By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
These featured in quantity 10 comprise Margaret Martyr, a singer, actress, and dancer whose “conjugal virtues have been usually impeached,” in accordance with the July 1792 Thespian journal. The Dictionary describes this least consistent of fanatics as “of middling top, with a determine well-proportioned for breeches components. [Her] black-haired, black-eyed attractiveness and transparent soprano made her an immediate renowned luck in merry maids and tuneful minxes, the piquant and the pert, for 1 / 4 century.”
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Extra resources for A biographical dictionary of actors, actresses, musicians, dancers, managers and other stage personnel in London, 1660-1800, Volume 10
On the Inquisitor General, in which he artfully mimicked Macklin. His lectures soon outdrew Macklin's oratory in the Piazza. Macklin began to attack Foote personally in his orations. Foote published An Epistle from Tully in the Shades to Orator MA*****N. " Stung, Macklin retorted hotly with his own pamphlet, Mckln's Answer to Tully. " But the satirical attacks disturbed Macklin far less than the fact that custom at his ordinary and oratory had dwindled disastrously. On 25 January 1755 he pleaded bankruptcy and was so posted in the Gentleman's Magazine for February: "Charles Macklin, of St.
Macklin may have made an early London stage appearance, around 1720, as a harlequin with strollers at Hockley-in-the-Hole near Clerkenwell Green; and sometime before 1725 he was probably playing at Richmond. But his most conservative early biographer, Francis Congreve, in Authentic Memoirs of the Late Charles Macklin (1798), declared that he first appeared in London at Lincoln's Inn Fields Theatre in 1725, as Alcandor in Dryden and Lee's Oedipus. No known surviving playbill confirms that performance, however, or his presence in or around London before 24 September 1730, when he played Sir Charles Freeman in The Beaux' Stratagem at Lee and Harper's booth on the Bowling Green, Southwark, in the time of Bartholomew Fair.
The piece was feeble as satire and pale as farce. It was never repeated. But the night was otherwise notable: young Maria drew critical applause for her first role in comedy, Lady Townly in The Provok'd Husband. There were many signs now that Macklin, after more than 35 years in the theatre, was wearied by its demands. His dramaturgy had been rejected and he was at odds with the principal managers, both in England and Ireland. In 175253 he acted only some 25 times and added only four new roles: Renault in Venice Preserv'd, the Mad Englishman in The Pilgrim, Sciolto in The Fair Penitent (with Maria as Calista, her "fourth appearance on any stage"), for his benefit, and the title role in Samuel Foote's new comedy The Englishman in Paris.
A biographical dictionary of actors, actresses, musicians, dancers, managers and other stage personnel in London, 1660-1800, Volume 10 by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans