff, 
and Muir ; Earl of Dunbar= Fitzallan ; Marian = Mrs Hield. 

On June 7th, Horn, from Drury Lane, and Miss Byfeld, from Covent 
Garden, opened a six nights engagement in Le Nozze di Figaro. 

The opera of Artaxerxes was produced on July ist (1830), with 
Edmunds in the title role. Artabanes= Reynoldson; Arbaces = G. Horn- 
castle ; Mandane=Miss Byfeld (who had stayed on, after her starring 
engagement, as an ordinary member of the company); Semira=Miss 
Horncastle. 

July 1 2th, Beggars Opera. Macheath = G. Horncastle; Mat o' the 
Mint = Edmunds ; Polly = Miss Byfeld. 

On July 2ist, was given what was stated in the bills to be the first 
performance in Scotland of Mozart's Don Giovanni. The cast was as 
follows: II Commendatore = James Horncastle; Don Giovanni = G. 
Horncastle; Don Ottavio=E. Edmunds; Masetto = J. Horncastle; 
Leporello = Reynoldson ; Donna Anna = Mrs C. Bass; Donna Elvira = 
Miss Horncastle; Zerlina=Miss Byfield. This opera, which seems to 
have been excellently put on the stage, proved a great success, and ran 
for ten nights consecutively. On Don Giovanni being withdrawn, a piece 
was produced, called the Elephant of Siam, which proved an even greater 
success. The attraction was a real live elephant brought upon the stage, 
and so potent was this monster's power of attracting the public, that Mr 
Yates, who commenced a starring engagement on August Qth, had to take 
quite a second place on the bills. 

On October Qth, Jolly, the leader of the Caledonian orchestra, took 
a benefit, when (by permission of Murray of the Theatre Royal) was 
played the Merchant of Venice, the part of Shylock by Pindar, the late 
leader of the Theatre Royal orchestra. Portia = Miss Mason; Nerissa = 
Miss Nicol. 

On October 2oth, H. Johnston commenced a four nights engage- 
ment, and on October 23rd Bass took his farewell benefit, and the season, 
which had proved a great success, closed. 




CHAPTER XX. 
MURRAY'S REIGN. 

FIRST DECADE. 

HE Patent granted to Henry Siddons in 1809, expired at the con- 
clusion of the last season, and Mrs H. Siddons having paid up 
the entire purchase money (,42,000), the Theatre became her 
property. For some months Murray had been seriously indis- 
posed, and it was rumoured that he intended to retire from the stage. On 
the other hand, it was asserted that his illness was an innocent fiction pub- 
lished to account for his being so much engaged between London and Edin- 
burgh, arranging to have the Patent renewed (in his own name) and getting 
together a new company for the autumn. That he received a very tempt- 
ing offer to act at Covent Garden is certain ; but whatever may have been 
his first ideas regarding retirement or change of residence to London, it was 
soon known, that he had not only secured a lease of the Royal, but of the 
Caledonian (in conjunction with Yates) as well. In this way he obtained 
an entire monopoly of things theatric in Edinburgh. This arrangement 
undoubtedly had its advantages at the time ; for Murray, as holder of 
the Patent, was the only person who was legally entitled to represent stage 
plays in Edinburgh, and so both houses could conveniently be utilised. 
Not only so ; but as Murray arranged his seasons winter at the Royal 
and summer at the " Adelphi " (as he now christened the Leith Walk 
house), a distinct difference in the class of entertainment at each house 
could be maintained without the rival interests clashing. That two 
theatres could be kept open simultaneously in Edinburgh at that time, is 
very questionable ; and although Murray, in his later years especially, was 
not free from the accusation of mean management, yet, when we carefully 
review the long time of his lesseeship we cannot fail to arrive at the con- 



350 The Annals of the Edinburgh Stage. [1830-1. 

elusion that his faults were almost entirely hidden as far as the public was 
concerned by rare administrative ability and a perfect knowledge of what 
was wanted of him at the hands of his audiences. Murray was in fact an 
eminently popular manager, during whose term of office the Edinburgh stage 
was maintained at a height of excellence which had no rival in the provinces. 
Previous to opening the Royal for the winter season, very consider- 
able alterations were carried out, both outside and inside. The stage 
seems to have been entirely renewed, while, what was described in the 
bills as a " new Grand Architectural Drop Scene," from the brush of David 
Roberts, was exhibited. On Wednesday, November i7th 1830, the en- 
tertainments commenced by singing the National Anthem, the principal 
parts being taken by Messrs G. Horncastle, Reynoldson, Edmunds all 
of the late Caledonian company Hart, Miss Horncastle (also from the 
Caledonian), and Miss Tunstall ; after which Miss Jarman delivered an 
occasional address, and the orchestra played a " new Grand Medley Over- 
ture," composed and arranged for the occasion by James Dewar, leader 
and director of the orchestra. At the end of the overture, The Honey- 
moon was acted ; the Duke Aranza = Waldron, from Manchester ; the Count 
Montalban = Brindal, from the Haymarket ; and Rolando = Green (light 
comedy), from Covent Garden. Mason, who had been re-engaged, played 
Lampedo, and Murray, Jaquez ; while, of course, Miss Jarman gave her 
inimitable rendering of Juliana. During December, Ducrow gave a few 
of his famous posturing performances; on the 22nd of the same month 
Auber's new opera, La Fiancee, was produced under the title of the 
National Guard, with a strong cast. The pantomime was Mother Bunch, 
the part of clown being taken by Taylor, who had become an established 
favourite here. Seeing that the company was vocally very strong, it is not 
surprising that light opera almost nightly found a place in the bills, and in 
addition to the new opera mentioned above, there was brought out on 
February 7th, an adaptation, by Rophino Lacy, of Cinderella, a medley 
work made up of selections from several of Rossini's operas. It proved 
very popular, running some thirty nights. Messrs G. Horncastle, 
Reynoldson, Edmunds, Murray, and Hart were in the cast. On March 
1 9th Mozart's Don Giovanni, adapted by Reynoldson, was splendidly pro- 
duced. The Don = Horncastle ; Don Ottavio = Edmunds ; and Masetto 
= Murray. Four days previous to this (namely the J 5th) the company 
had cause to regret the death, at an early age, of the popular actor Den- 
ham. He seems to have gone on the stage very early in life, and was pro- 



1830-1.] The Annals of the Edinburgh Stage. 351 

bably npt much over thirty when he died. He is described, by the only 
member of the company of 1830-1 who is still living, as having been a 
big burly man, and a sensible, useful all-round actor. In some parts there 
can be no doubt he was excellent. His King James in Fortunes of Nigel 
delighted Sir Walter Scott, while his Dandie Dinmont, Mucklebackit, 
(Antiquary), James Ratcliffe (Heart of Midlothian), King James (Cramond 
Bridge], Walter Logan (Gilderoy), and many others, were most highly 
thought of. Denham, it is perhaps worth noting, was educated at Heriot's 
Hospital. Murray gave a benefit for his widow and family on the 23rd of 
March, and the parts he had played for the previous ten years were trans- 
ferred mostly to Power, a tall stout man and good actor, without, however, 
the finish of his predecessor. March 24th, was produced a new version of 
Waverley, adapted by Edward Ball, in which the character of Mrs Nosebag 
(played by Mrs Nicol) appears. Young made a farewell visit during the 
spring, his actual last appearance in Edinburgh being on Saturday April 9th, 
when he played Hamlet. A sketch called Shakespeare s Dream, illustrated 
by tableaux, was produced on April 1 6th, and became very popular. Edmund 
Kean paid a short visit in the beginning of May, and after the usual bene- 
fit season, the house closed on June 4th, being the hundred and sixty-third 
night of playing. 

Murray having closed the doors of the Royal, lost no time in opening 
the Adelphi, for on June 7th, Buckstone's capital melo-drama of Wreck 
Ashore, was played, after which Les Mademoiselles Celeste and Con- 
stance, the well-known dancers, appeared. The whole performances were 
advertised as being under the direction of Mr O. Smith, acting manager, 
who was a melo-dramatic actor of very high standing in those days. 
His stay here only lasted, however, till the 27th. On the 6th of July 
Murray's co-lessee,* Yates, commenced an engagement lasting to the 
end of the season, during which he produced a romantic drama founded 
on Lord Byron's Mazeppa, and which had been playing in London 
most successfully during the same season ; it proved a great attraction 
here : Poles The Castellan = Crisp ; Count Premislas = Hemmings ; 
Rudziloff= Bayne ; Drolinski = Gardner ; Officer = Gibson ; Olinski = Miss 
Daly ; Agatha = Mrs Daly ; Zemilla= Miss Crisp. Tartars Mazeppa = 
Yates ; Abdar Khan = Pritchard ; Thomar = Brunton ; Zadac = Morris ; 
Zembo = Stoker ; Koscar= Miller ; Oneiza=Miss C. Crisp. Almost 

* For this season only. 



352 The Annals of the Edinburgh Stage. [1831-2. 

nothing except melodramas and spectacle pieces were performed during 
the whole of the season, which lasted till September loth. 

The following season (1831-2) opened on October 3rd, with a per- 
formance of Love in a Village. Young Meadows = White, from the 
Theatre Royal, Manchester and York, his first appearance here ; Haw- 
thorn = Martyn, from Bristol, also his first appearance; Madge = Miss 
Atkinson, a pupil of White's ; and Rosetta= Miss By field, from Covent 
Garden, being her first appearance in this house. The following evening, 
in the Merchant of Venice, several other new members of the company 
made their Edinburgh debut. Antonio = Powell, from York ; Bassanio 
= Faucit ; and Shylock = Ternan, who became a prime favourite here. 
Power continued to fill Denham's old parts, but Edmunds, Horncastle, 
and Reynoldson, did not appear this season. During the greater part of 
the season Ternan and Pritchard divided the lead, and were succeeded 
by Diddear, a sound, although heavy actor ; John Mason and Gardner 
superseded Stanley, so long the favourite low comedian ; and Miss 
Mason divided the lead with Miss Jarman. On October i4th, The 
Evil Eye, a romantic musical drama, was produced, and acted some 
twenty-one nights during the season. On October 3ist, The Renegade, 
a tragedy by the late Mr Maturin, author of Bertram, was announced for 
production for the first time on any stage. It had been sent by Sir 
Walter Scott to Murray some time before, and the success it attained, 
and, more particularly, the excellent criticisms it got, go to show it was 
worthy the recommendation of so great a man. But Murray's assump- 
tion that it had not been previously acted was rudely dispelled by the 
Edinburgh Evening Post of November 5th, which declared it had been 
frequently performed in Ireland some years previous. This statement 
being sufficiently proved, Murray publicly retracted the mistaken assertion 
he had made, The cast in Edinburgh was as follows : Christians 

O 

Guiscard = Pritchard ; Romuald = Power ; Flodoard = Bevan ; Roberto 
= Miller ; Sismondi = Powell ; Matilda (mother of Guiscard) = Miss 
Jarman ; Volonia, her attendant = Miss Forsyth. The Ottomans Osmyn, 
the Renegade = Ternan ; Syndarac = Faucit ; Murad = Peddie ; Selim = 
Thomas ; Ben Musaph = Brown ; Bentalib = Roberts. Dominique the 
Deserter, and the Gentleman in Black, came out on November i6th. 
In this Murray made a great hit as Dominique. It ran over thirty 
nights, and was often played afterwards. December 5th saw the pro- 
duction here of Macready's adaptation for the stage of Lord Byron's 



1831-2.] The Annals of the Edinburgh Stage. 353 

Werner, Miss Paton gave a few performances during the month, and on the 
1 9th, the Brothers Ridgway, famous pantomimists, made their first appear- 
ance here. On the 28th, the pantomime, Harlequin Sinbad, was pro- 
duced ; some of the scenery was by Danson, from Ducrow's Amphitheatre, 
and the whole was produced under the direction of the Brothers Ridg- 
way, the parts of harlequin, pantaloon, and clown, being filled by them ; 
columbine = Miss Fairbrother. It ran, although not consecutively, till 
February 4th, and seems to have been well received. During its run 
Signer de Begnis' Italian Opera Company gave several performances. 
February 8th, Lord Leveson Gower's tragic drama of Catharine of Cleves 
was produced, being followed on the 2ist by the first performance here of 
Buckstone's burlesque Billy Taylor. On the I3th, Edmund Kean com- 
menced a short, and, as it proved, his last engagement in Edinburgh. He 
seems to have been very ill while here, and could not play every night. 
He appeared in Richard III., Macbeth, Othello, New Way to Pay Old 
Debts, Hamlet, and on February 27th, in a selection of scenes from several 
Shaksperian plays, it being his last appearance in Edinburgh. He was forty- 
six years of age at this time, and in little over a year (May I5th 1833) he 
died. Douglas Jerrold's Rent Day was still in its first season at Drury 
Lane, when, on March i3th, Murray had it produced here. Tableaux 
based on Wilkie's famous pictures " The Rent Day " and " Distraining 
for Rent" were introduced during the performance. The cast was as 
follows : Squire Grantley = Faucit ; Old Crumbs = Mason ; Martin Hey- 
wood = Ternan; Toby H ey wood = Power ; Bullfrog = Murray ; Farmer 
Beanstalk = Roberts ; Polly Briggs = Miss Stoker; Rachel Heywood = 
Miss Jarman. The Rent Day ran for over twenty nights. It may be 
interesting to some to learn that, on March 26th, the " Edinburgh 
Shakspere Club " patronised the performance, when The Rent Day and 
Comedy of Errors were played. Power, the Irish comedian, commenced 
his first engagement here on April 2nd, and on the i6th, Wilson, the 
singer, reappeared in his native town, covered with London honours. 
A new national drama, entitled A Week at Holyrood, and expressly 
licensed for the Theatre Royal, having never been played before, 
was produced on the 28th April, but does not seem to have been 
a success. The cast was as follows : King James the Sixth = Power ; 
Earl of Moray = Ternan ; Gordon, Earl of Huntley = Faucit ; Earl 
of Bothwell = Bevan ; Chancellor Maitland = Roberts ; Sir Robert Laurie 
of Maxwelton = Mason ; Wemyss of Logic = Pritchard ; Host of the 



354 The Annals of the Edinburgh Stage. [1831-2. 

Blue Lion = Miller ; Philip, his son = Stoker; Miles Paunch = Murray ; 
M'Dirk = Martyn ; Taggart = Thomas ; Skiendhu = Peddie ; Anne of 
Norway, Queen of Scotland = Mrs Stanley ; Lady Magdaline Gordon = 
Mrs Faucit ; Alice = Miss Fairbrother ; Mary, daughter to Miles Paunch 
= Miss Stoker ; Mistress Margaret Twinstoun = Miss Jarman. An event 
of decided interest was the reappearance for the last time of Mrs Henry 
Siddons, who gave her assistance on the occasion of Murray's benefit, 
May 26th. The School for Scandal was performed, in which Mason 
played Sir Peter ; Murray, Sir Benjamin Backbite ; Ternan, Joseph ; 
Pritchard, Charles ; Mackay, Crabtree ; Stanley, Moses ; and Mrs 
Siddons, (her great impersonation), Lady Teazle. 

The winter season proper finished on June 2nd 1832, but instead of 
the Adelphi opening, an announcement appeared that, in consequence of 
the protraction of the season at Covent Garden Theatre (through the 
success of the Hunchback], several performers engaged for the Adelphi 
could not appear. A summer season therefore commenced at the Royal 
on June 4th (Monday), and in the bills it was stated that the shareholders 
of the Adelphi would be placed on the free list of the Royal. Weekes, 
who had formerly been a member of the stock company, appeared as a 
star, with his name in large letters on the playbill of the opening night, 
in the part of Cornelius O'Dedimus in Man and Wife. Miss Jarman and 
Mr and Mrs Yates both paid short visits ; and on July 2nd, Miss Fanny 
and Charles Kemble commenced a twelve nights engagement previous to 
their departure for America. 

The production of the Hunchback on July 3rd was an important 
event, as Miss Fanny Kemble appeared in her original part of Julia, and 
Charles Kemble in his of Sir Thomas Clifford. The remainder of the 
cast was as follows : Helen = Miss Mason ; Lord Tinsel = John Mason ; 
Master Walter = Diddear ; Modus = Murray ; Master Wilford = Bevan ; 
Gaylove = Shepherd ; Fathom = Gardner ; Thomas = Power ; Sampson = 
Miller. This "tacked on" season, as it may be called, closed on July 
28th, and on the 3Oth the Adelphi opened with two new plays, Eugene 
Aram and The School for Courtiers, the latter for the first time on any 
stage. Eugene Aram proved decidedly successful, but the hit of the 
season was Planches "infernally original and exceedingly ^/-probable 
burlesque operetta " The Olympic Devils, which Madam Vestris had 
brought out with such success in London. Gordon, who had painted the 
scenery there, was employed in the same capacity here. Miss Byfeld 



1832.] The Annals of the Edinburgh Stage. 355 

played Orpheus ; Murray, Pluto ; Miss Mason, Proserpine ; and Miss 
Newton, Eurydice. It was played some twenty-five times during the 
season. Sheridan Knowles' appearance on September 6th, along with 
Miss Ellen Tree, was the only other event of importance, and the season 
closed on September 2Qth with the manager's benefit. It had been, he said 
in his speech, a successful season, notwithstanding the general depression 
in the theatrical world. The following extract is from the same address : 

" I would now, ladies and gentlemen, conclude, did I not feel that I have a delicate 
and painful duty to discharge, and in the performance of which I must throw myself upon 
your kindness and consideration. It is well known that, at one period, the Edinburgh 
Theatre owed its existence to the success of what was called the ' Waverley dramas,' and 
my silence upon the recent loss our country has sustained might be misinterpreted. That 
great man, whose name now fills every mouth from the peer to the peasant, was peculiarly the 
object of reverential regard to the members of the Scottish stage ; for to the success which 
attended the dramatic adaptations from his splendid works, aided by his powerful influence 
and assistance, we owe the establishment of that fund, the first anniversary of which he im- 
mortalised by declaring himself the author of Waverley, and to which the poor, sick, and dis- 
abled actor, when incapacitated from fretting his brief hour upon the stage, can look for 
subsistence. To eulogise such a name as Sir Walter Scott's is unnecessary were it, this is 
not the place, nor am I the person competent to do so ; but the moment rapidly approaches 
when the Edinburgh Theatre will seize the opportunity of testifying, by more than words, its 
respect for the memory of its illustrious benefactor."* 

Several important additions were made to the company in 1832-3. 
Barrett, heavy man and Irish parts, from Theatre Royal, Liverpool ; 
Lacy, afterwards, and still so well known as Walter Lacy ; Lloyd, who 
had made his Edinburgh debut under Bass in 1829; E. Edmunds; and 
Webster, for second old men, from Liverpool. It is interesting to note 
that no fewer than three of these artistes are alive at the present time, 
namely, Walter Lacy, Edmunds, and Lloyd. The last-named was an 
exceedingly droll performer ; a genuine low comedian of the old-fashioned 
Buckstone school of humour. He was not, however, a character actor, 
and lacked the power of concealing his identity, owing partly to strong 
peculiarities of voice and manner. But he was a finished actor in his own 
way, and when occasion demanded, could tone down his fun and act with 
skill and good effect. Edmunds gave up the stage very soon after this, 
and took to the profession of music, of which, more especially in the 
vocal department, he has long been a successful and honoured member. 

The season 1832-3 opened so early as October ist, but nothing requir- 
ing record occurred till November 9th, when Sheridan Knowles' masque, 

* It does not appear, however, that it ever did. 



356 The Annals of the Edinburgh Stage. [1832-3. 

The Vision of the Bard, written " in honour of the Genius of the Minstrel 
of the North," was produced, Ternan appearing as the " Bard," and Miss 
Jarman as " Scotia." According to the programmes, " the vision con- 
cludes with the assemblage of the various characters of the pageant at a 
jubilee supposed to be held at the ruins of Abbotsford in the year 3664 in 
honour of the memory of Scotia's minstrel." It is astonishing to find that 
such stuff ran for some fifteen nights. 

After a month of Italian opera, the pantomime of the Dragon 
of Wantley was produced on December 3ist. J. Ridgway was Harlequin; 
T. Ridgway, Clown ; Wilcox, Pantaloon ; Miss E. Lancaster, Columbine. 
It was played twenty-four times. On January igth, for the first time 
for forty years, was revived Milton's Comus. Ternan took the title 
role ; Edmunds, that of principal Bacchanal ; and Miss Jarman played 
Emilia. The programme on that evening consisted, besides the masque, 
of a two act farce and the pantomime. Comus was a success, and ran for 
nine nights. The famous harpist Bochsa gave one night's performance 
in the Theatre, February Qth, after which engagements were completed 
by Power, T. P. Cooke, James Russell (who seems to have confined him- 
self to acting in farces, and giving imitations), the African Roscius, 
Macready, and Miss Inverarity. On the last night of the season (May 
8th), Murray being in London could not address the audience, as was his 
wont on the termination of each season ; but he stated, in a short address 
published in the playbill, that the Theatre had struggled during the last 
two years through a time of unexampled depression, with better fortune 
than most of its compeers. 

In the rhyming address with which he opened the Adelphi on 
May 25th 1833, reference was made to the death of Kean. Several 
old hands reappeared during the summer season. These included 
Diddear, Pritchard (who only played a few nights and then quitted the 
Edinburgh boards), Montague Stanley (announced as from Drury Lane, 
his first appearance these three years), Miss Cleaver (from York), and 
Mrs Macnamara (also from York). The latter lady came to play first 
old women in place of Mrs Nicol, who was now getting old and unfit 
for exertion, although she did not finally leave the stage until the follow- 
ing winter season. Mrs Macnamara was an excellent actress, and will 
be remembered as having been the original Mrs Bouncer in Box and Cox 
at the London Lyceum some time after this. New members added to 
the company included J. G. Barratt, from Theatre Royal, Glasgow, who 



1833-4-] The Annals of the Edinburgh Stage. 357 

played old men ; Frazer, a vocalist, from Bath ; and Hudson, walking 
gentleman and tenor vocalist, from Newcastle, and who afterwards became 
an excellent Irish comedian. 

The season opened on May 25th with Miss Fanny Ayton as the 
special attraction. Jerrold's pleasant comedy of Nell Gwynne was first 
produced here on June ist with the following cast : Charles the Second 
= Pritchard; Sir Charles Berkeley = Shaw ; Charles Hart = Hudson ; 
Major Mohun = Adderly ; Betterton = Roberts ; Joe H ay nes= Barrett ; 
Counsellor Crowsfoot = J. G. Barratt ; Stockfish = Peddie ; Orange Moll = 
Lloyd; Mrs Snowdrop = Mrs Macnamara ; Nell Gwynne = Miss Fanny 
Ayton. A drama expressly translated for this Theatre, called Philippe 1 , 
was brought out on July i5th, and on the 24th of August the popular melo- 
drama Jonathan Bradford was performed for the first time here. In 
the character of a runaway apprentice Lloyd sang a parody on " The Sea, 
The Sea," called " The Sea, the sea, the hugly sea." The scenery in the 
piece was very elaborate; one of the "sets" comprising a section of the 
"George" Inn, consisting of four separate rooms exposed atone time, 
of which there is an elaborate woodcut on the playbill. Sheridan Knowles 
and Miss Ellen Tree opened a short engagement on September 2nd with 
a performance of The Wife, the first time of its being played here. 
The season closed on the 2ist with Murray's benefit, but, curiously, his 
address, which was delivered as usual, is not included in Bertram's little 
volume,* which now-a-days is so highly prized (and priced) by collectors. 
The Royal opened on October 5th 1833 with Love in a Village^ 
Wilson playing Hawthorn. White, who had not been included in the 
past season's company, reappeared, playing Young Meadows. In the 
list of the company for this season Mason's name, so long associated with 
Edinburgh theatricals, is wanting, and does not reappear. 

Balls, who hailed from Drury Lane, appears to have been an excellent 
light comedian. Langley, who also made his first appearance this season, 
did not remain long ; but in after years, it may be noted, he became a great 
favourite in Aberdeen and Glasgow. Although Mrs Nicol's name was 
printed as one of the company, she did not act often, Mrs Macnamara 
taking nearly all her parts. Her farewell benefit was loth April 1834. 
She had then been twenty-seven years before the Edinburgh public, and 
during that time had certainly worked both hard and well. Montague 

* The Farewell and Occasional Addresses delivered by W. H. Murray, Esq., &c., 1851. 



358 The Annals of the Edinburgh Stage. [1833-4. 

Stanley assumed juvenile lead this season, and continued a member of 
the company until his final retirement from the stage. Thomas Stuart, 
who was lead, became, in after years, a member of the London Adelphi 
company, and was a careful, although dull actor. 

The first production of importance was Auber's Fra Diavolo, which, 
with Wilson, Murray, Morley (from Covent Garden), and Miss Byfeld in 
the cast, was well received, and ran seven nights. On November i8th 
a pantomimic ballet d'action called The Gnome, afforded the brothers 
Ridgway an opportunity of showing off their antics ; and on the 3Oth the 
London Adelphi interlude called P. P. ; or, the Man and the Tiger, com- 
menced a most successful run of over thirty nights. Its success was 
largely due to the admirable acting of Murray as Simon Buckskin, and 
Balls as Squire Splasher. On December 24th the pantomime of Man in 
the Moon was played. J. Ridgway, Harlequin ; T. Ridgway, Clown ; 
and Mademoiselle Gilbert from Drury Lane (her first appearance here), 
Columbine. The pantomime ran some twenty-three nights. That excel- 
lent farce, My Wifes Mother, was produced on March i5th, with Murray 
as Jeremiah Foozle, and Mr Budd by Montague Stanley. At Miss Byfeld's 
benefit on April i6th Henry E. Dibdin, the youngest son of C. Dibdin 
jun., made one of his first public appearances in this city. He had been a 
pupil of Bochsa, the great harpist, and had come to Edinburgh at the be- 
ginning of 1833 in order to follow his profession. 

Master Gustavus V. Brooke, the infant phenomenon (afterwards the 
well-known tragedian), appeared on May 2nd. The Theatre, after being 
open for one hundred and eighty-nine nights, closed on June 2nd. 

So important an event as Mrs Nicol's last benefit must not be passed 
over unnoticed. It took place on April loth, 1 834, when she appeared in no 
less than three characters. The first piece was the Rivals. Mrs Malaprop 
= Mrs Nicol; Acres = Murray ; Captain Absolute = Balls ; Sir Anthony 
Absolute = Mackay ; David = Lloyd. After which the operetta of No, 
Mrs Deborah Doublelock = Mrs Nicol ; the performance finishing 
with Raising the Wind. Jeremy Diddler = Balls ; Sam = Lloyd; Peggy 
= Mrs Elliot; and Miss Durable = Mrs Nicol. According to the bill 
of the play for the evening, Miss Durable was the first part Mrs Nicol 
played in Edinburgh. This must have been in 1806,* but the exact date 
of it is not recorded in any available source of information. Mrs Nicol, 

* See page 250. 



1834-] The Annals of the Edinburgh Stage. 359 

who succeeded Mrs Charteris in the old women line of characters, had 
been originally a domestic servant.* She secretly indulged her passion for 
the stage by acting in an amateur club ; her mistress finding this out, and 
approving of her desire to adopt the profession, afforded her material aid. 
When Mrs Nicol came to Edinburgh, her husband, who was a printer by 
trade, obtained employment in one of the large printing establishments in 
the city. They had a large family ; several daughters, besides the famous 
Miss Nicol, having a considerable connection with the drama in Edin- 
burgh. They seem to have been very happy, and were highly respected 
by all who came in contact with them. Mrs Nicol was an admirable actress 
of old women, and having the opportunity of being the original in Edin- 
burgh of many good characters, invariably distinguished herself. 

On June 7th 1834, the Adelphi opened with a new burletta in two acts 
called The Gipsies. The company got together for this summer season 
was particularly good, and introduced several artistes who became great 
favourites. Coveney, who came from the Haymarket, and had started 
life as a compositor, had thirteen children, several of whom took to the 
stage with success. On the i ith a new operetta called Jessie, the Flower 
of Dumb lane, or, The Smugglers of the Glen, Jessie by Miss Coveney, 
in which character she sang " The Banners of Blue," " Lassie, wad ye 
lo'e me," and " The Banks of Allan Water." The plot seems to have 
been very much in the conventional style, and may almost be traced by 
a perusal of the list of characters : The Lord Dumblane, disguised as 
Roderick the Painter = Hudson, with song, "Jessie, the Flower of Dum- 
blane;" Ranald, factor to former = Faucit ; Jamie, servant to Ranald = 
Power; Stern, a smuggler = Coveney ; Dirk, ditto = Hart, with song " The 
Sea ;" Maggie, a Scotch lassie = Miss Newton, with songs. It ran sixteen 
nights. 

June 1 6th, first appearance this season of Edmunds, not, however, as 
an ordinary member of the company, but as a star ; and first appearance 
here of Mrs Edmunds, late Miss Cawse, the piece being The Barber of 
Seville, Edmunds playing the Count ; Hart, the Music Master ; Murray, 
Figaro ; and Mrs Edmunds, Rosina. Mr and Mrs Edmunds took their 
benefit on the 28th, playing Paul and Virginia respectively in the 
piece of that name it being their last appearance on the boards of 
an Edinburgh Theatre. Mrs Edmunds, who was born in 1808, seems 

* See " Genuine Gossip by an Old Actress," in the Era, 1853, and April l6th, 1881. 



360 The Annals of the Edinburgh Stage. 

to have shown proof of musical talent very early in life. After being 
under several distinguished masters, including Sir George Smart, she had 
the good fortune to receive a very flattering criticism from the composer 
Weber. She first appeared on the stage at Covent Garden in 1826, and 
during the following few years sang in a large number of operas. 

Buckstone's burletta, The Convent of St Eloi ; or, the Pet of the 
Petticoats, which had been originally produced at Drury Lane, made its 
appearance here on the 3Oth June ; Miss Coveriey making a great hit as 
Paul. Power, who was a tall, stout man, played Madame La Grosse, and 
the child's part of Zoe is put down as being played by Mademoiselle 
Petite. This was in all probability Miss Harriet Coveney, who is still 
on the London boards. The casting of Power in such a part as Madame 
almost justifies a suspicion that the performance was pretty coarse ; 
the piece ran, however, for eighteen nights. Other parts in the cast 
were : The Chevalier St Pierre = Montague Stanley ; Bonilli = Coveney ; 
Job, head gardener = Murray ; Zephyr = Lloyd ; Sister Vinaigre=Mrs 
Macnamara ; Louise = Miss Jane Coveney. 

Diddear reappeared on July Qth, his first part being Sir Edward 
Mortimer. Five days after, Miss Huddart made her first appearance 
here. This clever actress (afterwards Mrs Warner) was cut down by 
a lingering disease in the midst of her popularity and her struggles to 
maintain her family. July 26th, for the first time in Edinburgh, the 
drama in three acts, Hofer, the Tell of the Tyrol, Diddear and Miss 
Huddart taking the chief parts. August 5th, the new interlude of 
Twelve Precisely, in which Miss Coveney played five parts. It ran 
thirteen nights, and it may be mentioned that among so many long 
runs the old burletta Midas, with Miss Coveney as Apollo, was 
played nineteen times. Olympic Revels, by Planche, was frequently 
underlined but not produced. Miss Huddart's engagement was imme- 
diately followed, on August i8th, by the appearance of Miss Ellen Tree, 
who opened in As You Like It. Diddear played Jaques ; Addison, 
Adam ; Hudson, Amiens (with songs, his first appearance in the part) ; 
Montague Stanley, Orlando ; Lloyd, Touchstone (his first appearance 
in that character) ; Miss Ballin (for this night only), Sylvius ; Miss Newton, 
Audrey ; and Miss Tree, Rosalind. September 26th the ninety-sixth of 
the season Murray took his benefit. In his speech or " farewell address " 
he gratefully acknowledged the great success of the season. During the 
ninety-six nights six hundred and sixty-one acts had been performed, 



1834-5-] Tlie Annals of the Edinburgh Stage. 361 

averaging nearly seven each night ; and of the plays performed, twenty 
were entirely new to the Edinburgh stage. 

Some important alterations were made in the company for the season 
1834-5. On the opening night a new tenor, Barker, made his first 
appearance on any stage, playing Tom Tug in the Waterman. Walker 
(bass), who had been one of the members of the orchestra of the English 
Opera House, Miss Rankley, leading lady, from the Theatre Royal, Exeter, 
and Mrs Roberts, from Cheltenham, also joined this season. Miss Nicol, 
after an absence of eleven years, returned to take up her mother's parts, 
which, since that lady's retirement, had been played by Mrs Macnamara. 
Miss Nicol was an excellent actress, and in her own line of characters 
(old women) was probably unsurpassed in her time. Her impersonation 
of Mrs Hardcastle, Miss Lucretia Mactab (Poor Gentleman), Madam 
Mag (' Twos /), and in fact of all parts of the kind, was perfect. 

In the opening piece for the season (November 8th), Laugh When 
You Can, Miss Nicol played Miss Gloomly ; Bonus = Mackay ; Sambo = 
Lloyd ; Mortimer = Maddocks, from Theatre Royal, York, his first appear- 
ance here; Mrs Mortimer = Mrs Roberts; Dorothy = Miss Mattley, from 
the Haymarket, her first appearance here ; and Emily = Miss Rankley. 

November I3th, Guy Mannering. Henry Bertram = Barker (first 
time) ; Gabriel = Walker, his first appearance on any stage ; Meg Merri- 
lees = Mrs Hield ; Lucy Bertram = M iss Coveney ; Julia = Miss Newton. 
On the 2Oth it was repeated, the part of Julia being taken by Miss 
Novello, from the English Opera House, her first appearance here. A 
new interlude called 102 ; or, My Great-great-grandfather, was produced 
on the 28th, in which Murray made a great hit by his extraordinary acting 
as a veteran of 102 years of age. Addison, Power, Graham, and Miss 
Percival played his son, grandson, great-grandson, and great-great-grand- 
son respectively, the other parts being cast as follows : Fra^ois = Lloyd ; 
Madame Leroud = Miss Nicol; Madame Louise = Miss Ellen Coveney; 
Isabel = Miss Novello. It was played some fourteen nights during the 
season. 

On December 2nd, Buckstone's comedy Married Life, produced 
originally at the Haymarket during the previous summer ; in this Mac- 
kay and Mrs Hield played Mr and Mrs Coddle ; Montague Stanley and 
Miss Rankley, Mr and Mrs Lynx ; Lloyd and Miss Mattley, Mr and Mrs 
Dove ; Murray and Miss Novello, Mr and Mrs Younghusband ; and 
Addison and Miss Nicol, Mr and Mrs Dismal. A few days afterwards 



o 



62 The Annals of the Edinburgh Stage. [1834-5. 



this piece was placed at the conclusion of the evening's entertainment, 
and the bills of the day were headed " Married Life at Half Price." Miss 
Coveney, who had been ill, returned on the roth, and played Gertrude in 
Loan of a Lover. Everybody's Husband '; or, Bigamy, Trigamy, and 
Quadrigamy, a new farce, was produced on the i ith ; and on the 26th a 
"New Grand Comic Christmas Pantomime called Maggie Lander ; or, 
Harlequin and the Wizard." The cast was really splendid. Clown, 
by Paulo, the famous exponent of the Grimaldi school, from Covent 
Garden ; Pantaloon, by Barnes, probably the best of his own day, 
also from Covent Garden ; Frampton made a capital Harlequin ; while 
Miss Fairbrother, as Columbine, would have been difficult to improve 
upon. It ran till January i9th, not continuously, however. During its 
run Wilson, the tenor, gave a few performances, playing generally in the 
first piece, after which there would always be one, sometimes two farces 
or interludes ; the evening's entertainment concluding with the Panto- 
mime. For the sake of example it will be well to quote the heads of a 
few bills. January 5th, Heart of Mid-Lothian, operetta The Pic- 
turesque, and the Pantomime ; January icth, Planche's drama, The 
Regent, farce Is He Jealous? 102 (interlude), and the Pantomime! The 
Haunted Chamber, The Lancers, The Highland Reel, and the Pantomime 
constitute the following evening's amusements ; and on the 1 3th, in addi- 
tion to the Pantomime, Guy Mannering and A Day after the Wedding. 
These examples are sufficient to indicate our grandfathers' notions of an 
evening's pleasure, and it is worth while noting that the prices were 
Boxes, 43. ; pit, 2s. 6d. ; first gallery, 2s. ; second gallery, is. ; and the 
performance generally commenced at seven o'clock. 

Wilson took his benefit on January I7th, playing Steady in The 
Quaker, after which Everybody's Husband, then a concert, consisting of 
ten items, and Cramond Brig. One of the numbers in the concert pro- 
gramme was a song by Stretton the bass, his first appearance in Edin- 
burgh. Signor Emiliani, the violinist, appeared (for one night only) on 
the 2ist, and on the 27th was produced Peake's new drama, The Climbing 
Boy. It was played nineteen times, Lloyd as Jack Rag making a great hit. 
Miss Nicol played Miss Prudence Strawberry ; Miss Novello the part of 
Rosalie ; and Miss Jane Coveney, the Climbing Boy. A hashed-up 
edition of Auber's Gustavus of Sweden, with music added from Rossini and 
Herold, was given on February 7th ; Montague Stanley probably made 
an acting part of the title role. A pas de deux was danced by Frampton 



1834-5-] The Annals of the Edinburgh Stage. 363 

and Miss Fairbrother, and a very peculiar feature was the admission, on 
payment of five shillings, of any one who was in ball dress, uniform, or 
"character," by the stage door to the masquerade scene which concluded 
the opera. Great care had been bestowed on the production, the scenery 
(by Jones) being very effective. Some sixteen nights completed its run. 

Sinclair commenced a twelve nights engagement on the 23rd of 
February ; on March 3rd he played Francis Osbaldistone and Masaniello 
on the same evening. Visits from Charles Kean and Weekes completed 
the events of importance this season, which concluded on May ist 1835, 
with Murray's benefit. On that evening Miss Coveney was announced as 
making her "last appearance on the Edinburgh stage." In his farewell 
address, Murray acknowledged having had a splendid season, so good, in 
fact, as to enable him to withdraw an application for a reduction of 
rent he had made to the trustees of Henry Siddons. The application 
had pretty nearly developed into a dispute, which might have ended in a 
rupture, all which, however, was prevented by the liberal patronage of the 
public ; at least so Murray said. The programme for this evening is 
perhaps worth giving : " The Marriage of Figaro (three acts), after which 
a comic song by Lloyd ; Frampton and Miss Fairbrother danced the 
Tarantella ; the ' Bloom is on the Rye,' by Miss Jane Coveney ; and a 
favourite ballad by Stretton ; Murray next delivered his farewell ad- 
dress, after which He Lies Like Truth (interlude), then the ballad of 
the Mariners by Barker, song by Miss Mattley, and another dance by 
Frampton and Miss Fairbrother the whole to conclude with the farce of 
The Twa Ghaists. 

The Adelphi was opened on May 3Oth, with two pieces new to the 
Edinburgh stage, namely, The Mystic Shade, by James Serle, and Poole's 
Turning the Tables. In the former Watkins as Sir Marmaduke, Hield 
as Walton, Emery as Gripewell, Hughes as Phillip, and Miss Allison as 
Cicely, all made their first appearance here. The Emery mentioned above 
was in all probability the afterwards well-known Samuel Emery, son of 
the famous John Emery.* 

Turning the Tables was played by Emery as Knibbs, Hield as 
Jeremiah Bumps, Lloyd as Jack Humphries, Miss Nicol as Mrs 
Humphries, and Miss Newton as Patty Larkins. Planche's comedietta, 
My Friend the Governor, was produced on June I3th, and ran twelve 

* All the known facts point to this conclusion, although it is not certain. 



364 The Annals of the Edinburgh Stage. [1835-6. 

nights. Of more interest .was the first performance here on June i6th 
of The Two Murderers ; or, the Auberge des Adrets, better known as 
Robert Macaire. Lloyd as Jacques Strop was a great success, his per- 
formance being described by living witnesses as ludicrous beyond descrip- 
tion.* The cast was as follows : Robert Macaire = Montague Stanley ; 
Mr Gerald Dumont = Bayne ; Mr Germeuil = Murray ; Charles = Hudson ; 
Pierre = Emery ; Loupy (Sergeant) = Watkins ; Clementine = Miss Allison ; 
Marie = Mrs Hield. It ran nineteen nights. A piece was produced on 
the 1 8th, entitled Jack Rag Out of Place, by Selby. Its real name was 
The Unfinished Gentleman, but as Lloyd had made a great hit as Jack 
Rag in the Climbing Boy, Murray thought Jack Rag would prove a more 
attractive title, Lloyd taking the comic hero's part (originally called Bill 
Downey), and rechristening it as above. It was played sixteen times. 

Miss Shirreff, who was an excellent vocalist, made her first appear- 
ance in Edinburgh on July 4th, her engagement extending over thirty-six 
nights. Mr and Mrs Keeley opened a twelve nights engagement with 
the production of Buckstone's Isabella ; or, Woman's Life. 

On September 4th, the occasion of Butler's benefit, Mrs Butler 
is announced as making her " first and only appearance in Edin- 
burgh," the character she impersonated being that of Harriet in the Dead 
Shot. 

On the 1 8th September Murray had again the pleasant task ot 
thanking his patrons for a prosperous season. 

The company got together for the season 1835-6 was a very large 
one, and included many valuable additions to the old stock. Among the 
new comers a few may be singled out for particular mention. George 
Ellis, walking gentleman, from the Haymarket, London, became well 
known in after years as a stage manager, notably with Charles Kean at the 
Princess's during the famous revivals. George Fisher, from the Victoria, 
London, who played old men's parts, was a useful, although by no 
means brilliant actor. He lived to a good old age, and at the time of his 
death, was an inmate of the short-lived dramatic college at Woking. His 
wife was engaged as leading lady, and was at that time both a handsome 
woman and good actress ; but died very shortly after this season. Their 
son, George Fisher, who was a first-rate actor of Scotch parts, and a very 
fair general comedian, is better known to the present generation. Miss 

* In the modern opera of Erminie we have a mild reproduction of the two thieves. 



1 835-6-] The Annals of the Edinburgh Stage. 365 

Hartley had got married during the summer to a tailor of the name of 
Turnbull, and appeared in all the matrimonial glory of her new name. 
Her husband, it may be observed, combined with his business the more 
artistic occupation of chorister in one of the city churches. Bedford, 
the tenor who had been engaged, was a brother of the famous Paul 
Bedford. 

A considerable reduction in the prices of the seats was made this 
season. They were now as follows : Boxes, 35. ; Pit, 2s. ; Galleries, is., 
and 6d., no second price was taken, and the performances were announced 
to commence at eight o'clock. Although Murray reserved to himself the 
option of raising the prices again, should the expenses of his various en- 
gagements warrant the change, it is satisfactory to note that, except for the 
Italian opera evenings, the new scale of charges was not departed from. 
The season opened on November 7th with The Rent Day, and a farce 
The Review. Ellis appeared as Squire Grantley, Fisher as Old Crumbs, 
Montague Stanley as Martin Hey wood, and Mrs Fisher as Rachel 
Hey wood. On the Qth Rob Roy was played, Bedford appearing as 
Francis, Mrs Hield as Helen, and Miss Atkinson as Diana, being her 
first appearance here these four years, such being the playbill expres- 
sion, in which the years of last appearing and present appearance must 
be reckoned to make the statement correct ; Miss Atkinson's last ap- 
pearance had really been in the spring of 1832, which, however, in 
theatrical parlance, may be counted as four years previous to November 
T 835- On the i2th Robert Macaire was played under that name; and 
on the 1 4th, Roland, or Carte over Arm, a comedietta, written by an 
Edinburgh gentleman, was played for the first time on any stage. This 
piece was interspersed with songs, and was played fourteen times. 
The cast was as follows : Roland, a young Captain of Hussars, = M. 
Stanley ; Dr Jeremiah Bouleau, Master of a Boarding School, = Murray; 
Coniac, attached to business and Nanon, = Lloyd ; Nanon, niece to Dr 
Bouleau, = Miss Mattley ; Gabrielle, a young Girl, = Miss Newton. 
Sinclair, the tenor, and young Brooke performed a few nights each, after 
which, on the 23rd, Sheridan Knowles and Miss Elphinstone commenced 
a six nights engagement. Planche's comedy, TJie Court Beauties, was 
produced on the 3<Dth. New scenery, dresses, &c., were necessary, and 
were furnished on an excellent scale of completeness; but it is no disparage- 
ment to Murray to suppose that they cannot have been so elaborate 
as those used in London by Madame Vestris. That lady had obtained 



366 The Annals of the Edinburgh Stage. [1835-6. 

special permission to copy portraits, furniture, &c., at Hampton Court, 
and she spared no expense in the work. Besides which some fine old 
madrigals by Wilbye, Cavendish, &c., were sung under the London 
management, but were not attempted here. Montague Stanley played 
the Duke of Buckingham ; Hield, Charles the Second ; Murray, Sir 
George Hewitt, a dandy of 1675 ; and Mrs Fisher, Nell Gwynn. Court 
Beauties^ consisting of but two acts, and two other pieces of similar length, 
were played on the same evening, besides Monsieur Sylvian dancing a 
"pasde deux" and a "pas seul" between the pieces. Court Beauties 
ran eight nights. 

James Russell gave his vocal entertainment on December 2nd ; and 
on the 7th Signor De Begnis commenced a series of Italian opera per- 
formances on four nights of each week. 

The drama, The Spirit of the Rhine, produced December i5th, 
may be remembered as the piece in which Miss Novello introduced 
the ballad of " My Beautiful Rhine," in the part of Irma, a char- 
acter in which Mrs Honey in London obtained great celebrity for her 
rendering of the same song. On the same evening the farce, then 
called " an interlude," of Hunting a Turtle was performed. It was a poor 
piece of work, and, although splendidly acted by Murray, Stanley, Lloyd, 
and Mrs Fisher, did not take during its first season ; but it afterwards 
became a favourite. 

On December 28th, the " Christmas " pantomime of Gretna Green 
was produced. Scenery by James and William Mason. Murray, Power, 
and Stewart, were in the opening, and Miss Fairbrother was Columbine ; 
Sutton, Harlequin ; Bartlett, Pantaloon ; and Southey, Clown. The last 
mentioned, who was Pyrotechnist to Vauxhall Gardens, London, gave a 
display of fireworks on the Mound upon the night of his benefit (January 
2ist). The pantomime ran twenty nights. 

A decided novelty was given on January 28th 1836, when Rob Rcy 
was played, with Wilson, the eminent tenor, in the title role. Bedford, of 
course, played Francis ; Mrs Hield, Helen ; and Miss Novello, Diana. 
Mackay was the Bailie ; Murray, the Major ; and Lloyd, Owen. T. 
P. Cooke commenced an engagement on February ist, and on the 
4th played his original part of Robert Macaire, for the first time in 
Edinburgh. On the 23rd, the Grand Lodge of Freemasons, headed 
by the Grand Master, patronised the performance at the Theatre. 
March 3rd, " for the first time in this city, the popular new drama," 



1835-6.] The Annals of the Edinburgh Stage. 367 

called King O'Neill, originally produced at Covent Garden. Tyrone 
Power, who was starring here at the time, played Captain O'Neill, his 
original part. Charles Kean opened on March 7th, playing Hamlet ; 
Ophelia, by Miss Novello. He took his benefit on the 2ist, being the last 
night of his engagement ; on which occasion, the crowd being great, 
tickets were issued for the orchestra at box prices. This probably gave 
the suggestion for an innovation in the classification of the seats, inaugu- 
rated during the succeeding summer season at the Adelphi. Owing to the 
success of Kean's performances he was re-engaged for six nights more, com- 
mencing March 24th, with King John. Mrs Honey played Irma in The 
Spirit of the Rhine, on April i ith, being her first appearance here, and at 
the conclusion of her twelve nights engagement, Wilkinson, the leader of 
the orchestra, took his benefit, at which H. E. Dibdin played a harp solo. 
From the 3Oth the Theatre closed until May the nth, on the evening of 
which day it reopened with Guy Mannering. Henry Bertram by Binge, 
from the Theatres Royal, Bath and Manchester, it being his first appear- 
ance here ; and Lucy Bertram by Miss Glossop, from Braham's Theatre, 
London, her first appearance here. A more interesting " first appear- 
ance," however, took place on the i8th, when, for Roberts' benefit, 
Doiiglas was played, the part of Young Norval being taken by " a young 
gentleman of Edinburgh, pupil of Mr Roberts, and his first appearance on 
any stage." This was William Gourlay, afterwards a well known actor 
and manager in Edinburgh, and, perhaps, the only genuine Bailie Nicol 
Jarvie the present generation has seen. He last appeared as the 
Bailie at the splendid production of Rob Roy by M'Neill at the Princess's 
Theatre (March 2oth to April ist 1882), very soon after which he 
died. 

Lloyd took his benefit on May 23rd, playing (for the first time) Gold- 
finch in Road to Ruin, and Othello in the travestie of that name. Murray 
played I ago ; Hield, Cassio ; Brabantio, for this night only (afterwards by 
Stewart), Mackay ; Desdemona, Miss Newton. On the 27th, at Murray's 
benefit, this piece was again played, the list of characters, with the remarks 
upon each, being changed. Othello was now Otello, Big Drum in the 

Regiment of Infantry ; Murray appeared as Highago, and so on. 

The scenes were all localised, and in this particular the dialogue would 
no doubt follow suit. On June ist, The Jewess, translated by Watkins 
Burroughs, was brought out with great splendour, Burroughs and his wife 
sustaining the principal parts. 



368 The Annals of the Edinburgh Stage. 

In his address at the conclusion of the season (June 2ist) Murray 
said : 

"The final dropping of the curtain this evening will balance accounts with us for 
the winter season, and in laying the annual statement before you, I gladly acknowledge 
Murray & Company debtors to Messrs Box, Pit, & Galleries for a very successful campaign. 
When I commenced my labours, I adventured upon the somewhat hazardous experiment of 
reducing the prices of admittance, at the same time pledging myself that the said reduction 
should not deteriorate the style of our amusements ; and if you will oblige me by casting a 
retrospective glance upon the season, and recollect that, during its progress, Sheridan 
Knowles, the first dramatist of the day, and one well worthy of a brighter era in our dramatic 
literature, has been before you, accompanied by his fair and talented pupil, Miss Elphinstone. 
When you consider, &c., &c., ... I hope you will allow that I have redeemed my pledge. 
I have resolved to adhere to the existing arrangement during the summer, convinced, that if 
at any time I find that the reduction militates against my forming such a resident company, 
or the engagement of such occasional visitors as you are entitled to expect, you will allow me 
to amend my libel, and add and eik by resuming the first and second prices as formerly. 
. . . I know the general demand for novelty ; but in the recruiting department, my 
difficulties increase as the London theatres multiply. When I started in management * 
there were about six open nightly ; there are now, I believe, seven and twenty ; add to which 
the American manager drains us terribly. No sooner do we poor manufacturers work the 
raw material into something like Richard, Shylock, or Othello, than off it goes for the foreign 
market and on we go, like the witches in Macbeth 

" ' Double, double, toil and trouble,' " etc. 

The Adelphi was opened on June 25th, extensive alterations having 
been made. New staircases and lobbies had been built, new seats put in, 
and twenty-one orchestra stalls had been added. The price of these was 
fixed at 45. ; while the boxes or dress circle was 35. ; the pit, 2s. ; gallery, 
6d. Murray spoke a rhyming address which finished as follows : 

" This night re-rigged and manned, we hoist the sail, 
Giving our mimic canvas to the gale ; 
Smile on our humble efforts, nor refuse 
Your kind assistance to our summer cruise. 

Is all prepared ? (voice within) ' Aye, aye, Sir, tight and yare ; ' 
Then, carpenter, let go the painter there. 
Now, friends, three cheers to waft us from the shore, 
Lads in the main-topgallants (to the galleries) ' One cheer more.' " 

On July 4th Miss Adami, from Dublin, made her first appearance 
here, playing Eudiga in Charles the Twelfth, and five nights afterwards 
she is described in the bills " Mrs Aylmer, late Miss Adami." On 

* He must here refer to 1815, not to 1830. 



1836.] The Annals of the Edinburgh Stage. 369 

July i ith Morris Barnett, from Braham's Theatre, made his first appear- 
ance here. Barnett was a very excellent impersonator of Frenchmen, 
and was the author, among other pieces, of The Serious Family, an adapta- 
tion from the same French original that long afterwards supplied Burnand 
with the motif of the Colonel. His first appearance here was as Monsieur 
Jacques in the farce of that name written by himself. It was so much liked 
that it was played some eighteen times. Several other new plays were 
produced during the summer, among the more important of which may be 
mentioned : Golden Farmer, July 2Oth, a melo-drama, played nine times ; 
July 29th, Battle of Austerlitz, described as a " military anecdote," in 
which Murray acted the Emperor Napoleon, fifteen nights ; August 8th, 
A Day Well Spent, a farce which in after years, when Wyndham became 
manager, was sometimes rechristened after two of the comedians in the 
company. For instance, in the very last bill printed for the Adelphi Theatre 
(May 23rd, 1853), it appeared as Wyndham and Mungall out for a Lark. 
August 1 3th, Delusion, founded on the " Diary of a Late Physician," twelve 
times; August 22nd, an original drama written for this Theatre by an 
Edinburgh lady, called St Dru, the Accused ; September 8th, Harlequin 
Hoax, originally written by Tom Dibdin the scheme of this piece was 
a supposed pantomime rehearsal. On this occasion Ellsgood played 
Clown ; Stewart, Pantaloon ; Sutton, Harlequin ; and Miss Rekey, Colum- 
bine. September 12th, -House Room, twelve nights; September 2Oth, 
The Highland Widow, played for the first time, being taken from Scott's 
" Chronicles of the Canongate." This last piece ran nine nights, but 
was seldom revived. The cast was as follows : Captain Grant = Crisp ; 
Mr Mackenzie = Roberts ; Allan Breack Cameron = Hutchings ; Corporal 
Colin = Aitkin; Michael Tyrie = Stewart; Dick Luckless = Murray; Hamish 
MacTavish = Montague Stanley; Elspat MacTavish, the Highland Widow 
= Mrs Fisher; Ella = Miss Newton. Upon the last night of the season 
(October i4th) Murray played the character of Sir John Falstaff in 
Henry IV., and in the course of his farewell address cordially thanked 
his patrons for the very prosperous season just concluded. He also 
alluded to the number of new plays produced, namely, thirty-six in a 
season of ninety-six nights a very good number, surely, and one which 
indicates the amount of work actors had to get through in those days. 

On November i2th 1836, the Royal opened with Love in a Village 
and High Life below Stairs. The house had been repainted, a new pro- 
scenium erected, and a very strong company engaged. On the opening 

2 A 



370 The Annals of the Edinburgh Stage. '[1836-7. 

night Manvers, a tenor from Covent Garden, made his first appearance 
as Young Meadows to the Lucinda of Mrs Parsons Crowe, soprano, from 
Braham's Theatre; while Rosetta was played by Miss P. Horton, a 
charming contralto and comedy actress from the Haymarket and English 
Opera House. She afterwards married Reed, musical director at the 
Haymarket, and it need scarcely be added that they founded that most 
delightful entertainment known as German Reed's. In the farce 
(High Life] Robert Roxby, from Manchester and Scarborough, made his 
first appearance, playing My Lord Duke. This light comedian only 
remained a few weeks in Edinburgh ; he afterwards became an actor of 
some note in London, particularly at the Lyceum under Vestris, and was 
a brother of Beverley, the famous scene painter. 

On the following evening (Monday i4th) Mrs Manvers, a very good 
heavy actress, from . the Queen's, London, appeared as Meg Merrilees ; 
and Miss Palmer (wrongly described in the bills as Mrs), a dancer from 
Glasgow, as Flora. Another new comer this season was Smythson, son 
of Ben Smythson, the well-known proprietor of an amateur theatre in 
London, and brother of Marcus Smythson, for many years chorus master 
under Costa, at Covent Garden and Exeter Hall. Mrs Fisher divided the 
lead with Miss Vining, from the Theatre Royal, Brighton ; while Gourlay 
played utility this season. 

Of new plays the first of importance was Sergeant Talfourd's 
tragedy /on, on December ist. On December 28th a pantomime, 
The Silver Fountain, was produced. Pantaloon = R. Power ; Clown 
Ellsgood ; Harlequin = Bologna ; Columbine = Mrs Morris. It ran some 
seventeen nights. January 2ist 1837, Barnett's fine opera, The Mountain 
Sylph, was produced. The scenery was painted by Jones (afterwards of 
Drury Lane) and Gordon ; ballets arranged by Ellsgood. Manvers took 
the part of Donald ; Lloyd, that of Christie ; and Miss P. Horton, ^Eolia, 
the Mountain Sylph. It was very successful, and ran fourteen nights. 

On February 4th The Tempest was revived, in which Miss P. Horton 
made a great hit as Ariel. Prospero = Montague Stanley ; Ferdinand = 
Graham ; Stephano = Mackay ; Trinculo = Lloyd ; Caliban = Murray ; and 
Miranda = Miss Vining. 

On the occasion of Stretton's benefit (February 27th) Miss Clara 
Novello, the celebrated vocalist, took part in a concert between the plays; 
and the season came to a successful termination on April 28th, with 
Murray's benefit, when The Iron Chest was played, with Charles Kean as 



1837.] The Annals of the Edinburgh Stage. 371 

Sir Edward Mortimer, Montague Stanley as Wilford, and Miss Vining as 
Barbara. 

The Adelphi was opened for one night (April ist) by Ole Bull, the 
violinist, who gave a farewell concert there. The summer season com- 
menced on June loth with the singing of the National Anthem, the solo 
parts by Barker, the Misses Hyland, Miss Jane Coveney, Miss Newton, 
and Mr Crowe. Miss A. Hyland sang " My Beautiful Rhine" between 
the plays, and Miss Hyland made her first appearance here as Wilhelmina 
in T/ie Waterman. The performance closed with a new comic ballet 
d'action called Lissette, produced under the superintendence of Monsieur 
Le Clerc. This gentleman had been ballet master and pantomimist 
in Covent Garden ; his real name is said to have been Clark. He 
was a clever man, and had a large family on the stage, of whom 
Rose, Carlotta, and Charles * are still before the public. Miss Eliza 
Crisp had returned from Bath and shared the leading parts with Miss 
Vining. 

The only stars this season were G. Bennett, tragedian, from Covent 
Garden (July 3ist) ; Stretton (August 3Oth) ; and Wilson, his first appear- 
ance at this theatre (September 4th). Wilson played Donald in The Moun- 
tain Sylph ; Rudolph, in Der Freischutz ; Tom Tug, in The Waterman ; 
and Dandie Dinmont, in Guy Mannering (September 2ist). Mackay 
and Montague Stanley were likewise engaged as stars. 

On Friday, June 23rd, the Theatre was closed on account of the 
death of William IV., but was reopened on the following night, when 
" God save the Queen " was sung, and Murray delivered a monody in 
memory of his late Majesty. 

July ist, for the first time on any stage, a new drama called The Duke ; 
or, The Night before the Battle, translated from the French, expressly for 
this Theatre, by a gentleman of Edinburgh. It was spoken of very highly 
in a short-lived serial called the Dramatic Spectator, which was written by 
the late W. Logan, under the nom de plume of Poz, Quiz, and Co. 
Speaking of Charles Kean this publication said : 

" His chief admirers are people who seldom enter a playhouse, and those, seeing the 
plays for the first time in their lives, pay more attention to the poet than to the actor, yet, in 
retrospect, imagine that the actor is the party who has pleased them. We never have met 
with one who has been ' moved to tears ' by this man's acting, nor do we marvel at it when 

* Now in Daly's Company, New York. 



372 The Annals of the Edinburgh Stage. [1837-38. 

we consider that with nature he has no connection whatever. He is a thing of study mis- 
directed study. Apart from physical disqualification for the character, his Hamlet is a 
boisterous piece of mere acting, his Richard III. is generally acknowledged to be a failure, 
and his Othello is a fine piece of low comedy." 

On October i8th, Lloyd, for his own benefit, acted the part and sang 
the song of Jim Crow in the Adelphi drama of that name. * The season 
concluded on October 27th with Murray's benefit, when he played Falstaff 
in Merry Wives of Windsor. 

The season 1837-8 opened at the Royal on November nth with 
Merry Wives of Windsor, the cast being almost the same as at Murray's 
benefit the preceding month. Falstaff= Murray ; Justice Shallow = 
Johnson; Master Slender = Lloyd ; Mr Ford = Montague Stanley; Mr 
Page = Graham ; Sir Hugh Evans = Mackay ; Fenton = Tremaine ; 
Simple = R. Power ; Pistol = Moulton (from the Theatre Royal, New- 
castle) ; Bardolph = Stewart ; Nym = Peddie ; John Rugby = Saunders ; 
Mrs Ford = Miss Eliza Crisp ; Mrs Page = Mrs W. H. Crisp; Anne 
Page = Miss Vining ; Mrs Quickly = Miss Nicol. The famous Ducrow 
gave a performance on November I4th, and on the i6th Miss Davenport 
made her first appearance here in The Manager s Daughter, a piece 
which had been written for her by Lancaster. November 27th, She 
Stoops to Conquer, with Lloyd as Diggory, Murray as Tony, and Mackay 
as Hardcastle, with, for the first time here, a melo-dramatic extravaganza, 
comprising scraps from "Pickwick;" the immortal Pickwick himself being 
in the hands of Mackay ; J ingle = Montague Stanley ; Sam Weller= Lloyd ; 
Mrs Bardell = Mrs Turnbull. This, the first of the Dickens adaptations 
that was played in Edinburgh, ran for eighteen nights. 

On February Qth a performance was given, under the patronage of 
the Grand Lodge of Scotland, for the benefit of the " Freemasons' School 
for Female Children." Evidently " the Craft " had good intentions in 
those days, which, however, do not seem to have had much result. Sinclair 
was underlined for a short engagement, but from some cause he did not 
appear; and on March 22nd, Musgrave, the leader of the orchestra, took 
his benefit, on which occasion the Toy Symphony, by Haydn, was 
announced to be performed for the first time in Edinburgh ! Four nights 
afterwards (26th) Montague Stanley took his farewell benefit, playing 
Richard III. (for the last time), Robert Macaire, and Splasher in The 

* Rice, the original Jim Crow, had been underlined to appear this season, but did not do so. 



1838.] The Annals of the Edinburgh Stage. 373 

Man and the Tiger. An engagement with Charles Kean opened on 
April 9th, and concluded with the season on the 28th of the same month, 
when Montague Stanley made his last appearance on any stage, playing 
Laertes, to K can's Hamlet. Believing that the life of an actor was 
not consistent with a religious life, he sacrificed his profession to 
his conscience. After leaving the stage he gave lessons in drawing, 
elocution, fencing (at which he was very expert), and in playing the flute, 
besides following his favourite pursuit of painting, to which he latterly 
devoted himself entirely. He died of consumption in the Isle of Bute, 
May 4th 1844. He seems to have been of a very gentle and loveable 
nature, liked by all who knew him, and though, for obvious reasons, 
he mixed very little latterly with his fellow-actors, they all respected him 
as a good, conscientious man.* 

Stanley seems to have been a sound, judicious actor, who never 
offended, and as might be expected from a man of reading and cultivation, 
his renderings were sensible and scholarly. At the same time he had his 
failings, among which could be reckoned coldness and stiffness in action. He 
was also inclined occasionally to substitute noise for real passion. There is no 
doubt, too, that with his growing disapproval of the stage his acting did 
not improve, for it is scarcely to be supposed that he could throw himself 
con amore into what he did at best from necessity and not from liking. 
One of his best parts was Robert Macaire, in which the mixture of broad 
farce and melo-drama seemed to suit him exactly. 

Very little of importance has to be recorded of the summer 
season of 1838 at the Adelphi. Murray, looking in from a side door, 
apologised for interrupting the band in the performance of an overture, 
and then commenced his introductory speech, which it is unnecessary to 
quote. On May 28th a piece called Rory O' More, by Sam Lover, was 
played for the first time here. June i ith, Buckstone's Rural Felicity was 
produced; and on July 9th, Vining, from Covent Garden, made his first 
appearance in Edinburgh,t playing Gossamer in Laugh when You Can. 

A month later (August 9th) Lytton BulwersLady of Lyons was first 
performed in Edinburgh. Curiously it was only played four times during 
its first season. The cast was as follows : Beauseant = Griffiths ; Glavis 

* Messrs Lloyd and James Anderson have recently borne testimony to his high character and kindness 
of heart. 

t So say the playbills ; but in all probability the Vining who was a member of the Company from 1806 
to 1810 was one and the same person. 



374 The Annals of the Edinburgh Stage. [1838-39. 

= G. Ellis; Colonel Damas = Murray ; M. Deschappelles = Redford ; 
Claude Melnotte = Balls ; Major Desmoulins = M'Mahon ; Captain Ger- 
vais = R. Power ; Captain Dupont = Beckett ; Caspar = Power ; Madame 
Deschappelles = Miss Nicol ; Pauline = Miss Julia Cruise ; Marian = Miss 
Ebsworth ; Widow Melnotte = Mrs Griffiths ; Janet = Mrs Redford. The 
season closed on September 8th, but reopened on September I2th, con- 
tinuing till October iQth, and then finally closing with Murray's benefit. 

The Royal opened for the winter season 1838-9 on November loth, 
when, in addition to the stock company, Mr and Mrs Martyn (singers, 
bass and soprano) and Miss Inverarity (Mrs Martyn's sister, and also a 
good singer) were engaged. On the i4th, besides these extra hands, 
Templeton was engaged, and made his first appearance in Edinburgh, 
playing his original part of Elvino in La Sonnambula to the Lisa 
of Miss Inverarity. Ranger, from the Haymarket a comedian of 
the Farren school appeared on the igth ; on the 2ist, Templeton 
played Francis in Rob Roy ; and on December 3rd Charles Kean 
appeared. December i ith, Sardanapalus was acted here for the first time, 
Kean playing the title role, and Pritchard taking the part of Salamenes. 

A pantomime entitled Number Nip* was produced on December 
2 /th ; the scenery chiefly by Beverley, "from the Theatre Royal, 
Liverpool." Taylor was Clown ; Beckett, Pantaloon ; De Hayes, Harle- 
quin ; and Miss Fairbrother, Columbine. One of the pieces of scenery 
painted by Beverley was a grand moving diorama illustrative of scenes 
from Falconer's " Shipwreck." The pantomime ran twenty-two nights. 

On January 7th the " return to the Edinburgh stage " was announced 
of Mrs Bushe, late Miss Noel. The following information regarding Mrs 
Bushe is taken from a letter addressed by her to Henry Phillips, and 
dated from 2 Heriot Row, Edinburgh, May 3rd 1844. After stating 
that she had been the original Agnes in Der Freischiitz, at the English 
Opera House, and had been engaged by Murray to play the same part 
in Edinburgh, she continues that she was married in April 1829 to Dr 
George M. Bushe, son of Major Bushe, of the 2ist Dragoons, and nephew 
of the late Lord Chief Justice of Ireland. Bushe was Professor of 
Anatomy and Physiology in Rutger's University, New York, where he 
resided till his death in 1837. Mrs Bushe then returned to England ; but 
through failures in America and property going down in value, she lost 

* Probably from Mark Lemon's " Legends of Number Nip." 



1839-40-] The Annals of the Edinburgh Stage. 375 

all her money, and had to return to Edinburgh in 1838 to teach 
music. 

On January 2ist Edward Stirling's adaptation of Nicholas Nickleby 
was produced. In this Murray made a great feature of the part of 
Newman Noggs, and Euston was hardly inferior as Mantilini. Miss 
Julia Cruise was the Smike ; Miss Nicol, Madame Mantilini; Mrs 
Griffiths, Mrs Squeers; Skerrett, Squeers; Lloyd, John Brodie ; and Crisp, 
Nicholas. It was played twenty-seven times, and kept the stage for years. 

On January 25th Sinclair commenced a "farewell" visit; and on 
February 4th George Horncastle (bass), Mrs East, and Mr and Mrs 
Wood commenced an engagement. Mrs Wood's maiden name was 
Paton ; she was first married to Lord W. Lennox, whom she divorced ; 
and she was now the wife of Wood, the tenor. 

The 25th of February saw the first appearance here of J. B. Buck- 
stone, an actor who for nearly forty years continued a sterling favourite 
with the Edinburgh public ; his first appearance here was as Mr Dove in 
Married Life. 

April 23rd, being the anniversary of Shakspere's " birthday," the 
performance was under the patronage of the Shakspere Club of Scot- 
land ; and on May ist Musgrave, leader of the Theatre orchestra, 
took his benefit, on which occasion Handel's Acis and Galatea was given 
in Edinburgh for the first time entire. An orchestra was erected on the 
stage, the Edinburgh Choral Society and many of the leading instru- 
mentalists taking part. 

The season closed on May 3rd, but the Royal opened for a short 
after season from the I4th to 25th. The season, until nearly its close, 
had been far from successful, as Murray intimated in his farewell address ; 
one of the best, by the way, of the many brilliant addresses he delivered. 

The Adelphi season (1839) lasted from June ist to October i8th, 
during which time little of any importance was done. On the last night 
of the season (Murray's benefit) Lloyd appeared as the Newhaven Fishwife. 

The winter season 1839-40 opened on November 9th. The company 
does not seem to have been so strong as usual. One addition, however, 
was of importance, namely, John Ryder, who came from Newcastle, and 
joined the Edinburgh company on January 29th (1840), playing Claudius 
in Hamlet. Ryder for many years enjoyed a wide reputation, and died 
so recently as March 2;th 1885. On the same evening (January 29th, 
1840) the part of Hamlet was played by another new comer, Cathcart, 



376 The Annals of the Edinburgh Stage. [1839-40. 

who must not be confused with the Cathcart of Princess's, London, 
fame.* 

On December 2ist Lloyd made a hit in The Statue Gallery, in which 
he represented some burlesque classical statues in imitation of Ducrow, 
who had just concluded a short engagement. The pantomime, The 
Bird of Paradise, was produced on December 3Oth with a strong com- 
pany ; Miss Hall (from Drury Lanej. Columbine ; Tom Mathews (Covent 
Garden), Clown ; Gough (The Surrey), Pantaloon ; and Sidini, Harlequin. 
Mathews was of the old Grimaldi type of clown, and seems to have been 
genuinely funny. The pantomime ran twenty-six nights. 

On January 25th Musgrave, the leader, had to retire on account of 
" ill health " so said the bills and James Dewar was recalled to the 
post. Perhaps no better man could have been got, for his acquaintance 
with Scottish music in particular was very extensive, and the discipline he 
maintained in the orchestra was thorough. His son, Fred Dewar, was a 
well-known actor. 

February i7th, a version of Ainsworth's Jack Sheppard, "specially 
arranged for this Theatre," probably by Murray himself, who delivered a 
prologue. Jack = Crisp ; Blueskin (with the songs) = Lloyd ; Sir Rowland 
= Ryder ; Hogarth, the painter = Murray ; Sir James Thornhill = Mackay. 
It was very successful, and ran to the thirty-sixth night. 

March 7th, Planche's pretty comedietta, Faint Heart never won Fair 
Lady, was brought out, with Euston as Ruy Gomery ; Ryder, as the 
Marquis ; and Miss Cruise, the Duchess. It only ran for eleven nights. 

On March 23rd, Oliver Twist, specially adapted for this Theatre 
in all probability by Murray. Mr Bumble = Murray ; Leeford = Ryder ; 
Sowerby = Peddie ; Oliver Twist = Miss Saunders ; t Bill Sykes = Crisp ; 
Fagin = Skerrett ; Charley Bates = Power (who, it may be noted, was an 
exceedingly large man); Brownlow = Redford ; Nancy = Miss Cruise; 
Mrs Coney = Miss Nicol ; and the Artful Dodger Lloyd apart that 
Toole may be said to have made peculiarly his own when he took it up in 
1854. 

The season finished on April i8th, and a short after season com- 
menced ten days afterwards, and lasted till May 29th. 

* Kean's Cathcart was born 1832. 

t Afterwards known as Miss Charlotte Saunders, an actress who made a lasting impression on the 
memories of those who saw her act at the " Strand," with which theatre her name is chiefly associated. She 
is still living (1888). 



1840.] Tke Annals of the Edinburgh Stage. 377 

The Adelphi opened for the summer season on June 27th 1840 with a 
very strong company. The opening pieces were Charles XII., in which 
Miss Eliza Phillips, from Covent Garden, appeared as Ulrica, and the 
comic drama Court Favour. 

July ist, Robert Macaire, the part of Pierre, head waiter, by Sam. 
Co well, from the Theatre St Charles, New Orleans his first appearance 
in Europe. According to a sketch of his life published in 1853, ms 
mother was one of Murray's sisters, " Sam " Cowell being the Edinburgh 
manager's nephew ; his sister married Bateman, the American actor 
and manager. Cowell was an exceedingly clever comedian, and his 
musical abilities were considerable. He sang negro songs as he had 
heard negroes sing them out west. His "Jim along Josey," "Yaller 
Busha Belle," and "Clara Cline" were inimitable performances. On 
leaving Edinburgh, a few years after this, he at once stepped into good 
positions in London and the provinces, latterly devoting himself ex- 
clusively to comic singing. He married Miss Ebsworth of the Edin- 
burgh company, and his daughters, Sydney and Florence, became in 
time great favourites in Edinburgh. He died March nth 1864, aged 
only 43. 

On July 3rd the capital farce of His Last Legs was played for the 
first time in Edinburgh, and the part that both Wyndham and his suc- 
cessor in management, J. B. Howard, so completely made their own 
Felix O'Callaghan was filled by Sloan from Drury Lane, his first appear- 
ance here. The other parts were : Charles = Horton ; Rivers = Granger ; 
Mrs Montague = Miss Nicol ; Mrs Banks = Mrs Turnbull ; Julia = Miss 
E. Phillips. 

On the 6th a historical drama entitled The Massacre of Glencoe, 
from the Hay market, was brought out without much success ; and on the 
2/th Wilson made his first appearance since his trip to America. 

On September nth Mark Leman Rede's operatic drama, The Gaber- 
lunzie Man, from the English Opera House, was brought out, with Wilson 
in his original part of the Gaberlunzie man. 

A leading tragedian of the name of Charles Dibdin Pitt made his 
first bow to an Edinburgh audience on September 23rd. He had come 
from the Theatre Royal, Glasgow, and appears to have been an actor of 
ability. 

The season closed on October i6th with Murray's benefit. 




CHAPTER XXI. 

MURRAY'S REIGN. 

SECOND DECADE. 

HE company that Murray got together for the winter season 
1840-1 included C. D. Pitt as lead, his wife (late Miss Coveney), 
and Melrose, the Scotch comedian. Leigh, who had joined 
at the Adelphi the preceding summer, became in after years 
very well known as perhaps the best juvenile man of his time. His proper 
stage name was Leigh Murray, and on leaving Edinburgh in 1845 he 
almost at once took a leading position in London as & jeune premiere and 
gentlemanly actor. He was the first Sir Charles Pomander (Masks and 
Faces), and Gustave de Grignon (Ladies Battle). When at his best he 
seems to have lost the confidence of the managers (he seems not to have 
been relied upon to keep engagements), and was laid aside long before 
his death, which took place on January I7th 1870. 

Prior to the commencement of the winter season the " Royal " 
opened for a few nights (October 27th to November i3th) with some 
exhibitions of lions and tigers. On the i4th November the dramatic 
season commenced. 

December 7th was produced a burlesque, Baron Munchausen ; Mun- 
chausen^ Harvey ; The Manager Lloyd ; The Tiger = Carlos. It ran 
fourteen nights. 

December i2th, " the public is respectfully informed that the theatrical 
train will start about a quarter past nine, arriving at the terminus ten 
minutes before ten. First-class carriages, 2s. 6d. ; second, is. 6d. ; 
third, is. ; fourth, 6d." The piece was called the Railway Train, an 
interlude, and on the playbills a curious reminiscence of the past is a 



1840-1.] The Annals of the Edinburgh Stage. 379 

rough cut representing a train which, though supposed to be in motion, 
has a guard seated on top of each carriage such having actually been 
the custom when railways were first introduced. The Railway Train 
ran eighteen nights. 

On December 26th the pantomime, Harlequin, King of the Cannibal 
Islands, was produced. Cowell sang (as Grand Cook) a very popular 
parody on the " King of the Cannibal Islands." Tom Mathews was 
again Clown ; Carles, Pantaloon ; Harvey, Harlequin ; and Miss Reekie, 
Columbine. It ran twenty-six nights. 

On January 26th a piece called Griselda, translated by Sir R. An- 
struther (from the German), and never acted before, was produced. Sir 
Percival of Wales = Pitt ; Blind Cedric = Pritchard ; Sir Gavin = Leigh ; 
Ronald = Redford ; King Arthur = Power ; Guenevra = Mrs Brookes ; 
Gertrude = Miss Nicol ; Oriana = Miss Phillips; Griselda=Mrs Yarnold. 
This piece ran thirteen nights. 

The season finished on March I3th, but the doors were again opened 
on the 1 5th, to close finally on April 2ist. During this after season a 
benefit performance was given for the Scott monument fund, when the 
officers of the garrison played the entire programme of three pieces one 
of them, entitled Love a la Militaire, being by Major Hort. 

On making his farewell speech on April 2ist Murray had one very 
important fact to communicate. The announcement will be best given in 
his own words : 

" As I am particularly anxious, Ladies and Gentlemen, for reasons which I am sure you 
will appreciate, that the amusements of this evening should terminate at as early an hour as 
possible, I would not trespass longer on your patience, did I not feel that I should be neglect- 
ful to you and to myself did I suffer the retirement of Mr Mackay from this theatre to pass 
unnoticed and unregretted. After twenty-two years of honourable service, he this evening 
ceases to be a member of the regular company. It would be impertinent in me to expatiate 
on Mr Mackay's professional merit. Your approbation and the approbation of Edinburgh is 
no light meed. Your approbation has placed him foremost in the foremost ranks of his pro- 
fession, and he had the honour to embody the conceptions of a Scott, while that master- 
mind remained to acknowledge and applaud the actor's talent. If I might be permitted a 
little doggrel, I would add to the lines which I said of Macklin's Shylock 

' He was the Jew 
That Shakspere drew ; 
So, in Mackay, we likewise find 
The Bailie of Sir Walter's mind.' 

" The success of the far-famed opera of Rob Roy enabled Mrs Henry Siddons to 
establish th e Edinburgh Theatrical Fund a fund which now alleviates the age and infirmities 



380 The Annals of the Edinburgh Stage. [1841. 

of several who once figured on these boards, and I hope we will never forget that to my 
esteemed friend Mackay's admirable personation of the Bailie, that success was mainly 
attributable. May every happiness and good fortune attend him wherever he goes. I shall 
not further intrude than to contradict the report that I am going to pass the summer at the 
North Pole. It is a mistake ; I am not going there I am going to the Adelphi, where, on 
Saturday, 22nd of May next, we hope to be honoured with the renewal of your favour and 
support. To the Most Worshipful Master and Officers of the Grand Lodge, and to the 
other brethren who have this evening honoured me with their patronage, I beg leave to 
return my best acknowledgments ; and, offering the same to all our patrons, present or not 
present, I very respectfully make my bow." 

The Adelphi opened on May 29th 1841, not the 22nd, as Murray 
had announced. Several important additions had been made to the 
company. Corri and his brother H. Corri were nephews of the unfor- 
tunate Natali Corri, who gave his name to " Corn's Rooms" (the same 
building as the Adelphi). Patrick (the elder brother) and Henry were 
both excellent basses, the latter being in addition a good dancer ; while in 
the Edinburgh company he played harlequin on one or two occasions. 
Henry, however, is best remembered by his long connection with the 
Pyne and Harrison opera company, while latterly he had a travelling 
opera company of his own. Patrick was not so fortunate in his career, 
and before his death (June ist 1876) had become chairman in a London 
music hall. Dussek Corri, Haydn Corri, W. Corri, and Miss Kathleen 
Corri, all belong to the same family. 

Eburne, a light comedian, was from Glasgow. His connection with 
the Edinburgh Theatres Royal, Victoria, and Queen's extended over 
many years. In addition to being a fairly good actor, he had some 
musical knowledge, and a light tenor voice, which he used to advantage. 
Latterly he became a member of Webster's Adelphi company, London. 
He married Miss Macfarlane of the Edinburgh Theatre. 

Edmund Glover, who was engaged as " lead " in place of C. D. Pitt, 
was a son of the famous Mrs Glover. He was a man of exceptional 
talents : a sound capable actor, a capital dancer and pantomimist, an 
able fencer and swordsman, and a first-rate artist. In addition to these 
accomplishments, he proved himself a successful theatrical manager in 
Glasgow, where he went after leaving Edinburgh. He died October 
23rd 1860, and left several children, one of whom William inherits 
his father's talent as a painter in a marked degree ; another son, Sam, 
who showed ability as a Scotch comedian, died abroad ; and a daughter 
married Powrie the tragedian. Miss E. Lee, another new member of the 



1841-2.] The Annals of the Edinburgh Stage. 381 

company, shortly afterwards married Leigh, and became in time celebrated 
as Mrs Leigh Murray.* 

The most interesting production of the season was The Whistler of 
the Glen ; or, the Fate of the Lily of St Leonard's, " for the first time in 
this city, a new drama in two acts, founded on the hitherto undramatised 
part of Sir Walter Scott's 'Heart of Midlothian." This was probably 
C. D. Pitt's version, originally produced at the London Victoria in 1833, 
and was the last of the Waverley dramas that was produced during 
Murray's reign. The cast was as follows : Sir George Staunton = John 
Ryder; Duncan Knock = Power; Reuben Butler = Boyce ; Mr Meikle- 
hose = W. Johnson ; Dicky Dulton = Lloyd ; Donacha Dhu = Edmund 
Glover ; First and Second Gipsies = Pat and Henry Corri ; The Whistler 
of the Glen = Mrs Tellett ; Lady Staunton = Miss E. Lee; Effie Butler, 
with songs, = Miss Walstein. 

On September 4th, first time on any stage, Nick of the Woods, or the 
Dark Spirit of the Dismal Swamp, a new American legendary drama. 
On the 1 8th, Barnaby Rudge, or the. Fatal \<$th of March, the part of 
Barnaby Rudge being filled by Mrs Tellett. It ran nineteen nights, and 
the season terminated on October 26th, when a very clever "joint stock 
farewell address" was delivered by Murray and the members of the 
company. 

The company brought together for the winter season 1841-2 at the 
Royal was remarkably strong. Although Mackay had retired from regular 
work, he was still available for all his old parts when wanted. For musical 
pieces the company was particularly efficient. There were KingandEburne, 
tenors ; Bishop and the Corris, basses ; besides Cowell, Murray, and to 
a lesser extent, Smythson, Sullivan, and Leigh ; while Turnbull could be 
engaged when an alto was required. Miss Smith, Miss J. Smith, Mrs 
Leigh, Mrs Tellett, and Mrs Turnbull, were the lady vocalists. 

A noteworthy addition to the company was Sullivan, or " Barry " 
Sullivan as he is styled now-a-days. In 1841 he played "second 
heavy " parts, and otherwise made himself generally useful. He is now, 
perhaps, the very last of the old school of tragedians. Edmund Glover 
continued as leading actor during the winter season, and Miss Emmeline 
Montague, from Drury Lane, took the female " lead." She afterwards 
married the famous low comedian, Compton. 

* Still alive, and had a complimentary benefit given her, May pth 1 888, when nearly all the principal 
actors and actresses in London assisted. 



382 The Annals of the Edinburgh Stage. [1841-2. 

The season opened on November 6th with The Love Chase. Nov- 
ember 2Oth, Mrs Brougham, a sort of star, as Mrs Oakly in Jealous 
Wife. November 24th, Robber s Wife, the part of Red Rody, Sullivan 
his first appearance in Edinburgh. 

On December loth, a piece called Blue Jackets was brought out, 
with Murray as Admiral Trunnion ; Mrs Tellett, Fanny Trunnion ; Lloyd, 
Ben Buntlin ; Cowell, Jack, a nigger. It ran ten nights. 

The pantomime, Mother Redcap, was brought out December 3ist. 
Scenery by Muir and Mason. S. Cowell in the title role ; Carles, Clown ; 
H. Corri, Pantaloon ; Harvey, Harlequin ; and Miss Maysall, Columbine. 
This ran some twenty-two nights. 

January i/th, Comedy of Errors, with the whole of "the original 
music " composed by Henry R. Bishop, " Professor of Music in the Uni- 
versity of Edinburgh." 

March ist, a melo-drama called The Demon Gift, in which Glover, 
Murray, Ryder, Leigh, and Mrs Leigh acted. 

March 7th. The Gamester. Beverley = Charles Kean ; Lewsen = 
Conway (from Drury Lane, first appearance here) ; Stukeley = Edmund 
Glover ; Bates = Sullivan. 

The season closed on April i5th, with Murray's benefit. In his fare- 
well address he spoke as follows : 

" To borrow a mercantile phrase, theatres, especially the large ones, are looking down, 
for which depression many causes may be given, and one in particular, the late hour of 
fashionable parties ; for the man who sits down to dinner at seven o'clock must of necessity 
cut his mutton and the theatre at the same time, and, with a sharp appetite, I would back 
mutton against Shakspere at any odds. Thus, the dinner table depopulates our first prices, 
and as one evil generates another, the drawing-room ruins our second for who would leave 
the attractions of a modern soiree, with its bevy of beauties, its gas, its songs, quadrilles, 
tableaux vivans, and all the thousand and one attractions which throw a fairy charm over the 
private parties of present days who would leave them, I say, on a snowy night to see a few 
shivering actors striving to be funny to the as few deluded individuals, whom the astounding 
mysteries of a long playbill have inveigled into our clutches ? What is to be done to remedy 
this evil I know not, for even if Kemble himself were here for a whole season, I'd back the 
dinners against him in the long run. To ask you to give up your dinners would be ridiculous, 
and yet without some change we must give up ours." 

Among some papers picked out of the debris after one of the present 
Theatre Royal conflagrations was the weekly pay list of the company for 
the week ending March i2th 1842; the following being the salaries 
paid : William Murray, 4 ; Glover, 3, 35. ; King, ,3, 33. ; Lloyd, 
$ ; Euston, 3 ; Conway, 3 ; Williams, 2, 2s. ; Cowell, 2 ; Ryder, 



1842.] The Annals of ttie Edinburgh Stage. 383 

2 ; Smythson, i, 155.; Power, i, 155.; Sullivan, 1, IDS. ; Leigh, 
1, IDS. ; Eburne, i, 53. ; Corri, i, is. ; H. Corri, i, is. ; Melrose, 
155.; Treasurer, 2, ios. ; Redford, ^i, IDS. ; Miss Montague, $-, 
Miss Smith, 3, ios. ; Miss Julia Smith, $, ios. ; Mrs Tellett, 3, 
ios. ; Mrs Leigh, 2, 155. ; Mrs Brookes, 2, 125. 6d. ; Miss Nicol, 2, 
53.; Miss Conquest, i, 53.; Mrs Turnbull, i, 55.; Miss Ebsworth, 
;i, 55. Members of the Orchestra. James Dewar, 3, 135. 6d. ; Mac- 
kenzie, 2-, Davis, i, 155.; Platt, Farmer, Mancar, Menzies, Hanson, 
Cameron, i, ios. each; Davis jun., i, 53; Hoffman, i, is. ; Chap- 
man, i. 

The Adelphi summer season for 1842 a memorable one as it proved 
opened on April 3Oth with Clari and My Grandfather s Will. Sir 
Solomon Cynic = J. W. Ray, from Bath, a first-rate actor of "old men" 
parts, and who afterwards became well known under Phelps at Sadlers' 
Wells ; he was the original " Eccles " in the provinces.* On May 9th, for 
the first time in Edinburgh, Richelieu the Richelieu of that evening was 
Edmund Glover, while Sullivan played Gaston, the same part that nearly 
fifteen years after Henry Irving played on his first appearance in Edin- 
burgh, to the Richelieu, be it noted, of Barry Sullivan. The remainder of 
the cast was as follows: Louis XI 1 1. = Leigh; Baradas=F. Con way ; 
Chevalier de Mauprat =W. H. Crisp; De Beringhen = S. Cowell ; 
Fran9ois = Mrs Tellett; Count de Clermont= Eburne ; First Secretary 
= H. Corri; Captain of the Archers = Melrose ; Pages = Misses Ebs- 
worth and Macfarlane ; Marion de Lorme=Miss Conquest; Julie = Miss 
Emmiline Montague. 

May 2Oth, first appearance of Herr Drechsler, senior principal 
violoncello to His Highness the Grand Duke of Anhalt. Herr Drech- 
sler's connection with one of the first musical families of Edinburgh is 
well known. 

Several pieces of minor importance were produced and some melo- 
dramas revived the latter seemingly proving far more popular than plays 
such as Richelieu; but of far greater interest was the appearance, on 
August 9th, for the first time in Edinburgh, of John Reeves, from Drury 
Lane. Under that name was hidden the identity of our great English 
singer, Sims Reeves. He appeared on this occasion chiefly in a number 
of Scottish plays, which were got up during the Queen's visit to Edin- 

* He was also the original "Old Chodd " in Society, and Sir Alex. Shendryn in Ours, when these pieces 
came out at the Prince of Wales' Theatre, London. 



384 The Annals of the Edinburgh Stage. [1842. 

burgh.* Murray very likely expected a "command" for one of them ; 
but Victoria, unlike George IV., did not patronise the Theatre. Some of 
the casts of these pieces are worth giving in full, for the company for a 
summer company especially was very strong. August 9th, Rob Roy. 
Bailie Nicol Jarvie = Mackay (starring engagement) ; the Dougal = 
M'lan (also starring ; he was a noted actor of Scottish and melo-dramatic 
parts, and became well-known as a painter) ; Rob Roy = Edmund Glover ; 
Sir F. Vernon = Sullivan ; Francis Osbaldistone = John Reeves; Rash- 
leigh = W. H. Crisp; Captain Thornton = Leigh ; O wen = Lloyd; Gal- 
braith = Murray ; Gaoler = H. Corri ; Diana Vernon = Mrs Leigh (Leigh 
Murray) ; Jean M 'Alpine = Miss Nicol ; Helen Macgregor= Mrs Brookes. 
On August 2Oth, Guy Mannering. Colonel Mannering = Gray ; Henry 
Bertram = John Reeves (who sang " Maiden, I will ne'er deceive thee," 
" The Flower of Ellerslie," " Let the toast be dear woman," &c.) ; 
Dandy Dinmont = Power (" Big " Power) ; Dominie Sampson = Mackay ; 
Mucklethrift = William Johnson ; Gilbert Glossin = Sam Cowell ; Gabriel 
= H. Corri (with song, " Safely follow him ") ; Sebastian = Sullivan ; Dirk 
Hatterick = Murray ; Lucy = Miss Woolgar (from Theatre Royal, Bir- 
mingham, her first appearance, with songs); Julia Mannering = Mrs 
Leigh; Flora = Miss Ebsworth ; Meg Merrilees= Mrs Brookes. 

Reeves also played such parts as Lorenzo in the Merchant of Venice ; 
Frederick, in No Song, No Supper ; Blue Peter, in Black-Eyed Susan ; 
besides singing " Macgregor's Gathering " and other songs between the 
pieces. He does not seem, however, to have appeared in the Beggars 
Opera, either during this or the two following seasons. 

The following address, delivered by Murray on the closing night 
(October 2ist), requires no apology for its insertion : 

" To go or not to go, that was the question. 
Whether 'twas better on our part to suffer 
The toils and hazards of a winter season ; 
Or to take leave of managerial cares, 
And, by resigning, end them ? Resign ! to go 
No more ; and by that go one go to end 
The heartache, and the weekly, nightly, loss 
The purse was heir to. 'Twas a consummation 
Extremely to be wished. To cut and run, 
But run, perchance, to worse ; aye, there's the rub ; 
For in that run what accidents might chance, 

* From August 29th to September 5th the Company removed to the Royal, then went back to the Adelphi. 



1842-3.] The Annals of the Edinburgh Stage. 385 

When we had shuffled off the Patent here, 
Did make us pause. There's the respect, 
Makes management of so long life : 
For who would bear the fag both day and night, 
The long rehearsal and the empty bench, 
The wipes in the newspapers, the critics' scorn, 
The Friend Anonymous, and bitter taunt, 
Which manager must oft from actors take, 
When he himself might his quietus make 
By merely running 1 Who with painted smiles 
And forced grimace could such a life endure ; 
But that the dread of something worse behind, 
And the conviction, that to friends thus used 
No manager returns, puzzles his pate, 
And makes him rather stick to what he's got 
Than fly to theatres he knows not of? 

At all events, the war once more we'll wage, 
' And fret and strut our winter on the stage,' 
Nailing our tattered colours to the mast, 
Fight for a better season than the last. 
But, if to balls and concerts forced to yield, 
And midnight dinners drive us from the field, 
At least, ' We'll die with harness on our backs,' 
And, losing all, defy the Income Tax. 
Should acting fail, my varlets may resign 
The downtrod stage, and try some other line. 
Glover can paint, the call-boy turn postillion, 
Cowell and Lloyd try ' Singing for the million ' ; 
But for your humble servant, I'm afraid, 
'Tis much too late to learn another trade ; 
Then, kindly, let me serve my time out here, 
Treat me as Tait * would, that famed auctioneer, 
And, though a damaged article I own, 
Still keep me ' going ' till indeed I'm ' gone.' " 

According to a carefully prepared table given in the first number of 
a dramatic paper, called The Prompter, which made its appearance during 
the autumn of 1842, it would seem that during the 150 nights of summer 
season, 132 different plays were performed in all 463 times, giving an 
average of three and a half repetitions to each play, and of about three 
plays to each night. 

Ryder was now no longer in the company. After leaving Edinburgh 
he proceeded to London to fulfil an engagement at Drury Lane under 

* Auctioneer in Hanover Street, now Chapman's. 
2 B 



386 The Annals of the Edinburgh Stage. [1842-3. 

Macready, who, at this time, had a splendid company. Ryder stayed 
with Macready some years, going with him to America. On his return, 
Ryder joined Kean at the Princess's, where he remained the whole time of 
Kean's management. The principal " heavy " parts being thus left open 
by Ryder's retirement, Sullivan stepped into them. A valuable addition 
to the company, who joined on May 2nd 1843, was William Howard, 
an excellent light comedian.* 

On the opening night, November i2th, besides the Clandestine 
Marriage, Morton's new Drury Lane farce, The Eton Boy, was pro- 
duced, and Murray showed his boundless versatility by taking the light 
comedy part of Captain Popem. The Prompter says he " did not look 
the part well, but acted it beautifully," and that Lloyd as Dabster " played 
famously." Mrs Leigh played Sally. The piece ran sixteen nights. 
On November i6th, as Grandfather Whitehead in Mark Lemon's affect- 
ing play of that name, Murray made one of his greatest hits. The little 
dramatic paper mentioned above, which contained some really thoughtful 
and intelligent criticism, says, that during some parts of the performance 
there was scarcely a dry eye in the house, and asserts that nothing that 
could be said would render justice to the splendid piece of acting which 
Murray gave. He was well supported by Glover, as Langley ; Sullivan, 
as Drayton ; Lloyd, as Bob Lincoln ; and Miss E. Montague, as 
Louisa. It was played during the season twenty-four times. Not- 
withstanding its success, business remained very poor, so Murray tried 
the expedient of lowering his prices, making the boxes 35., half-price 2s. ; 
pit 2s., half-price is. ; galleries, is. and 6d. This, however, did not 
answer, and the old prices were resumed upon the first night of the 
pantomime. The cause of the bad houses lay very probably in the melo- 
dramatic class of plays produced. These were all very well for the 
Adelphi, where, indeed, they were expected, but the class of audience 
that patronised the Royal expected something better. 

On December i3th, Alma Mater, a now forgotten play by Bouci- 
cault, was announced, but owing to Murray's indisposition it was put off 
until the following evening (i4th). It ran nine nights ; and on the 27th a 
pantomime, entitled Johnnie Fa; or, Harleqiiin and the King of the 
Gipsies, was produced. The scenery was from the brushes of Thorne, 
Gordon, and Mason. The proceeds of the opening night were given 

* Father of Howard, a well-known Edinburgh musician. 



1842-3.] T/ic Annals of the Edinburgh Stage. 387 

by Murray to " the committee for the relief of the unemployed operatives." 
Sullivan and Cowell both appeared in the opening, while Macdonald 
was Clown ; Shaw, Harlequin ; H. Corri, Pantaloon ; and Mdlle. Leoni, 
Columbine. 

The pantomime contained an exceedingly ludicrous scene, in which 
Mainzer's " Singing for the Million" was ridiculed most effectively. H. 
Corri got great praise for his Pantaloon this year. The pantomime ran 
twenty-seven nights. On January I3th 1843, 77/0 Attic Story, a farce 
which ran sixteen nights. On February 22nd, for the first time on an Edin- 
burgh stage, appeared an actor, who for nearly forty years became a 
familiar and welcome visitor. This was Charles Mathews, who some years 
before had settled down in life as an actor, and with his partner in business, 
as well as matrimonial bliss Madame Vestris had from his first start 
acquired a high standing in the profession.* His first appearance here 
was as Mr Charles Swiftly in One Hour, and also on the same night in 
Patter versus Clatter. Both pieces proved very popular, and were re- 
peated several times. Faint Heart Never Won Fair Lady (February 
23rd) was also well received. Speaking of the performance of this, the 
Prompter says, " By the by, a terrible blot in Faint Heart is Sullivan's 
acting. The night we saw it, he not only acted most abominably, but 
was sadly deficient in the text ; indeed, once or twice we were afraid he 
would absolutely break down." 

February 3rd, London Assurance, second time in Edinburgh. Dazzle 
= Mathews ; Lady Gay Spanker = Mrs Charles Mathews; Meddle = 
Murray; Spanker = Lloyd. 

The engagement of Mathews and Madame Vestris was a great success, 
full houses being the rule. The Prompter states that on one evening ^132 
was in the house and their benefit was expected to bring in more. It is 
interesting to note, on the same authority, that their terms with Murray were 
half the receipts after deducting the expenses, while Charles Kean, who ap- 
peared shortly after (alone, his wife being seriously ill at the time), also 
took half the receipts after deducting 25. A curious scene took place on 
the last night of Kean's appearance (April 8th). Upon the conclusion of 
the play (Hamlet), Kean, in response to loud cheering, came before the cur- 
tain or rather, it should be said, from the side door bowed and retired. 



* His life forms a most fascinating romance up to the period of his going on the stage. It is a pity that 
his recent biographer did not chronicle his stage career as carefully as his earlier days. 



388 The Annals of the Edinburgh Stage. [1842-3 

This did not at all satisfy the audience, who continued to shout, hiss, and 
yell for nearly fifteen minutes. At last Murray came forward and apolo- 
gised for Kean's non-reappearance, saying, at the same time, that Kean 
had left the Theatre. This was the first time that Kean had concluded 
an engagement in Edinburgh without making a speech, and the audience 
attributing this neglect correctly, no doubt to the tragedian's chagrin 
at the poor houses he had had, hissed loudly. Sir T. D. Lauder, who 
was in the boxes, after an ineffectual attempt at a speech, succeeded in 
proposing " three cheers for Mr Murray," which were loudly given. 
After a few conciliatory remarks, which he knew so well how to apply, 
Murray retired and the audience dispersed. Kean afterwards wrote to 
the Caledonian Mercury explaining his conduct, and stating that his reason 
for hurrying away was his natural anxiety to return to his wife, who was 
still lying ill. He also mentioned that the receipts during his engage- 
ment of nearly three weeks had amounted to ^1026, of which his portion 
was ^"243, 95. 

On April i7th, Miss Ternan, a daughter of Ternan, an old Edin- 
burgh favourite, and of Miss Jarman, once the pride of Murray's com- 
pany, made her first appearance. She was only seven years old. Her 
father and mother also appeared, and were heartily welcomed back to the 
scene of their former successes. 

May 1 5th, Glover's benefit, when he gave a representation of the 
" Venetian Statue," and, assisted by H. Corri, of " The Struggles of the 
Gladiators," the remainder of the programme consisting of Richelieu, 
The Invincibles, Douglas, and a couple of songs between the pieces ! 
Surely plenty for the money ! 

The last night of the season was May 29th, when Murray 
attempted Shylock for his own benefit. Portia = Miss E. Montague; 
Launcelot Gobbo = Mackay ; Bassanio = Glover ; Antonio = Sullivan ; 
Gratiano= Howard. Murray's Shylock seems to have been a correct and 
judicious impersonation, without however having any striking features. 

The season now concluded w r as the last one for poor Power, who 
died shortly after in the Royal Infirmary from wounds inflicted by his own 
hand while under the influence of drink. He was a rather rough " gallery " 
sort of actor, and often imperfect in his parts ; but he was nevertheless 
a useful hand, and in Scottish plays invaluable. His place, particularly 
for the latter line of characters, was filled up (1843-4) by Watt, from the 
Theatre Royal, Glasgow, 



1843-4-] The Annals of the Edinburgh Stage. 389 

The summer season (1843) at the Adelphi opened on June 24th, on 
which evening Josephs, from the Theatre Royal, Glasgow, appeared as 
Mr Tilwell in The Irish Tutor. Josephs' connection with the Edinburgh 
stage was a long and intimate one. Miss Telbin, from Bristol, and H. 
Hamilton, from the Adelphi, London, also made their first appearance on 
that evening. 

On July 1 2th Elton, the tragedian, concluded an engagement, and 
a few days afterwards he was drowned in the "Pegasus" steamer to Hull. 
He left seven children, and Murray most generously set apart the evening 
of July 29th as a benefit for the orphans ; the result of this, along with 
several private subscriptions, was over ^300, which sum was duly handed 
over to Charles Dickens, the chairman of the London committee for the 
management of the fund. Alexander having granted permission, the 
Edinburgh company went through to Glasgow, and gave a performance 
at the Theatre Royal there, for the benefit of the fund. 

The season closed on August 25th, seventy-one plays having been 
performed in fifty-four nights. 

For the winter season (1843-4), which opened on September 3Oth, 
Mrs W. H. Bland, from Covent Garden, joined as lead. 

On the opening evening Marie De Chamouni was played, being its 
first performance in Edinburgh. Nothing else of importance occurred until 
November i4th, on which day The Lady of Lyons was played. Beauseant 
= Sullivan ; General Damas= Murray ; Claude = Edmund Glover (his first 
appearance in the part) ; Landlord of the Golden Lion = S. Cowell ; 
Pauline = Miss Helen Faucit, her first appearance in Edinburgh. Miss 
Faucit's engagement lasted for twelve nights, but she was re-engaged in 
February 1844 for other twelve nights, and again in March. 

The pantomime (December 27th) was Baron Munchausen, for which 
Edmund Bradwell, the machinist, was brought from London. Cowell 
was Munchausen ; Boleno, Clown ; Corri, Pantaloon ; Sidini, Harlequin ; 
and Mrs Laidlaw, Columbine. It ran twenty-nine nights. 

February 6th, a transpontine melo-drama, TJie Lost Ship, in which T. 
P. Cooke played his original part of Ben Treenant. On February 26th 
Tlie Christmas Carol, adapted from Dickens' story. Ebenezer Scrooge 
= Murray ; Bob Cratchit= Lloyd ; it ran eleven nights. May i6th being 
Dewar's benefit, Mrs Laidlaw and H. Corri danced the "Celebrated 
Polka," for the first time in Scotland. 

On May 3Oth Sullivan took his farewell benefit, the programme of 



3QO The Annals of the Edinburgh Stage. [^44. 

which is quite worth giving in full. The performance commenced with 
She Stoops to Conquer, in which Sullivan did not appear ; but at the con- 
clusion of the comedy he delivered a farewell address. This was followed 
by The Italian Brigand, in which he played Alessandro Massaroni, after 
which Mrs Laidlaw and H. Corri danced the "celebrated polka," by desire. 
Lloycl sang the " Newhaven Fishwife," and Sam Cowell followed 
with the " melancholic historic of Lord Lovell and Lady Nancie Bell." 
The farce of The Man and the Tiger was next given, and the whole con- 
cluded with the tragedy of Wallace. Kirkpatrick by Sullivan. 

The last night of the season was May 3ist, when Murray took his 
benefit, and spoke his customary address. 

Quite a number of new names appear in the list of the Adelphi com- 
pany on the opening of the summer season. Chief among these new- 
comers may be mentioned Honey, who, unfortunately, while he stayed 
in Edinburgh, had no opportunity of distinguishing himself. He after- 
wards became celebrated as a low comedian of first-rate ability. Over and 
above his humorous talents, he possessed a genuine bass voice of great 
power and compass, which, coupled with musicianly knowledge, made 
his performances in English opera and burlesque much more acceptable.* 

The season opened on June 22nd, and on the 2oth of the following 
month was brought out Webster's prize comedy, Quid Pro Quo. 

On August 1 4th, for the first time in Scotland, Mark Lemon's 
domestic drama, in two acts, entitled Robert Burns, music arranged by 
James Dewar. The impersonator of the bard was Glover; Tarn O'Shanter 
= Melrose ; Souter Johnnie = Watt ; Highland Mary = Mrs Leigh ; Spirit 
of Scotland = Mrs Brookes. 

On the 1 9th, Polkamania, from the Lyceum, London, first time, and 
from the same Theatre on August 28th, Martin Chuzzlewit. Mr Jonas 
= Glover ; Pecksniff = Ray ; Mr Montague Tigg = W. Howard; Mark 
Tapley = Melrose ; Mrs Sairey Gamp= Lloyd ; Betsy Prigg= Miss Nicol. 
The Sairey Gamp by Lloyd was an immense success. September iQth, 
for the first time on any stage, The Water Kelpie, a Tale of the Clyde. 
Mr Sandy M ' Bogle = Mackay ; Arthur Fresham = W. Howard; Jock 
Wylie = Watt; Mrs M'Claver= Miss Nicol; Alice = Mrs Tellet. This 
was the last piece of any consequence produced, and the season closed on 
October 2ist. 

* Died 20th May 1880. 



I 

iMV ' 'A 

i 



EMI 8 u * 

MiHwvW > 




R. SMIRKE, R.A pinx C MARTIN HARDIE A R S.A de'. 

^s H. SIDDONS. 



1844-5-] The Annals of the Edinburgh Stage. 391 

In the latter part of this year (November 2nd 1844) occurred the 
death of Mrs Henry Siddons. Many there were who sincerely mourned 
her loss, for wherever she was known she was both loved and respected. 
Her private life had been one of great simplicity and beauty, and so much 
was this fact recognised in Scotland, that it, even more than her graces 
and accomplishments (which were potent attractions), caused the best 
families to be proud of receiving her as their equal. No one, however, 
could have felt her loss so deeply as did her brother, William Murray. 
Not until the following April did he recover sufficiently to appear again 
on the stage ; but it is questionable if even then he had thoroughly re- 
covered from the blow. The Edinburgh stage owed much to Mrs Henry 
Siddons. To her, in conjunction with Murray, was due the higher tone 
of refinement that had been given to dramatic representations, and the 
brilliant example of respectability she gave to the profession in her own 
life, must have tended to elevate the character of the local dramatic 
community, and to purge it of the uncertain, showman sort of state it had 
got into at the time she came to Edinburgh. In addition to this, the 
delight she afforded the audiences of nearly a quarter of a century by her 
matchless acting was enormous. She was, if not the most charming, 
certainly one of the most charming actresses of her day, and in the 
higher walks of comedy she was admittedly surpassed by none on the 
London boards, even in that bright era. Her particular forte lay in parts 
that required delicacy of handling, gentleness, and refined humour or 
pathos. Such characters as Rosalind, Viola, Lady Townly, Lucy Ashton, 
Desdemona, Beatrice, Portia, Lady Teazle, Miss Hardcastle, and a host 
of others, became in her hands breathing tangible realities, which once 
seen could never be forgotton. Above all, her acting was full of exquisite 
point and finish. Although she was capable of imparting the deepest 
interest to scenes of real pathos, she did not aspire to the more im- 
passioned and lofty creations of the tragic muse. 

The winter season (1844-5) opened on November Qth with Loves 
Sacrifice, in which Miss Macready, a tragic actress from Bristol, appeared 
as Margaret. Upon the same evening an actor of the name of Lester,* 
from Dublin, made his first appearance here. He had been engaged to 
fill light comedy and Irish parts ; but on W. Howard rejoining the com- 
pany in the early spring, he seems to have been unceremoniously deprived 

* According to the biographer of DaviJge Lester, this was no other than Lester Wallack. 



392 The Annals of the Edinburgh Stage. [1844-5. 

of his light comedy parts, and thereafter he got little but Irishmen. Coul- 
dock, a " heavy " man, who subsequently became popular in America as a 
tragedian, and Melbourne,* a well-known low comedian from the Adelphi, 
Glasgow, also made a first appearance before an Edinburgh audience on 
the opening night. 

The programmes of that evening contained the following announce- 
ment : 

" In consequence of the universal satisfaction given during the last summer season by 
the regulations regarding time at the Adelphi, and in obedience to the wishes of the Right 
Hon. the Lord Provost and other civic authorities, the performances at the Theatre Royal 
will always terminate at or before twelve o'clock." 

On the 1 6th November William Davidge, who evidently had been 
engaged to take Murray's parts, made his first appearance. The first 
new piece was Popping the Qtiestion, a farce, which ran nine nights. 
Davidge played Mr Primrose; Miss Nicol and Mrs Brookes, Miss Biffin 
and Miss Winterblossom respectively. 

November 23rd, The Village Doctor (ten visits) ; and on December 
26th the pantomime, Christmas Jinks and New Years Gambols, was 
started ; scenery by Laidlaw and Wilson (from London). Boleno was 
Clown ; Fielding, Pantaloon ; Sidini, Harlequin ; and Mrs Laidlaw, 
Columbine. It was played twenty-five times. 

On January 22nd Charles Kemble read the first part of King Henry 
IV. ; and on February ist Charles D. Pitt commenced a starring engage- 
ment as a tragedian, being his " first appearance here for four years." 

On March i7th, Don Ccesar De Bazan was acted for the first time in 
Edinburgh, on which occasion James Wallack appeared in his original 
part (Don Caesar); Maritana being played by Miss E. Montague; Charles 
the Second by W. Howard ; and Lazarillo by Mrs Tellett. It ran ten 
nights; and on April ist was performed The Hunchback, the part of Sir 
Thomas Clifford being taken by " Mr Wyndham from the Theatre Royal, 
Adelphi, Glasgow, his first appearance in this city." Such was the 
announcement of the first appearance in Edinburgh of an actor who was 
destined to become associated with the history of the Edinburgh Stage 
almost as intimately as Murray himself; and who, by his admirable man- 
agement, superb acting, and gentlemanly qualities, has secured for himself 
a cherished place in the memories of all who know or have ever seen him. 

* He only appeared on the first two evenings of the season. 



1 845-1 TJie Annals of the Edinburgh Stage. 393 

When he joined the company in 1845, it was to take Leigh's parts- 
juvenile tragedy. He was not well fitted for these ; but his elocution and 
judicious and sensible acting soon made him a favourite. His forte lay 
in light comedy and Irish gentlemen, but at that time such parts were in 
the hands of Howard and Lester. 

The great singer, Braham, supported by his two sons, Charles and 
Hamilton, gave a "grand vocal and instrumental concert" on April 2ist; 
two nights afterwards Miss Helen Faucit played Pauline for Murray's 
benefit, he playing General Damas. 

Murray's farewell address contained the following tribute to Miss 
Faucit's acting : 

" Yet, ere I go, two duties must be paid : 
First, thanks to you, and then to her, whose aid 
Has cast a halo round our closing scene, 
Bright, as the brightest of the past has been ; 
What younger heads around may hope to see, 
Or older ones retain in memory, 
I know not, but I doubt the future when 
' I ere shall look upon her like again.' 
Long may she grace the Thespian boards and page, 
One of the brightest gems upon the British stage." 

The summer season opened at the Adelphi on June 28th 1845 with 
Luke, the Labourer. Charles Paragon by Wyndham, his first appearance 
there. Several new pieces were produced. Green Bushes by Buckstone 
(July loth). George O' Kennedy = Wyndham ; Grinnidge = Lloyd ; 
Geraldine = Miss Cleaver; Louise = Miss Macfarlane (seven times). 
Time Works Wonders by Jerrold (July iQth). Felix Goldthumb = Wynd- 
ham ; Goldthumb = Murray (twenty-eight times). Mr and Mrs Caudle 
(July 3ist). Caudle = Murray ; Mrs Caudle = Lloyd a part in which he 
made a great hit (nineteen times). 

On August 29th the Adelphi was closed, but it was reopened on Sep- 
tember ist by D. P. Miller, with his company from the Glasgow Adelphi. 
Murray had let the Theatre to Miller, but it is questionable if it paid the 
latter, as he only kept it open two weeks. Murray, in the mean time, 
opened with a strong counter-attraction at the Royal. On August 2/th 
commenced the engagement of " Les Danseuses Viennoises " (thirty-six in 
number). The Royal stage was larger and therefore better suited for such 
an exhibition, as also for the performances of the " divine " Taglioni, 



394 Tlie Annals of the Edinburgh Stage. [1845-6. 

who danced for three nights, commencing September i8th,* with "La 
Sylphide." 

The dancing season being over, Murray's company again migrated 
down Leith Walk to finish the season with the "legitimate," to aid them 
in which James Anderson, tragedian, from Drury Lane and Covent 
Garden, appeared in a round of standard parts ; and on October 22nd 
Murray's benefit brought the season to a close, his "farewell" speech 
being a clever skit upon the railway-share mania of the time. 

Several new names appeared in the list of the company for the winter 
season (1845-6). Colemanf joined for utility parts. Melrose took Power's 
parts, which during the previous winter season had been given to Watts. 
Melrose appears to have been possessed of distinct talent, but through in- 
temperate habits he was eventually reduced to great poverty and distress. 
Mrs Leigh Murray continued in Edinburgh, although her husband was 
in London. She had appeared during the summer season under her full 
name, and continued it throughout the remainder of her career. Miss 
Julia St George \ became one of the finest burlesque actresses of her day. 

A notable feature this season was the number of stars who visited the 
Edinburgh firmament. On November 8th the famous American actress, 
Miss Cushman, appeared as Bianca in Fazio. This was on the open- 
ing night of the season. She was an extraordinary actress, and played, 
among many other parts, that of Romeo with success. She gave a very 
peculiar rendering of Meg Merrilees, which, to judge by portraits (in 
character), and accounts by living witnesses of her performance, must have 
been more akin to the Witch of Endor than to Scott's Gipsy woman. 

Helen Faucit (November 24th), Charles Mathews and his wife 
(December 4th), Benjamin Webster and Madame Celeste (Haymarket), 
(January 26th), Edwin Forrest, American tragedian (February 9th), 
Leonard, Irish comedian (February i8th), Macready (supported by Ryder), 
Henry Hall, comedian and burlesque actor, Braham, Mrs Fitzwilliam, 
Buckstone, Miss Heron, child actress of Irish parts, and H. Smith with 
his dog Hofer, all appeared. 

It is worth noting that Alexander Mackenzie, who had been several 
years deputy leader of the orchestra, now succeeded his old friend and 
master, James Dewar, as chief. Mackenzie not only kept the orchestra up 

* First announced for I5th. 

t Author of several very inaccurate theatrical works, including a " Life of Phelps." 

Joined at the Adelphi . 



1845-6.] The Annals of the Edinburgh Stage. 395 

to its old standard, but even brought it to exceed its former efficiency. He 
was himself an admirable executant on the violin, and a first-rate musician, 
which qualifications, united to great energy, sound common sense, and great 
attraction of person and manner, could not fail in making a mark on the 
musical department of the Theatre. For its size, the Edinburgh orchestra 
may be said to have been the first in the kingdom, and it made successful 
annual visits to London. Mackenzie's early death in 1857 (October 7th) 
was to be deeply regretted. In his son, Dr A. C. Mackenzie, however, 
he left a legacy to music that his country can never be too proud of. R. 
B. Stewart was now deputy leader. 

On December 8th Mathews produced the comedy Used Up, and 
played his original part of Sir Charles Coldstream ; it ran eleven nights ; 
and on the 22nd, Antigone, from the Greek of Sophocles, with Mendels- 
sohn's music, was brought out. Creon = E. Glover; Haemon = Wyndham ; 
Teiresias = Ray ; Cleon = Reynolds ; Antigone = Miss H. Faucit ; Ismene 
= Mrs L. Murray; and Eurydice = Miss Cleaver. It was only played 
seven nights, and on the last night of the year the pantomime Blue 
Beard was produced. The scenery was by William Wilson, and the pro- 
perties by Paterson (who afterwards became lessee of the Princess's 
Theatre). Harlequin and Columbine by Mr and Mrs G. Hunt ; Clown = 
H.Hogg; Pantaloon = Gouriet. The pantomime ran twenty-one nights. 

January 23rd, The Cricket on the Hearth, dramatised by Charles 
Archer " expressly for the Theatre Royal, Edinburgh." John Peerybingle 
= E. Glover; Thomas Tackleton = Ray ; Caleb Plummer (Toole's great 
part) = Murray : The Stranger = Bedford ; Dot = Mrs Tellet; Bertha, 
the blind girl, = Mrs Leigh Murray; May Fielding = Miss Macfarlane ; 
Miss Tilly Slowboy = Mrs Josephs; Mrs Fielding = Miss Nicol ; The 
Cricket = Miss Julia St George. As might be expected, Murray was great 
in the part of Caleb ; living spectators of both, however, declare Toole's 
rendering to be the finer, and more pathetic. The Cricket chirped for 
twelve nights. During Webster and Madame Celeste's engagement 
Green Bushes was revived, with the latter in her original part of Miami. 
Forrest, the American tragedian, opened with Othello. The Duke = 
Melrose ; Cassio = Wyndham ; I ago = E. Glover ; Roderigo = Lloyd ; An- 
tonio = Honey; Messenger = Coleman ; Desdemona= Mrs Leigh Murray. 

February i2th, first night of The Gladiator. Spartacus = Edwin 
Forrest; Phasarius = E. Glover ; Florus = Wyndham ; Julia=Mrs Leigh 
Murray. 



396 The Annals of the Edinburgh Stage. [1846. 

Macready opened (March 2nd) with Hamlet, Ryder playing the 
Ghost. March 4th, King Lear. King Lear = Macready ; Edgar = E. 
Glover ; Edmund = Wyndham ; Earl of Kent = Ryder ; Oswald = Lloyd ; 
Old Man = Murray ; Cordelia = Mrs Leigh Murray. Lear was announced 
as "from the original text of Shakspere." 

Braham appeared for only one night (March 27th), playing Count 
Bellino in Devits Bridge, and Tom Tug in The Waterman. The last 
night of the season was on May 2 ist. Murray's address on that occasion 
is worth giving nearly in full : 

" Ladies and Gentlemen, The termination of another season demands the customary 
tribute of our thanks, and respectful acknowledgments for the support we have received 
during its continuance. Should the tone of the few words I shall intrude upon you this 
evening appear less buoyant, less joyous, perchance, than usual, do not on that account, pray, 
do not think them less grateful, or mistake them for the language of complaint; for, although 
our theatrical efforts have proved unprofitable, I willingly impute that result more to the some- 
what rash extent of my engagements than any want of support on your part. Having been 
censured for not bringing sufficient novelty before you, I determined to wash out that stain 
this season, regardless of the terms demanded of me, and I trust, ladies and gentlemen, you 
will allow that novelty, at least, has not been wanting. 

" . . . That the great change which has taken place in the hours and habits of 
society has proved very detrimental to theatricals cannot be questioned ; and it is singular and 
interesting to know that, upwards of seventeen years ago, Sir Walter Scott foresaw and 
warned me of the change, advising me not to take the Patent for its whole term of twenty- 
one years, but to limit myself to the first ten, and then, if successful, take the chance of a 
renewal. But I was averse to any chance which might separate me from Edinburgh, and, 
begging your pardon for a very homely simile, adventured upon the ' whole animal.' Five 
years yet remain to me, and, if I am permitted to see their termination, I still hope, with 
your aid, to end my professional labours here ; for, though I will not conceal that I have had 
very kind and liberal offers from London, it would be a bitter struggle for me to be compelled 
to bid you, ladies and gentlemen, finally farewell, and quit a city I have so long looked on as 
my home." 

The Adelphi opened on May 3Oth 1846 with a large company, but 
business seems not to have been good. On June 5th a new interlude in 
one act called Fox and Goose, by B. Webster and Dion Boucicault, was 
brought out. On July 3<Dth the Danseuse-Viennoises opened for a short 
engagement ; and on loth August the announcement that "Mr Lees, 
professor of gymnastics, and his pupil, Master George Hanlon," would 
make their first appearance here is of interest to those of the present 
generation of playgoers who have laughed their sides sore over the absurd 
antics of the "Hanlon Lees." Master Geo. Hanlon was "assisted" 
by his brother, Master Alfred Hanlon, " an infant three years old." 



1846-7.] The Annals of the Edinburgh Stage. 397 

Mrs Glover, the " inimitable comic actress," played four nights, com- 
mencing August 2 1 st. The season closed on Saturday, August 29th, 
and on Monday Qist) a short extra season commenced at the Royal with 
Mdlle. Cerito and other " attractions." 

Previous to the opening of the regular winter season, Calcraft rented 
the Royal for five nights, commencing September igth, when the boards 
were occupied with Italian Opera, 

The winter dramatic season commenced on October 3rd, although 
announced on the bills of that date as a " short after season." Wyndham, 
who had been absent during the summer season, did not reappear this 
winter. The Irish parts, in addition to the light comedy, were taken by W. 
Howard, who had returned. A notable addition to the company was W. 
H. Reeves, brother to the great " Sims," and himself an excellent vocalist. 
Wigan, who is included in the list of the company, does not seem to have 
afterwards made himself known to fame. His first performance here was 
a distinct failure (Violet, in Seeing Lloyd, October 3rd) * and he after- 
wards got only a few minor parts to play. 

October i2th, the " Ethiopian Minstrels " for six nights. A splendid 
production of Masaniello came out on December ist. W. H. Reeves as 
the Fisherman of Naples ; Pietro= Honey ; Carlo = Lloyd ; Don Alphonso 
= Bedford (the music must have been cut for him) ; Donna Elvira = Miss 
Mason ; Stella = Mrs Tellet ; Marian = Miss Aldridge ; Fenella= Miss E. 
Taylor. 

Charles Kemble Mason, t son of old Mason, made his first appearance 
" since his return from America," on December 4th, playing lago to the 
Othello of Edmund Glover. Cassio = Murray ; Roderigo = W. Howard ; 
Antonio = Honey ; Desdemona = Miss Coveney. 

On December 28th the pantomime Harlequin and the Shooting 
Star was produced under the direction of Edmund Bradwell, from 
London. Pantaloon = Peter Anderson ; Harlequin = Williams ; Clown = 
Charles Montgomery ; Columbine = Miss E. Taylor. On the opening night 
the pantomime was preceded by The Honeymoon (five acts). Duke = 
Glover; Juliana = Miss Coveney; and ran some thirty-four times. 
January nth, Macbeth. Macbeth = Glover ; Macduff=W. Howard; 
Lady Macbeth = Miss Cleaver ; the three witches by Murray, Lloyd, and 
Miss Nicol ; followed by the pantomime. January 2ist, Richard III. 

* It was given on the following evening (October 5th) to Honey. t Died in America, nih July 1875. 



398 The Annals of the Edinburgh Stage. [1846-7. 

Richard = Glover ; Richmond = Howard ; Ratcliffe = Honey ; Lord Mayor 
= Lloyd ; Duchess of York = Miss Nicol ; Lady Anne = Miss Coveney ; 
Queen Elizabeth = Miss Cleaver- and the pantomime. The following 
evening Robert Macaire. Robert Macaire = Glover ; Jacques Strop = 
Lloyd ; Marie = Miss Cleaver ; after which the comedietta Is he jealous ? 
at the conclusion of which the Misses Coveney sang a duet ; and the 
performance concluded with the pantomime ; all the above being good 
representative programmes of the period. 

Helen Faucit appeared in February, and on March gth Miss Anna 
Bishop made her first appearance at the Royal, acting in an English 
version of La Sonnambula. Pat and Henry Corri were engaged specially 
to support her. Aldriclge the African tragedian appeared, after a long 
absence, on May 29th, as Othello. 

On May roth, An Object of Interest, an Irish farce, in which Howard 
played Barney O'Dwyer, a part that Wyndham afterwards made quite his 
own. On the same evening was played for the first time out of London, 
Jenny Lind at Last, in which Lloyd made a hit as Baron Swig-it-off 
Beerey. On May 29th Madame Vestris (along with Charles Mathews) 
concluded an engagement, and took her farewell of Edinburgh, it being 
her last professional appearance here ; Lady Bell, in Know Your Own 
Mind, being the last part she played, after which she delivered a farewell 
address. The season concluded on the following Monday (May 3ist), 
when Murray delivered his address, in which there was nothing of 
moment beyond reference to a prosperous season and the scare which at 
one time got up about the North British Railway Company buying 
Shakspere Square to turn it into a station. 

On the opening of the Adelphi (June 26th 1847), Temper, by Robert 
Bell, a five act comedy from the Haymarket, was produced. Sir Marmaduke 
Topple = Murray ; other characters by the members of the company, 
which, it may be noted, had no new names added at that time. 

July 3rd saw the first appearance here of a troup of lady " niggers," 
called the " Feminine Buffaloes." 

Murray re-appeared as Paul Pry on August 26th, a performance 
which had evidently lost none of its relish for an Edinburgh audience, as 
it was repeated several times during the season. 

Glover took his benefit on August 3Oth, when his mother, Mrs 
Glover, appeared in Spring and Autumn as Mrs General Dartmouth, and 
as Mrs Quickfidget in My Wifes Mother. 



1847-8.] The Annals of the Edinburgh Stage. 399 

An important addition to the company took place on September i6th, 
when Younge joined for heavies, playing on that evening Lord Dal- 
garno in George Heriot. Richard Younge's performances in the " char- 
acter " parts in Robertson's comedies will never be forgotten by those 
who saw them. He became lessee of the Tyne Theatre quite recently, 
and died almost on the conclusion of his professional jubilee (June 5th 
1887). 

The Adelphi closed on October 1 5th. 

The great Jenny Lind appeared in Edinburgh during the summer 
at a concert given in the Music Hall by Edmund Glover. The prices 
were enormous centre seats, 315. 6d. ; side seats and front gallery, 2 is. ; 
under the gallery, 155.; back gallery and orchestra, IDS. 6d. ; organ 
gallery, 75. 6d. yet, so extraordinary was the demand, that in three 
hours every ticket had been purchased, many by speculators, who 
reaped a rich harvest off them. The concert was to take place on the 
1 3th September, but owing to a severe cold Jenny Lind could not appear. 
In a few days, however, she had sufficiently recovered, and those who 
had been successful in the scramble for tickets were fully rewarded. She 
afterwards appeared at an afternoon concert, at which the prices were 
slightly reduced. It is worth noting that Murray had intended to engage 
the great cantatrice, and to that end had despatched Glover to London to 
settle terms. Settle terms he did, but for himself, not Murray ! 

An after season, commencing October i6th, preceded the winter sea- 
son, and Mrs Butler (late Fanny Kemble) appeared for eight nights, play 
ing in Macbeth, The Hunchback, School for Scandal, Romeo and Juliet, &c. 

On November 6th the winter season opened, when Mrs Butler 
again appeared, being re-engaged for seven nights. Wyndham, who had 
joined the company during the summer (September 28th), re-appeared 
on the opening night as Sir Thomas Clifford in The Hunchback. 

Don Casar was revived on November i5th. Charles 1 1. = Wynd- 
ham ; Don Jose = R. Younge; Don Caesar = E. Glover : Lazarillo = Mrs 
Tellett ; Maritana= Miss Coveney. 

On November 26th, "a new and original extravaganza," written by 
the author of How to Settle Accounts with your Laundress, entitled This 
House to be Sold (the Property of the late William Shakspere), Inquire 
Within. The music was selected from Shaksperian and other melodies 
by Alexander Mackenzie, the scenery by Frederick Lloyds. This piece, 
which ran twenty-one nights, was, of course, suggested by the threatened 



4oo The Annals of the Edinburgh Stage. [1847-8. 

sale of Shakspere's birthplace, in Henley Street, Stratford-on-Avon. The 
venerable structure had been in the market only a few months previously, 
and had nearly been disposed of to an enterprising American, who threatened 
to cart it over to the States. The British public, however, were actually 
aroused to a sense of the importance of the occasion in time to get up a sub- 
scription, with which the house was bought and afterwards handed over to 
the nation. This dramatic sketch opened with the scene of the house, and 
introduced the hero, Mr Chatterton Chopkins (W. Howard), who, having 
failed to acquire an envied notoriety by writing a novel, wearing a mou- 
stache, and other absurdities, hit upon the idea of becoming the purchaser 
of Shakspere's house, with whose name he fondly anticipated his own would 
descend to posterity. The property having accordingly been transferred 
to his possession, he resolved to pass a night within its venerable walls. 
When there the immortal Bard (W. Glover) appeared, and, in obedience 
to his summons, the stage became peopled with the creations of his 
mighty genius. But time had greatly changed their peculiar features, and 
identification (notwithstanding the costumes) became a difficult task. 
The melancholy Hamlet (Wyndham) had now become the merriest of the 
group ; Falstaff (Ray) was emaciated, by having been induced to substitute 
water for the genial juice of the grape ; Macbeth (Melrose) and his Lady 
(Miss Nicol) conversed in broad Scotch ; and Othello (Lloyd) had enlisted 
among the Ethiopian Serenaders, and sings negro melodies. 

The next interesting production was Morton's farce Box and 
Cox (called a "romance of real life,") on December Qth. John Box = 
Lloyd; James Cox = Murray ; Mrs Bounce = Miss Nicol. It ran some 
thirty nights, and some playgoers, who saw both the London (Buckstone, 
Harley, and Mrs Macnamara) and Edinburgh productions, maintain that 
the latter was little if at all inferior. 

W. Harrison, a celebrated tenor, made his first appearance here on 
December nth, playing Henry Bertram in Guy Mannering. Colonel 
Mannering = Wyndham ; Dandie Dinmont= Melrose ; Dirk Hatterick = 
Murray ; Gilbert Glossin = Lloyd ; Dominie Sampson = Ray ; Gabriel = 
Honey; Meg Merrilees = Miss Cleaver ; Julia Mannering = Miss Harriet 
Coveney ; Lucy Bertram = Miss Coveney. 

On December i5th, a selection from Wallace's Maritana was given 
for the object of allowing Harrison to appear in his original part of Don 
Caesar. 

December 27th, the performances commenced with She Stoops to 



1847-8.] The Annals of the Edinburgh Stage. 401 

Conquer. Young Marlow = W. Howard; Hardcastle = Ray ; Tony = 
Lloyd; Diggory = Honey ; Miss Hardcastle = Miss Coveney. After 
which was produced the pantomime The Children in the Wood music 
by Mackenzie, scenery by F. Lloyds, properties by Paterson. Honey 
played the wicked uncle, and the two villains were impersonated by 
Vaudrey and Melrose. Harlequin = Samuel Lake; Pantaloon = Charles 
Lloyds; Clown = Mori ; Columbine = Miss Caroline Barnett. On the 
second night the above was changed to, Clown = Charles Lloyds ; Panta- 
loon = Freeman. 

Glover seems to have met with some mishap, for on January loth, 
The Rivals, Falkland = Glover, being his " first appearance since his late 
severe accident ; " Sir Anthony = Murray ; Sir Lucius = Wyndham ; Bob 
Acres = Lloyd. January i2th, Douglas, Young Norval= Dickenson (for 
this night only), from Theatre Royal, York, " his only appearance here 
this season ;" but on the I4th Othello, Othello = Dickenson. The same 
piece on the 2Oth, Othello = E. Glover ; Iago = R. Younge ; Roderigo = 
W. Howard. 

Miss Helen Faucit appeared on January 31 st (prices raised to 43., 
2s. 6d., is. 6d., and is.). February 5th, School for Scandal. Sir Peter 
Teazle = Mackay ; Sir Benjamin = Wyndham ; Crabtree = Lloyd ; Joseph 
= E. Glover; Charles Surface = W. Howard; Sir Harry (with song), = 
Binge, who had been specially retained during Miss Faucit's engagement ; 
Lady Teazle = Helen Faucit. 

February I2th, Merchant of Venice. Bassanio = Wyndham ; Shylock 
= Glover ; Portia = Helen Faucit. Miss Faucit was indisposed for a few 
evenings, but on March 4th took her benefit, when she played Beatrice in 
Much Ado, and Mrs Anne Bracegirdle in The Tragedy Queen. 

Miss Julia Bennett* made her first appearance in Scotland at the 
Royal on March Qth, and on the 2Oth Mackay announced his pro- 
fessional farewell, which was to last over several weeks. On the 2Oth 
Rob Roy was announced for the " last time this season," Bailie Nicol 
Jarvie by Mackay, " being his last appearance in that character in this 
city." On the 23rd, however, it was done again " by particular desire," 
again for the " last time ;" ditto, ditto on April i7th ; but on April 2Oth it 
is his " last appearance but one " in the part, the " very last " being on the 
22nd. A most extraordinary announcement was made by Murray on 

* From the Haymarket. 
2 C 



402 The Annals of the Edinburgh Stage. [1848. 

the occasion of Mackay's farewell. It lay in announcing several standard 
Scotch plays as being " for the last time ! " For instance, on April iQth, 
" will be performed for the last time," Guy Mannering\ again on the 24th, 
the Heart of 'Midlothian ," for the LAST TIME IN EDINBURGH." And on 
Mackay's last night, besides Rob Roy for the " last time," there was played 
Cramond Brig\ in which Wilson appeared for that night only. Mackay took 
leave of his friends and patrons ; and Murray, in response to loud calls, came 
forward, and in the course of a few remarks bore witness to his friend Mac- 
kay's sterling worth, not only as an actor, but as a man. He described him 
as straightforward, without professional vanity, and always ready to help. 
Mackenzie, the leader, took his benefit on May iith under splendid 
patronage, when, in addition to a very attractive programme, he was 
assisted by his friend Henry E. Dibdin, who played a solo on the harp. 
Dibdin again played at Murray's benefit on May i8th, which was the last 
night of the season, and according to custom the manager delivered his 
farewell address an excellently written one, but not containing matter 
that calls for insertion here. 

It may be noted here that the season just finished was the first during 
which Murray employed a stage manager. That office he had invariably 
filled himself; but infirmities were no doubt creeping on him, and he 
resigned so much of the worry and work to the able hands of his leading 
actor, Glover. It was the last season, too, of poor Melrose. " Sudden 
indispositions " had become too frequent, and, their cause being well 
known, he was not re-engaged. 

The Adelphi opened on July ist 1848 with Born to Good Luck, in 
which Cooper, from the Theatre Royal, Manchester, appeared for the 
first time in Edinburgh. Hudson, who was engaged for three weeks, 
played several times in the drama of Rory O More and the farce of His 
Last Legs. On the 24th James Bennett, who succeeded Glover as 
" lead," made his first appearance, playing Virginius. Bennett, not only 
in Edinburgh, but all through the provinces, became a great favourite. 
He never, however, rose to be more than a stock actor, and in his latter 
days was by no means well off. He died March Qth 1885. 

On September 4th Murray announced to the public, in answer to 
several applications, that the appearance of Jenny Lind, which was 
advertised to take place at the Royal, was not his speculation, but that he 
had let the Theatre (" reluctantly ") to Mr Knowles for the purpose. 

An interesting announcement occurs on October 24th, when, at A. 



1848-9.] The Annals of the Edinburgh Stage. 403 

Webster's benefit, " by consent of his grandfather and teacher, Mr Eager, 
Master Bridgman will perform a fantasia on the pianoforte and concertina." 

Murray took his benefit on the closing night of the season, October 
23rd, on which occasion Mackay " has most kindly consented to reappear 
for this night only." He played the Bailie. 

Miss Parker, from the Olympic, who had joined the company this 
season, became a great favourite. She seems to have been a very good 
actress in her own line (chambermaids, &c.), and filled Mrs Tellet's place 
successfully. Her singing was tasteful, but her voice thin. 

The winter season 1848-9 opened on November 4th with Clari. 
(Boxes, 33. ; pit, 2s. ; galleries, is, and 6d. Doors open at 7 ; commence 
at 7.30.) 

Some important changes were made in the company this winter. 
Bennett came up from the Adelphi. Alfred Davis, light comedian, from 
Newcastle, was a son of E. D. Davis, manager of the Newcastle Theatre 
for many years. Alfred did not stay long with Murray, leaving for 
Gourlay's Victoria Theatre on the Mound ; thence to Glasgow, where 
he became a manager. T. King, heavy man, came from Gourlay's 
Victoria ; he seems to have been a sound and intelligent actor, w r ith a deep, 
powerful voice. Lloyd opened with the rest of the company, but left 
on December 23rd, his last part being Peter in Romeo and Juliet. 
His reasons for leaving are given by himself in his recently published 
" Life of an Actor," as follows : 

"Almost immediately after my visit to London in June 1847, ^ r Edmund Glover had 
occasion to go up to town to hear Jenny Lind. He did a very clever thing. He managed 
to engage her services to sing in Edinburgh, Glasgow, and Perth, and he cleared ^3000 by 
the spec. Indirectly this circumstance had a considerable effect on my own future fortunes, 
as will presently appear. Emboldened, and enabled by this slice of good luck which had 
fallen to his share, Mr Glover resolved to enter upon theatrical management on his own 
account. Accordingly, in the autumn of the following year (r848) he acquired possession of 
a large hall in West Nile Street, Glasgow, which had been used for some time for the exhibi- 
tion of a diorama, and had it converted into a small theatre, which he called ' The Prince's 
Theatre.' His next step was to enter into negotiations with the reader's humble servant ; 
and, as the remuneration he offered was larger than I had hitherto enjoyed, I accepted the 
offer, and immediately wrote to Mr Murray, stating the case, and asking him as a great favour 
to cancel the remainder of my engagement with him. Mr Murray replied as follows : 

'"Theatre Royal, Edinburgh, Thursday, November 9, 1848. 

" ' My dear Lloyd, I shall regret your loss extremely, and much wish I had known your 
intentions earlier, for, as you may easily imagine, it will not be an easy matter to supply the 
situation in the middle of a season, when all winter engagements are arranged ; but be 



404 The Annals of the Edinburgh Stage. [1848-9. 

assured that, however inconvenienced I may be, you carry with you my honest wishes for 
your health, happiness, and success in all ways. I am, very truly yours, 

" C W. H. MURRAY. 

" ' To H. F. Lloyd, Esq., The Cottage, Leith Walk.' 

" About ten days after receipt of this friendly -worded note it having been arranged that 
the Prince's Theatre, Glasgow, should be opened in January following I wrote to Mr 
Murray asking him if I might be allowed to take a farewell benefit at the Theatre Royal. To 
this application I received for answer the following : 

" ' 23 Windsor Street, Tuesday Morning, November 2ist 1848. 

" ' My dear Lloyd, Although benefits, especially those of such favourites as you justly 
are, are heavy blows against the week in which they take place, I would, had you dealt a 
little more frankly with me, have done anything I could to have served you, as my conduct for 
many, many years must have proved; but in the present instance I must decline your 
request, as I am making every exertion to fill up the week you allude to. I own the peculiar 
wording of your application for the present winter engagement prepared me in some degree 
for what has taken place ; but I did not think you would have suffered me to have gone to 
London without one word on the subject. Yours very truly, " ' W. H. MURRAY.' 

" To this I sent the following reply : 

" ' 22nd November 1848. 

" ' My Dear Sir, You accuse me in your note of want of frankness. You knew of my 
leaving a few days after I had settled to go to Glasgow, before I even told my own family. 
So little did I expect it, that I was corresponding with Mr Alexander at that time to be with 
him during your pantomime, if you could let me off. With regard to your refusing a farewell 
benefit to an old servant of thirty-six seasons, that is no business of mine. It was not the 
want of money ; for I am proud to say I can leave Edinburgh as honourably as I came to it. 
My only wish was to have said farewell on the boards that I have trod so long, but must 
now do so elsewhere, and you shall find in my address I shall express nothing but the 
sincerest regard for and pain at leaving you ; although after what has passed, the sooner I 
leave you the better, as my presence cannot be agreeable. I should like to finish the isth 
December, if possible. With my best wishes for your health and happiness, I remain, yours 
most truly, H. F. LLOYD. 

" P.S. May I add that I wish to do all I can to prove how anxious I am to continue a 
friendship of eighteen years' standing ? H. F. L.' 

" That Mr Murray, although the pink of politeness in all he said and did, deeply 
resented my leaving, his next communication, I think, will show : 

" ' Theatre Royal, Edinburgh, 25th November 1848. 

" 'My Dear Lloyd, I have delayed answering yours of the 22nd instant until now, by 
a wish to comply with your request of quitting the Edinburgh Theatre before the expiry of 
the notice you first gave, to which I must now request your adhering, as I have not been 
able yet to prepare for your loss. Why I felt that you ought, considering the terms we had 
been so long upon, to have told me of your views before my visit to London, was that I was 
informed of them by a very intimate acquaintance of yours, but would not act upon what I 
had heard, until I heard it from yourself. This information preceded my leaving Edinburgh 
for London. You are offended at my not appointing you a benefit before your leaving. I 
have not the power of doing so, being in treaty with a person, who, if the erms are concluded 



1848-9.] The Annals of the Edinburgh Stage. 405 

on, fills up every night till Christmas. No man wishes you success more honestly than I do ; 
but I still feel that I ought to have received earlier intimation of your intentions to leave, 
especially as others did. Excuse scratches, and believe me very truly yours, 

" ' W. H. MURRAY.' 

" In default of the Theatre Royal, I arranged for taking farewell of my kind Edinburgh 
patrons in the Music Hall, where, on 26th December 1848, I gave a concert, at which 
several of the first local professionals, together with others from London, both vocal and 
instrumental, discoursed a long and varied programme. The occasion was under the patron- 
age, among others, of the Duke and Duchess of Roxburgh, the Earl and Countess of Dal- 
housie, Sir Norman Macdonald Lockhart, Bart., of Lee, and Lady Lockhart, and was a 
complete success. The following is from a lengthened notice of it which appeared in the 
Edinburgh Courant : 

" ' Mr Lloyd gave a farewell concert on Thursday evening in the Music Hall, on the 
occasion of his leaving the Edinburgh stage, where he has held a prominent place for eighteen 
years, to assume, along with Mr Edmund Glover, the management of the Prince's Theatre 
or Opera House in Glasgow. The audience was such as might be expected from Mr Lloyd's 
great popularity, crowded and enthusiastic. ... At the conclusion he came forward 
and delivered a brief farewell address. It was, he said, for the first time in his life his duty 
to perform a very melancholy part, and that was bidding them farewell. For eighteen years 
he had been before them, and if not a very talented actor, he had at least won their appro- 
bation, and been always steady at his post, having never once been absent from his profes- 
sional duties. (Loud cheers.) During that long period he had never had an angry word 
with the manager (Mr Murray), and he was happy to say they parted on terms of friendship. 
He must confess that the motive that had induced him to leave Edinburgh was a selfish one, 
but with a good prospect of bettering his condition, he thought it his duty to try, whether he 
might be successful in doing so or not ; and he was now about to open, in conjunction with 
his friend Mr Edmund Glover, the Prince's Theatre in Glasgow. He dared not say much, 
lest he should unman himself, but would thank them from the bottom of his heart for the 
patronage and encouragement he had all along received, and trusting to receive the same 
hearty welcome, if ever he should have occasion to appear again before them, he would bid 
them respectfully farewell. Mr Lloyd withdrew amongst the most hearty cheering.' 

" On the following morning I started for Glasgow to superintend the completion of the 
Prince's Theatre, of which I was to be acting manager." 

Lyons, who joined for utility parts, was for many years a prominent 
member of the companies at the Royal, Adelphi, and Operetta House. 
He evidently showed promise in his younger days, and was accordingly 
advanced by Murray and Wyndham. His performances in later days, 
when he played juvenile lead in tragedy, were often, however, very stiff. 
He became lessee and manager of the Dundee Theatre, and died in that 
town May 28th 1868. He was father of Edmund and Robert, both of 
them actors of ability. 

Lloyd's place was filled by Henry Webb irom Birmingham. Webb, 
before this time, had made his mark at minor theatres in London ; his 



406 The Annals of the Edinburgh Stage. [1848-9. 

humour was perhaps not so genial and broad as Lloyd's, but he could rise 
to far higher flights when necessary. His Rag Picker of Paris was 
esteemed at the time a masterpiece, he also played with applause such parts 
as Belphegor, Dirk Hatterick, and Dennis, in The Sergeant's Wife, while 
as Dubosc in The Courier of